Film Review: The Big Lebowski

"Let Me Explain Something To You. I Am Not "Mr. Lebowski". You're Mr. Lebowski. I'm The Dude..."

Unbelievably, The Big Lebowski is twenty years old. As we all hide under our bed sheets and weep at the quick turn around and passing of two decades, Joel and Ethan Coen's cult comedy classic returns to cinemas for one night only, offering the chance to witness the iconic presence of Jeff Bridge's (Hell or High Water) Jeffrey "The Dude" Lebowski stroll around 1990's Los Angeles slobbering White Russian's and dozing around in flip flips upon the big screen. With the Coen's undoubtedly supplying some of the best examples of  modern cinema throughout the past three decades, with Fargo, Inside Llewyn Davis and No Country For Old Men being my personal favourite trio, The Big Lebowski has always remained the primary Coen release which a high percentage of cinephiles always relate to the swiftest. Whether it be the film's endless array of quotes which falls only second to Pulp Fiction in terms of hit count from the 90's, the hilarious comedic performances from its' brilliant cast or the tonal balance between crime, drama and zaniness, The Big Lebowski is indeed endlessly watchable and thoroughly entertaining but ultimately does fall short of being masterpiece as it remains the one Coen release which still hasn't completely and entirely won me over. 

With a narrative which becomes entangled within a eclectic array of plot threads which seems to mirror the care-free, bohemian nature of the film's leading Lebowski, the Coen's movie centrally focuses on a bizarre case of mistaken identity as Bridge's The Dude is introduced in a hilarious attempt to procure funds on behalf of Ben Gazzara's (Dogville) criminal overlord Jackie Treehorn. With the real Lebowski being uncovered as David Huddleston's (Blazing Saddles) wheelchair bound millionaire, The Dude quickly becomes embroiled in kidnap plots, bowling tournaments and the over-bearing, manic nature of John Goodman's (Argo) Walter, whose on-screen relationship with Steve Buscemi's (Reservoir Dogs) Donnie undeniably ranks up there with one of the most misunderstood bromances of the modern era. Whilst the laughs and giggles are quick-quipped and constant and the performances all fall into a Coen-inspired level of ripeness, The Big Lebowski still to this day remains on the zanier side of the Coen's back catalogue, and even when the film is nowhere near the sheer wackiness of The Hudsucker Proxy or Burn After Reading, the Coen's most famous venture still remains slightly too overbearing to be considered at all in any way flawless, but with a rewatchability factor which makes it undeniably entertaining, The Big Lebowski is back for one night only and deserves to be admired once again. Yeah, well, that's just like, my opinion, man.

Overall Score: 8/10

Film Review: The Death of Stalin

"Have A Long Sleep, Old Man. I'll Take It From Here..."

Before taking the reigns of the Tardis in Doctor Who, Peter Capaldi was best known for his unforgettable role as infamous spin doctor, Malcolm Tucker, in the critically acclaimed political satire The Thick of It, and whilst Capaldi undeniably made such an iconic character very much his own in the years on-screen, the orchestrator of chaos in the form of Armando Iannucci easily deserved as much credit for handling a show which went from strength to strength in attempting to depict a modern political system awash with daily chaos. Returning to the spectrum of cinematic political satire for the first time since 2009's The Thick of It spin-off, In The Loop, Iannucci's latest, The Death of Stalin, tackles the titular passing of the infamous leader of the Soviet Union in early 1953 and the subsequent days leading to up to his funeral, albeit with a hilariously played, blackly comic edge of which Mr. Iannucci is arguably the leading figure of in the current entertainment climate. Whilst The Death of Stalin is undeniably hilarious, with a number of well orchestrated set pieces resulting in leaving me in a fit of giggle inflicted tears, Iannucci's latest also includes a darkened hole at its' narrative epicentre, and whilst the mix of the bizarre and the bleak is interestingly played, The Death of Stalin doesn't hold together as smoothly as I would have liked, but its' undeniable comic streak makes it a worthy inclusion into the Scottish comic's impressive repertoire of political satire.  

Beginning with a scene which not only sets the tone for basis of the movie but outlines the terrifying balance between historical reality and outright fiction, The Death of Stalin uses the narrative essence of Aaron Sorkin-esque political dramas such as The West Wing alongside a mix between intelligent, quip-laden dialogue of Iannucci's own famous satirical shows and the slapstick, almost ludicrous comedy of which Monty Python made so famous in their lengthy run on and off screen, and whilst the plot does waver in places, with the script simmering up and down in terms of engagement level, the inclusion of a perfectly formed cast, each utilising either their own accents, or in the case of Jason Isaacs, one of Yorkshire descent, who are all at the top of their game in comically portraying leaders of a nation which in Iannucci's eyes is filled with utter chaos and political incompetence following the passing of a terrifyingly powerful leader. Whilst the comedy does undeniably work, the switch from light to darkness within the movie always doesn't, with the juxtaposition between humour and plot threads which feature murder, child abuse and rape seeming more than jarring at times, even when their inclusion was downright inevitable when effectively examining the workings of a Stalin-led Soviet Union, but with enough cracking one liners to put most contemporary comedies to shame, The Death of Stalin is highly enjoyable, just not in the same pedigree as previous Iannucci-led satires.

