Ashton Kutcher Must Die

The rants, ramblings and creative outputs of L.D.B.

[ashtonkutchermustdie]

Top 10 Best & Top 5 Worst Films of 2018

1. You Were Never Really Here https://www.imdb.com/title/tt5742374/?ref_=nv_sr_1

An arty revenge film starring one of the worlds best actors as a troubled, stoic man for hire? I was always going to love this. Joaquin Phoenix has never been better. Check it out as soon as you can.

2. Journeyman https://www.imdb.com/title/tt5314118/?ref_=nv_sr_1

I knew nothing about this film going in, other than that it was Paddy Considine’s follow up to Tyrannosaur and that he plays an aging boxer. The rest was a complete surprise. And a very affecting and gut-wrenching surprise at that. Jodie Whittaker as Paddy’s dedicated wife deserves all the awards available for her powerhouse performance.

3. Beast https://www.imdb.com/title/tt5628302/?ref_=nv_sr_5

A naive young girl strikes up an illicit relationship with a local bad boy at the same time as there are a string of disappearances and murders on their small island. Is her new beau involved? Can she ever be sure? A fantastic British psychological drama that steadily ratchets up tension and keeps you guessing until the end.

4. Red Sparrow https://www.imdb.com/title/tt2873282/?ref_=nv_sr_2

Jennifer Lawrence stars as a ballerina recruited by Russian Intelligence during the height of the Cold War. Red Sparrow is a classic thriller, in the sense that it has no CGI, no explosions, no car chases. It’s a proper adult film for grown ups. And in the current environment, that’s something to be applauded. Joel Edgerton, Matthias Schoenaerts and Jeremy Irons round off a quality cast.

5. Phantom Thread https://www.imdb.com/title/tt5776858/?ref_=nv_sr_1

Apparently Daniel Day-Lewis’s final film. And what an appropriate and elegantly crafted swan song. A wonderful comment on obsession, love, relationships and power. Both Day-Lewis’s and director P.T. Anderson’s best since There Will Be Blood over ten years ago.

6. I, Tonya https://www.imdb.com/title/tt5580036/?ref_=nv_sr_1

I was hesitant about I, Tonya as I wasn’t aware of the true story that underpins it and I have no interest in competitive ice skating or any of the cast particularly. However, the movie is put together in such a quirky and entertaining way, driven by a couple of thunderous performances by Margot Robbie and Allison Janey that I knew as soon as I’d finished it that it would have a place on my top ten of the year.

7. Calibre https://www.imdb.com/title/tt6218358/?ref_=nv_sr_1

A hunting trip goes very, very wrong for two twentysomethings in this neat little British thriller. Tense and relentless from the word go. Bringing to mind another underrated classic, Eden Lake. To say anymore would be to spoil it. It’s on Netflix, go watch.

8. The Guilty https://www.imdb.com/title/tt6742252/?ref_=nv_sr_1

Danish film that’s practically a one man show that takes place in only one location – an emergency services call centre, where a man tries to help a kidnapped woman on the other end of the line. A wonderful script, editing and direction keep you glued to the edge of your seat as the story unfolds while we have only our protagonists expressions and reactions to look at. Masterful filmmaking.

9. Searching https://www.imdb.com/title/tt7668870/?ref_=nv_sr_1

The whole film takes place through a computer screen as a father searches his missing daughters laptop for clues to her disappearance. Searching isn't the first film to use this device but it is one of the best. Just as you think you have a handle on what’s happened the film takes another twist. Gripping.

10. Upgrade https://www.imdb.com/title/tt6499752/?ref_=nv_sr_1

A very silly but highly enjoyable B-movie from the co-director of Saw. Following a brutal mugging that leaves him paralysed and his wife dead, Logan Marshall Green is implanted with a microchip that gives him extra special abilities and allows him to track down and exact revenge on the people responsible. A lot better than anyone could expect it to be and well worth your time.

Special mentions: The House That Jack Built, The Favourite, Mandy, Bird Box, Unsane.

And now, on to the stinkers...

1. Annihilation https://www.imdb.com/title/tt2798920/?ref_=fn_al_tt_1

In 2014 Alex Garland wrote and directed one of my favourite films of that year, Ex Machina. Annihilation is his follow up to that film. I watched this hating every minute, entertained only by the fact that every time I thought it couldn’t get any worse, it kept getting worse. Everybody involved should be very embarrassed.

2. Between Worlds https://www.imdb.com/title/tt7295450/?ref_=nv_sr_1

Being a Nicolas Cage fan means hat I have sat through some pretty terrible films. But even the worst of them were bearable because of Cage’s crazy charisma and dedication to giving an entertaining performance. However, even I can’t defend Between Worlds.

3. Jurassic World: Fallen Kingdom https://www.imdb.com/title/tt4881806/?ref_=fn_al_tt_1

Jurassic Park is my favourite film of all time. Every sequel since has brought with it diminishing returns. Fallen Kingdom is by a very long way the worst of the lot. I know that the series is about dinosaurs being brought back to life by ‘science’, but even for a series that has that as it’s central premise, this is the dumbest, most ridiculous and frustrating of them all.

4. Avengers: Infinity War https://www.imdb.com/title/tt4154756/?ref_=nv_sr_2

Now, I’ve seen all of the films so far in the MCU. I really like some, most I think are way overrated. But what Infinity War is, is two and a half hours of CGI, explosions and very lazy performances. Most frustratingly, however, is that none of the events that take place hold any weight whatsoever as we can safely assume that everything will be right back on track in the next few films. Rendering Infinity War a complete waste of time.

5. Revenge https://www.imdb.com/title/tt6738136/?ref_=nv_sr_1

Supposedly a pro-feminist revenge film written and directed by a woman. However, what it really is, is one of the most trashy, hateful, offensive, misanthropic pieces of crap I’ve had the misfortune of seeing. Overstylised to the the point of nausea. Men, women, feminists; avoid.

[ashtonkutchermustdie]

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI - A REVIEW

After a long weekend of drinking I can sometimes end up feeling a bit gloomy. So it was probably a mistake to choose to watch Three Billboards Outside Ebbing, Missouri on Sunday evening. As such my thoughts and feelings on the film are probably slightly skewed. A fan of Martin McDonagh’s previous films (In Bruges and Seven Psychopaths) I was expecting a darkly comic knock-about romp. Three Billboards is no such film. (Despite Sam Rockwell playing it all the way through as though it is). The film has a sombre, downbeat tone with small sprinklings of (very) dark humour that occasionally feel out of place in a film that revolves around rape, murder and police brutality.

