Triple Bill Mini Musings: Animal Instincts, Bunker Troubles, and Organic Gore...

Zootropolis:
What's it about?
The animal kingdom has evolved beyond its base instincts and created a world where predator and prey of all sizes can live side-by-side. However, when fourteen mammals go missing under suspicious circumstances, it's up to the first rabbit in the Zootropolis Police Department and a sly fox to figure out what's going on.
Who would I recognise in it?
Ginnifer Goodwin, Jason Bateman, Jenny Slate, Idris Elba, Nate Torrence, Tommy Chong, J.K. Simmons, Octavia Spencer, Shakira, and others (voices).
Great/Good/Alright/Shite?
With a strong and clear message at its heart, Zootropolis (otherwise known as Zootopia) still manages to avoid coming off as preachy, because the message is intrinsically lodged into the well-constructed story...

Click "READ MORE" below to continue the reviews...

Double Bill Mini Reviews: Bosses and Fighters...

Horrible Bosses 2:
What's it about?
Nick, Kurt, and Dale - the bumbling trio of boss-hating worker drones from the first movie - have all quit their jobs and set out on their own, establishing a business making 'Shower Buddys'. Naturally, they get screwed over by a horrible boss and things quickly spiral out of control as they seek to get their own back.
Who would I recognise in it?
Jason Bateman, Charlie Day, Jason Sudeikis, Jennifer Aniston, Chris Pine, Christoph Waltz, Jamie Foxx, Kevin Spacey, Jonathan Banks, Keegan-Michael Key.
Great/Good/Alright/Shite?
Fairly solid plotting (relatively speaking) is left swinging in the wind thanks to a lack of jokes. After a slow start a few chuckles creep in, but all-too-often they rely on the 'bumbling and shouty trio' schtick that worked well in a lesser dose in the first movie. Here the same buffoonery takes centre stage at the expense of more interesting gags and starts to become grating at worst, and at best the dim-witted actions of Dale and Kurt in particular display chronic stupidity that's too stupid even for this movie's sense of logic. Jason Bateman was refreshingly candid about the film on a recent appearance on Marc Maron's WTF Podcast - everybody got paid, they had a good time, and they tried to improve upon a dodgy script. It's not a total disaster - there is an amount of fun to be had - but after the enjoyable silliness of the first movie, this sequel comes as a general disappointment. Alright.

Click "READ MORE" below for a rockin' rockumentary...

Double Bill Mini Musings: Trolls and Doppelgangers...

The Boxtrolls:
What's it about?
From stop motion animation studio Laika (Coraline, ParaNorman), this latest outing revolves around the titular box trolls - essentially scruffy little goblin handymen that live inside cardboard boxes - and the human populace of the world above who believe them to be vicious, man-eating ghouls after a small child is apparently kidnapped.
Who would I recognise in it?
Ben Kingsley, Jared Harris, Richard Ayoade, Tracy Morgan, Elle Fanning, Maurice LaMarche, Nick Frost (voices).
Great/Good/Alright/Shite?
As per usual, Laika's visual style is superb - the setting here being a rickety Victorian-esque coastal town that rises up on a large hill - and the story doesn't seek to safely illuminate its darker recesses. The Boxtrolls themselves appear both demonic and lovable, depending on the perspective, with a similar mix applied to the human characters - particularly the main antagonist and his goons. The former is a class-obsessed Boxtroll chaser called Snatcher, weighed down by the weight of the chip on his shoulder and his obsession with cheese (a delicacy reserved for the rich 'white hat' folk). His goons, meanwhile, vary between monosyllabic creepiness and complex introspective musings on whether or not they truly are the 'good guys' (as they have been told by their increasingly sadistic boss). If ParaNorman didn't quite hit the high watermark of Coraline, The Boxtrolls certainly manages to attain the same level of intelligence, wit, fairytale whimsy, and darkness. Good.

Click "READ MORE" below for a double dose of Jake Gyllenhaal...

Double Bill Mini Musings: Troubled Grooves and Opening Night Jitters...

