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About me

My name is Cal. I'm an independent filmmaker who runs the production company Expendable Films. You can check out my company's Vimeo page here: vimeo.com/expendablefilm
I've also made a list which details the movies I've made. You can check out my first feature, Unleashing the Demons, on Amazon Prime.

People may wonder why I pump so much time and effort into reviewing movies when it's doubtful many people even read my full reviews. With IMDb, Rotten Tomatoes and other websites full of critics more knowledgeable and better read than me, why should you bother with my writing? Well, I leave you to answer that question for yourself. Perhaps my primitive sense of humour will factor into your enjoyment of my reviews. Or perhaps it's that I am merely a lover of movies and do not consider myself a critic. Critics trash fun movies but praise wildly overrated, boring movies. I just like having fun at the movies... And I assess a movie as a guy who loves movies and seeks a good time.

I do not receive any money or revenue for my writing, so I write this as a passion and as a hobby. I aim to simply provide a fair, balanced analysis and commentary of a movie I've seen.

Thus, people may think I at times go too easy on a movie. Well, that's because I look for the good in all movies, even bad ones. I want to recognise the effort that has gone into a movie, and be fair to the filmmaker's intentions. I want to break into the film industry and I wish to make movies, so all films deserve a fair trial in my mind. I'd hate it for people to give a film of mine a low rating for a few purely nitpicking reasons.

I now mostly use Letterboxd where I post a variety of mini-reviews that don't get carried across to here. Listal will still house my long-form reviews but not my shorter ones.

My reviews cannot be copied or reposted in whole or part without my express permission!
I once came across someone hovering around the web who copied my reviews word for smegging word.

However, you can link my reviews on your lists and stuff. That's perfectly cool. As long as I get credit

That's all I have to say.

Oh, and I post my reviews on a few different websites, most notably MichaelDVD and Manly Movie. I did some writing for Digital Hippos briefly... But that site is run by a bunch of cunts, so I didn't remain as a staff member. I suggest you guys avoid that site, too.

You'll find my reviews scattered on other websites around the web, including The Critical Critics, Flixster, Letterboxd and Manly Movie.

And finally...
Twitter feed: twitter.com/StrayButler91
YouTube Channel: www.youtube.com/user/PvtCaboose91
Link to Manly Movie: www.manlymovie.net/

Facebook? Dream on, internet stalkers...

Occupation: Filmmaker


Lists

17 votes
Movies Viewed in 2023 (578 items)
Movie list by PvtCaboose91
Published 1 year, 2 months ago 4 comments
1 votes
TV Shows Viewed in 2023 (10 items)
Tv list by PvtCaboose91
Published 5 months ago
7 votes
Classic Movies I've Seen In The Cinema (22 items)
Movie list by PvtCaboose91
Published 10 years, 11 months ago 2 comments
29 votes
Movies That Made Me Cry (Oh So Slightly) (18 items)
Movie list by PvtCaboose91
Published 10 years, 10 months ago 4 comments
8 votes
Annual Manliest Movies Lists (11 lists)
Movie list by PvtCaboose91
Published 5 years, 1 month ago 3 comments



Recent reviews

All reviews - Movies (1551) - TV Shows (38) - DVDs (2)

Enjoyable, visually sleek, funny rom-com

Posted : 21 hours, 11 minutes ago on 18 March 2024 10:53 (A review of Anyone But You)

With movies like 2023's No Hard Feelings and Anyone But You, it is refreshing and comforting to see studios taking chances on modestly budgeted, R-rated romantic comedies. Additionally, it is note-worthy for any rom-com to receive a theatrical release in 2024, as the genre is now primarily reserved for streaming services and cable channels while blockbusters hoard cinema screens. On paper, there is nothing overly exciting about Anyone But You, which is a loose contemporary reworking of William Shakespeare's Much Ado About Nothing, directed by the hit-and-miss Will Gluck (Fired Up!, Easy A). But, somehow, the movie manages to work thanks to the sharp dialogue, great casting, slick technical presentation, and several uproarious set pieces. Considering the usual standard for studio romantic comedies, and comedies in general, the fact that this movie is not awful is a big deal. Hilarious, charming and surprisingly insightful, Anyone But You is a surprisingly enjoyable rom-com treat, and it is far better than anticipated.


After meeting each other during an awkward moment in a coffee shop, Bea (Sydney Sweeney) and Ben (Glen Powell) immediately feel a special connection and spend the day together, ending with grilled cheese sandwiches and falling asleep on the couch. Bea sneaks out the next morning without saying goodbye, but upon promptly returning to Ben's apartment, she overhears him cruelly insulting her to his friend, Pete (GaTa). Six months later, their paths unexpectedly cross again when Bea's sister, Halle (Hadley Robinson), starts a relationship with Pete's sister, Claudia (Alexandra Shipp). After Halle and Claudia get engaged, they plan a wedding in Sydney, Australia, meaning that Bea and Ben will need to spend a weekend tolerating one another's company and being civil. Further complicating matters is the arrival of Ben's ex-girlfriend, Margaret (Charlee Fraser), and Bea's former fiancé, Jonathan (Darren Barnet). With Ben and Bea's friends trying to force them together, the pair pretend to be a couple, hoping the act will make Margaret jealous and stop Bea's parents from pushing her to make up with Jonathan. However, as Bea and Ben spend time together, they develop real feelings beyond their pretend relationship.

The rom-com formula is in full force here, with Gluck and Ilana Wolpert's hitting several predictable story beats before reaching its inevitable conclusion. As ever, the execution is more important than the originality in this genre, and Anyone But You is above-average in this respect. Without reaching the dizzying heights of something like Roman Holiday or When Harry Met Sally, Anyone But You is genuinely side-splitting and features a winning cast, including two likeable leads and a colourful supporting ensemble. Still fresh from the success of 2022's Top Gun: Maverick, Powell is funny and charming here, and he plays well alongside Sweeney (HBO's Euphoria), who is a surprisingly good lead. Their easygoing banter consistently sparkles, and they share convincing chemistry, which is a big deal for a rom-com. The supporting cast also features a few recognisable Australian performers, including a scene-stealing Bryan Brown and the reliably great Rachel Griffiths. It's particularly funny to watch Brown and GaTa interacting, and Brown handles his amusing dialogue with gusto. Another standout is Aussie actor Joe Davidson, who gleefully plays into the bogan stereotypes, consistently speaking in obscure Australian slang that will surely confuse international viewers.


With its gorgeous Australian setting, Anyone But You is more visually vibrant than any number of other run-of-the-mill Hollywood comedies. (Seriously, New York City and Los Angeles are viciously overused at this point.) Sydneysiders (this reviewer included) will get a kick out of seeing the city's various sights and sounds on-screen, picking out the locations that they recognise. Clocking in at a brisk 103 minutes, including credits, Anyone But You avoids unnecessary bloat, and Gluck shows a firm understanding of comedic timing. Too many modern comedies unnecessarily dwell on punchlines and contain too much redundant story material (Judd Apatow's movies are a prime example), but Gluck shows remarkable discipline, keeping the pace swift and never dwelling on a comedic set piece for too long. The enjoyable soundtrack is another highlight, with the movie making great use of Natasha Bedingfield's underrated banger, Unwritten.

Anyone But You
does not reinvent the rom-com genre, but it does not aspire to do so. It's a formulaic rom-com in the old-fashioned mould, and it delivers in terms of humour and charm while also offering breathtaking visuals. The movie might've benefitted from more genuine Australian cultural insight, as the content feels more like an outsider's perspective of the land down under, but this is about its only real flaw outside of the lack of narrative ambition.