Frustrated with the local police department after they fail to catch her daughter’s rapist and murderer, Mildred Hayes (Frances McDormand) pays for three billboards to be put up on the edge of the town to shame the Sheriff (Woody Harrellson) and his colleagues (Sam Rockwell, et al.)

Sharp, brimming with anger and, most importantly of all, it keeps its sense of realism and real life. It has been accused by some of being politically incorrect - immoral characters don’t get their comeuppance, lessons aren’t learned, people have glaring faults and make irrational or senseless decisions. Well, if this sort of stuff annoys you then you’re living in a fantasy utopia. This is real, this is what happens. This is how people are. Small town America is still racist and homophobic and insular. These towns are built on resentment, bitterness and hate. This is a morally ugly and ‘grey’ tale.

The main joy of the film is watching Frances McDormand as an unstoppable force. Here she is badass. An individual waging a one-woman war against a whole town despite tragedy and pain.

Anyone who’s familiar with McDormand or Rockwell’s work will get the shtick, they’re good here, impressive even, but it’s what they’ve been doing for decades. Rockwell is essentially just playing Rockwell. He’s great at it, obviously, but it doesn’t feel like a great stretch for him. The same could be said for McDormand. Though if they both walk away with golden statues it will be merited.

There’s a lot to appreciate in Three Billboards, and it’s deservedly winning awards all over the place (Oscar glory is surely next). Having said that, it’s not a film that I can wholeheartedly recommend. It overstays its welcome a little and left me feeling morose afterwards. Even though it kept me entertained throughout, I’m not sure what the point was or what I really got out of it. I began watching it feeling glum and two hours later I only felt worse. But that may just be me.

[ashtonkutchermustdie]

TOP 10 BEST & TOP 5 WORST FILMS OF 2017

Top 10 Best Films of 2017

1.   The Handmaiden

The Handmaiden was the first film that I watched in 2017 and I have spent the rest of the year trying (and failing) to find something as equally magnificent. It may not be for everyone, it is, after all, a 1930s set, Korean, erotic, lesbian thriller. But it’s as epic and beautifully made as Kubrick and as captivating and intriguing as Hitchcock. It’s a masterpiece.

2.   Get Out

Get Out hits all the targets it sets for itself, it’s funny when it needs to be funny, tense when it needs to be tense, thrilling when it needs to be thrilling and scary when it needs to be scary. In this sense it is almost flawless. For a horror film to be halfway original and surprising in 2017 is a difficult task, but Get Out is.

3.   Prevenge

Alice Lowe writes, directs and stars in (all while heavily pregnant) a film in which a woman believes that her unborn child is compelling her to go on a killing spree. It’s a comedy by the way. And it’s hilarious, dark, gruesome and brilliant.

4.   Wonder Woman

Gal Gadot shines in what may be a fairly straightforward superhero story but from a uniquely female point of view that elevates it above the boring bravado and machismo of its counterparts. Patty Jenkins needs to direct every DC film from now on.

5.   Okja

Young Korean girl tries to save giant pig creature from slaughter. It’s every bit as wild and silly as that sounds. But it’s also beautiful, clever, funny and charming. It’s on Netflix. Give it a go.

6.   La La Land

At this point you could put Ryan Gosling and Emma Stone in anything and I would think it was brilliant. Yes, this is a well-made and beautifully tender musical, but it’s the charm and grace of our two leads that keep you captivated. That ending though! Heartbreaker.

7.   Moonlight

The story of a young man coming to terms with his place in the world and his sexuality told in three parts. Brave, bold, risky and rewarding. The first act is great, the second falters a little but the third is astounding. The deserved winner of Best Film at the Oscars.

8.   Blade Runner 2049

There were some real nerves about this one but we should have known we were in safe hands when Ridley Scott decided not to come back for this one and instead handed over the reigns to Denis Villeneuve, the man responsible for some of the best films in the last 10 years (Prisoners, Sicario, Arrival). A perfectly judged sequel that may well even improve on the original. Deserves to win all the cinematography and special effect awards going.

9.   Logan

Hugh Jackman hangs up his claws but does so in style. Easily the best of all the X-men and Wolverine films made. Substituting action and effects for character and heart, Logan is a western, road movie, family drama and superhero flick all rolled into one. Also, Dafne Keen (as Logan’s sort of daughter) almost steals the show from both Jackman and Patrick Stewart.

10.   It

Better than the original. Better than Stranger Things. And what.

 Top 5 Worst films of 2017

= 1. The Last Jedi

The Last Jedi and Justice League are, for me, tied for worst film of the year. Now, The Last Jedi is very definitely the better-made film but its blatant disregard to canon, mythos, tradition and the Star Wars universe and characters makes it particularly hard to swallow. Its like a Star Wars film made by someone who truly hates Star Wars and wants to destroy it from within.

= 1. Justice League

The film is a mess. And not a fun, entertaining yet problematic mess. It’s complete fucking catastrophe. Watching the film makes you wonder how the thing ever got made and who the hell thought it was a good idea to release its current state. The project was the result of many behind the scenes disagreements, meddling and reshoots. And it shows!

3. Baby Driver

I made it 45 minutes in and wished I hadn’t bothered. An obnoxious, smug and irritating movie starring an obnoxious, smug and irritating actor as an obnoxious, smug and irritating character… Called ‘Baby’.

4. Leatherface

A prequel to The Texas chainsaw Massacre was never going to work was it? And it doesn’t. Dull, pointless and disappointingly little chainsaw action.

5. Kong: Skull Island

I got about half an hour through this bloated, overly stylised, headache-inducing CGI mess. Once John Goodman is dead there’s little point watching the rest.

[ashtonkutchermustdie]

Justice League - A Review

I have long been a DC fan, and as such, a devotee and defender of the DCEU films (apart from Suicide Squad of course. There’s no defending that!). I thoroughly enjoyed Man of Steel, I felt that Batman v Superman was unjustly derided and (as we all know) Wonder Woman was a great success. However, I now find if very difficult to defend the latest instalment of the superhero franchise, Justice League.

The film is a mess. And not a fun, entertaining yet problematic mess. It’s complete fucking catastrophe. Watching the film makes you wonder how the thing ever got made and who the hell thought it was a good idea to release its current state. For anyone that doesn’t know, the project was the result of many behind the scenes disagreements, meddling and reshoots. Original director and creative force, Zach Snyder (Man of Steel, Batman v Superman, Watchmen) had to leave the project half way through shooting due to personal tragedy. With Snyder gone, the studio was left to tamper with the film as much as they wanted. Previous DC films having received critical backlash for being too morose and sombre, they brought in Joss Whedon (The Avengers, Avengers: Age of Ultron) to rewrite the script, to add ‘levity’, and shoot the extra scenes. While this may have seemed like a positive move at the time it has seriously hurt the films potential. ‘Levity’ and humour are not the same thing. Whedon’s sections (which stand out like a sore fucking thumb) are not amusing or compelling and add very little. In most cases actually detracting from the films potential. The quippy one-liners that he has peppered throughout the film simply don’t work and don’t suit the characters or tone of the film and its expanded universe. Batman is not Tony Stark. And ‘comic relief’ character The Flash just comes across as annoyingly two-dimensional.