Overall Score: 7/10

Film Review: The Cobbler

Throughout most of his rather bland and unremarkable career in film, Adam Sandler has at least managed to dial down his annoying and slightly repulsive acting ability to demonstrate how, if he chooses to be, he can actually be a solid comedic actor with some degree of talent, with my personal preference in his back catalogue being Big Daddy, a film, that although has a range of flaws, is rather funny in some places and overall, is a good solid comedy. Also, Little Nicky gets minor kudos for the hard-rock soundtrack and having Harvel Keitel as the devil. Now in 2015 however, we have The Cobbler, a film so muddled in its' own mix of comedic and magical elements, that its' almost the type of film you expect an actor of Sandler's pedigree to be a part of, particularly when looking back at his most recent endeavors into cinema. Aside from The Cobbler not being funny throughout its' overlong running time of 100 minutes, it is also one of the most boring experiences I have felt within film so far this year with the magical element that the film completely hinges on losing steam after about twenty minutes or so as well as being an element that settles more on the creepy, stalker side rather than the empowering, life-improving one. To be fair to Sandler, The Cobbler isn't the worst thing he has ever done, but it might be the most boring, with Sandler himself actually being better than usual and not making me want to hang myself every-time he is on screen. So overall, not awful, but not any good either. 

Overall Score: 3/10

Monsters University - Review - SPOILERS - UK RELEASE

Sorry that I didn't get this out on release day, but seeing as it only came out Friday, I say its fair that I saw it today!

Here we have a triumphant return from Pixar with the worlds favourite monsters. In a story that prequels Monsters Inc, it looks like an origin story of the great duo. It opens up with a collection of child monsters on a school trip too Monsters Inc., upon enters a tiny Mike, a adorably big eye, a stature that puts him in the light weight boxing division of Barbie & Action Man dolls, alongside vibrant green skin and a cute little smile. At the scare factory, we find out Mike's inspiration and reason behind his decision to join the Monsters University. From this point on, he focuses on getting there and achieving his dream of becoming a screamer. Not till later do we see a skinnier, leaner version of Sully who is a powerhouse of strength and creature of fear, yet lacks theoretical perspective and uses his fathers fame to further his popularity, therefore, making him the common day rich douche-bag. At the start of good year, both tend to avoid each other and don't interact much, but as we progress, we see a rivalry and distinguished hatred for each other which lays them in trouble with the university dean and leads to a series of events detailing the pairs friendship growth, alongside a group of shunned students who are pushed to strive for bigger things.

As a member of the 90's generation, I was about when Monsters Inc. came out and could truly appreciate it at that age due to its colour, comedy and its ingenious plot that makes it so memorable. Now as an adult, this movie feels like it was made for the generation who lived to see it in the cinema
and value it. Now I can appreciate the extensive amounts of work that goes into making Sully's hair move or every single blade of grass under Mike's feet. The lines and shapes that make up the campus and so much more. Visually the movie is pristine. Everything is vibrant and punchy that sends your eyes blitzing around the screen soaking in every last orange and pink in the vast scenery. Everything was in focus allowing you time to look.

As with any Pixar movie, once they develop onto it and create a foundation, the stories can become a little predictable at points with a lot of moral dilemmas throughout whenever a plot twist occurs. As
predictable as it was, the story was still fun, witty and utilizes it's potential to make it far bigger. Character stories were heartfelt, pulling on the heart strings at points and the whole film would keep a smile permanently wedged onto your face, hairs raised on the back of your neck and an attachment that only Pixar could create. The witty creations and variations that they went through to develop each character is phenomenal and the variation shows the dedication to create a real world for the monsters and not some copy and paste fillers.


As an overview, I don't have much to write about. The movie was a stunning piece of art, a graceful origins story, a heart warming adventure with silly humour fit for all the family. However, before the movie even starts, The Blue Umbrella is a Pixar short to open Monsters University and is impeccable and a stunning short film to open with. I never felt that I could develop an emotional attachment to an object as simple as an umbrella. If this hasn't shown at your cinema, Google is a thing that can help!
So, as an overall rating, I'm going to go with an 8/10 due to its predictability, but also the skipping of some sub-characters. A must-see movie for the summer!