Inherent Vice:
What's it about?
A complex tale situated at the death of the 1960s in and around the fictional seaside L.A. area of Gordita Beach, in which Private Investigator Larry "Doc" Sportello becomes involved in a twisted, sprawling string of crimes including, but not limited to, kidnap, murder, fraud, and drug trafficking. Based on the novel by Thomas Pynchon.
Who would I recognise in it?
Joaquin Phoenix, Josh Brolin, Owen Wilson, Katherine Waterston, Reese Witherspoon, Benicio Del Toro, Jena Malone, Maya Rudolph, Martin Short, and more.
Great/Good/Alright/Shite?
Not quite Writer/Director Paul Thomas Anderson's best, but pretty close. Read the book and then watch the film for the best viewing experience. Don't try to unwind every mystery and understand every event - that's not the point - indeed, as Anderson himself said, the best thing to do is just let the movie wash over you. It's more about an atmosphere and an experience, than a neatly tied-up story. Even with some nips and tucks moving from book to film (the whole Vegas angle is reduced to a brief newspaper headline, various side characters' parts are reduced or removed, etc) Anderson manages to remain strikingly true to the source material, so much so that - at times - the film feels more like a book than it does a movie. The pacing and rhythms are different to your usual film, while Pynchon's world is beautifully recreated - cannily helped by deploying the side character of Sortilege as the narrator. Undoubtedly it's a divisive film, but it is one that will find its audience in the home viewing market, where it will reveal deeper layers with repeated viewings. Good.

Click "READ MORE" below for Elijah Wood tinkling the ivories...

Double Bill Mini Musings: Groundhog War and Deliciously Dark Satire...

Edge Of Tomorrow:
What's it about?
Doug Liman's sci-fi action fest about a military P.R. man who unwittingly finds himself thrown into the midst of an all-out offensive against an invading alien force - and promptly dies - only to suddenly resurrect the day beforehand. He remembers what happened, but nobody else does - day after day after day he's thrown into battle to die, but when he encounters another warrior who knows what is happening to him, there might be a way to end the war once and for all.
Who would I recognise in it?
Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson, Tony Way, Noah Taylor, and more.
Great/Good/Alright/Shite?
Overlooked at the box office, it's a shame that Edge of Tomorrow (previously known as "All You Need Is Kill" after the source material) didn't do better - although the patchy advertising campaign didn't help (which turned a tagline into an accidental new title "Live. Die. Repeat."). Balancing sci-fi spectacle with an irreverent sense of humour, EoT plays the 'groundhog day' setup for all its value - both light and dark. The script is smart, funny, and briskly paced - making for an altogether entertaining thrill ride with an eye for invention. It absolutely deserved a better reception at the box office, but hopefully it will find a home as a cult classic in due course on the home video market. Great.

Click "READ MORE" below for Bobcat Goldthwait's savaging of America's rotten reality TV fixation...

Triple Bill Mini Musings: Gaunt Gyllenhaal, Gone Godzilla, and Gross Gags...

Nightcrawler:
What's it about?
Lou Bloom, a jobless petty thief with a strict learning/work ethic, finds his strange calling when he witnesses a team of 'stringers' (guys with video cameras who record crime scenes etc for news broadcast) doing their work. Muscling his way into the business and learning as he goes, Lou finds an ally with news director Nina who takes a shine to his abilities. However, chasing the perfect footage - before anyone else gets it - leads him down a dangerous path.
Who would I recognise in it?
Jake Gyllenhaal, Rene Russo, Bill Paxton, Riz Ahmed.
Great/Good/Alright/Shite?
Gaunt and wide-eyed, Gyllenhaal plays Lou Bloom with such determination that he disappears inside the character; no wonder there were many rumblings when he didn't get nominated for an Oscar. The film sinks us into a bizarre world that takes us behind the scenes of grizzly - even thrilling - crime/accident scene news footage, and does so with such a sense of style and drive that you begin to question the malleability of your own morality. The director put it best when he said that the movie was about a talented man being rewarded for his skills by a society that should really be punishing him for those same skills. This is a world that is at the same time familiar and alien, presented in such a way that is both troubling and exhilarating. Despite all of Lou's faults you can't help but admire his clearly focused sense of drive and ability to achieve his goals. Great.

