Angel Has Fallen: Film Review

Angel Has Fallen: Film Review

Cast: Gerard Butler, Morgan Freeman, Danny Huston, Nick Nolte
Director: Ric Roman Waugh

It was inevitable, really.

Given he'd saved the President, saved London and had a happyish ending, it should be no surprise that Presidential lucky charm Mike Banning (Butler) would be in the firing line.

And given three years has passed in each of the release cycles of Olympus Has Fallen (2013) and London Has Fallen (2016), it's time for Angel Has Fallen.

Bruised, battered and addicted to pills after the rollercoasters of the job of the Secret Service in the previous two outings, Banning is starting to feel mortal. Tempted by the possibility of the top job at the Secret Service, his world's turned upside down when the entire Presidential secret service team is wiped out - leaving him as the sole survivor.

Framed for the attempted murder of the US President, Banning goes on the run, determined to prove his innocence...

Reviving cold war politics, throwing in some "timely" barbs about Russian collusion, and dumping some machismo on the idea of private contractors benefiting from war, Angel Has Fallen does little to build on its surprise success of the first film.

Choosing instead to go for elements of The Fugitive and a bad episode of 24, Butler deals with lots of pained close ups to show his ailing state, and deals out plenty of killshots as sense and sensibilities go out the window.

Beginning with what seems like a gun porn secret service recruitment Call of Duty style video and ending with an extremely passable and well-executed finale, Angel Has Fallen has glimpses of something beyond the C-grade action banal genre it's clearly pitching for.

Butler's Banning looks shabby, like he may not make it (though really, there's never any true doubt) but yet in his interactions with Danny Huston's quietly calm mate-turned-bad-guy, there's a feeling of two veterans lost in a world that no longer needs them in the way they were needed first time around.

The action sequences are, in truth, executed in a fairly workmanlike way; there's nothing special or spectacular in the explosion porn that's on display - complete with slowmo. And yet, in its finale, Angel Has Fallen delivers a sequence that may be familiar in many ways, but is nonetheless compelling to enjoy.

And then there's Nick Nolte.

As Banning's dad, and at his shaggiest, this doomsday prepper off-the-grid paranoic is one of Nolte's most grizzled and begotten roles. But it's worth it alone for some of the lines he dishes out, which have to be seen to be heard.

Ultimately, Angel Has Fallen isn't smart enough to be taken seriously, and never really rises against its rote execution. It's flabby too, with its 120 minutes run time being the longest of the trilogy and also the most needlessly long.

Angel Has Fallen may wrap up the surprise trilogy, but in truth, this series was done with the first one - it may try to be contemporary here, but you've seen it all before. It's time this Angel had its wings clipped.

Blinded by the Light: Film Review

Blinded by the Light: Film Review

Cast: Viveik Cara, Kulvinder Ghir, Nell Williams, Hayley Atwell
Director: Gurinder Chadha

You've seen Blinded by the Light many times before, and in many different iterations.

The very familiar coming of age tale, set in Luton in England in 1987 centres around Cara's Javed, a young Pakistani man who yearns to be his own person, but who's stuck at a crossroads.

When Javed ends up going to college, he finds his world is irrevocably changed when he's gifted two Bruce Springsteen tapes, and being at the age of discovery, the doors of his perception are blown wide open by the Boss' music and lyrics.

But in the background of Javed's life lurk the National Front, the possibility of love, and the inevitability of a showdown over his desires and his dad's directives...

Blinded by the Light has an energy that bursts through the bubbling cheesiness which seeps in almost immediately.

Chadha is less interested in reinventing the wheel in this music-inspired movie, and more interested in perhaps showcasing a story that was prevalent in 1980s UK life, but rarely recorded. The indolence and ugliness of racism lurks casually in Javed's life, and while Chadha's only interested in occasionally using it for drama, the evocative montage of 80s Britain under Thatcher which begins the film serves only to showcase the good and the bad of the era.

Elsewhere, the film's cornball and corny dialogue sags a little in the excessive 2 hour run time - an expeditious edit could have given the film a pep and zap that it needed in parts as it spins its all-too-familiar tale.

There's a heart here, but rather than leading with the drama, the film hits every dramatic cliche and and services its leads ahead of the script; yet there are moments when the film excels, such as Chadha's reveal of a daytime club, and the heady thrill of youth within. These are the moments that Blinded by the Light could have had more of, not ones which feel rote and almost ridiculous.

It may be sweet, and crowd-pleasing at times, but Blinded by the Light does little exciting with the musical genre except to pillage someone else's back catalogue to sell nostalgia and probably Spotify soundtracks (in this case, the Boss) .

However, don't be surprised that in the year Rocketman soared to audience success and Bohemian Rhapsody won big, Blinded by the Light will have your heart tapping away in your seat, even if your head is warning you repeatedly against doing so.