7.0/10


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Supremely enjoyable '90s action/disaster flick

Posted : 21 hours, 14 minutes ago on 18 March 2024 10:50 (A review of Hard Rain)

Underrated and overlooked to an almost criminal extent, 1998's Hard Rain is a supremely enjoyable action film from the genre's old-school glory days. Written by Graham Yost (Speed, Broken Arrow), Hard Rain distinguishes itself from other genre pictures by setting the action in a natural disaster, making the film appear aesthetically similar to other '90s disaster pictures like Twister and Dante's Peak. The second directorial undertaking for cinematographer-turned-director Mikael Salomon (A Far Off Place), this is not a notable film or even a classic, but it is entertaining and unpretentious, making for a satisfying sit if you enjoy well-made genre efforts of this ilk. If you enjoy no-frills, nuts-and-bolts '90s action movies with one-liners, shootouts, creative kills and spectacular special effects, Hard Rain delivers with utmost confidence.


With heavy rainstorms resulting in dangerous flooding, an evacuation order is in place for Huntingburg, Indiana, coordinated by Sheriff Mike Collig (Randy Quaid) and his police officers. Tom (Christian Slater) and his uncle, Charlie (Edward Asner), work as armoured car drivers collecting money from the local banks. But when their vehicle becomes stuck in flood waters, the pair are ambushed by a group of armed robbers, led by Jim (Morgan Freeman), who are determined to acquire the millions of dollars they are transporting. One of Jim's men kills Charlie in a shootout, but Tom manages to escape, hiding the cash and fleeing while Jim's gang remains in hot pursuit. While fleeing, he is mistaken for a looter and taken to the police station, where he also meets a local named Karen (Minnie Driver), who refuses to leave the area.

If Hard Rain was made in the 2020s, it would probably look like Rob Cohen's PG-13, digital-looking Hurricane Height. Thankfully, however, Hard Rain is a gloriously old-fashioned '90s production without any phoney-looking digital trickery to behold. With a massive $70 million budget, the film comes to life through enormous sets, practical effects, location shooting, miniatures and matte paintings, and the illusion still stands over twenty years later despite a couple of imperfect shots. (For example, Slater's face being digitally imposed on a stuntman does not hold up.) The film even opens with a hugely impressive aerial tracking shot showing flooded areas and disaster preparation, ending on the street next to the town's police officers coordinating the evacuation. There's a strong sense of atmosphere, and it never feels like the action is taking place on sets or soundstages. Hard Rain is a blockbuster action film, but it is exceptionally well made, with exhilarating action sequences and palpable tension when the main characters are in danger. It might be B-grade in terms of content, but the execution is undeniably A-grade; it never looks like a cheap or nasty direct-to-video effort. Additionally, Hard Rain is an R-rated action film, and director Salomon does not hold back on the violence. The visceral punch to the shootouts makes the film a must-see for genre fans and further distinguishes it from this century's seemingly never-ending glut of vanilla, PG-13 action flicks.


Yost's screenplay is not airtight, as there are plot contrivances and conveniences to allow the protagonists to escape at a critical time, but it's not too distracting. Furthermore, despite the movie's relatively short 96-minute running time, a sense of repetition admittedly begins to sneak in towards the end, with the premise starting to wear a tad thin during the third act. However, the climax is worth the wait. Although none of the main characters are necessarily three-dimensional, the actors effectively bring their respective roles to life, with the charismatic Christian Slater (who also co-produced) making for a fun and engaging protagonist. Slater knows how to deliver a one-liner, leading to several fun moments of levity. (While desperately trying to acquire the keys to his jail cell, he finds a set of car keys and exclaims, "Perfect, I can drive out of here!") Alongside him, the always-reliable Morgan Freeman makes a terrific impression, handling the material with a straight face. Even though Freeman is an antagonist, his character is level-headed and easy to like. As the token female and love interest, Minnie Driver is perfectly adequate but unremarkable, while the late Edward Asner brings a touch of class to the role of Tom's uncle. Randy Quaid also appears as the town's sheriff, chewing the scenery with gusto to broadly play the somewhat thankless role. Meanwhile, the legendary Betty White is on hand as a stubborn resident who refuses to evacuate, adding ample colour and humour to the production in a way that only White can do.

Hard Rain is full of memorable moments and set pieces, from an enjoyable jet ski chase through a flooded school to an intense shootout in a cemetery and a showdown in a church. Although not on the same level as the best action or disaster movies from the 1990s, it's hugely entertaining and competently made, with fun action sequences and effective comic relief. In 2024, there's something intrinsically charming and nostalgic about old-school blockbusters like Hard Rain that look like proper films, have no political agenda, and manage to be entertaining without insulting anybody's intelligence.

7.3/10


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Regrettably falls short of its potential

Posted : 1 week ago on 11 March 2024 09:32 (A review of Next Goal Wins)

With the 2014 documentary Next Goal Wins bringing the story of the American Samoa soccer team into the mainstream, a film adaptation was virtually inevitable, especially since Hollywood loves true-life underdog tales. Finally arriving four years after principal photography (and after a round of reshoots), 2023's Next Goal Wins finds director Taika Waititi (who co-wrote the script with Iain Morris) undertaking another low-budget drama-comedy after his ill-advised return to Marvel with 2022's disastrous Thor: Love and Thunder. Next Goal Wins is a mostly charming watch, especially when Waititi concentrates on the amusing eccentricities of American Samoa life, but it does not quite coalesce into the emotional, uplifting sports story it is clearly striving to be. With noticeable editorial interference, an over-reliance on genre conventions, and Waititi's childish sense of humour, Next Goal Wins regrettably falls short of its potential.


Known as the world's worst soccer team, American Samoa infamously lost a game against the Australian Socceroos in 2001 with a humiliating score of 31-0. In 2011, with only four weeks until the World Cup qualifying games begin, the team decide it is time to bring in a new coach to whip them into shape. After contacting the American Football Federation, they send a coach in the form of former Dutch-American player Thomas Rongen (Michael Fassbender), who resents the job offer but only accepts to avoid unemployment. Thomas tries to integrate into the quirky, profoundly religious country but finds the coaching position frustrating and unrewarding, with his hard work seemingly adding up to nothing. Resisting the urge to quit, Thomas continues his seemingly impossible task of training the untested athletes, who hope to make history by scoring a single goal.

The issues with Next Goal Wins begin with Waititi, who serves as the film's narrator in a goofy, over-the-top outfit, and espousing a quirky voice. The director placing himself in this role reeks of egotism, and the narration itself is entirely redundant, unnecessarily overexplaining parts of the story. Furthermore, Waititi's frivolous sense of humour is hit-and-miss, clashing with the story's emotional centre. Although various jokes do land, it often feels like the director is constantly on the hunt for another forced laugh instead of focusing on engaging storytelling. Furthermore, due to the requirements of the genre, Waititi and Morris change the story by forcing unnecessary conflict. See, in real life, Thomas volunteered to coach American Samoa and embraced the opportunity, but this dramatisation shows him being coerced into taking the job and consistently wanting to quit. It all leads to a big, important climactic moment, but the real story is far more emotionally honest and does not need additional conflict. The documentary is more heartwarming because the empathetic Thomas believed in the team and wanted to see them succeed.


Signs of editorial fiddling are present throughout Next Goal Wins. It feels as if aspects of Thomas's personal life were removed in post-production - particularly glaring is the fact that his ex-wife, Gail (Elisabeth Moss), only receives a glorified cameo and should play a more considerable part in the story. Also disappointing is the treatment of transgender player Jaiyah (Kaimana), who became the first transgender player to compete in a World Cup qualifier. Jaiyah's experience could support an entire movie of its own, and she should be the protagonist. Instead, even though she feels significant in the first half through fictionalised tension with Thomas, she ends up underused, with the second half concentrating more on Thomas's personal experiences.