Click "READ MORE" below for Godzilla 2014, and A Million Ways To Die In The West...

Double Bill Mini Musings: Star Maps and Stolen Art...

Maps To The Stars:
What's it about?
A teeth-gnashing satire of Hollywood and its rich, successful, and damaged inhabitants from David Cronenberg with a script from Bruce Wagner. The lives of various Tinsel Town oddities - from an ageing actress desperately trying to secure the lead role in a remake of her famous (and dead) mother's iconic film, to a limo-driving screenwriter wannabe - intersect in what becomes a spiralling tale of madness.
Who would I recognise in it?
Julianne Moore, John Cusack, Mia Wasikowska, Robert Pattinson, Olivia Williams, and more.
Great/Good/Alright/Shite?
A return to form from David Cronenberg after the frustratingly obtuse Cosmopolis that took itself far too seriously while lacking any warmth or access for a generally bewildered audience. It takes about ten to twenty minutes to settle into the rhythm, but Wagner's script gleefully piles increasingly bizarre and jaw dropping events on top of one another. Just when you thought it couldn't get weirder and more messed up - it does. Top performances all round, but particular kudos to Julianne Moore who goes all-out towards crafting a multi-dimensional and hopelessly damaged person who attracts the audience's sympathy and vitriol in equal measure. There's one decidedly dodgy moment of CGI that sticks out like a big old sore thumb, but apart from that it's a superb venture into Hollyweird ... although certainly not to everyone's tastes. Great.

Click "READ MORE" below for Kurt Russell in a crime caper...

Triple Bill Mini Musings: Aliens, Warriors, and Country Lanes...

Under The Skin:
What's it about?
An alien, with the outward appearance of a beautiful young woman, scours the streets of Glasgow looking for men to take back to a mysterious black space to be consumed.
Who would I recognise in it?
Scarlett Johansson.
Great/Good/Alright/Shite?
A meandering low-fi sci-fi from the director of Sexy Beast, Under The Skin is a strange tale that's more interested in sensory experiences than it is plot. Filmed from the alien's perspective, our human world is seen objectively from the outsider's viewpoint - myriad voices on the street merge into a muffled confusion, a sea side tragedy is watched like a science experiment. Told partly using hidden camera footage - where Hollywood A-List megastar Johansson vanishes unnoticed into the masses - the film further maintains its naturalistic edge by employing non-professional actors in supporting roles. Visually it's stunning - the opening sequence seems to suggest the alignment of planets only to transform into the creation of an eye - while Johansson's performance is stellar, combining the dangerous attraction of a siren with the vulnerability of a naive interloper. Arguably it's five-to-ten minutes too long, but it's quiet approach occasionally explodes with un-showy moments that deeply disturb - the aforementioned sea side sequence, or what happens within the pitch black ooze for example. It will no doubt test the patience of mainstream audiences, but fans of low-fi curiosities with unique perspectives will get a kick out of it. Johansson continues to build a varied and interesting career. Good.

Click "READ MORE" below for 300: Rise Of An Empire, and In Fear...

Double Bill Mini Musings: Undead Nazis and Crime Fighting Geezers...

Dead Snow 2: Red vs Dead:
What's it about?
Picking up exactly where the first movie left off, Martin finds himself suspected of murdering his friends at the same time as having to contend with the General Herzog's growing army of zombie Nazis ... and as if that wasn't enough, now he's got Herzog's arm sewn to his body!
Who would I recognise in it?
Vegar Hoel, Martin Starr, Orjan Gamst, Ingrid Haas.
Great/Good/Alright/Shite?
"The sequel you did Nazi coming" ... if you enjoyed the over-the-top gore antics of Tommy Wirkola's breakout horror comedy you can expect more of the same in this more expansive sequel. It's arguably about five-to-ten minutes too long, but the increased scope adds spectacle. Do you want to see undead Nazis do battle with undead Russians? Look no further. Not only widening its scope in terms of scale, Dead Snow 2 seeks to attract a broader audience by including three American zombie fighters (while maintaining its Norwegian heritage). Packed with plenty of gore-ific gags (think Peter Jackson's Braindead, or Sam Raimi's Evil Dead 2) and a bonkers attitude, Dead Snow 2 gives you everything you enjoyed about the first movie, but successfully builds upon it to serve up a heartier meal. Good.