2040: Film Review

2040: Film Review

Director: Damon Gameau

Idealism seeps through the veins of That Sugar Film's follow up.

Damon Gameau returns with a self-professed optimistic piece of what life could be like in 2040 that's squarely aimed at showing his 4-year-old daughter Velvet that there is hope among the doom and gloom of climate change reporting and global concerns over the planet's future.

The tone for this film is set in the opening moments as a title board reveals that carbon credits used in making this film have been offset.

It's genially put together, and should be commended for its eternal optimism, but despite Gameau deploying visual tactics such as shrinking down commentators and experts to wee tiny levels so they can be dwarfed on the screen, the film's really only interested in presenting a utopian side of the argument.

"We have everything we need right now to make it happen," Gameau intones at one point.

And as he demonstrates how farming can do its bit, how self-driving cars will provide transport peace and how energy can be shared with others, it's easy to buy into. But Gameau shies away from getting any of the critical answers why this isn't happening yet or won't in future - whether it's out of a desire to make the film so positive that it doesn't make you want to scream at politicians and their global politicking or whether it's through lack of trying, it's never really clear.

The end result is that frustrations bubble up - despite the cutesy use of kids' vox pops talking about what they want to see in 2040. Sure, it's amusing in parts, and is as hollow as a once over lightly global approach, but much like the director's predilection in That Sugar Film, it's all about shallow rushes to the head.

In truth, the narrative naivete cloys, and while it's understandable that Gameau's trying to inspire rather than put obstacles up, its occasional head in the sands' approach does nothing to dispel a nagging sense of frustration and a feeling that everyone in the film is living in Fantasyland.

Crowd-pleasing it may be; inspiring it may also be, but based on any kind of reality and giving any steps forward to making it a reality, it is not.

Don't let the politics get in the way of a good dream, eh.

Vai: DVD Review

Vai: DVD Review

Kiel McNaughton and Kerry Warkia's powerhouse film Waru, about abuse, was a movie that blazed a trail on the local scene.

Using eight separate stories and eight directors, the film signified something different for film-making and its critical success allowed other wahine to be inspired for the future.

Their follow up treads a similar path of approach, with nine female directors taking on the story of Vai, in different stages of her life. Set across various Pacific islands, the portmanteau approach once again has highs and lows, with the overall film feeling more like a spiritual piece, than a fully fleshed out feature.

However, what emerges from Vai is a strong eye and connection for stories related to the lands, and within the lands they are set. Excellent camera work from those involved give the film a sense of place, and a sense of timing with shots blending into the land, and with set ups being kept within a close frame than would be offered by the likes of drones and so on.

The non-freewheeling camera approach gives the film an intimacy that's seized on by some of the storytelling and that proves to be greatly beneficial. Certainly the short vignette set within school as Vai's reality of existence comes to the fore, and family matters bubble under is one of the more powerful of the portmanteau.

Ultimately, while Vai has less of the power of Waru, it certainly has more of the spirituality with restrained camera work and direction capturing some traditions for posterity that are wondrous to behold, and which have resonance as they play out.

There may not be a familiar narrative thread running throughout allowing for an easy follow, but there's a familiar theme in Vai of the power of the female, and of the indigenous connection to the land.

It's sparsely stirring stuff when it needs to be, and while overall, Vai may not find a wider audience or stir up as much emotion as Waru did, its commitment to giving a platform for different voices to tell one longer form story in chunks is more than commendable. 

Pokémon Detective Pikachu: Blu Ray Review

Pokémon Detective Pikachu: Blu Ray Review 

How you feel about the family friendly Pokémon Detective Pikachu will depend largely on how you feel about the crazed cult of Pokémon.

The uninitiated may struggle with the film, which is set in a world where both Pokémon and humans co-exist, thanks to the benevolent Howard Clifford (Nighy) who believes co-existence and betterment is possible.

One who doesn't agree is 21-year-old Tim (an awkward Justice Smith) who resents the Pokémon and refuses to be paired up with them like others. When he discovers his dad is missing after a car accident, Tim goes to Ryme City, the hub of the human Pokémon harmony, and ends up working with Ryan Reynolds' Pikachu to try and solve the case.

If you're a Pokémon fan, you will adore this film, packed as it is with creatures from the cards and the TV series, and no doubt riddled with Easter eggs.

But, to be honest, for all others, it's kind of middling, narratively flat fare that's more about its nostalgia than a degree of coherence, and its plot is saddled with exposition for character development and sees a lurching plot stop and start while someone drops reams of necessary explanation.

There are elements of everything that's gone before here, with a Zootopia mesh, some Roger Rabbit hating of the opposites, X-Men, a film of fathers and sons and other all-too familiar sci-fi DNA tropes that can be seen a mile off. It unfortunately cripples part of the movie, as you can see what's coming before it hits, lacking weight and heft when it should.

