Within the Frame

Starburst Magazine review of Irish horror film Cherry Tree 2015

The Horde

Dir. Jared Cohn

Latest review at Diabolique Magazine:

Tabloid Vivant   

Dir. Kyle Broom 

Latest review at Starburst Magazine:

Definitive Folk-Horror

My piece on the best “folk horror” for Diaboliquemagazine.com

The first marvel film of 2016 brings us something marginally different to the superhero flicks we have become accustomed to. A comic book adaptation that has been in the making for a decade now, thanks to the motivation and pure want for this film to remain faithful to the source material, the loveable insane anti-hero finally graces the big screen. Deadpool aka Wade Wilson aka 'Merc with a Mouth', a mutant who has his powers forced upon him when he is faced with little choice. Already off the walls with his funny quips and potty mouth, Wade Wilson is soon pushed to the limits and almost insanity. Marvel has delivered an exhilarating action flick fuelled by sex, one hundred and one, one-liners and all out stupid fun.

The continuous flow of one-liners gets a little stale in parts (because really Ryan Reynolds never shuts-up in this film) not all are genuinely funny as Reynolds spouts a dozen cheap jokes for every one that actually delivers a laugh out loud moment. Despite this, we have a fun action superhero flick that goes against the grain with characters we can really care about. Ryan Reynolds' first appeared as Deadpool in X-Men Origins: Wolverine, a film that we would rather forget, ignited more want for Deadpool (the real Deadpool) to have more screen time and Reynolds has ever since been the man to play the crazy merc. Reynold's seems to get Deadpool mentally and physically, the split personality where Deadpool breaks the fourth wall is done to great effect and Reynolds performs this fluidly with manic expression.

This film didn't have a crazy colossus budget (excuse the pun) as previous Marvel films and this was evident in terms of casting, special effects and scenery. They make fun of this with the title sequence and it's made even more apparent when Deadpool talks to the audience expressing his knowledge of the X-men films. If you know the comic book character, it is established that Deadpool realises he is a fictional character in the Marvel Universe, unlike most of the heroes within it. Having him acknowledge that this is a film, is a great comedic effect and was not only true to the comic book character but it also brought something original to the style of the film.

The casting of the film, for the most part, is fantastic and the dynamics between them worked brilliantly. Wade's one friend and console, Weasel, is brilliantly portrayed by, T.J. Miller, a comedian known for the comedy series Silicon Valley. His dry sarcasm and honest remarks are delivered with hilarious results. One thing that could have gone terribly wrong here and does so with many films is the romantic story-line, it's an integral part of the plot and they make it work with great character dimensions. Morena Baccarin (Firefly) plays Vanessa Carlyle, Wade's girlfriend with a fiery, no shits given, attitude that compliments Wade Wilson/Deadpool perfectly. It's not entirely accurate as far as the comic books go, but for something that needs to be condensed into two hours of visual storytelling, this seems to be the best way to go to ensure Deadpool has some empathy. As for the antagonist, I'm not so convinced. Maybe it has something to do with the previous X-men films because the bad guy is always a real peace of work and normally the top dog whereas Deadpool is on a revenge spree going after the man that almost destroyed him, and as it happens, also saved him. When Wade is diagnosed with cancer, he is encouraged to give himself to an organisation that promises him he can be cured, better yet, they can give him superpowers. Ajax aka Francis Freeman (Ed Skrein) is the man managing this hellish place, he injects Wade with a deadly serum then has him tortured by Angel (Gina Carano) to the point of near death so that he may reveal mutant powers. Alas Wade finds a way out and after surviving a hefty explosion, a deadly fight and a building crumbling down on him, it becomes very apparent that Wade has the power to rapidly regenerate. Scarred physically and mentally with skills to kill and a mutant power, Wade becomes a force to be reckoned with. He dons the suit mask to hide his disfigured face and body shooting the guts and brains of anyone connected to Ajax. It all seems a little too easy, and Ajax isn't very threatening which leads to the final battle leaving you a little disappointed.

Deadpool is a relentless character who may not have the right morals but his honest wit and hilarious remarks make him a rather likeable character. After all, you can't blame it all on him after what he's been through. In the comic books, Deadpool's power to regenerate is the cause of his split personality. An element of the comics that I feel would have made this plot and story more solid. Visual effects specialist, Tim Miller, makes his directorial debut with this one. I think for a first feature and slightly lower budget Marvel film he has excelled in presenting Deadpool the way he should be. The CGI might be a little too clean and shiny in parts but the exuberant pace of the film doesn't allow you enough time to care as you're too busy enjoying the moment and the wacky story of this character. The unusual layout of the narrative is clever and allows room for some great action sequences and solid character building. Although it has a basic revenge plot I think it actually works for the world that Deadpool lives in and I find it rather refreshing from the larger scale Marvel films we've seen previously.