Next Goal Wins is held back by ample flaws and miscalculations, but the movie nevertheless manages to work on its own terms as a quirky underdog sports tale. Performances are uniformly spirited, with Fassbender approaching the material with a straight face and doing his best to inject dramatic heft into the proceedings. Will Arnett, who was added during reshoots to replace Armie Hammer, also has his moments, while Kiwi actor Rhys Darby scores a few laughs. The American Samoa characters are fantastic, with Oscar Kightley a particular standout as the optimistic football federation chief, Tavota. The ensemble cast's ample charm keeps the picture watchable, and there are numerous comedic moments that truly work. Also worth mentioning are Angus Sampson and Luke Hemsworth, who have uproarious cameos as a pair of Australian larrikins. The technical presentation is lovely, with cinematographer Lachlan Milne gorgeously capturing the breathtaking scenery and locales of Hawaii, which stands in for American Samoa. There are also some terrific song choices, including Dolly Parton's 9 to 5 as the team begins training (though Sia's Chandelier is anachronistic, given it was released three years after the story's events took place), and the soccer sequences are competently staged and engaging.


No surprises here: the 2014 documentary of the same name is far superior, and it is disappointing that this film adaptation sacrifices the true story's rawness and honesty for something so glaringly conventional. Nevertheless, Next Goal Wins has its merits and is worth watching. As clichéd as it is, the emotional beats remain touching, and there's a nice message about happiness and spirituality that should leave you with a smile on your face. Those unfamiliar with the documentary and the real story will probably get the most mileage from this adaptation, as those who have seen the documentary will immediately recognise the mostly egregious changes.

6.6/10


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A classic, hard-boiled crime-thriller

Posted : 2 weeks ago on 4 March 2024 12:54 (A review of Charley Varrick)

An underrated crime-thriller from director Don Siegel (Dirty Harry), 1973's Charley Varrick is a cracking film that remains as potent and enjoyable as ever over five decades after its release. Also known as The Last of the Independents, a title that feeds into the movie's thematic undertones, Charley Varrick is one of those hard-boiled, no-nonsense '70s thrillers aimed primarily at red-blooded males, reminiscent of The Taking of Pelham One Two Three or Siegel's Escape from Alcatraz. Tightly constructed, occasionally amusing, and with savage bursts of violence, there is plenty to recommend about this memorable cult classic.


A self-employed cropduster and former stunt pilot, Charley Varrick (Walter Matthau) stages a bank robbery in a small New Mexico town with help from his accomplices, including Harman (Andy Robinson) and his wife, Nadine (Jacqueline Scott). Nadine is mortally wounded in a shootout with local police officers, leaving Charley and Harman to split the cash after making their getaway. However, upon arriving at Charley's mobile home, they discover that their earnings are far higher than anticipated, with the haul amounting to three-quarters of a million dollars. Despite Harman's excitement at their newfound riches, Charley suspects the money is dirty and belongs to the mob, meaning their lives are now in grave danger. With local law enforcement investigating the crime and the media reporting that the robbers only made off with $2,000, a mafia hitman known as Molly (Joe Don Baker) is hired to recover the money by any means necessary.

With a screenplay credited to Dean Riesner (High Plains Drifter) and Howard Rodman (Coogan's Bluff), Charley Varrick is told with superb precision and clarity, and there is scarcely any fat on the movie's bones. Siegel does not waste any time, diving straight into the bank robbery that occurs in the first scene, and sufficiently developing the characters after the fact without grinding the pace to a halt. Indeed, instead of cutesy scenes with the leads before the robbery, the movie neatly sketches each character through the action, with tensions running high between Charley and Harman while Molly ruthlessly hunts for information and leads. Miraculously, too, the movie does not take the characters for idiots - even the police officers are competent. Virtually every scene throughout Charley Varrick feels essential and serves a purpose, and Siegel keeps things moving at a confident pace, with the picture carrying a refined brevity that allows the beefy 110-minute running time to fly by. It does begin to drag a tad during the final act, but the climactic showdown is well worth the wait.


The technical presentation is spectacular, with Siegel demonstrating his superlative skill and expertise in both the action set pieces and the smaller, more intense character-based moments. The opening bank robbery is a masterclass of tension-building and no-nonsense precision, and it is all the more effective after the innocuous opening title sequence showing everyday people going about their regular lives. Siegel does not hold back on the violence, which is vicious and shocking but nevertheless tasteful, as he does not dwell on the bloodshed. The destructive vehicular stunts peppered throughout the movie hold up to 21st-century scrutiny, with a standout early car chase and a climactic skirmish involving Charley's plane. Lalo Schifrin's score adds another layer of intensity and flavour, enhancing the picture's cool '70s vibe.

Charley is a great character, and it is a pleasure to watch him execute his master plan to evade both the mob and the police. Cunning and focused, Charley manages to outsmart his pursuers by staying a few steps ahead of them, and it is a fantastic role for the matchless Walter Matthau. The only misstep is portraying Charley as a ladies' man - Matthau is a great actor, but he is not a sophisticated, charming James Bond type. He is well-matched with the fantastic Joe Don Baker, who gives Molly a sadistic and violent edge. Also worth noting is Andy Robinson, who was so spine-tingling as a Zodiac-esque killer in Dirty Harry and who here plays Harman as a naive but antsy and overexcited accomplice who cannot appreciate the gravity of the situation. Robinson is well-matched with Matthau's understated, calculated demeanour, and their scenes together are consistently compelling. Another standout is John Vernon as the authoritative mafia boss, Maynard Boyle, maintaining a calm exterior that masks a ruthless and dangerous persona underneath.


The picture's original title, The Last of the Independents, is written on Charley's cropdusting work van, and invokes the theme at the heart of this story: independent, family-run businesses versus organised corporations. The script implies that Charley is destitute and finds it impossible to make an honest living due to big companies taking over, and his decision to rob the bank is an attack against what he calls "the combines," even asking the bank employees if they are willing to die over somebody else's money. It's a subtle but effective message, giving the movie a touch of cultural relevance. Charley Varrick is a classic manly movie in every sense of the word, bolstered by the pitch-perfect performances, engaging dialogue, smooth storytelling and outstanding action set pieces. It deserves more attention and recognition than it appears to receive.

7.9/10


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Hard to watch and harder to forget

Posted : 1 month ago on 14 February 2024 06:19 (A review of Threads)

A controversial and unforgettable British television movie from 1984, Threads is arguably one of the only films that indisputably lives up to the hype of being traumatising and unsettling beyond words. Although not a horror movie in the classical sense, as there are no ghosts or demons, it is undoubtedly a horror movie that shows the horrifying impact and aftermath of nuclear war with haunting results. Exhaustively and meticulously researched by director Mick Jackson (who previously oversaw the documentary A Guide to Armageddon), Threads is the first film of its kind to depict a nuclear winter. The film was broadcast a year after the similarly-themed The Day After hit television screens across the globe, but Threads takes a different approach to the depiction of a nuclear attack, with Jackson creating more of a quasi-documentary instead of a straightforward dramatisation. Threads is a confronting and harrowing viewing experience, and it is not something you will want to revisit frequently, but its relevance continues to endure in the 21st Century, and it is an essential watch.


Written by author and playwright Barry Hines, Threads is not a globe-trotting disaster movie in the vein of a Roland Emmerich production. Instead, it remains solely focused on the city of Sheffield in Northern England. Young adults Ruth Beckett (Karen Meagher) and Jimmy Kemp (Reece Dinsdale) discover an unplanned pregnancy and decide to marry, planning for the baby's arrival and dealing with their respective families. Sheffield is also home to strategic military targets, including steel production factories and an R.A.F. base. A conflict arises between the Soviet Union and the United States of America, and, despite attempts to keep things peaceful, it culminates with nuclear blasts that bring an end to civilisation as we know it. Millions are killed across Europe in an instant, while the survivors face an uncertain future of food shortages, a lack of shelter, radiation poisoning, and endless labour.

