This is going to be a huge film dump because over the past few weeks, I’ve seen a number of films, however between that I was on holiday. It was a walking holiday up in Scotland. With anglo-scotlo relationships at an all time low, I had to be careful and drastically failed at that task when I met the lead blogger of EastWemyssFansOfMarvelFilms.com, the 14^th biggest film blogger in Scotland, so a fairly a big deal. I didn’t mess up by telling them I wasn’t a fan of the second MCU Spiderman (first half good, second half boring crash bang), but by calling them “East Where-miss Fans Of Marvel Films.com”. Apparently it’s pronounced “East Whims Fans Of Marvel Films.com” and the one way to offend a scot is to mispronounce their place name. They swore vengeance on me and I hope they don’t find Surbiton Rebel Wilson Fan Club otherwise one third of my sinister six will be complete.

King Richard

So, on with the films and the biggest release on here is probably King Richard. The film is a biopic about Serena and Venus Williams growing up, but it instead focuses on their dad Richard who is pushing the sisters using his maverick methods. The first half of the film goes on an irritating loop of “Daddy, I’m not sure I can succeed”, “Yes you can I love you”. The second half of the film goes on a loop of “Richard, you’re holding these girls back”, “Oh no Im not, they’re going to be great” “Not with you Richard”, “Yes they are”. By reading the description you’ve basically watched the film and won’t be surprised with how it ends.

I’ve seen lots of buzz around Will Smith’s performance and I don’t get it. It’s not bad, it’s just fine and it feels like Will Smith playing a fairly generic Will Smith role. There isn’t any complexity to his character which isn’t superficial. We never fully explore the reasons he acts as he does, nor the impacts of his decisions on his daughters other than minor frustration. They are both producers on the film and it’s clear this has stifled any legitimate criticism of his methods. They’re controversial, but the film doesn’t treat them as such.

The script is corny, but the music, oh my gosh, they layer it on thick. It’s the most melo-dramatic irritating score which comes on as a scene is ending and another of Richard’s many identical arguments come to a head.

While the film isn’t especially any good, it’s likely to be a crowd pleaser. It’s a feel good by the numbers sports biopic where you know what is going to happen with that actor you like from Fresh Prince/Men in Black. The casual film watcher will enjoy it, but I’m about to discuss so many significantly better films than this one, so I’d suggest giving it a miss.

King Richard is in the cinema now

Tick, Tick… Boom!

Next up we have Tick, Tick… Boom!, the directoral debut from that guy in absolutely everything, Lin Manuel Miranda. So bear with me here. It’s a musical film based on an autobiographical musical of the same name which is about the construction of another musical, but adapted slightly to consider the creation of a third musical which is also a well known film. Following?

TTB is an autobiographical film about Johnathan Larson, the creator of Rent. The film focuses on his creation of his debut musicial, the futuristic Superbia. Larson is living a poor but happy life, with not much but his passion and his girlfriend. He’s at his 30^th birthday and suffering an early mid-life crisis. His girlfriend wants him to move away from the city with her and his best friend is suggesting Larson gets a lucrative job and gives up writing musicals. In the meantime he is working on a preview of Superbia However, with weeks to go before he previews his work he’s suffering from writers block and not able to work out the missing song which is required. While this is happening, the AIDS epidemic is fiercely roaring in the background, no doubt influencing his future hit musical Rent.

I really liked Tick Tick Boom for several reasons. Firstly, the film had strong themes. These were about commitment and love of a craft, no doubt why Miranda took the project on. It’s also about the finiteness of time, both with the play and the lives and relationships around Larson. The name of the film shows how panicked it all is and how everything feels like it’s ending or changing apart from him. This becomes even more poignant when considering Larson’s untimely death only a few years after this musical was made.

Another name for the best actor award season lists will be Andrew Garfield, and it will be well deserved. A year ago, he couldn’t sing at all, however now he looks like he’s been doing it all his life. He gives a performance full of Larson’s energy and the subtle differences between his vulnerable flashbacks and his stage persona when performing are really clear to see and provide a wonderful finesse. There are sad moments in the film, and he doesn’t milk them but treats them with respect and a good level of emotion.

The style of the movie is odd. TTB originally was a one man show (with a couple of backing singers) of monologuing with musical numbers. Director Lin Manuel Miranda sticks with this, but interjects it with flashbacks so it can feel a bit jarring. While it took me the first hour to really settle with this, when I was in, the second hour was great. There are some real earworms as well.

TTB is a great movie with a real beat and energy, mainly thanks to Andrew Garfield’s performance. It’s available on Netflix now and is worth watching as it’s one of the best musical films of the year.