Spotlight tells the gripping true story of how the Boston Globe's “Spotlight” team investigated, and eventually revealed, the church's cover-up of child abuse by catholic priests. A story that resulted in the Globe receiving the Pulitzer Prize for Public Service in 2003. Although the story originates in Boston it soon revealed an international scandal when victims also known as survivors reached out from all over the world. It's a brilliant unravelling that not only shocks you but will fill you with as much suspense as the latest action flick. Director and co-writer Tom McCarthy (The Station Agent) along side writer Josh Singer (The Fifth Estate) have successfully created a powerful and moving script that emanates from the screen. A dramatisation like this deserves the award recognition it has been receiving of late, as it really is like no other.

We see Boston in a time of ignorance and it takes the non-catholic, not-boston editor Marty Baron (Liev Schreiber) to put his foot in and insist this story be investigated further. It takes an outsider to see the problems within the community. “If it takes a village to raise a child, it takes a village to abuse a child”. A change had to happen to set this city free from this terrible conspiracy. Change is a theme that McCarthy has implanted in his previous films and he advocates this in Spotlight.

It's great to watch a very talented and strong ensemble cast that work in perfect harmony. McCarthy manages to create an energetic relationship between the characters whilst also giving them individual experiences as they discover their own pieces of the puzzle. Each character is personally affected by their own uncovering and that allows us to get emotionally involved. Spotlight recently won the top SAG award for Outstanding Performance by a Cast in a Motion Picture proving this was an excellent collaboration, it's only a shame that the Academy Awards and BAFTA can not recognize this as a category.

John Slattery portrays journalist Ben Bradlee Jr who introduces the new editor, Marty Baron, to the head of the Spotlight team, Walter “Robby” Robinson, played by Michael Keaton. When Baron explains he wants this story to, reveal and break the system, Robby is determined to hold publishing until the wider story has enough proof, it can never be covered back up. There is also two reporters in the Spotlight team, Michael Rezendes (Mark Ruffalo) and Sacha Pfeiffer (Rachel McAdams) as well as researcher Matt Carroll (Brian d’Arcy James). A significant number of victims are first discovered through the lawyer Mitchell Garabedian (Stanley Tucci at his best), this then leads to a shocking influx of victims reaching out and being discovered, resulting in almost 600 stories being published.

The film is technically sound, the motion of the camera is personal and slightly intrusive which is necessary to grasp the inner workings of a news journalist. The settings are simplistic but vital just as the time period which is made prominent and the costumes and props are consistent throughout. Spatterings of light-hearted humour and wit keep this film grounded and truthful. The tone of the film is never too drab considering the subject matter.

The acclaimed director Alejandro González Iñárritu is back, just in time for the awards season with western thriller The Revenant and he's killing it having won a Golden Globe and now the film has 12 Oscar nominations, the chances are, the film is surely going to get at least one of those. His success with Birdman at the 87th Academy Awards is surely a sign that Iñárritu is in his prime for visceral storytelling.

This story is inspired by true events in the fact that Wyoming mountain man Hugh Glass did actually get mauled by a bear and abandoned by his men, so the legend goes. It's a revenge tail exaggerated for emotional weight and motive thus creating an epic story within a glorious cinematic experience. Leonardo DiCaprio stars as the unfortunate hero who goes up against the forces of nature, beast and man. Leo surely deserves the Oscar nomination with such a brilliant physical performance. Suffering in those ravenous environments was a real ordeal for the A-list actor so actually it makes you wonder how much acting was necessary and how much was Leo really struggling to survive in that polar vortex? No, really every moment of agony was felt, Leo's performance will make you wince in a good way. Although it was very much like an endurance test, Leo gave a hefty amount of intensity and passion to every scene with very few words, that must be talent.

Leo deserves the credit given but we can not forget the fantastic supporting cast who may not have as much of a physical role but the development in their characters are just as integral and intuitive. Tom Hardy plays John Fitzgerald, a rough and tough westerner with a rather odd accent, seriously he sounds like the male version of Kathy Bates. A very unlikeable character with no integrity, Hardy did not make it difficult for us to see him as the main antagonist despite the many evils Leo faces. Nominated for best supporting actor for the 88th Academy Awards, Hardy gave a gruff and cowardly performance that was necessary but was it the best? Dohmnall Gleeson gave a brilliant performance as the trusting Captain Andrew Henry who showed his versatility as his character develops through the film's events. Will Poulter stole the scenes as Bridger, with his very honest and sometimes gut-wrenching performance. Though the relationship between Glass and is son is a tad underdeveloped, new face Forrest Goodluck portrays Glass's half-Pawnee son, Hawk with a brilliant balance of loyalty and nativity

The pure beauty of this film is due to almost everything being real as far as the eye can see. Iñárritu had his cast and crew in actual blizzards and frozen lakes, mostly they shot for an hour and a half a day because that was all the real light they had so they spent the rest of the dark hours rehearsing. This was some true gritty filmmaking happening. There was one exception, which is the famous Bear scene, obviously. Iñárritu decided to go with motion capture; imagine a guy in a blue spandex suit with a bear head pretending to rip out Leo's throat, tearing his butt to shreds. The CGI bear looked great, sure, but it also looked a little too perfect for it to be real enough especially against a real backdrop. Despite that, it really is an intensely brutal scene, to be honest, it's a gut-churning film throughout that will surely make Quentin Tarantino reel back.

