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  • Indiana Jones and the Kingdom of the Crystal Skull

    Indiana Jones and the Kingdom of the Crystal Skull

    ★★

    So, now a bit of a time has passed, it's time to take a more objective and slightly less (STOP PISSING ON MY CHILDHOOD YOU BEARDED 70s DIRECTOR BASTARDS!!!).. ahem.. emotional view on this film.

    So is it really that bad? Well let's look at what's good. Firstly the script is fine. There's plenty of witty lines here. The fact that some of them have to come out of Shia LaBoeuf's mouth is unfortunate but hardly the fault of the…

  • Maniac

    Maniac

    ★★★½

    If you thought possessing the ring fucked Gollum in the head, you're not gonna believe what it did to Frodo.

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  • Room

    Room

    ★★★½

    Second viewing and the cracks showed a bit more. It's still tonally skilful and well played. The use of scale still seems smart but it just felt a little more televisual (in the old sense) and some of the score brought an unwelcome sense of melodrama.

  • Upgrade

    Upgrade

    ★★★½

    Trashy, violent and derivative of other classier films, which is the recipe for its success. The concept and execution is like when you finally rent out that crappy looking straight-to-video VHS and it turns out to be a classic b-movie. It's utterly unconcerned that you've seen this plot before. In fact, it kinda relies on you having done that, so you can stop thinking and enjoy the bone-snapping fun of it.

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  • The Twilight Saga: Eclipse

    The Twilight Saga: Eclipse

    Look I know this isn't aimed at me, and a 38 year old man slagging off a Twilight film is actually slightly less dignified than a 38 year old man liking it but jesus, this was terrible. I could go on about CGI werewolves and sparkly vampires but that would be to miss the point, it's not really about all that and to be fair it could actually get away with it, were the characters and script not so irritating.…

  • Blue Ruin

    Blue Ruin

    ★★★★

    Apparently if you make a revenge thriller more realistic you actually make it far more exciting. It's almost as if empathy is a far more effective took for emotional engagement than a line of people queuing up to get punched in the face by Liam Neeson.

    Visceral, tense and not mundane at all. Like early Coen Brothers without the knowing wink. Or early Mallick where character and story take precedence over the auteurial indulgences.