In fairness, Ryme City is wonderfully realised, a kind of cartoony Blade Runner cityscape that shows the co-existence with ease. And Reynolds' trademark motormouth may be dialled down this time, but it still gives the over-caffeinated Pikachu some much needed laughs here and there. The buddy cop relationship between Pikachu and Tim makes for amiable fare as well.

But Pokémon Detective Pikachu lacks the noir edges it's clearly aspiring to, saddling everything with heavy flashbacks early on to paint the portraits and relying on audience love and nostalgia to forego the repetitive simplicities of the plot. And that could be fatal, seeing as newer audiences are what will continue this series.

In truth, Pokémon Detective Pikachu is less gumshoe, more candy coloured gum stuck to your cinematic shoe. The series' refrain may be that you "gotta catch them all", but if you're not in the in-crowd, you should be happy to let this one go free. 

The Kindergarten Teacher: DVD Review

The Kindergarten Teacher: DVD Review

Based on the film Haganenet by Nadav Lapid, Maggie Gyllenhaal stars as Lisa Spinelli, an adrift kindergarten teacher in this rather odd piece that veers creepily into territory that's unsettling.

Unhappy with her kids refusing to eat dinner as family, with one who would rather use Instagram to further her once burgeoning photo career and flailing in her poetry class, Spinelli finds her life changed one day thanks to five-year-old Joe (Parker Sevak).

Joe appears to spontaneously erupt into poetry, and Spinelli, sensing there's more here, decides to nurture him after taking one of his poems, reciting it in class and receiving accolades.

But she spirals further into pursuing his talent, what emerges is dangerously close to obsession.

The Kindergarten Teacher is an odd watch at times, with Spinelli's behaviour seeming borderline unsettling in its naivete and its execution.

And while there are definitely questions over Spinelli's actions, there are no questions over Gyllenhaal's performance as she descends. Committed, human and with subtle changes as the film goes on, Gyllenhaal imbues her character with the signs of some kind of breakdown and innate sadness.

It's hard to keep a film like this ambiguous without the audience becoming ambivalent, and while some moments border very closely to steering the film in a direction where you don't want it to go, Gyllenhaal and to a lesser extent, Sevak, manage to keep it just on the right side of uncertain.

"This world is going to erase you" is just heartbreaking to hear and when the frustration behind this is expanded further, Gyllenhaal gives Spinelli soul and a reason for her growing insanity - sadly, it's all too reflected in the modern world and in Spinelli's children.

In a weird way, The Kindergarten Teacher does feel like a psychological horror wrapped up in a drama, as the edges and lines become blurred - but as a subtle portrait of a breakdown and potentially, abuse, it perhaps works better.

The Curse of the Weeping Woman: Blu Ray Review

The Curse of the Weeping Woman: Blu Ray Review

The Conjuring Universe continues to expand out with this latest, a solid but formulaic piece of fright fare that doesn't quite build on its promising premise.

Sacrificing subtleties in favour of providing the Weeping Woman as a punchline to most scenes, The Curse of La Llorona deals with some dark issues - infanticide, suspected abuse, repressed grief as it spins the tale of recently widowed Anna Tate-Garcia (Scooby Doo and ER star Linda Cardinelli).

A social worker, Anna's called in to try and help the children of Patricia Alvarez who show signs of abuse. But when the children are found killed, drowned in a local lake, Anna's sanity begins to be questioned when a folktale of La Llorona, who takes children, appears to becoming true.

The Curse of The Weeping Woman is relatively taut, and as mentioned, hints at some real darkness, before ultimately deciding to sideline that in favour of rote scares.

By keeping the film's point of view within Anna's family alone, there's a palpable sense of claustrophobia as the jolts start to come. And Chaves makes some good fist of a few visual tricks to build a creeping sense of terror. But much like any fairground horror house, he can't resist the pull of the cheap scares, and that's where The Curse of The Weeping Woman starts to fall down, as every scene becomes punctuated by Ramirez's ghost popping into frame.

It's lazy at best and detracts from some genuinely unsettling edges which are displayed throughout. It's a shame the psychological edges aren't mined more, for a deeply upsetting denouement.

From a bathtub sequence to a final housebound showdown, the film's successes come from making the most of the surroundings and some of the genre tropes.

Unfortunately, in bringing in Cruz's former priest, the script settles for laughs and one-liners when the truly terrifying touch would have been to continue on with the darkness that's hinted at - suspense, suspicions and susceptible children make great bedfellows for any decent horror movie, but The Curse of The Weeping Woman doesn't seem content enough to push the boundaries, jettisoning the narratively beefy for the frighteningly familiar.

It's by no means a disaster, and offers the requisite thrills for what you'd expect, but at times, this mash up of The Exorcist and The Nun starts to feel horrendously like a horrific case of deja vu, and worryingly points to the Conjuring Universe potentially running out of tricks to pull on its audience, who are all too willing to go along for the ride.