Click "READ MORE" below for The Sweeney...

Double Bill Mini Musings: Undead Beavers and Space Raccoons...

Zombeavers:
What's it about?
Three college chicks head out to the sticks for some relaxation time only to wind up battling undead beavers ... as you do.
Who would I recognise in it?
Rachel Melvin, Cortney Palm, Brent Briscoe, John Mayer, Bill Burr.
Great/Good/Alright/Shite?
It's a schlocky low budget horror comedy along the lines of Critters meets American Pie, and it's surprisingly good. The focus on using practical beaver puppets adds a pinch of 1980s charm and there's a sprinkling of post-millennium sauciness throughout. Naturally, the script and characters aren't especially deep, but the protagonists are entertaining to be around. While the script takes a little while to get going in the beginning, it quickly finds its footing and tosses out some genuinely funny lines. In addition to the seam of humour running through it, Zombeavers also manages to subvert a few genre expectations, doing its part to blow the dust off what could have become an awful piece of trash. Certainly it's not going to win any awards or critical acclaim, and your mileage may vary, but the filmmakers are obviously having fun with a knowingly daft plot. The main feature clocks in at about 68 minutes, so it wisely doesn't outstay its welcome (the remaining time is dedicated to a blooper reel and the credits). It's a little bit sexy, a little bit sassy, and generally an all-round fun time. They could have gone further with both the nudity and the gore (and, even, the beaver jokes), but all-in-all it's a thoroughly silly slice of entertainment. Good.

Click "READ MORE" below for Guardians of the Galaxy...

Double Bill Mini Musings: Killer Dames & Spider Men...

Sin City 2: A Dame To Kill For:
What's it about?
Belated follow-up to 2005's smash hit comic-to-film success from Robert Rodriguez and Sin City creator Frank Miller. Tales, new and old, interweave throughout the seedy bars, secluded mansions, and dangerous alleyways. Dazzlingly dangerous dames, brutally violent men, corrupted officials, gamblers, voyeurs, thugs-for-hire, strippers and gunslingers ... all can be found on the streets of (Ba)sin City.
Who would I recognise in it?
Mickey Rourke, Jessica Alba, Josh Brolin, Joseph Gordon-Levitt, Rosario Dawson, Bruce Willis, Eva Green, Powers Boothe, Dennis Haysbert, Ray Liotta, Jaime King, Christopher Lloyd, Jamie Chung, Jeremy Piven, Juno Temple.
Great/Good/Alright/Shite?
Nine years was arguably too long to wait for a sequel, particularly as initial rumours suggested a sequel in 2006, and expectations were running high. The original film was extremely well received, so perhaps expectations got the collective best of some reviewers and audience members. Of course a sequel isn't going to be as breath-takingly original as the first - this is more of the same, you know what to expect, it wasn't going to become something different. However, comparing the established tales of Miller (e.g. the titular A Dame To Kill For) with his newly-penned chapters, you can't help but feel something's missing from the Miller of today. Whatever that something is, it's hard to pin down ... but the new material, while continuing to do much of what worked before, still lacks a certain something...

Click "READ MORE" to continue the review and check out The Amazing Spider-Man 2...

Triple Bill Mini Musings: Last Bastion of 2014 Edition...

