Marvel introducing Spider-Man in Civil War was a big step and allowed them to introduce their version of one of the most popular characters in this Universe. Now with his own movie in the MCU, thankfully it isn’t an origin story again. In Homecoming, Spidey proves why his inclusion to the MCU was the best move for the character, and Tom Holland sets himself up as arguably the best incarnations of the web-slinger.
The nature of films, and indeed all media, means that comparisons are almost inevitable and it’s important to remember that just because a film isn’t as good as a similar films, that doesn’t mean it itself is a bad film. Case in point, Pilgrimage comes across as a mix between Valhalla Rising and Silence, without the visual trip of the former or the heaviness of the latter, but still within it’s own rights is an enjoyable and interesting examination of faith.
I’m gonna take some cues from Walter White and tread lightly on this review, part of what makes Killing Ground so great is how it utilizes a unique narrative technique in order to tell its story. In doing so, allow itself to hit some really disturbing and sickening moments that other horror films wouldn’t go near. This is gonna be a must for genre fans, but go in blind to get the full effect of what the film wants to put you through.
At the time of writing I’ve sat on The Dark Mile for just over a full day trying to work out my thoughts on the film. Not that I didn’t like it, in fact, it’s probably the best film I’ve seen at this year’s Festival so far. It’s an experience that I guarantee will piss a lot of people off and trying to recommend it is going to prove difficult, due to the film’s own encouragement that “the less you know the better.”
With TV currently in it’s Golden Age, a lot of genres have proven to work better with a long-form series rather than a one-off entry; case in point, crime thriller with the likes of Fargo and Twin Peaks making the most of their extended run-time. I bring this up because while it’s very easy to tell when a movie needs to be cut shorter, new Alaskan thriller Sweet Virginia is one of those rare films that could benefit from being longer.
God’s Own Country has been described as Yorkshire’s answer to Brokeback Mountain which I think is doing both films a disservice. Brokeback was more of a period piece, dealing with the love of two men in a society that hated them, whereas God’s Own Country tackled a much more personal story about the love between two men when one of them hates themselves. It tackles self-destruction with a deft hand that evokes Mike Leigh’s work, but with a modern sensibility towards homosexual sex and romance.
It’s been five years since Prometheus and in that time the film has received a very mixed reaction. There were a lot of unanswered questions that have been waiting for a sequel to go into more detail about where these prequels fit into the Alien mythos and Covenant might be the film that puts things back on track. Anyone looking for concrete answers to Prometheus will be disappointed, but as it’s own beast that adds more layers to the universe and it’s as close to the original film as we’ve gotten in nearly 40 years.
When the first Guardians of Galaxy was released in 2014 it felt like a very odd choice for Marvel to make following the success of The Avengers; a sci-fi series featuring a talking tree, a psychotic raccoon, the tubby guy from Parks & Rec., and directed by a guy from Troma? Never should’ve worked. And yet, $770 Million and worldwide praise later, the film did work and serves as one of the highlights of Marvel’s cinematic universe, so no pressure on the sequel.
To get it out of the way quickly, Vol. 2 doesn’t live up to the first, only because the first film had no expectations of it, it came from nowhere, and blew everyone away. While the sequel had the unfortunate luck to come second, it’s still a burst of color and fun, while one of the best standalone MCU films to date.
I’ve mentioned before – several times in fact – that I love modern French horror, ‘Martyrs’ is an all-time favorite of mine and ‘Inside’ had messed me up more times than I care to think of. So when news of ‘Raw’ came out with people fainting in the theater, I knew I had to see it. Those fainting rumors turned out to be exaggerated, but I still had high hopes for this to deliver and it more than did so. This is easily the best French cannibal sex movie I’ve seen all year and a near definite for my ‘Top 10’ of 2017.
The film opens with protagonist Justine (Garance Marillier) starting her first year at Veterinary school, the same school her sister Alexia (Ella Rumpf) is currently studying. Justine is a quiet, shy bookworm, and firm vegetarian who struggles with the school heavy use of hard music and harder partying. During the intense hazing rituals Justine is forced to eat raw rabbit kidney and almost immediately has a violent allergic reaction to it with a bad rash breaking out onto her body. However, something changes inside Justine and she soon finds herself with a hunger for meat.
I’ve been a fan of Ben Wheatley ever since ‘A Field In England’ blew my mind to such a degree that I still can’t properly define the experience. To that end I think it’s safe to say that Free Fire is his most commercial film to date. Actually that sounds way too pretentious, basically this is the first Wheatley film I’ve seen that doesn’t feel like a Wheatley film, but that doesn’t make it a bad film. Free Fire takes the Reservoir Dogs formula of greedy idiots with guns stuck in a warehouse and rolls with it, ending up with a fun and energetic little piece that brings out a great ensemble piece.
Set in 1970s Boston, the film finds two IRA members, Chris (Cillian Murphy) and Frank (Michael Smiley), teaming up with Frank’s junkie brother-in-law Steve-O (Sam Riley)and his friend Bernie (Enzo Cilenti)to help buy guns from South African arms dealer Vernon (Shalto Copley) and his partners; ex-black panther Martin (Babou Ceesay)and dope-smoking middle-man Ord (Armie Hammer) with third-party Justine (Brie Larson) acting as intermediary. To Frank’s anger, Steve-O got into a fight earlier that day and has been left with a black eye.
The deal goes down but not without its problems, Frank is openly hostile to Ord, Vernon’s ego gets in the way and Chris claims that the guns being sold to him aren’t what he ordered. Despite the hostilities a deal is made and money switches hands, that is until Steve-O realises that Vernon’s driver Harry (Jack Reynor) is the man who beat him up earlier that day for bottling Harry’s cousin after she wouldn’t put out. The already on-edge deal gets put under even more pressure when Steve-O brags to Harry about what he did, forcing Harry to fire the first bullet.
Cinephellas 