Of course, the studio should have stuck to its guns and completed Snyder’s vision. But they can’t take all of the blame. The real blame lies with the Internet fanboys. You complained that this Superman was too brooding, BvS was too solemn, you wanted DC to be more like Marvel. Well, here you go. This is what you get. Happy now? You ruined it.

Ironically, the film shares a lot of the same problems most of the Marvel movies have, in particular Whedon’s own Age of Ultron; a plot so basic you could write on the back of a postage stamp, an undeveloped villain and CGI so dreadful it looks like an advert from an Xbox game circa 2004. The whole thing looks and feels like a live action cartoon. Because of this it’s all just really silly and unengaging. The villain (a CGI piece of shit called Steppenwolf) never seems like a threat and is rendered so badly that he’s more likely to perplex and dishearten audiences than terrify them. Despite the fact that apparently thje worlds greatest heroes must unite to stop this unrelenting force, there’s never any sense of danger or threat. The real villains of the piece are the producers, who I felt more anger and hatred towards throughout than I did towards the lacklustre Steppenwolf.

Snyder may be a divisive director but I’ve always enjoyed his output, as he tends to make films with big ideas, messages and themes. Justice League has none of that. It’s a very basic film aimed at thick kids. Snyder has never sank this low before. While he works mostly in comic book worlds he has always made the films relevant, interesting and deep enough for adult audiences. JL is also very much missing his talent for visuals and set pieces. Despite what you may think of BvS there were some truly stand out and iconic scenes. Not so here. There is very little that is striking, impressive or memorable.

If I was Snyder I would be petitioning for the studio to take my name off of this thing. I wouldn’t want any association with it. As for Affleck, I’m a big fan of his take on Batman. Before the film was released there were rumours that he may be trying to leave the role at the earliest opportunity. I was disheartened by this, but after sitting through Justice League I’m with him. Get out now Ben, you’re better than this!

So you thought Man of Steel and Batman v Superman were depressing? Well, this is really depressing. For a completely different set of reasons. Hopes were high after the success of Wonder Woman. My faith in the DCEU and superhero movies in general is now at an all time low. I can’t defend this…

[ashtonkutchermustdie]

THOR RAGNAROK - A REVIEW

I think it’s pretty much a consensus that the Thor films are amongst the worst of the Marvel oeuvre. Throughout the characters’ two solo outings and his appearances in the Avengers films the tone and handling of the material has shifted wildly. And so, with Thor Ragnarok the tone shifts once again into a more Guardians of the Galaxy-esque style.

This approach significantly revamps and refreshes the franchise, though it isn’t quite the complete left turn that we may have been expecting from idiosyncratic Kiwi director Taika Waititi (What We Do in the Shadows, Hunt for the Wilderpeople).

As the mysterious Hela (an entertaining yet underused Cate Blanchet) looks to destroy Asgard, Thor and Loki find themselves imprisoned on Sakaar, a planet ruled by an eccentric leader, The Grandmaster (Jeff Goldblum being awesomely Jeff Goldblum-y). Aaaaand Hulk turns up too. But you already knew that.

Taking these characters away form Earth and Asgard and putting them in a whole new environment where Waititi can really create his own world and cast of supporting characters is a wonderful idea that pays off in spades. The film introduces a few characters that are sure to become firm favourites with fans. In particular Korg, a rock monster voiced by the director himself, who cheekily gives himself all the funniest lines and moments. And the soundtrack is great. In particular any scene using Led Zep’s Immigrant Song is guaranteed to get your adrenaline pumping and the hairs on the back of your neck standing.

After playing the character for six years and having practiced his comedy chops in the (otherwise awful) Ghostbusters reboot, Hemsworth finally figures out the appropriate way to play the character – as a lovable doofus. Considering how wooden and dull he has been in previous efforts, it’s a pleasure to say that he shines here and hits every note perfectly. Finally becoming interesting and charismatic enough to stand with his Marvel cohorts.

As previously stated, this is essentially Guardians of the Galaxy with Team Thor replacing the titular Guardians. While it’s certainly a fun and enjoyable ride it’s not without it’s faults. Some of the cast do better with the comedy than others (I’m looking at you Hiddleston and Ruffalo) and at over two hours some of the middle portion drags a little. However, the revitalising beginning and exhilarating ending almost make up for it. While Waititi tries his absolute best to inject his style and personality into it, this is still very much a Marvel movie, with the same faults and formula as all the rest.

Ragnarok is not quite the wacky Waititi masterpiece that I was hoping for but a fun way to spend two hours and an interesting addition to Marvel’s canon nonetheless.

[ashtonkutchermustdie]

DUNKIRK - A REVIEW

Christopher Nolan is one of the very few directors working today that is able to produce intelligent big budget blockbuster films with complete creative freedom. He makes tent-pole films for adults. Never patronising or talking down to his audience. One has to respect that. However, while I am a fan, I must say that I have found him to be highly glorified in recent years. A lot of times I feel his reach doesn’t quite meet his grasp. The films that he is renowned for (Interstellar, The Dark Knight) are actually amongst his poorest output (Interstellar in particular was barely watchable pish) his finest films are largely overlooked (The Prestige, Following). This feels, to me at least, like an injustice.

And so, Nolan’s latest, Dunkirk, opens to great fanfare and a slew of five-star reviews. Is it worthy of the hype and hyperbole? No. Of course not.

The film is good. But it’s only good.

Nolan has a fixation with ‘realism’, which can sometimes be at the detriment of the story he’s telling. Visually, Dunkirk manages to perfectly balance being raw and gritty with being striking and awe-inspiring. The result is masterful.

His films tend to play with narrative and structure. And here we have three separate stories of the battle that we flick between over the period of two hours. The ground (told over the course of one week), the sea (told over the course of a day) and the air (told over the course of an hour). It’s this playing with narrative and chopping the stories together that really benefits this film, as, realistically; on their own told in a linear way, none of the stories are particularly interesting, enthralling or well developed.