Tick, Tick… Boom! Is available on Netflix now

The Power of the Dog

Let’s go for a hat trick of lead male performances likely to be nominated for awards, by also talking about The Power of the Dog, the new film by Jane Campion (The Piano). Based on the book of the same name, the film is a slow burner set in 1920’s America, a time of cowboys. Leader of a cowboy group Phil (Benedict Cumberbatch) has rolled into town with his gang including his brother George (Jesse Plemons). George falls in love with and marries the owner of the local ranch much to Phil’s anger. Phil then makes it his mission to psychologically terrorise his sister-in-law and her son who he later gains other strong feelings for.

This film is a really weird film for Netflix to own. It’s such a slow burner, in a similar way to Roma. It goes at such a pace that to watch it at home would be tough, however it is rewarding if you’re willing to focus. While some sections felt unnecessarily dragged out, Campion manages to keep a real tension going throughout. Cumberbatch’s toxic lead brings a hugely intimidating presence, so much so that you feel nervous not only when he’s on the screen, but also when he’s not there. This is also helped by a fantastic score by Jonny Greenwood which also keeps everyone on the edge of their seats. It really is a mood piece and yet there is an interesting story there, with lots of small threads and seemingly throw away scenes which all come back for an ending which will have you thinking for days.

The film also looks beautiful. A bunch of drone shots and clever camera angles show off the scenery in a way which makes it seem rich. There are endless possibilities, but the small town also feels like an isolating prison for our victims of Phil’s wrath. It truly is beautiful to look at and if you can see it on a big screen, then make sure to do so.

At the time, I was totally on board with the film. It’s not perfect but it does a lot right. It was a film I respected as a good example of the craft as opposed to one I loved. However, it has also stuck in my head in the days since. It’s not a film for every one, but those film fans who are ready to invest in a film which takes its time and does masterful show-don’t-tell film making will be in for a treat.

The Power of the Dog is out in cinemas for a limited time now and on Netflix on December 1^st.

Drive My Car

The last film I want to discuss as my train will soon reach it’s destination is Drive My Car. The Japanese entry for best international film at the upcoming Oscars comes in at a whopping 179 minutes long and when a film is that long you’ll love it or hate it. I’m in the former category as it kept me on board throughout the whole thing.

The film has a 40 minute prologue, so get ready for me to spoil that. There is still 140 minutes after to watch which I won’t spoil. Yusuke is a play director in Japan and is happily married to wife Oto who is a screen writer for TV. She comes up with most of her best ideas at the most intimate of times and gets her husband to say them back to her the next morning. One day when Yusuke is to go for an audition he finds Oto cheating with an actor, Koji and doesn’t confront her. There are many complex reasons which are discussed later. One day, a week or so later, Oto says they should talk when he’s home from work. Yusuke delays getting home and finds his wife dead. The rest of the film focuses on him mourning as he directs a play which is thematically similar to his life. It’s somewhat dramatic as actor is cast into a lead role which makes the whole thing awkward. Meanwhile, director is also forming a friendship with his new chauffer driver and as they grow to trust each other more they can begin to deal with their trauma. It’s like Green Book but with self-respect I guess.

There isn’t much action in this film as it’s a rather understated piece, but the script is absolutely phenomenal. Based on a short story, it’s been fleshed out incredibly. No single scene seems wasted and each line is said with a purpose. I was worried I’d be bored like in I’m thinking of Ending Things, but because of what we’ve seen each line feels like it carries a weight, regardless of how insignificant it seems. It’s also helped by a stellar cast who all pull their weight in this film about mourning and self-forgiveness. The construction of the film makes it release lines from the play at the relevant point in the story to get you into Yusuke’s mind.

Drive My Car is a well made, beautifully understated piece. Not much action happens as it’s a much more meditative emotional journey. With such tight writing and direction, it’s a pleasure to watch and one of the best of the year.

My family have a long running and quirky family Christmas tradition called “This is my friends seat”. I’m not sure if this is top secret and if it is, sorry. TIMFS involves the family being split in two and half of the family being taken to another room. The first half still in the room have an empty seat next to them are each designated a “friend”. Then when this is done, someone from the other room goes back in to this room and amongst the ominous cultish chanting of “This is my friends seat” then has to sit on a seat next to whoever they predict to be their friend. Get it right, they get applauded and it’s nice. Get it wrong, they are booed with no mercy and have to leave the room until a minute later when they try again and it repeats until they find their friend. This could potentially lead to being jeered five times in ten minutes by your very own loved ones. It was a horrible brutal game which as part of ones upbringing made them more resilient. If you could handle being booed and taunted by your own family, you could handle everything.