Oscar winner cinematographer Emmanuelle Lubezki (Birdman) has done excellent work in immersing the audience and with only an hour of daylight too. The fantastic steady-cam work creates wonderfully fluid movements, the flow of the camera is captivating as it carries you through the whole film. This is most definitely a technique and style that Lubezki and Iñárritu take ownership of. They really know how to create that movie magic but what is most interesting is they also like to make you very aware of the camera. In seconds you are taken away from the moment, it may just be for a moment but suddenly the fourth wall is broken. We're now aware that we are watching Leo laying in a cold cave breathing on a camera lens and there's probably a good twenty crew members on the other side. This may throw a lot of people, it's an odd technique especially for a dramatic feature. There is something about this technique that attracts me, I liked being aware of the camera, it somehow made it more real for me. I felt the camera awareness and the hallucinogenic scenes of Glass's dead wife symbolized his despair and desperation for redemption and peace. Though beautiful and integral to the character development these parts could have been tightened up a little in the edit.

The Rocky sequels have had a fair few knockdowns over the years but Creed brings life back into the franchise.

Though Sylvester Stallone’s Balboa is no longer the film’s main star we still get the same tone and feel of the old Rocky films that have become so important in pop culture. This time, it’s Michael B. Jordan (Chronicle) who takes the ring as Adonis Johnson, son of the late world famous boxer Apollo Creed. Bored with the 9-5 life and desperate to follow in his father’s footsteps he sets out seeking guidance and training from none other than his late father’s old pal Rocky Balboa. Reluctant at first, Adonis finally convinces Balboa to be in his corner.

The film Introduces little Adonis as an orphan at juvie who only knows how to talk with his fists. His life soon changes upon discovering his father was the great Apollo Creed when taken in by Creed’s widower. Now a young adult Adonis is tormented by the fact that he will never truly know his father whilst attempting to forge his own legacy under his father’s shadow, so no pressure.

There are multiple layers in Adonis’s character which Jordan plays out with solid conviction. This is very much supported by Stallone’s Balboa, whose emotional and comedic performance is uplifting. We see Balboa fighting his own battles whilst determined to see Adonis through the ring. He reminds us why Rocky has become such an iconic character in film history. Director Ryan Coogler has succeeded in creating the perfect father/son dynamic between Balboa and Adonis. Coogler even manages to give Adonis’ love interest Bianca more depth than most supporting cast members, portrayed wonderfully by Tessa Thompson (Selma), Bianca is given a history that makes her relationship with Adonis stand out from your average sports drama love interest.

Though the script can be cheesy at times, it is to be expected and we can forgive those moments when we are delivered brilliantly choreographed fight scenes. The intricate angles and shots get up-close and personal without missing a punch. It is also down to the sound design in these sequences that really put us on the edge of our seats. Every hard-hitting pummel creates that intensity that allows us to be submerged in the action.  

My latest review for The Spread - Joy

I really enjoyed Michael Dougherty's debut feature, the horror halloween flick, Trick R Treat. It's clever, it's fun and it encases all that we deem Halloween which really gets you in the spirit. So when I found out Krampus was coming out this year, Dougherty's festive horror film, I couldn't wait. It had a comedic cast, a solid concept and what looked to be lots of horror fun.

Krampus is based on a mythological creature from alpine folklore brought to the modern family. The film honestly portrays a family enduring the stresses of Christmas that many of us can relate to. It encompasses everything festive and also reminds us how annoying and inconvenient Christmas can be. Young Max attempts to enjoy Christmas traditions but they are ruined by his family's disregard and annoyance of the holiday. In anger he tears up his letter to Santa and throws it out the window. The next day a violent snow storm hits the neighbourhood cutting out all the power. The horror ensues as the family are terrorised by toys and elves doing the bidding of the dark spirit Krampus.

I have to say it did not exceed my expectations, whilst I did have fun watching it, I couldn't help pick it apart. A lot of things niggled me about this film, some obvious and some not so obvious it may just be the film maker in me but I left the cinema a little disappointed. There are some wonderfully brutal moments both horrific and hilarious but with plot-holes, characters acting out of character and an inconsistent language barrier, it failed to come together as a solid story. The film’s style and feel reminds me a lot of Joe Dante’s Gremlins which gives this film the fun factor. The homicidal gingerbread men and the creepy human eating jack-in-the-box are just a couple of the crazy creatures done to great affect. The elves also looked great and Krampus himself was definitely a brilliant creature creation with hooves and horns he jumps from roof to roof with more than just a clatter.

AHS Freak Show DVD review for Starburst Magazine!

(via https://www.youtube.com/watch?v=Pl092whRLlI)