The casting is curious; Nolan regulars, Cillian Murphy and Tom Hardy appear in small parts, neither of which requiring them to do too much. Hardy (as has become tradition) performs most of his scenes wearing a flight mask and goggles, only his left eye visible) Mark Rylance and Kenneth Branagh also appear every so often in rather two-dimensional parts. These big names are joined by a group of young relative unknowns that play soldiers on the ground. One of these young men happens to be One Direction singer, Harry Styles, in a casting decision that is unjustified and can only be the product of his agent giving a producer a backhander.

What really stands out and warrants discussion is the stunning sound design and sound editing. It feels truly immersive and overwhelming. Backed up by a fantastically simple (if not a little repetitive) score by Hans Zimmer that works to really raise the tension and create the mood and atmosphere for the entire film. Nolan will be lauded for Dunkirk but it is really Zimmer’s triumph. It is his achievements that really elevate it and paper over the cracks in Nolan’s work.

Dunkirk isn’t bad by any stretch of the imagination but it is certainly not top-tier Nolan. Anyone who has seen the trailers has pretty much seen the whole film. There is little plot or real, well-rounded characters. And little dialogue to drive the story or help us to understand and relate to the people involved. The whole thing feels more like a mood piece or (forgive the pretentiousness, I can’t think how to explain it better) a visual poem. It is beautiful to look at and conveys its themes, messages and ideas well but doesn’t feel deep, whole or complete enough to ever be a satisfying experience.

[ashtonkutchermustdie]

SPIDER-MAN: HOMECOMING - A REVIEW

So, Spider-Man is rebooted for the third time, now part of the Marvel Cinematic Universe. Ok, sure, I’ll go with it. Studios need to make money and Spider-Man is a bankable character. Makes sense.

Our first introduction to Tom Holland as the titular web-slinger was in last year’s Marvel mash-up Civil War. While the character felt shoehorned in a little, Holland’s handful of scenes actually ended up being the brighter spots of the film.

When a standalone Spider-Man film was announced, I think the whole world thought ‘Again? What’s the point?!’ And so, sitting down to watch Homecoming I spend the running time trying to figure out the point. And I conclude that it is thus – more money for Marvel.

While the film isn’t bad, per say, it is wholly unnecessary. My main gripe with it though is how obnoxiously smug, cocky and pleased with itself it is. Calling it ‘Homecoming’ is the first clue to how arrogant Marvel have become. They think that because it’s their character they can do it better than anyone else and produce the ‘definitive’ version. They can’t. They don’t.

Tom Holland is very likable in the role and is a great Peter Parker. The moments that absolutely do work is all the High School drama stuff.  References to Ferris Bueller (if not way too blatant), Sixteen Candles and Pretty in Pink all hit their marks. The teen interactions and characters are all fantastic. There are some genuinely funny, sweet and relatable moments between Peter and his group of friends. Director Jon Watts knows this stuff and does it very well. It’s the rest that lets it down. This isn’t a standalone Spider-Man film, it’s an episode in a bigger series, and that’s exactly what it feels like. It doesn’t really feel like a film at all but an overly long Netflix episode. Just a collection of scenes, references and in-jokes that don’t quite all add up to anything of real worth. DC’s Suicide Squad had exactly the same problems. It is obviously and issue when you’re trying to build a bigger universe.

There are some enjoyable scenes and nice moments but there isn't anything that truly stands out throughout the course of the whole picture.

Robert Downey Jr. Pops up throughout to do his increasingly trying and tedious Tony Stark shtick. At this point RDJ is barely an actor anymore; more like a prop or a gimmick to be rolled out when needed.

Oh, Michael Keaton is in this too. He does the best with what he’s given.

Sure the film is fun in places but I want more than ‘fun’. There needs to be more, there should be more, we’ve had more in the past. This ends up being the 4th best Spider-Man film and that’s just not good enough to warrant its existence.

Homecoming is missing the themes, ideas and emotional pull that make a great Spider-Man film. Sure, we don’t need to see the origin story again but without Peter’s guilt over the death of Uncle Ben and his wrestle to do what’s right the audience is given no context or insight into his motivations. ‘I want to be an Avenger because it looks cool’ is not enough. At all.

Marvel, with great power comes great responsibility.

[ashtonkutchermustdie]

GET OUT - A REVIEW

Meeting the parents is always an awkward, intense and cringeworthy experience, but when Chris, a young black photographer, visits his white girlfriend’s family estate things take a way more sinister turn.

As with most horror/thrillers, Get Out really is a case of the less you know beforehand the better. In fact my opening sentence may even be too much but if you’ve seen any of the marketing you should have got the general gist by now anyway.

Get Out is the incredibly assured and confident directorial debut of Jordan Peele. Peele is better known as one half of American comedy duo Key & Peele, so the fact that he has chosen to make a horror film for his debut came a quite a surprise to many. While this may not be the brash and obvious comedy he and his cohort may be known for, this is, in my mind, absolutely a comedy horror, albeit a very dark one. The majority of people won’t see it that way and simply take it as it comes but anyone who’s a little more switched on will find the pitch black humour and wry ironic satire hilarious. Think the tone of something like You’re Next or American Psycho.

Aside from the satire, the film does feature a more obvious comic relief character in Rod, Chris’ witless best friend. It is testament to Peele’s knowledge and background in comedy and self-assured direction that Rod never becomes annoying or irritating and, in fact, his scenes (for the most part) perfectly balance with the horror elements and never detract from the more tense or thrilling moments.

The cast is impressive all round but lead Daniel Kaluuya (a regular on British TV) effortlessly makes Chris an immediately likeable and relatable character. Get Out should make him a star and deservedly so.

The film is obviously a bit of a heavy-handed social and political comment to do with race. Despite the themes issues being very modern and relevant the film is impressively crafted like a classic horror film, with the cinematography, score and mood bringing to mind, at times, masterworks like Psycho, Rosemary’s Baby and The Shining.

The sense of looming dread, the reliance on fear of the unknown or unrevealed and the build up of tension and atmosphere throughout the first two thirds of the film is handled with aplomb. Dialogue and actions that initially make you squirm soon turn sinister as the film progresses. It is slow to make its reveal and constantly keeps us guessing right up until the final few scenes. The build up is measured but the climax really picks up the pace to the point where there is a lot to take in and get your head around before the credits roll.

Get Out hits all the targets it sets for itself, its funny when it needs to be funny, tense when it needs to be tense, thrilling when it needs to be thrilling and scary when it needs to be scary. In this sense it is almost flawless.