The Hobbit: The Battle of The Five Armies:
What's it about?
Trilogy-closing entry in Peter Jackson's elongated adaptation of J.R.R. Tolkein's "The Hobbit" in which Smaug unleashes his fury, Thorin Oakenshield wrestles with a King's madness, and a war is unleashed. Dwarves, Hobbits, Elves, Wizards, Orcs, Men, and the like having a massive ruck, put simply.
Who would I recognise in it?
Martin Freeman, Ian McKellen, Richard Armitage, James Nesbitt, Ken Stott, Cate Blanchett, Ian Holm, Christopher Lee, Hugo Weaving, Lee Pace, Evangeline Lilly, Orlando Bloom, Billy Connolly, Luke Evans, Stephen Fry, and practically all the others still surviving from the previous movies.
Great/Good/Alright/Shite?
The shortest of all the Hobbit (and Rings) movies, the oft-talked-about problems with stretching a novella into a trilogy of films become most obvious. Despite including material from the appendices, the fact that the film opens with the burning of Lake Town (as teased at the end of the second movie) says a lot about the awkward mid-production decision to turn two films into three. The opening, as spectacular and entertaining as it is, still feels more like the last fifteen minutes of The Desolation of Smaug instead of the opening of The Battle of The Five Armies. However, despite the occasionally mangled sense of pacing, TBOTFA gives more of what you want out of these films. If you enjoyed the previous movies you'll enjoy this, but it could be argued that it is also the least of all six films (Hobbit and Rings). Although, being the least in this company still makes for solid entertainment and captivating world-building...

Click "READ MORE" below to continue the review and read about Hatchet 3 and The Inbetweeners 2...

Double Bill Mini Musings: Big Guns and Grotesque Bets...

The Expendables 3:
What's it about?
Barney Ross and his gang of Expendables take on an old enemy from their past, but to do so they need to add some new blood to their line up.
Who would I recognise in it?
Sylvester Stallone, Jason Statham, Antonio Banderas, Jet Li, Wesley Snipes, Dolph Lundgren, Kelsey Grammer, Randy Couture, Terry Crews, Mel Gibson, Harrison Ford, Arnold Schwarzenegger, Robert Davi.
Great/Good/Alright/Shite?
Even in its "extended/uncut" form the violence is conspicuously bloodless, and yet the body count is sky high. This second sequel isn't lacking in action - and certainly not in the half hour climax - but you can't help but shake the feeling that it's somewhat compromised. In chasing a younger demographic in the frustrating PG-13 rating (the UK rating system is much more varied and forgiving), the violence has had the sharp edges smoothed off. People still get blitzed in every which way you could possibly think of, but that extra punch seen in the first movie is missing. Even with the new (and young) additions - of which Ronda Rousey reigns supreme - to the cast, was it truly worth annoying your core target audience by chasing the tween dollar? However, that sticking issue aside, if you enjoyed the other movies you'll enjoy this one too - it's a no-brainer...

Click "READ MORE" below to continue this review and see some brutal bets...

Double Bill Mini Musings: Strange Cameras and Stolen Culture...

Time Lapse:
What's it about?
Three friends discover a bizarre camera, in the home of their recently deceased neighbour, which can take photographs of future events.
Who would I recognise in it?
Danielle Panabaker.
Great/Good/Alright/Shite?
The film wastes little time in convincing its protagonists in the existence or mechanics of this strange photographic device, preferring to get the setup done quick and then take time with what comes next. There are familiar themes relating to time travel, such as using it for greed or the mind-twisting workings of the concept itself, but the film still feels more fresh than you might initially expect. The characters aren't necessarily the deepest or most complex, but their wants and needs are clear, and the performances help bolster their curious predicament as believable. Inevitably things take darker and more troubling turns, and while some twists are relatively predictable, the climax is deliciously satisfying. Good.

Click "READ MORE" below for the art of war...

Triple Bill Mini Musings: Nasties, Grudges, and Battles...