If that Christmas tradition seems weird and intense, well wait until you hear about Spencer.

It’s very difficult to define Spencer in a certain genre, however I think tonally it sits within the horror genre. Not full of scary moments, it certainly plays a heavy atmosphere piece with a simple plot. Lady Diana (Kristen Stewart) goes up to Sandringham Palace on Christmas Eve and has to survive a strange house of tradition for three days, with each small thing playing on her mind.

The reason it feels like horror is that feeling of being trapped. The opening shots are drone shots over a foggy palace with nowhere around, somewhat reminiscent of the Overlook Hotel and with the winding red corridors you see your characters walk around and occasional visions of people who aren’t there, any tributes to The Shining don’t seem accidental. You try and work out a map of the place in your mind, but are unable to as there is no exit. Put this along side the incredible jazz soundtrack with its dissonance and it feels quite overwhelming in putting you into Lady Diana’s head.

The other scary element is the royal family. They never quite look right or normal. It’s always tense and on edge as both the queen and Charles are constantly shooting piercing, unblinking looks like they’re always looking over her. It’s welcoming but in a cold way which somewhat reminded me of Get Out while watching it.

Arguably, it’s similar to The Nest, the Carrie Coon and Jude Law film which came out earlier this year. While Carrie Coon provided one of the best performances of the year in that role, Kristen Stewart is similarly strong and I regularly forgot I was watching an actor. The coldness between her and Jack Farthing’s Prince Charles was stark. Only if there were public cameras around were the two ever in the same shot. Otherwise, you’d never see them on screen, the camera instead flicking between one and the other when in conversation, never with any warmth. This was contrasted strongly with her warm and nurturing relationship with William and Harry.

The side cast were similarly eerie as well, as dressers and cooks popped up throughout, seemingly gossiping and in cahoots as Diana felt the world increasingly against her. In the kitchen there is a sign which says quiet please, the noise travels, showing how Diana constantly feels watched, judged and shamed by all those around her including her own family. Trapped in, but refusing to become a royal the whole theme of the film is about her remembering herself and standing strong. She is given a set of pearls which were also given to the queen by Charles, which act as a motif compared to an old ragged coat of her fathers which she found earlier on a scarecrow. They almost act as a dog collar restraining her and trapping her in. At this point, it’s also worth noting how absolutely fantastic the costumes were, with each reflecting a different mood and a battle and so much focus, it was important that each one was on point.

Obviously, such a film will be politically charged. Showing the Queen and Charles in a bad light wasn’t a problem for the director. William and Harry are both there and concerned, although treated with warmth and clearly the only reason their mother stays around.

The ultimately difficult thing for the film maker to do is find an ending. Regardless of how happy it may end, it’s a story you know will end in tragedy. Any sense of liberation or relief is temporary, any potential relationship developments will end in tragedy even if you don’t see them on the screen.

Summary

Spencer is an eerie mood piece about a strange family Christmas. It’s always going to be a difficult balancing act with very little information about how much of what you watch is true and how much is exaggerated. Regardless, it provides an intriguing drama with a strong sense of paranoia, brilliantly shown by Kristin Stewart. [Grade: B+]

Damn, this is a lot of movies. It really is rather worrisome right now. Each screen of a film I go to is slowly filling up again. More popcorn munchers returning. However, it’s good news for the cinemas I guess, so whatever. That said, most people have been code compliant and it’s been nice for the atmosphere.

Dune

You’ve probably seen Dune advertised as the new Lord of The Rings for the sci-fi age, and in some ways its comparable. Part 1 (the sequel has recently been confirmed) certainly doesn’t live up to LOTR, however it does provide an interesting viewing experience.

Paul is part of a pretty strong family called Atreides. The great emperor offers them the desert planet which everyone likes because it’s full of spice which is the commodity that has people queuing up at pumps as soon as someone says “shortage”. Paul has been having visions about a pretty woman who lives on the planet, mainly because his mother is a part of a cult, but screw that because it turns out the emperor is tricking Team Paul by planning to invade the desert planet he just gave away. Things happen, then we have a desert exploring story as Paul looks to see what his dreams about the pretty girl mean and use his loud voice which makes people do what he wants.

The plot is certainly dense. After 2.5 hours I found myself running out of energy trying to keep track of the moving parts and certainly a fan of the book would get more out of a first watch, although that said I think a second watch would be easier.