[ashtonkutchermustdie]

THE HANDMAIDEN - A REVIEW

I saw Park Chan-wook’s stunning masterpiece, The Handmaiden back in January (it’s released in selected U.K. cinemas 14th April) but it has taken me a while to figure out how to write this review without coming across as a manically twisted pervert. Well, here goes…

The Handmaiden is a loose adaptation of Sarah Waters’ award-winning novel Fingersmith, which relocates the story from Dickensian England to 1930s Korea. Thus creating something fresh, offbeat, unexpected and wholly Park Chan-wook.

A cunning and scheming con man forces a young pickpocket to become the maid of a beautiful and fragile heiress, who is confined to a large and isolated mansion by her aged uncle who is also her would-be suitor. The convoluted plan involves the ‘maid’ convincing the heiress to marry the con man so that he may seize her wealth. But, of course, not everything goes according to plan. The ‘handmaiden’ finds herself irresistibly drawn to the heiress and soon gives in to her deepest sexual desires.

What follows is disquieting fable of love, betrayal and eroticism that brings to mind the best works of Hitchcock, Kubrick and Nabakov, amongst others. Anyone who has enjoyed Park Chan-wook’s previous films (Oldboy, Stoker, Lady Vengeance et al.) will know what to expect, at least in terms of style, themes and pure craftsmanship. But the director has outdone himself here, and even with a filmography as consistent as his, this is the best work he has produced by quite a long way.

The attention to detail, cinematography, luxurious imagery and restraint (technically at least) come very close to equalling Kubrick’s most beautiful works (2001, Barry Lyndon). Every shot is perfectly and beautifully framed, the colours and composition seeming more like that of a master painter than a film director.

And now to the porn, and, make no mistake, there are scenes here that taken out of context of the film are simply porn. At times the film is filthy, kinky, and deeply erotic. However, the director never falls into the trap of the male gaze. The lesbian love scenes, while graphic, are always dealt with in a tender way. They are also, very importantly, never unnecessary. These scenes are actually probably the most important of the film and work to show the longing, affection and intimacy of the female characters, as well as to drive the plot forward.

Alternatively, throughout the film male characters are depicted as grotesque, manipulative, domineering, egotistical and revoltingly perverted. The love between our female protagonists never feels cheap, contrived or gimmicky. In fact, despite the gratuitous sex, it always feels pure, sweet and real.

This is an eerie, Russian doll of a movie that slowly reveals itself in evermore-unexpected ways. Neatly diced into three acts, which tell the story from slightly different angles and fresh vantage points, adding in backstory, flashbacks and extending scenes, altering their meaning or revealing previously withheld facts, twists and turns.

The film is long and slow-paced but never, ever dull or arduous. It is constantly captivating, exquisite, sensuous, wry, unnerving, startling and impressive. Park Chan-wook has made his masterpiece and the best film you’re likely to see this year.

[ashtonkutchermustdie]

FREE FIRE - A REVIEW

When you’ve made a suburban gangster film, a psychological horror, a pitch-black farce, a psychedelic historical drama, two episodes of Doctor Who and whatever the hell High-Rise was, how do you follow that? Well, Brit writer/director trails his varied and intriguing filmography with an incredibly enjoyable and amusing comedy action film that’s essentially one scene told in real time over 90 minutes, that’s what!

Grab a bunch of the best actors in the business, throw them in a room and give them all firearms and a truckload of ammunition. Fun, frolics and pandemonium ensues.

A beautifully realised and well crafted 1970s B-movie, we follow a group of Irish goons as they arrange an international arms deal in an abandoned warehouse where it all goes very, very wrong.

The premise and sharp dialogue owe a lot to a certain Tarantino flick but it is never an imitation, Wheatley has made this completely his own and he makes the chaos seem easy, with a light touch that proves his capabilities as an auteur in his own right.

This is a film that is all concept and very little actual plot. And it’s all the better for it! Of course it wouldn’t work so well if the script wasn’t so tight and if the actors weren’t so damn charismatic and watchable. Amongst others, on the side of the Irish we have, (Wheatley favourite) Michael Smiley, Cillian Murphy and Sam Riley. On the side of the Americans we have Armie Hammer, Brie Larson and (South African) Sharlto Copley. Each are reliably good but it is Copley and Riley that are the really stand outs from each team, absolutely making the most of the outrageous situation and chewing scenery and hamming it up to eek out every last bit of sardonic wit and humour from their discourse and direction. Copley in particular turns it all the way up to eleven, in a performance that threatens to become obnoxious and annoying but luckily never quite tips into that territory. In fact it’s the times when his character isn’t the focus that don’t quite shine as brightly.

Once the bullets start flying (and boy do they start flying), the pace and farcical comedy is fast and frenetic. It does, however, a little disappointingly run out of steam towards the end and the last 15 minutes don’t quite compare to the seventy-some that have preceded them. But there is more than enough to love in this to recommend numerous repeat viewings that will guarantee sniggers, snorts and winces every time.

[ashtonkutchermustdie]

TOP 10 BEST & TOP 5 WORST FILMS OF 2016

BEST FILMS OF 2016:

1. HUNT FOR THE WILDERPEOPLE Following the unexpected death of his Foster Aunt, chubby, rebellious foster kid, Ricky Baker runs away into the New Zealand Bush, followed by his cantankerous Foster Uncle (Sam Neil). They presently get lost and a nationwide manhunt is organised to track them down. Since its release I have watched this film a few times and it gets better on each viewing. Director Taika Waititi has produced a work that is a wonderful concoction of dry humour, farce, pathos, charm, sweetness and heart. Hunt for the Wilderpeople is truly “majestical”.

2. THE REVENANT In the 1820s, frontiersman, Hugh Glass (DiCaprio), sets out on a path of vengeance against those who left him for dead after a bear attack. Immersive, beautiful and masterful filmmaking from a director at the very top of his game. Backed by an Oscar winning performance by Leo and Oscar nominated performance by Tom Hardy (who was robbed, by the way). Very edge of your seat stuff from beginning to end. Two hours of overwhelming visual and sensory brilliance.

3. SING STREET An uplifting and heart-warming (I know, I’m sorry!) coming of age tale set in Dublin during the 80s. A young outsider starts a band in order to impress an older girl, along the way learning about The Clash, Joy Division, The Cure, New Order et al. The soundtrack was enough to entice me but the film goes beyond expectations and is a beautifully crafted triumph and a return to form for writer/director John Carney.

4. THE HUNTING GROUND Whilst it may not be my best film of the year, The Hunting Ground is the most important. A startling expose of rape crimes on US campuses, their institutional cover-ups, and the devastating toll they take on students and their families. This shit happens. And more people need to realise it and do something about it. Affecting, alarming, distressing and frustrating. A must watch for everyone. This stuff needs to be heard and discussed.