Threads does not concern itself with the politics behind the war. Instead, it is more about the experiences of innocent civilians who can only helplessly watch the news coverage of the senseless conflict, endure growing government restrictions, and fight for survival after the nuclear blast obliterates virtually everything. The escalation of the situation is highly compelling, with Jackson portraying what could conceivably occur before, during, and after a nuclear conflict. Scenes of panic buying, travel restrictions, and anti-war demonstrations (that are violently shut down by police) look incredibly eerie and uncanny after the pandemic, which is a testament to the veracity of Jackson's exhaustive research. Furthermore, instead of endless money shots of explosions decimating landmarks, Jackson concentrates on the people caught in the nuclear blast, with grotesque and disturbing imagery of bodies being melted, a woman losing control of her bladder, and people helplessly trying to assist one another. Plus, scenes of mass panic and hysteria are genuinely distressing.


Unfortunately, Threads lacks a compelling protagonist to guide us through the horrific events, as this is more of an ensemble piece comprised of various vignettes with a range of characters, some of whom are recurring but none of whom we intimately grow to know. As a result, viewers are kept at arm's length, which is probably the intention as the movie plays out like a documentary, but it is somewhat disappointing nevertheless. The ensemble is gargantuan, and Jackson deliberately chose unknown actors to fill the various roles to heighten the film's impact. Thankfully, there is no single dud performer in sight, with all the actors confidently hitting their marks. This is most commendable in the aftermath of the nuclear blast, with the actors needing to convey the sheer depression and hopelessness of the nuclear winter, as well as radiation sickness and sheer weakness from malnutrition. Jackson convincingly portrays people from all walks of life, with no artificiality or showiness in sight, enhancing the production's laudable realism.

Accomplished on a small budget, Threads was shot on grainy 16mm film stock, which undeniably works in the film's favour. The dreary and unpolished 16mm photography augments the horrors and creates a realistic sense of immediacy that crisp digital cinematography cannot come close to achieving. Jackson intercuts lots of archival material throughout the movie, including shots of military forces, planes, and explosions, solidifying the documentary approach to the subject matter. Additionally, despite the limited budget, the makeup and prosthetics are effective and, at times, difficult to look at. Not all of the special effects stand up to contemporary scrutiny, as the compositing is a little on the dated side when the first bomb hits near Sheffield, but this does not matter in the slightest. Threads does not live and die by its special effects, as it is not about the money shots. The intimate dramatic scenes between characters are the main focus, and Jackson scarcely puts a foot wrong during these sequences.


Anybody seeking a conventionally entertaining disaster or apocalypse movie should steer clear of Threads, as this is not an enjoyable film or even a good-looking one, which is entirely by design. With any hope, this is the closest that any of us will come to experiencing a nuclear winter. Indeed, as the years continue to go by after the blast, life might continue for some of the characters, but it is arguable whether or not life is actually worth living in this sort of post-apocalyptic world. Gut-wrenching and disturbing, Threads is hard to watch and even harder to forget.


8.0/10



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Heartbreakingly bland and bloodless sequel

Posted : 1 month ago on 14 February 2024 04:51 (A review of RoboCop 3)

RoboCop 3 feels like a RoboCop movie created by a filmmaking team who do not understand what made the brand so appealing in the first place. A PG-13 instalment without lead actor Peter Weller, this second sequel to 1987's RoboCop is a completely generic, dull action flick devoid of the sharp societal commentary and deliriously entertaining ultraviolence that characterised its predecessors. Although the bones of an interesting story idea are present, the execution is downright disastrous, with new writer-director Fred Dekker disposing of the RoboCop franchise's trademark identity but never carving out a distinct or interesting identity in its place. RoboCop 3 is heartbreakingly bland and bloodless, but it is still too dark and violent for children, begging the question of who the target audience is supposed to be. Despite production taking place in 1991, the movie languished in post-production for two years due to Orion Pictures filing for bankruptcy before RoboCop 3 finally snuck into theatres with minimal fanfare in 1993. Frankly, Orion should have cancelled the film instead.


The unscrupulous conglomerate Omni Consumer Products, or OCP, plan to demolish the slums of Detroit and build the utopian Delta City. To finance the plan, the Japanese Kanemitsu Corporation buys a controlling stake in OCP and begins pushing ahead. However, demolishing Old Detroit involves evicting the city's poverty-stricken residents who have no desire to leave their homes, prompting an underground resistance movement to stand up and fight. With the Detroit Police Department unwilling to enforce mass eviction, OCP commissions a heavily armed private security force known as the Urban Rehabilitators to forcibly and violently remove the residents of condemned Detroit neighbourhoods. Alex Murphy/RoboCop (Robert Burke) and his partner, Anne Lewis (Nany Allen), try to defend civilians against the Urban Rehabilitators, but Anne is mortally wounded in the ensuing gunfight, and RoboCop is severely damaged. However, resistance soldiers save RoboCop, and the robotic law enforcement officer joins the fight against OCP. Meanwhile, the Kanemitsu Corporation have ninja androids at their disposal.

Dekker is undeniably talented, with Night of the Creeps and The Monster Squad to his name, but he is hopelessly out of his element with RoboCop 3, particularly with the studio's creative demands (neutered violence, less satire, more kid-friendly) hindering the endeavour from the get-go. Worse, despite comic-book luminary Frank Miller receiving a writing credit, not many of his ideas made it to the finished film after Dekker's rewrites. RoboCop 3 retains some of the franchise's recognisable elements, including news reports, but it comes off as mimicry instead of an organic continuation of director Paul Verhoeven's iconic original film. Additionally, Dekker himself acknowledges that Murphy's story was effectively wrapped up in the previous movies, leaving little for RoboCop 3 to explore. As a result, RoboCop feels like an incidental character here, with the film focusing more on OCP and the Urban Rehabilitators, and with no heart or emotion to elevate the material above the superficial. Dekker tries to create an emotional anchor with Lewis's death, but her demise feels surprisingly hollow, and she is quickly forgotten about. Plus, the dialogue is tin-eared and dreary, there is no dark humour, and the movie horrendously drags between the infrequent action beats.


With a PG-13 rating in place, RoboCop 3 comes up short in terms of action, with only a few set pieces scattered throughout, none of which make any lasting impact. For the most part, RoboCop 3 is often stuck in dialogue and exposition mode, making it an exceedingly dreary bore. To Dekker's credit, a few of the on-screen deaths make use of blood squibs, making it more violent than any PG-13 movie to see the light of day in the 21st Century. However, deaths frequently happen off-screen during the big set pieces, and the blood squibs are noticeably tame. (One character appears to simply have a tomato sauce stain on his shirt instead of a gushing chest wound.) The toned-down violence looks even worse compared to the first two RoboCop movies, which were rigorously trimmed to avoid an NC-17 rating. With RoboCop 3's studio-mandated content taming, Detroit no longer looks like an amoral hellhole populated by dangerous murderers and criminals, and the city lacks a grimy, sinister personality. There is also no visceral punch to the action sequences, making everything feel vanilla and boring. It is a fundamental flaw from which RoboCop 3 never recovers. Furthermore, RoboCop 3 betrays the characters and the established lore, from Lewis walking away during a discussion about erasing Murphy's memory, to a little girl reprogramming the iconic ED-209 in mere seconds.