Video Nasties: The Definitive Guide Part 2:
What's it about?
Jake West's follow-up documentary to 2010's examination of the 'video nasties' era in British film history. This time the fall out is covered, including such appalling events as the Hungerford massacre and the sadistic murder of James Bulger being linked to Rambo II and Childs Play 3 respectively. Other topics of discussion include the restriction of VHS cover art, former BBFC Director General James Ferman's fall from power, and the underground trading market which specialised in movies that were banned in the UK.
Who would I recognise in it?
Various commentators who appeared in the first part.
Great/Good/Alright/Shite?
"Draconian Days" is a fascinating companion piece to 2010's "Moral Panic, Censorship, and Videotape" and, much like its predecessor, has an awful lot of important things to say about freedom of speech, artistic expression, and censorship. We may not see sights like that of schlocky horror movies seized by the police being burned on pyres, but censorship today is still prevalent - albeit in far more insidious ways. Then it was about shielding the eyes of children from fake exploding heads, today it's the chilling aggression of social media when it comes to issues of political correctness. What hasn't changed is how some people claim offence on the behalf of others, how some people spit righteous fury without seeing - or allowing others to see - what is apparently causing offence, and how the vocal opinion of an outraged minority can (perhaps unjustly) shift the line in the sand. Both parts are extremely important documentaries and point out how, regardless of political hue, our entire political establishment were gunning for these movies. Funny then that these same flicks can now be found on shelves all across the nation, available to all (who are old enough to purchase them) and there hasn't been a mass corruption of society at large ... who'd have thunk it, eh?! Great.

Click "READ MORE" below for old bruisers and young warriors...

Double Bill Mini Musings: Chainsaw Brides and Flesh Addicts...

Rec 3: Genesis:
What's it about?
A beautiful wedding reception is torn to bloody shreds after an infection turns the guests into undead ghouls possessed by fallen angels.
Who would I recognise in it?
Leticia Dolera.
Great/Good/Alright/Shite?
Ditching the found footage format of the first two movies inside twenty minutes, the bulk of the film unfolds in a traditional cinematic style while retaining the 'religious zombies' angle that helped define the franchise. The central characters - Groom Koldo and Bride Clara - bring a 'love conquers all' vibe to the gore-soaked proceedings, with Clara kicking a particularly impressive amount of arse, at one point wielding a chainsaw in her blood spattered wedding dress. Suffice to say, she's a heroine you'll be rooting for from the get-go as she attempts to find her broad sword-wielding husband amidst the carnage. Everyone else is cannon fodder, and the film lacks the nerve-shredding frights and infection paranoia of the first two films - opting for more of a gung-ho action horror vibe - but it's plenty of fun for the duration. Good, albeit on the lower end of the scale.

Click "READ MORE" below for Michael Fassbender rodgering his way through New York...

Double Bill Mini Musings: Super Soldier Punch-ups and Fruit-based Technology...

Universal Soldier: Day of Reckoning:
What's it about?
Fourth film in the official Universal Soldier franchise. A man wakes from a coma to avenge the death of his family, leading him towards an underground group of former government soldiers: clones who may or may not be brainwashed.
Who would I recognise in it?
Scott Adkins, Jean-Claude Van-Damme, Dolph Lundgren.
Great/Good/Alright/Shite?
The link to past movies is fairly loose at best, and Van-Damme and Lundgren are both barely in the movie. I was pleasantly surprised by the third film (also directed by John Hyams), which reignited the franchise with gusto. With Luke Deveraux reborn as a dangerous - perhaps even murderous - Colonel Kurtz-a-like, it takes a little getting into, but with a focus on the revenge-driven motives of Adkins' grieving widower/father, Day of Reckoning hooks you in. The direction and photography are impressive, the budget can't have been particularly big, but they get a lot of bang for their buck. The blood-soaked explosions of detailed choreography are all-the-more impressive in wide shots that are, for action movies, held for quite a long time. Adkins' and the army of stunt performers are afforded ample screen time to show off their bone-crushing credentials in battles that are oftentimes as wince-inducing as they are effectively brutal. Climaxing with a gory, bullet-riddled, punch/kick/stab/shoot 'em up that clearly takes thematic and stylistic inspiration from Apocalypse Now, we're again reminded of just how tenuous the links are to origins of Universal Soldier. The story and plotting could have used some work, but the stunning action and razor sharp directing successfully paper over any narrative cracks. It's time for the franchise to now cut ties with Van-Damme and Lundgren, reaffirm the UniSol back story, and move forward with Adkins as the new carrier of the franchise - that certainly seems to be the intention. Good.

Click "READ MORE" below for the Apple man's biopic...

Quadruple Bill Mini Musings: Big Hair, Old Boys, Frat Parties, and the Apocalypse...