5. 10 CLOVERFIELD LANE Waking up from a car accident, a young woman finds herself in the claustrophobic bunker of a man (John Goodman) who claims that the outside world is now uninhabitable. The reliably brilliant Goodman gives a career best, is he/isn’t he, performance. A fantastically tense, thrilling and almost flawless little movie that is thankfully not quite ruined completely by the ill-advised last five minutes. Other than that though, wonderful.

6. THE LOBSTER Greek director Yorgos Lanthimos' The Lobster is one of the strangest comedies in recent memory but also one of the best. In a dystopian near-future, a single man (Colin Farrell) checks into a hotel where, by law, all singletons must find a mate within 45 days or be transformed into the animal of their choice. A hilariously deadpan examination of love, relationships, marriage, and the basic human need for connection. Not for everyone’s tastes, but certainly for mine.

7. SWISS ARMY MAN To say that Swiss Army Man is not going to be for everyone is an understatement. However, if the concept of Daniel Radcliffe as a loveable, flatulent corpse is something that sounds somewhat appealing then there is an awful lot to truly enjoy in this bizarre, unique and idiosyncratic film. Equal parts low brow and high brow, stupid and touching. Just go with it.

8. GREEN ROOM In the aftermath of a murder, a young punk rock band find themselves trapped in a secluded venue run by neo-Nazis. The most hardcore and relentless thriller in years, and exercise in extreme, nail-biting suspense, anchored by a terrifying and understated performance from Patrick Stewart as head honcho Nazi man. Lean and mean B-movie brilliance.

9. CREED Nobody was really crying out for a seventh film in the Rocky saga. Certainly not one that would replace Stallone with a younger model. It would never work! Creed, however, certainly does work and works wonderfully. Never straying too far from what made the original Rocky films great but also adding in grit, heart and true power. Stallone’s Oscar nominated return is affecting, Michael B. Jordan continues to exude charisma and ability in every performance and I am becoming increasingly impressed with director Ryan Cooler, who after Fruitvale Station and now this, is proving to be a true talent.

10. I, DANIEL BLAKE The lives of two people struggling on benefits in modern Britain intertwine as the help each other to simply get by and get on. I, Daniel Blake’s depiction of life on the dole makes for a brutal, often uncomfortable watch. As well it should. But it is also full of humour, hope and wit. At 80 years old Ken Loach has still very much got it.

WORST FILMS OF 2016:

1. GHOSTBUSTERS When this film was initially released I held off reviewing it for political reasons; there was so much furore around the fact that the cast was all female that anyone who spoke out against it was immediately labelled a closed minded misogynist. Now, I think enough people have seen it to realise that this is just a really, really terrible movie. The fact that the cast are all women is of no consequence, the fact that they are the WRONG women along with the WRONG script and the WRONG director, kind of is. Headache inducing, depressing and maddeningly dreadful.

2. SAUSAGE PARTY I like me some Seth Rogen, though the films he puts effort into and the films he makes while stoned are becoming increasingly obvious. This is clearly the latter. A dumb concept can’t cover the fact that this is simply not funny or entertaining. How it got made in the first place is beyond me.

3. SUICIDE SQUAD It should have been easy. David Ayer, Jared Leto and Margot Robbie? They should have knocked it out of the park! What happened?! As it is, Suicide Squad is barely a movie. With so much to work with and so many characters everything is glossed over and the whole thing comes across as a 2 hour trailer for a film that we are never getting… and doesn’t look that great anyway.

4. INDEPENDENCE DAY: RESURGENCE When I was 11 or 12 one of my best mates at school was very much into video games, I never really have been. He always had the latest consoles and games. When I went round to his house after school, if it was raining or dark outside I used to have to sit quietly and watch him play on this PlayStation, or whatever, for hours on end. Politely staring blankly at the shapes, colours and noise whilst actually taking very little enjoyment from the experience. This is what Independence Day: Resurgence is like. That they managed to gather the majority of the old cast is incredible. This is really an embarrassment for all involved and everyone should be thoroughly ashamed.

5. LIGHTS OUT A horror movie should be scary right? That’s kind of the point? An interesting concept (ghost can only been seen in darkness and disappears in the bright) is bogged down in unnecessary context and exposition. Dull.

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ARRIVAL - A REVIEW

Over only a handful of years director Denis Villeneuve has caught my attention as an auteur whose catalogue and future works I very much intend on seeing. Having enjoyed previous efforts, Prisoners, Enemy and Sicario, the release of Arrival was an event that I was particularly looking forward to.

What Villeneuve does that has become more and more rare over recent years is treat his audience as adults. He doesn’t spoon-feed, patronise or talk down to the audience. He simply makes solid, mature films that are enjoyable for that precise reason.

As such, Arrival is an intelligent and mature sci-fi about love, loss, tolerance, tragedy, language, life and humanity.

The unexpected appearance of 12 spacecraft positioned randomly around the globe brings together language expert, Amy Adams and mathematician, Jeremy Renner as they aid the US government to find out why they are here and what they want. Adams’ interactions with the extra-terrestrials are interweaved with the story of her burgeoning but ultimately tragic family life.

The story of an alien ‘invasion’ is something that has been played out on film (and in all media) numerous times before, mostly with the same reoccurring themes and tropes. Villeneuve does very well not to follow that same path and avoid all the pitfalls. There are points throughout the narrative that hint at what could happen but the director always brings it back from the edge and never tips into the obvious, constantly taking us somewhere fresh and engaging. And most of all human. The arrival of the foreign species is never the focus but humanities reaction, individual nations reactions and, on an individual and very personal level, Adams’ characters reaction and how she is affected and effected by their presence stay at the forefront. This is the most emotional and human sci-fi film in a long time, possibly ever. Whilst constantly captivating, the sense of melancholy and desolation is palpable. Which makes it ultimately hard to enjoy. The questions it raises and statements that it intends to make are challenging, demanding and ask a lot of the viewer individually. Not at all in a bad way but just in a way that make it feel like a bit more of a chore rather than simply entertainment.

Arrival is very definitely a solid piece of work that certainly stands up in Villeneuve’s filmography. However, it just (and I mean just) falls short for me, in a way that I cant quite put my finger on. It lacks a certain something that could have tipped it over into masterpiece territory. Maybe it’s the choice of actors? Adams and Renner are both very accomplished but lack a certain charisma or razzmatazz that could have elevated the work. Maybe it’s the bleakness of the material? Maybe it’s that it lacks a visually climactic ending and payoff? Who knows? What I do know is that even if it doesn’t quite achieve all that it potentially could have it is well worth investing in as long as you don’t mind feeling a little blue when leaving the cinema.