Aside from that, Aunt and I went to see the film in the big fancy Dolby screen in Leicester Square (The one where all the previews happen) and it was a brilliant experience. This is a film which needs to be seen on a big screen and is the first true blockbuster we’ve had since 2019. The scenes were great and full of detail. The effects were big and the landscape, no matter how plain was hypnotic. The whole film had an entrancing feel and really did give off big Star Wars vibes. The sound effects were also fantastic. The deep vibrations and explosions could be felt through your seat and it’s been so long since there has been a movie like that. If you can see it in a cinema, with IMAX, do so and you won’t be disappointed in this visual treat. The ships and especially the giant worms were all wonderful to look at and really had a great sense of scale.

However, you might be disappointed in the story. For such a big source material, it is difficult to get everything right, think of the original Dune or even Akira and the world was tough to understand, although that wasn’t helped. Any prophecy or vision was randomly littered when it occurred. It would have been so much better to have any cultish prophecies near the start, then we would have had a brilliant pay-off.

My biggest gripe however, was the ending. Obviously, I won’t spoil anything here, but I was starting to get tired, then thought that we were finally about to get somewhere, however we didn’t. There was one anti-climatic moment of combat in which the hero didn’t even look like they were in danger, then 30 seconds later we just ended. There was no pay-off from this lame moment, it just finished. I know some people don’t like the Fellowship of the Ring ending, but that seemed like a nice wrap up compared to what I saw.

The good news however, is that this film has a solid footing for a good sequel. It’s built a rich world with some interesting threads and certainly suggests part 2 will be much darker and more adventurous. If the soundtrack is anything as good as this one was (Hans Zimmer was brilliant), and the acting remains competent then we’re in for a treat.

Summary

Dune is a really solid blockbuster movie. With big visual and sound effects and a wonderful soundtrack, this film should be seen on as big and loud a screen as possible, and it will make up for some story issues which certainly stopped it from being deserving of legendary status. [Grade: B]

The French Dispatch

There seems to be a stereotype that when I like a film, it’s probably pretentious twaddle. Maybe the stereotype is that I actually like pretentious twaddle among other films. I very much assure you this is not the case and can confirm this as I didn’t really like The French Dispatch because it was pretentious twaddle.

The film isn’t really a movie, but an anthology of three stories all linked by them being written for the French Dispatch, a magazine for people who don’t like comics. This is linked by some narrative about the editor dying, but that really isn’t important. The first story is about a homicidal maniac who is a talented artist told by Tilda Swinton’s character. It’s a bit slow and doesn’t really give much, The second story is about a student protestor who protests and writes a manifesto. he’s a bit pretentious and unlikable, a perfect metaphor for this movie. The third is about a child been taken hostage and a cook having to save him. Again, nothing really big there.

I don’t care and neither should you because the huge problem with the French Dispatch is that it has no heart. Each story and character is there briefly until they’re not. Each speak in a way that makes them sound like intellects. Your new French wave film lover will love it because the character sounds like them, but that’s because they kind of sound like [I’ll allow you to choose your own insult here].

The film is pretty, it’s well shot and is nice to look at. It doesn’t have the grandeur of Grand Budapest Hotel, but it’s much more varied and experimental. The problem here though is that it doesn’t really do any of these techniques for a reason, except to show it can. It sounds good and occasionally leaves a wry smile. It’s too quirky and Wes Anderson forgets how to make a movie.

Summary

The French Dispatch is a very nice looking movie made in Wes Anderson’s trade mark style. Lovers of his movies will gain a lot out of it, however the rest of the world should avoid this nonsense and actually watch something enjoyable. [Grade: D+]

Stray

I also wanted to quickly mention Stray. It had it’s cinema outing earlier this year and I missed it then, however it is now out on BFI Player and other streaming platforms. It’s going to sound like pretentious nonsense, but I like pretentious nonsense.

Turkey is one of very few countries where it is illegal to capture or kill a stray animal. This means cities such as Istanbul, where the film takes place, have loads of stray dogs wandering the streets. Stray is a documentary which follows one dog, Zeytin, around the city documenting his life with no voice over or anything and it’s really brilliant.

I know animal lovers will be apprehensively concerned about this film, but I can assure you that no dogs are harmed during the run time. Zeytin is a beautiful soul who we come to know and love. She doesn’t look to hurt anyone and is friendly with dogs and humans alike. The film is shot without a voiceover, meaning you are just seeing her and watching her face to connect with her. It is also shot often at dog head height meaning you often see humans from the waist down giving you Zeytin’s perspective.

The film gets even stronger when half way through you meet three Syrian refugees who Zeytin essentially lives with. They’re the ones who named her and she goes around with them regularly. They’re in a state of limbo, unable to work and regularly just sniffing glue to pass the time. It’s somewhat poetic as these humans are as lost and stray as Zeytin and much like her just want a sense of love and belonging. From that, we can compare the way refugees are treated to that of animals, and it really doesn’t come out well.