After Orion Pictures was bought out, the new releasing studio did not allocate enough money to properly finish and polish the special effects. Combined with the limited shooting budget resulting in cheap-looking sets and basic production design, a noticeable cheapness plagues RoboCop 3. The unfinished special effects are particularly apparent during the climax. Although RoboCop's flight suit is an intriguing and fun idea, the execution is incredibly ropey, with slipshod compositing that never looks convincing for a single frame. Likewise, the ninja androids are a fun-as-hell idea, but the ensuing fights are short and underwhelming. Dekker wanted to punch up these scenes by bringing in an Asian stunt team, but the restricted budget prevented this. At the very least, RoboCop composer Basil Poledouris returns here and bestows the production with the franchise's memorable music cues and themes. Additionally, cinematographer Gary B. Kibbe (They Live, Prince of Darkness) does what he can, but the production design and the script fail to serve him, with too many daylight scenes and with eccentric punk rockers now inhabiting the streets of Detroit.


With Peter Weller unable to return due to scheduling conflicts with David Lynch's Naked Lunch, Robert Burke takes over the titular character here, having been selected mainly for his body measurements that allowed him to wear the existing RoboCop suits (the production could not afford to create new suits). Even though Burke gives it his all, he is a subpar substitute for Weller, feeling more like an unmemorable placeholder. Burke is not our RoboCop - he lacks the authoritative voice and the strong jawline that made his predecessor a perfect fit for the role. A few original cast members return here, including Nancy Allen, but she does not achieve much beyond being killed by the leader of the Urban Rehabilitators, played by British performer John Castle. Rip Torn also joins the cast as OCP's CEO, and he is perfectly serviceable playing a ruthless corporate type. There are other intriguing additions to the ensemble, including CCH Pounder and Stephen Root who play resistance fighters, but they are not enough to enliven the uninspired screenplay.

With uninteresting new characters, some woeful special effects, and dull action scenes, RoboCop 3 is a toothless sequel that is not worthy of the iconic masterpiece that spawned it. In short, RoboCop 3 is not fun enough to be considered a guilty pleasure, nor is it smart or skilful enough to be considered anything substantive. Despite the commercially-friendly PG-13 rating, RoboCop 3 underperformed at the box office and, ironically, was the least profitable film in the franchise. The RoboCop franchise continued with games, TV shows and a 2014 remake, but nothing comes close to the quality of the original 1987 movie.

3.2/10


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Entertaining and witty, but not essential

Posted : 1 month, 1 week ago on 6 February 2024 06:25 (A review of Cloudy with a Chance of Meatballs 2)

Although a sequel to 2009's Cloudy with a Chance of Meatballs makes commercial sense due to its modest box office success, it felt like a satisfying standalone story with seemingly no logical place for a follow-up to go. Plus, original writer-directors Phil Lord and Chris Miller did not return in a significant creative capacity here, making 2013's Cloudy with a Chance of Meatballs 2 appear even more like a purely profit-driven endeavour. Nevertheless, the resulting movie is surprisingly entertaining and witty, and it feels like an organic continuation of the original effort, even if it is not exactly an essential watch.


The story picks up right where its predecessor ended, finding the people of Swallow Falls ready to recover after the FLDSMDFR disaster. To tackle the mammoth task of removing the giant food all over the island, Live Corp CEO Chester V (Will Forte) sends in a cleaning team, and offers a corporate job to Flint Lockwood (Bill Hader), the creator of the FLDSMDFR. Chester’s team soon disappears, and their desperate final video messages show sentient food monsters, or foodimals, running rampant all over Swallow Falls, suggesting that the FLDSMDFR is still functioning. If the foodimals continue to evolve and learn how to swim, they could threaten humanity. After Flint suffers great humiliation when he misses out on a promotion, he receives a much-needed chance to redeem himself when Chester sends the eager young inventor back to Swallow Falls to destroy his invention for good. Setting off with girlfriend Sam (Anna Faris), father Tim (James Caan), Officer Earl Devereaux (Terry Crews), Manny (Benjamin Bratt) and Brent (Andy Samberg), Flint travels into dangerous territory. However, Live Corp has nefarious plans for the island, with Chester and his orangutan assistant, Barb (Kristen Schaal), following Flint's crew to Swallow Falls.

With Lord and Miller receiving only story and executive producer credits, Cody Cameron and Kris Pearn take over directorial duties for Cloudy with a Chance of Meatballs 2, working from a script by John Francis Daley, Jonathan M. Goldstein and newcomer Erica Rivinoja. Whereas the original Cloudy with a Chance of Meatballs was an amusing take on classic disaster films, Cloudy 2 presents an animated spin on the science-gone-wrong monster movie, playing out with shades of Aliens, Jurassic Park and King Kong, with the characters encountering all sorts of exotic and dangerous creatures as they traverse the island. Plus, Sam's costume during the expedition is identical to Laura Dern's outfit in Jurassic Park. Unfortunately, Cloudy 2 lacks the dramatic and emotional material that elevated the first flick above the ordinary, and it feels more like an extended epilogue than a new, dramatically satisfying story. There is something here about the value of staying true to yourself, as Flint alienates his family and friends in his attempts to impress Chester, but it is not as effective as the social commentary of the first movie, which was about consumerism and the dangers of overconsumption. Cloudy 2 also has a half-hearted pro-animal message as the foodimals are not the villains here, but this stuff feels perfunctory and safe. Without emotion or heart, this sequel is more of a superficial experience.


Thankfully, Cloudy with a Chance of Meatballs 2 retains the aesthetic style of the original picture, making it feel like a seamless companion piece. Despite a lower budget than the first flick, this is a vibrant, visually lush action-adventure with eye-catching animation, creative character designs and inventive food-based environments, while the writers go nuts with puntastic foodimal names. (There are tacodiles, shrimpanzees and watermelophants, to name a few.) The foodimals are fun to watch, with new creatures frequently appearing to invigorate the proceedings as the characters explore Swallow Falls. Over a hundred foodimals were designed for the movie, but less than half of them were actually used. A bit of corporate satire also sneaks into the flick, with the screenplay lampooning Silicon Valley, but puns, wordplay and one-liners are the script's primary focus, and it does deliver ample laughs. Although marginally longer than the first movie, Cloudy 2 only clocks in at a bit over 80 minutes, excluding credits, and the directors maintain high energy and a rapid pace throughout the picture. The plot is not always engaging, but there are almost always colourful visuals and amusing background details to behold. The soundtrack provides further pleasures, with composer Mark Mothersbaugh making his return, and with several wonderful songs appearing throughout the movie, including Paul McCartney's lovely song New, and the obvious but still amusing Yummy Yummy Yummy by Ohio Express.

The voice cast remains as appealing as ever, though the spark between Hader and Faris is not quite as pronounced as it was in the first movie. Caan remains fantastic and grounded as Flint's father, while Samberg is predictably manic, hamming it up and scoring many laughs along the way. Forte, who voiced another character in the original film, makes for a great villain here, giving Chester V plenty of spunk and personality. Also worth noting is co-director Cody Cameron, who voices Barry the Strawberry and all of the Pickles. Cameron's innocent, childlike voice is a great fit for the cute little characters. Meanwhile, Terry Crews is present here in place of Mr. T, who declined to return as Officer Devereaux and is the only original cast member who was recast. Crews is a gifted comedian, and he forgoes mimicry to make the role his own, with the animation team also incorporating his physical mannerisms.


Cloudy with a Chance of Meatballs 2 is not as sweet or hilarious as the original movie, and it is a lighter flick that concentrates more on gags and colourful characters than thematic resonance. In the hit-and-miss realm of animated sequels, however, Cloudy 2 is above average, offering enough cartoonish goofiness to make it an entertaining watch for kids and adults alike. Just do not expect a Pixar-level sequel. It is doubtful that Cloudy with a Chance of Meatballs needed to be a franchise, but with one great movie and one worthwhile sequel, there are certainly worse places to look for family-friendly entertainment. A third movie did not materialise despite a completed script (with the title Planet of the Grapes), but the series did continue in the form of a poorly-received Netflix series without any of the original voice actors.