[ashtonkutchermustdie]

BLAIR WITCH - A REVIEW

Whether you appreciate the film or not, back in ’99 The Blair Witch Project caused a major storm and shook up the industry. One of the first ‘found footage’ guerrilla style films (and definitely the first to really take off) and one of the first to use viral online marketing and present itself as ‘real’. It also made a colossal amount of money, especially in comparison to its miniscule budget. Blair Witch was, and is, a phenomenon. It was also very much ‘bottled lightning’ - a product of its time, place and hysteria.

17 years later comes the obligatory sequel/remake/reboot that no one asked for or expected, from director and writer team Adam Wingard and Simon Barrett. Wingard and Barrett are the men behind two of the best genre flicks of he past few years (You’re Next and The Guest – check ’em out if you haven’t already done so) so the idea of a Blair Witch film helmed by two people who clearly love the genre and enjoy subverting expectations and playing with tropes was an enticing thought.

Considering the talent and creativity behind the (shaky) camera then it is majorly disappointing and disheartening to find that Blair Witch 2016 is the exact same film as its ’99 predecessor, adding very, very little new to the mix. In the years since The Blair Witch Project we have had a slew of ‘found footage’ style films that have managed to use the idea to great effect; REC, Cloverfield, Paranormal Activity etc. So the fact that Wingard and Barrett have brought nothing new to the table here, stylistically, inventively or imaginatively, is perplexing.

Technically a sequel, we follow the brother of Heather (from the original) as he convinces a group of friends to follow him into the Black Hills Woods so that he can finally ascertain and comprehend what happened to her. And maybe even find her. So that’s the idea, but it’s essentially just the ’99 film again with some trivial additions that really add nothing, and in a lot of cases detract from the impact and power of the original. The original was a lesson in build up, suspense and subtlety, Wingard is not a man of subtlety. He peppers his Witch flick with jump scares, loud noises that are so obviously sound effects put in afterwards that they lose all impact, and a bunch of elements that, if explored, may have been interesting but they all just go nowhere or are forgotten about. The strongest of these is that the woods act as a sort of Bermuda Triangle where time and space don’t work in the usual way and each person experiences this differently. This is touched upon but never fully studied or clarified. The newer elements such as the sound design and the few special effects only manage to diminish the effect as they are so clearly false and take you out of the experience in a way that the original never did.

All that being said there is still something fundamentally unnerving and unsettling about being lost in the woods at night and some parts do manage to hit on that. Though I’m not sure whether it was this film having that effect or the wave of nostalgia for the original and my first viewing of that film as a terrified 12-year-old watching a pirate VHS sat in the dark with my best friend. The only sequence that truly worked for me is a set piece where one character is crawling through tight tunnels underneath a house that really got to my claustrophobia, fear of tight spaces, getting stuck and ultimately, I guess, death.

With the Blair Witch history, myths and folklore there are a lot of places sequels, prequels and spin offs can go and a lot of different styles they might take. It’s frustrating then that what we have here is a poor imitation of the 17-year-old original, which begs the question, why bother? Wingard and Barrett’s next is a remake/reboot of Japanese Manga, Death Note, so let’s hope that they fair a little better with that one.

[ashtonkutchermustdie]

HUNT FOR THE WILDERPEOPLE - A REVIEW

Taika Waititi has had an odd career progression; getting his break working on Flight of the Conchords to films Eagle Versus Shark to What We Do in the Shadows to this, and he’s currently working under the Marvel umbrella on the third Thor film. Which is a very odd choice for a writer/director as twee, quirky and idiosyncratic as Waititi but I guess we will have to wait and see in regards to that one.

For now, Hunt for the Wilderpeople marks the directors most accomplished effort so far. If it’s not as side achingly funny as the superb What We Do in the Shadows and not quite as amiably quaint as Eagle Versus Shark, Wilderpeople trumps both as a wonderful concoction of dry humour, farce, pathos, sweetness and heart that also manages to display Waititi’s larger-scale filmmaking ability. The spectacular cinematography and imagery of New Zealand’s stunning locale is perfectly captured. This is a film that will charm audiences of all backgrounds and ages.

Following the unexpected death of his Foster Aunt, chubby, rebellious foster kid, Ricky Baker (Julian Dennison), runs away into the New Zealand Bush, followed by his cantankerous Foster Uncle (Sam Neil). They presently get lost and a nationwide manhunt is organised to track them down.

While Sam Neil has been back on screens in solid work over recent years, this is easily his best role and performance for 20 years, imbuing his worn out old grouch character with the perfect amount of geniality and heart to fashion the perfect endearing crank. Julian Dennison as 13-year-old Ricky could easily have been a grating and annoying character but Dennison impresses deeply with an aptitude for comic timing and manages to add layers to a character that could have been fairly one note. Together, these two make a truly enchanting and adorable double act that are a hoot to watch.

I hadn’t realised it until after finishing the film but this owes rather a debt to Pixar’s Up, with the characters and general storyline being suspiciously similar. However, I’m going to be incredibly controversial and say that Wilderpeople easily tips the scales for me.

The only issue I had with the film was that it felt slightly too long and there is a minor dip in the middle where the laughs don’t come quite as frequently but they are small niggles for a film that I ultimately found enchantingly charming and heart-warming.

Waititi should be as highly regarded as peers Wes Anderson, Spike Jonze and Michel Gondry, but for whatever reason, isn’t, which is a real shame as he’s a much better and more consistent filmmaker (at least so far). We definitely need more films like this to be made and when something as good as this is released we all need to get behind it and show support. Hunt for the Wilderpeople is truly “majestical”.

[ashtonkutchermustdie]

DON’T BREATHE - A REVIEW

Writer/Director Fede Alvarez made quite and impression back in 2013 with his Rami/Campbell approved and produced Evil Dead remake. A film that, while in no way a classic of the genre like it’s original and its sequels, was a damn fun experience and showed Alvarez to be a very adept and compelling filmmaker.

Three years later, Don’t Breathe marks the first time that Alverez has worked on something wholly original, and for the most part it’s a very successful and gratifying ride, albeit one that ends up being somewhat forgetful and throwaway once the credits have stared to roll.

The plot is delightfully simple; three young hoodlums break in to a blind war vets house to steal a wad of cash and swiftly have the tables turned on them when they find that the man is far more menacing than they had initially assumed.