American Hustle:
What's it about?
Based on (some) truths, this comic drama about a con man, his partner/mistress, and their FBI handler is a crazed caper situated at the arse-end of the coked-out 1970s. When one con too many brings the pair down they decide to join forces with the FBI to catch bigger fish and ensure their freedom - but things soon get out of hand.
Who would I recognise in it?
Christian Bale, Amy Adams, Jennifer Lawrence, Bradley Cooper, Jeremy Renner, Louis C.K., Jack Huston, Michael Pena, Shea Whigham.
Great/Good/Alright/Shite?
Not quite deserving of all the hype and attention at various awards shows, it's nonetheless a thoroughly entertaining crime comedy with high-strung drama, loud clothes, and the most outrageous hairstyles this side of 70s science fiction movies. Opening with the world's most preposterously convoluted comb over, the tone is set from the get-go, and rarely slacks off when it comes to wild-eyed chaos. It's as subtle as it's time period and just as fun. Not to be taken too seriously, it boasts game performances and a whacked-out sense of grandeur. Good.

Click "READ MORE" below for hammers, bongs, and asteroids...

Triple Bill Mini Musings: Mucky Movies, Hollywood Wannabes, and Remorseful Buyers...

Don Jon:
What's it about?
The titular porn addict meets a 'ten' (a romcom obsessive), but his penchant for mucky movies comes between them.
Who would I recognise in it?
Joseph Gordon-Levitt, Scarlett Johanson, Julianne Moore, Brie Larson, Tony Danza.
Great/Good/Alright/Shite?
JGL's debut as writer/director is not only confident, but it's efficient. The premise is clear, the set-up is pin sharp in its directness, and the presentation is immaculate and lively. Jon's life is one of routine, whether it's confessing his same old sins and repenting for them while pumping iron, or doling out road rage and cleaning his apartment ... or 'losing himself' in his favourite online past-time. JGL is wise not to condemn nor condone the actions and outlooks of his central characters, instead allowing the viewer to observe their respective lives and revelations (or lack thereof) objectively, and yet never at a distance. As debuts go - and characters studies in general - this is a particularly strong outing. Great.

Click "READ MORE" below for a so-called comeback and a mixed bag of tricks...

Double Bill Mini Musings: Neo-Giallo Curiosity and Wacky Belly Laughs Galore...

The Strange Colour of Your Body's Tears:
What's it about?
A curious mystery-cum-horror in which man returns from a business trip to discover that his wife is missing and their apartment is locked from the inside.
Who would I recognise in it?
Erm...
Great/Good/Alright/Shite?
From Bruno Forzani and Helene Cattet, who previously gave us the giallo-tinged Amer, this is a dream-like experience, much like Dario Argento's Inferno, where the hallucinatory and fragmented presentation seeks to disorientate viewers as much as entice them. The directors ramp up their sensory approach to eleven, crafting a film which boasts astonishingly exquisite visuals and haunting aural soundscapes. The architecture of the apartment building is put to grand use, particularly in a kaleidoscopic introduction that suggests darkness and danger lie in wait, and sequences akin to the photographic approach of La Jetee stun the viewer. Many of the visual and thematic touchstones of gialli are present - the black leather gloves, the razor, the mix of sexuality and violence, the gorgeous soundtrack (cherry-picked Tarantino-style from a selection of 1970s Italian scores) - so fans of the genre will be in heaven. This all said, the narrative is hard to follow, fractured as it is by diversionary vignettes and sparse plotting. It would be fair to say that, similar to Amer, there isn't quite enough content to fill the running time, but this also feels like a film that will benefit from multiple viewings. Populated by curious characters - such as a detective with a deeply dark voyeuristic past - it's certainly not for everyone. Some have decried it, and it's predecessor Amer, as pretentious art-house guff, but this is too dismissive. It's niche market, absolutely, but it's one of the most richly textured cinematic experiences in a long, long time. There has been somewhat of a resurgence in the long lost giallo genre in recent years, and The Strange Colour of Your Body's Tears is a grandiose highlight in the Neo-Giallo movement. Good.

Click "READ MORE" below for newsreaders doing battle...