6.6/10



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A winner in every respect

Posted : 1 month, 1 week ago on 6 February 2024 06:14 (A review of Cloudy with a Chance of Meatballs)

Phil Lord and Christopher Miller's feature-film debut as writers and directors, 2009's Cloudy with a Chance of Meatballs adapts Judi Barrett and Ron Barrett's beloved 1978 children's book with delightful results, making for an entertaining, hilarious and heartfelt animated picture that gives Pixar a run for their money. With the ability to appeal to adults and children alike, Cloudy with a Chance of Meatballs is energetic and frenetically paced with sumptuous visuals, but Lord and Miller thankfully do not overlook character development or storytelling, ensuring that the movie has staying power beyond its surface-level pleasures. Lord and Miller structure the picture like an old-fashioned disaster film, imaginatively parodying and paying homage to the likes of Twister, Armageddon, The Core and Independence Day.


An aspiring inventor, Flint Lockwood (Bill Hader) lives on the tiny island of Swallow Falls in the middle of the Atlantic Ocean. The island's economy relies on the fishing of sardines, but the local cannery permanently closes after the world realises that sardines are super gross, leaving the locals of Swallow Falls with nothing to eat but sardines. Refusing to work at a sardine store owned by his father (James Caan), Flint seeks to make his mark on the world by inventing the "Flint Lockwood Diatonic Super Mutating Dynamic Food Replicator" (or FLDSMDFR), which transforms water into food. Inadvertently launching his machine into the sky, the FLDSMDFR is a huge success, resulting in junk food continually raining down from the clouds, delighting the residents and the shifty Mayor Shelbourne (Bruce Campbell). An amateur weather reporter named Sam Sparks (Anna Faris) is present to cover the action, and grows closer to Flint as the two begin to spend time together. However, as the mayor bullies Flint to deliver more food varieties, the food becomes increasingly larger and out of control, putting the town - and the rest of the world - in danger of destruction.

Lord and Miller use the book as a loose framework, expanding the characters and story for this big-screen interpretation while anchoring the narrative in unexpected emotion and heart. Flint is a relatable and endearing protagonist who strives to prove himself to the residents of Swallow Falls, staying true to his aspirations despite enduring ridicule as a child for inventing spray-on shoes that he cannot remove. After the death of Flint's supportive and understanding mother, he yearns for validation from his bewildered, hard-working father, creating an emotional core that elevates the narrative above the superficial. It helps that the characters feel real and fleshed out, with Flint's father even demonstrating a complete technological ignorance that many viewers will relate to. Furthermore, the story's underlying messages about the dangers of overindulgence, junk food addiction and societal excess do not come across as preachy; instead, they provide agreeable substance to supplement the colourful, food-filled chaos.


Cloudy with a Chance of Meatballs does not outstay its welcome, with the film clocking in at under 80 minutes, excluding credits. Whereas any number of other animated movies are padded out with needless supporting characters to provide cheap and easy laughs, Lord and Miller stay focused on Flint throughout the narrative, and no scenes or moments feel superfluous or boring. The momentum is extraordinary, with the feverish visual style immensely helping to maintain a strong sense of pacing; the virtual camera scarcely stops moving, and there are visual gags galore. The CGI is wonderfully stylised instead of photorealistic, though the textures are striking and almost leap off the screen, which is augmented even further by the 3D presentation. During the action-packed climax, the filmmakers merrily embrace the possibilities of a food armageddon, showing all manner of food raining down on people in recognisable cities around the world. A sandwich is impaled on the Eiffel Tower, and a giant fortune cookie falls on the Great Wall of China, while the presidents on Mount Rushmore are hit with pies. One news reporter even points out that the chaos is hitting famous landmarks first, a savvy commentary on the tendency for disaster movies to only show the destruction of landmarks. Mark Mothersbaugh's whimsical original score adds further flavour to the production, perfectly complementing the lovely visual feast on display.

The ensemble is note-perfect, demonstrating the virtues of selecting voice actors for their talent instead of their star power. Hader is a gifted comic performer, making for an earnest and sympathetic underdog hero who feels distinctly human. Faris is equally excellent, delivering an endearing voice performance teeming with vibrancy and wit. Flint and Sam's relationship gives further heart to the picture; the pair light up the screen with their sweet and playful dialogue, making for enchanting semi-romantic partners. The late James Caan is another standout as Flint's father, bringing genuine gravitas and humanity to what could have been a clichéd, one-dimensional role. Bruce Campbell and Andy Samberg add further colour to the production, with Samberg enthusiastically clowning it up as the infantile namesake of the Baby Brent Sardines cannery. The iconic Mr. T is also on hand playing tough-as-nails local police officer Earl Devereaux. With his immediately recognisable voice, he embraces the inherent absurdity of the material and scores many laughs along the way. Another key player is Neil Patrick Harris as the voice of Flint's pet monkey, Steve, who can communicate using a translator invented by Flint.


Over a decade later, Cloudy with a Chance of Meatballs confidently stands the test of time in its visual construction and screenplay, with Lord and Miller relying on good old-fashioned wit to score laughs, rather than a barrage of pop-culture references. There is so much to enjoy here, from a whimsy scene of Flint and Sam frolicking in a mansion made of Jell-O to the wonderful end-credit song (Raining Sunshine by Miranda Cosgrove) that closes the movie on a high note. With its appealing characters, effective humour, lovely visuals and delicious-looking food of all kinds, Cloudy with a Chance of Meatballs is a winner in every respect.

8.3/10


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A sweet treat worth savouring

Posted : 1 month, 2 weeks ago on 30 January 2024 07:12 (A review of Wonka)

A prequel movie to Roald Dahl's Willy Wonka and the Chocolate Factory exploring the origins of the titular character was always going to be a tricky proposition, as such films typically lack a compelling reason to exist beyond financial aspirations. But in the hands of Paddington and Paddington 2 director Paul King, who co-wrote the script with Simon Farnaby, 2023's Wonka exceeds all reasonable expectations. A musical fantasy flick reminiscent of 1971's Willy Wonka and the Chocolate Factory, Wonka tells a worthwhile, engaging original story about the iconic chocolatier, and King brings the material to life with his usual directorial excellence. This is not a disposable origin story held back by the format's limitations and frustrations; instead, it is merely a new story based on Dahl's characters. Although Wonka is family-friendly, it is a rare type of children's movie with vast age appeal, as it does not pander to younger viewers. King concentrates on good old-fashioned storytelling, finding unexpected heart and emotion, making this one of 2023's standout movies.


An aspiring magician, inventor and chocolatier, Willy Wonka (Timothée Chalamet) arrives in Europe with the hopes of opening a shop to sell his magical chocolates. Stuck on the freezing cold streets without any money, Wonka is pressured into staying at a boarding house run by Mrs. Scrubitt (Olivia Colman) and her henchman, Bleacher (Tom Davis). However, Wonka receives an exorbitant bill he cannot pay, forcing him to work off his debt in Scrubitt's workhouse alongside an orphan named Noodle (Calah Lane) and several others who were duped by the promise of a cheap room for a night. Wonka also runs into trouble trying to sell his chocolates on the streets, as the business is controlled by the ruthless "Chocolate Cartel" consisting of three rival chocolate-makers: Slugworth (Paterson Joseph), Fickelgruber (Mathew Baynton), and Prodnose (Matt Lucas). The Cartel uses their vast supply of chocolate to bribe the chocolate-addicted Chief of Police (Keegan-Michael Key), who agrees to do whatever he can to stop Wonka from selling his treats. Undeterred, Wonka teams up with Noodle and the others at the workhouse to go up against the Cartel and escape Scrubitt's clutches.