Jane Levy, with whom Alvarez worked previously on Evil Dead, plays our heroine, Rocky, and, while she may not be the worlds greatest actress, the girl sure can look terrified convincingly. While her character and her motivations are horribly heavy handed, she’s the only person in this set up that we can really feel for. The other two thugs are pretty disposable cannon fodder. Rocky’s gangster boyfriend, Money, is so unlikeable that you are wishing for him to be offed in the most heinous way from the first scene. Completing our trio is the shy and nerdy Alex. One would assume that on paper we are supposed to relate to and root for Alex as the underdog. However, the actor isn’t quite good enough to be likable in any satisfying way and so you end up, promptly wanting him to be put out of his misery too. This is where the film slightly falls down, the lines of who we should root for and who’s ‘in the wrong’ are blurred and in any case all of the characters are too thinly written for us to really care anyway.

Not that it particularly matters because the film is a pretty lean and mean jaunt that still manages to be completely enthralling due to its cinematography and camera work (a lot of which is very reminiscent of Sam Rami) and the sound design and editing that manages to keep you on tenterhooks throughout.

The Blind man is played by Stephen Lang, who is intense, threatening and intimidating while playing it almost completely without dialogue. Lang, playing blind and using his other senses to fathom his surroundings, plays it very animalistically and physically. At points he reminded me of the velociraptors in Jurassic Park, though that may just be because of my love for that film.

The last few scenes of the film, unfortunately lapse into silliness, notably a gross-out set piece that will certainly stay with you for better or worse. For me this was the point where the film failed and became a little desperate. There’s an old adage that the best horror films terrify, if they can’t terrify they will horrify and if they can’t do either of the above they will go for the gross-out. At points Don’t Breathe manages both of the former and so the latter seems unnecessary and a little out of place.

Don’t Breathe doesn’t quite live up to the more recent crop of heavily stylised, cult genre flicks of the last few years (You’re Next, The Guest, It Follows or even Alverez’s own Evil Dead) however, it effectively succeeds in providing an intense, claustrophobic and brutal 88 minutes of disposable amusement. If you like that kind of thing.

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Independence Day: Resurgence - A Review

When I was 11 or 12 one of my best mates at school was very much into video games, I never really have been. He always had the latest consoles and games. When I went round to his house after school, if it was raining or dark outside I used to have to sit quietly and watch him play on this PlayStation, or whatever, for hours on end. Politely staring blankly at the shapes, colours and noise whilst actually taking very little enjoyment from the experience. This is what Independence Day: Resurgence is like.

Over the years, as blockbusters have become bigger, brasher, louder and sillier, they are often described as “ridiculous”, “dumb” or “stupid”. But this is often with a sense of affection or with the idea that they don’t necessarily need to be anything more. That these films are simply escapism and fun. Using the words, “ridiculous”, “dumb” and “stupid” to describe Independence Day: Resurgence, I mean them in their intended fashion. No explanation, no “but”, no context needed.

Another word often banded about is “spectacle”. It’s tempting to use the word here; there’s an awful lot of CGI going on and that’s usually what “spectacle” means; CGI. But the CGI is so abundant and so shoddy that it ceases being “spectacular” instantly and becomes inane and tedious. It often escapes me how effects in 2016 can be worse than they were 20 years ago. I don’t understand. The effects are so bad that often when there’s a large-scale sequence, when it then cuts back to the human characters that are supposed to be in the midst of this action, it is completely unbelievable and dislocated. Painfully obvious to all that the actor is sitting pretty in a studio somewhere, whooping and hollering on a soundstage rather than attacking an alien mothership hovering above the Pacific. Again it goes back to the idea that this whole film looks and feels like a video game. The minor human interactions between CGI action feel like the between level video animations featured in a game to forward the story to the next sequence. Written, directed and acted with equal care.

There’s no real story to speak of and the characters are simply avatars to lead the action. That they managed to gather the majority of the old cast is incredible. This is really an embarrassment for all involved and everyone should be thoroughly ashamed.

While Will Smith may be the only actor that can spout naff and cheesy dialogue and somehow get away with it, he luckily managed to escape the grasp of this sequel. He is replace as lead character by the absolutely unconvincing, charisma-less and wooden, Liam Hemsworth. Also, somehow Charlotte Gainsbourg is also managing to get regular work despite being tragically terrible.

The only positives to speak of are that it’s always good to see Goldblum (and to a slightly lesser extent William Fichtner) back on the big screen where he belongs, despite shoddy direction Mika Monroe is a joy to watch and Bill Pullman looks pretty badass with a beard. Other than that, avoid. Seriously. Not even, “I’ll wait for it to come on Sky or Netflix”. Don’t bother even then, when it’s free and you have nothing better to do. There is always something better to do.

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THE NICE GUYS - A REVIEW

With film studios desperate to get people in to cinemas to see their films these days (rather than say, download or wait for a Netflix release etc.) it has become the popular fashion to show the whole plot of a movie in the trailers. Or, if not quite giving away all salient plot points, to put in all the best sequences in a desperate bid to gain the attention of the movie going public. This seems to be the case with Shane Black’s The Nice Guys. Great trailer though. The other thing to bear in mind is that if you have ever seen any of Shane Black’s previous works, you pretty much know what you’re going to get. Not that that is a bad thing necessarily, I enjoy Lethal Weapon and Kiss Kiss Bang Bang just as much as the next person.

What makes The Nice Guys a particularly interesting prospect is that of the unlikely partnering of Ryan Gosling and Russell Crowe. The two display a chemistry and comic timing that makes even the sometimes lagging pace of the movie a joy to watch. With Crowe as the exasperated and grizzled straight man, it is Gosling that is the revelation in his most out-there comic performance to date. He shows a complete talent and understanding for timing, delivery, slapstick and physical comedy. Being his typically charming self he also works to make his buffoonish character extremely likeable and watchable.

The pair of private investigators are thrown together when they both stumble across a conspiracy within the 1970s Los Angeles porn industry. However, none of that really matters. While the seedy 70s setting help to give the film a stylish and OTT look and feel, the actual plot is so thin and unremarkable that it’s barely worth dwelling on. It’s simply an excuse to chuck our two heroes together, have them spout amusing, witty dialogue and run around being shot at.

The main thing that the 70s setting and Porn industry plot points seem to be there for is to excuse is the latent misogyny on display here, which is actually very jarring and disappointing and creates an uneasy atmosphere and takes away from the really very decent comedy performances. Childish or puerile humour doesn’t phase me but just including tits and dialogue about "anal sex" and “whores” in a film for no good reason just doesn’t sit well. It’s a real shame too because I could have really enjoyed The Nice Guys but I was just too aware from the very first scene that this was a film written and directed by an out of date misogynist.

However, if you’re able to get over these pitfalls, The Nice Guys is actually a pretty solid and entertaining movie with eccentric and amusing set pieces, a fairly witty script and a few genuine laugh-out-loud moments from Gosling.