Set 25 years before the events of the original novel, Wonka is not an origin story in the strictest sense. Here, Wonka is already an accomplished chocolate maker with a love for chocolate, and he possesses the tools and exotic ingredients to create delectable treats that are an instant hit with the public. The only thing missing is a place to sell his wares. Flashbacks illuminate parts of Wonka's childhood, specifically his relationship with his mother (Sally Hawkins) who made incredible chocolate, but they are used sparingly to enhance the story and establish the picture's emotional core. It's a far more agreeable angle than an entire movie about Wonka developing a love for chocolate, learning how to make it and travelling the world to harvest ingredients. King and Farnaby's screenplay is tonally reminiscent of the Paddington movies in all the right ways, with quirky characters (Rowan Atkinson and The Mighty Boosh's Rich Fulcher are highlights), sweet friendships (Wonka and Noodle are a terrific pairing) and tender humour. The story's heart derives from Wonka's beloved mother, as the young man seeks to open a chocolate shop as a tribute to her, and he carries around the last chocolate bar she ever gave him. The payoff is overwhelmingly affecting.


The clear visual inspiration for Wonka is 1971's Willy Wonka and the Chocolate Factory, from Chalamet's costume to Hugh Grant's Oompa-Loompa (named Lofty), and a new rendition of the song Pure Imagination, notes of which Joby Talbot integrates into the score. Speaking of the music, the new songs written by Neil Hannon are a thorough delight, organically progressing the story and providing valuable character development. Wonka further benefits from the consistently eye-catching cinematography courtesy of the unparalleled Chung Chung-hoon (The Handmaiden, It, Last Night in Soho). The movie was in post-production for almost two years, and the carefully constructed visuals reflect this. Whereas most big-budget blockbusters suffer from shoddy visual effects due to rushed production schedules, Wonka looks virtually flawless, and it is often impossible to discern where the live-action elements end and the CGI begins. Just take, for example, the digitally-created Lofty, who looks photorealistic. Although Grant criticised the motion-capture process, Lofty is a miracle of digital artistry that is immaculately integrated into the live-action photography. There's a wonderful storybook quality to the gorgeous visual style, with the picture looking theatrical instead of gritty or realistic, which suits King's family-friendly tonal choices and the musical nature of the production.

The role of Willy Wonka is an intimidating ask for a young performer, but Chalamet absolutely nails it, confidently handling both the dramatic material and the songs. Chalamet is a disarming Wonka who is easy to love and empathise with, and he undeniably looks the part. Impressively, Chalamet manages to create his own fully fleshed-out interpretation of the character instead of a performance that feels like mere mimicry. An extraordinary supporting cast surrounds him, with both seasoned performers and promising newcomers filling out the ensemble. Grant is the most notable, making the most of his limited screen time, emanating charisma and effortlessly gaining laughs through dialogue and subtle body language. Even lesser-known actors like Tom Davis make a positive impression, and it's commendable that each actor manages to carve out distinctive, lived-in characters with unique personalities and traits.


Colourful, funny, earnest and incredibly charming, Wonka ticks almost every box and is easily the best movie featuring Willy Wonka to date, surpassing both previous adaptations that were not particularly good in the first place. Although the picture threatens to fall apart during the action-y climax, King does not let the material out of his control, leading to a finale that tugs on the heartstrings without feeling forced or manipulative. With the Paddington team working their magic here, Wonka is a sweet treat worth savouring.

8.4/10



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A technically immaculate, haunting action-thriller

Posted : 1 month, 3 weeks ago on 26 January 2024 12:20 (A review of Sicario (2015))

Sicario is one of 2015's must-see movies, a modestly budgeted action-thriller in a similar vein to Steven Soderbergh's Traffic and the best films of Michael Mann. With the acclaimed Denis Villeneuve (Prisoners, Enemy) at the helm and with a screenplay by Taylor Sheridan, Sicario is more than a formulaic action-thriller - it is a technically immaculate and unforgettably haunting exploration of the human mind's dark recesses set against the backdrop of America's war on drugs. Ethical conundrums are common, blurring the line between right and wrong as the protagonist is absorbed into a dark, morally grey realm but is sufficiently satiated by the promise of results after years of slow progress and police fatalities. Sicario is an audio-visual masterpiece with Villeneuve at the top of his game, but it is a bleak movie featuring characters who lack warmth, making it easy to admire but hard to genuinely love.


An FBI Agent concentrating her efforts on Mexican drug trafficking, Kate Macer (Emily Blunt) is shaken by a discovery in suburban Arizona, raiding a house full of corpses that is also rigged with an explosive device that claims the lives of two law enforcement officers. Determined to apprehend the criminals at the top of the food chain, Kate is recommended for and joins a covert Joint Task Force, working alongside CIA Officer Matt Graver (Josh Brolin), who gives her limited details about the mission. Kate is full of moralistic, by-the-book ideals, finding the task force's methods - especially those of secretive, highly-skilled assassin Alejandro Gillick (Benicio del Toro) - frustratingly questionable. As Kate begins questioning her role in the dangerous operation, she finds it difficult to trust the men of authority surrounding her.

The screenwriting debut for Taylor Sheridan, who went on to pen Hell or High Water and Wind River, Sicario paints a searing picture of the ostensibly unwinnable war against violence and drugs filtered through Kate's eyes. Kate is skilled but sheltered and naïve, and she finds herself unprepared to witness the "good guys" using worryingly unconventional tactics throughout the operation. Just as Kate is mostly ignorant of the operational specifics beyond fighting the war on drugs, the script likewise leaves viewers in the dark to observe the ethically questionable abyss of violence that seemingly lacks rhyme and reason. Sicario is entrenched with procedural minutiae, following Matt's team as they relentlessly work towards their unclear ultimate goal. Villeneuve explores the moral grey area of the operation, with characters lying, stealing, setting traps and killing, which takes a toll on the conflicted Kate, who wants results but is weary of the cost. Moreover, Sheridan plays with conventional storytelling rules, even switching focus to Alejandro during the third act with terrific sleight-of-hand. Alejandro emerges as the film's secondary protagonist, enhancing the overall narrative without taking away from Kate's story, and the establishment of his character leads into the 2018 sequel, Sicario: Day of the Soldado.


Sicario is the second collaboration between director Villeneuve and cinematographer Roger Deakins after 2013's Prisoners. Villeneuve's directorial spell is enrapturing, concentrating on evocative atmosphere, periods of silence and careful mise-en-scène. Under Deakins's meticulous eye, every frame looks achingly gorgeous, with visually arresting compositions and remarkable lighting and use of shadows, while Johann Johannsson's pulse-pounding, Oscar-nominated score perfectly complements the cinematography. An inescapable feeling of dread and tension permeates Sicario, with Johannsson's music enhancing the atmosphere and effectively driving the movie, maintaining momentum during stretches containing minimal dialogue. The visuals emphasise the almost otherworldly nature of the desolate desert locations, with the soundtrack compounding the sense of uneasiness, making viewers feel like strangers in a strange land. During the moments of gunplay and violence, Villeneuve exhibits genuine flair and talent; a deadly confrontation on a busy stretch of road is both savage and riveting, while an extended climax stretching multiple locations is nail-bitingly intense. Sicario wears its R rating on its sleeve, facilitating moments of shocking violence and an unnerving look at the realities of drug smuggling and cartel operations. However, Villeneuve is wise enough not to dwell on the brutality, showing tact and restraint during the action beats, with the characters dispatching enemies swiftly.

Blunt is exceptional as Kate, coming across as a wholly believable FBI Agent with tenacity and grit but who is also recognisably human. The actress admirably acquits herself during the action sequences, but she shines during the smaller moments, strongly conveying the impacts of the moral conundrums she faces through body language and measured line delivery. A concluding scene between Blunt and del Toro is a highlight. Speaking of del Toro, he is outstanding here as the cagey Alejandro, delivering what is potentially the best performance of his career so far. Alejandro adopts a steely, ruthless exterior demeanour that hides anger and grief, and del Toro immerses himself into the character with impeccable abandon. Brolin is another standout, perpetually keeping his cool and maintaining control despite Kate's consistent questions and the mission's inherent danger. Outside the central trio, Sicario also features Jon Bernthal, Victor Garber, Jeffrey Donovan and Daniel Kaluuya in supporting roles, all of whom hit their marks admirably. This was right before Bernthal's big break as Frank Castle/The Punisher in the Marvel Cinematic Universe, and he capably plays a smooth-talking, corrupt Arizona cop here. Garber is excellent in anything, and this is no exception; he brings a pronounced sense of gravitas to his role as a supervisory agent in the FBI.


Sicario carries the feeling and appearance of an arthouse production, but it is more thrilling and captivating than this description implies. Indeed, the movie concentrates on tense standoffs, armed conflicts, intriguing investigations and heated interrogations instead of a numbing series of static scenes in dim rooms with people talking. However, there is still an underlying gravitas and sophistication to prevent Sicario from feeling like simplistic direct-to-video schlock. In other words, this is an action-thriller done correctly. It is a testament to Sheridan, Villeneuve and the rest of the crew that, despite the dense narrative, Sicario does not feel like mundane homework. Also note-worthy and relevant is the film's suggestion that the war on drugs is ultimately futile despite America's funding and operational strength to combat it.


8.3/10



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Comments

Posted: 9 years, 4 months ago at Nov 2 16:35
Sorry to hear about the discharge, but getting a payout sounds nice. I know how excited you were about the army, so that sucks your run was short-lived. I'm sure another door will open for you though. :)

How's your foot?
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Posted: 9 years, 7 months ago at Aug 5 13:42
Posted: 9 years, 7 months ago at Aug 5 1:28
Glad to know they didn't stomp out your love of film...though I'm positive that's impossible. ;) The shift from doing reviews full-time is definitely a good thing, and no doubt by dropping that habit you'll have more time to devote to better activities. Personally I'm hoping that at some point you'll focus on channeling your movie knowledge into making movies for the rest of us to enjoy, so long as that's something you're still interested in.

All right, I better eat dinner. Keep taking care of yourself.
Posted: 9 years, 7 months ago at Jul 30 16:13
Hey, sorry to hear about your injury. Hope that at the end of your 5 weeks leave you're feeling immensely better and able to do all that you're expected to. Sounds like you've got the determination.

As for the site, well, sure I'll miss your reviews & thoughts on movies but no worries. Change & growth are good things, so kudos and best wishes on moving onward & upward.

Keep me posted on how you're doing. Talk to you soon....
Posted: 9 years, 10 months ago at May 23 16:30
Posted: 9 years, 11 months ago at Apr 12 20:26
All the best, buddy. It'll be great for you.
Posted: 9 years, 11 months ago at Apr 5 15:50
Sure, I'll take it. Thanks for offering!
Posted: 9 years, 11 months ago at Apr 5 7:25
Very cool! I'll look forward to your thoughts on it then. If you have time to add them to the site before you ship off, that is.

Off to bed with me...up later than I'd intended. Funny how time flies by when you're online. Hope you have a good weekend! :)
Posted: 9 years, 11 months ago at Apr 4 2:22
If you want a good martial arts movie with a story that DOES make sense, I recommend Man of Tai Chi. It's probably already on your radar, but I watched it tonight & enjoyed it.
Posted: 9 years, 11 months ago at Apr 3 22:08
Thanks for the warning! And your thoughts in your list adequately backed up said warning. I'm just going to ignore all sequels to his films. Wonder if he'll go back to being a monk or finally make a good standalone film next...sounds like if he tries the latter he'll need new blood for the script & production. Heh.
Posted: 9 years, 11 months ago at Apr 1 6:33
Ahh nice! I like the bit about Tom Hanks at the end of that clip too. Yeah, "Man or Muppet" is by far my favorite song & scene from The Muppets. They really did a great job with the music in that film overall. I've never cared much for the Tex Richman song (and the longer soundtrack version grates on my nerves even more), and the Cee-Lo cover is all right, but everything else is aces. Glad to hear they continued that with the new one. The main reason I haven't seen it yet is because I haven't been able to take my daughter with me & I want to watch it with her. It's not looking like I'll get a chance to either unless I want to go somewhere that's not Drafthouse (which I'm always reluctant to do), but maybe I'll suck it up & slum it just for her. I'd rather see it at Drafthouse though since I know they'll have 30 minutes of Muppets clips showing before it. Sigh.
Posted: 9 years, 11 months ago at Apr 1 5:33
I just knew you were going to tell me you were stealing a choppah. ;)

Good to know about the new Muppets soundtrack. I bought the last one as much for my daughter as for myself & still like most of the songs on it. And while I've always had mixed feelings about the soundtrack for The Muppet Movie, I may be picking that up on vinyl next month when it's re-released for Record Store Day. Evidently it's been out of print for 35 years, so clearly their renewed popularity is a very very good thing if they're finally making new ones. The trick will be to get my hands on a copy before they're all gone.
Posted: 9 years, 11 months ago at Apr 1 0:56
Posted: 9 years, 11 months ago at Mar 29 15:18
Posted: 9 years, 11 months ago at Mar 27 22:14
They do indeed do 35mm prints (and their downtown Austin location is set up for 70mm prints too), and YSH will be screened in 35mm. Let me know when you're packed up & headed here. ;)

Yeah, Muppets Take Manhattan is my least favorite of the Henson ones too. I liked it better when I was a kid (back before I consciously noticed things like whether plots made sense), but the older I get the less I enjoy it.

And again on the interesting timing I saw today that Drafthouse is screening The Great Muppet Caper this Saturday (also in 35mm). It's FREE, so maybe I'll hit it up if the timing works out to do so. Only downside there is I can't take the kiddo due to their no kids under 6 years old rule (which they only lift for pre-2pm screenings on Tuesdays, AKA "Baby Day").
Posted: 9 years, 12 months ago at Mar 27 6:16
So today on Twitter, my local Alamo Drafthouse announced they're screening Young Sherlock Holmes this Sunday. How's that for timing? I don't know right now whether I'll go (doubtful, honestly, as there are a few NEW films I'd rather drop that money on), but I still thought it was worth mentioning.
Posted: 9 years, 12 months ago at Mar 23 23:15
Thanks for the heads-up on those reviews! I haven't been keeping up with the site very well lately, but now that I've finally found a new job to start next month I should get back into the swing of things around here before long. Glad you enjoyed YSH, and I'll keep an eye out for your Great Muppet Caper review. I just now got all caught up on your 2014 list as well & was glad to see you enjoyed several other movies recently too (Perks, American Werewolf, Paranorman, to name a few).

Speaking of movies I think I'll watch a couple before I crash for the night. Cheers!
Posted: 9 years, 12 months ago at Mar 22 21:10
So glad you liked it!! Yeah, I'd missed it- sorry for the delay in answering, but life lately has been getting in the way of everything movie-related (more than usual). Could probably use a re-watch of Perks, actually, hehe.
Posted: 10 years ago at Mar 13 12:58
Thanks for the vote!
Posted: 10 years, 2 months ago at Jan 2 0:19
Happy New Year to you as well, my friend!!