As well as looking great, there is a beautiful violin soundtrack which gives these streets a sense of magic, wonder and grandeur which fully immerses you.

Summary

Stray may be one of the most simple, but one of the best documentaries of the year. It just follows one dog around with little context who you immediately care for and her friends. It shows a snapshot of Istanbul politically in the background as a consequence making it an enjoyable film about a dog and a thought provoking piece of art. [Grade: A-]

I know, I went quiet again. The simple reason is that after James Bond, there wasn’t much on, although I did go to London Film Festival a couple of times. I saw Red Rocket, Sean Baker’s new film after The Florida Project (one of the best of the last 5 years) which was disappointing, Pedro, a film about someone in India killing a cow (I didn’t really get what was going on) and Hit The Road, which actually won best film at LFF. I enjoyed that one and look forward to re-watching when it’s released next year. Surbiton Rebel Wilson Fan Club didn’t enjoy LFF as it had competent actors in it. Still, before I watch Dune and the French Dispatch, I just wanted to discuss this film I randomly caught last week.

Set in 1950’s Brazil, Invisible Life looks at two sisters called Euridice and Guida who when we meet them are in their late teens. Euridice is a quiet, incredibly gifted pianist who dreams of play in Vienna, while Guida is much more of a free spirit. Both love each other dearly. One day, Guida asks Euridice to help her escape to a party. Much to Euridice’s surprise, Guida runs off that evening with a man to Greece. Euridice marries a Brazilian man some time later, having not heard from Guida. All seems calm until Guida comes back to Rio De Janiero pregnant. The father is outraged and banishes Guida, falsely telling her that Euridice has moved to Austria to pursue her dream, while Euridice is none the wiser, still believing that Guida is in Greece.

At this point, the two miss each other very much. Euridice is regularly asking her parents about whether they’ve heard from Guida, while Guida regularly sends letters home, although none ever reach Euridice. They both imagine the other out in Europe living their dream, while the reality is that both are in Brazil, not living the dreams and being stifled by the world around them.

The film really reflects the rampant sexism of the time in a brutal manner. Both women are limited and hurt by those around them. Euridice’s dream is quashed by her husband in the same way that Guida’s happy ending is ruined by the Greek man who has left her to be a single mother. Their father is stopping their loving relationship while their mother is described as his shadow. Most of the dialogue throughout shows this theme as do the sex scenes which show how the men have all the power. Despite the world beating them down, however, the relationship between Euridice and Guida is never fleeting as they love each other and want nothing more than to be back together. Nowhere is this clearer than in the film’s final act which is one of the strongest of the year and left me an emotional state.

The main way it did this was through a simple and engaging plot and good story telling. The script is a tight one, with each new scene showing quite a lot of progress. After the first 20 minutes, there is no filler, no time to breathe and reflect. You’re on this journey, potentially hopping forward years at a time, following two complex and fleshed out characters, praying for their reunion.

The whole film really kept me intrigued in its almost 2.5 hour run time. The cinematography wasn’t particularly special, as the film was very indie, but that’s fine. The characters are so much more important than any special effects. They make it authentic, so much so that some of the more melodramatic moments forgivable, and rather emotional. I did shed some tears at some point in this movie. Any sadness and fear is matched by community. When Guida is banished from her house, the film risks becoming some form of “poverty porn”, however what it does instead is see her befriend another woman and rely on this community, offsetting that with Euridice’s more depressing but conventionally successful life with her not very supportive family network.

The film does something really interesting when entering a new time period by having it introduced with Guida’s voice reading the letters she sends to Euridice. This technique in particular doesn’t go with the show don’t tell mantra, however it does effectively show time passing and despite the hardships going on in Guida’s life, it shows how much she still cares for her sister.

I also want to give a quick shout out to the wonderful score by Benedikt Schiefer. It’s quite understated at times, but dominant at others. It sticks to classical instruments, especially the piano which reflects Euridice’s life. The more fantastical naturalistic parts of the score also leave you in a bit of a trance.

Summary

The Invisible Life of Euridice Gusmao isn’t for those faint of heart, however away from the more disturbing scenes, there is an absolutely brilliant story of two sisters who love each other and want nothing more to be reunited. While subtly looking at power and sexism themes, the tight writing and acting lead to a really emotional story which is one of the best of the year. [Grade: A]

This film has a very limited cinema run, but it also available to stream

No Spoilers

There are two ways in which I could watch James Bond. Either I am a secret agent who will critique the accuracy of the spy world with expertise, or I am not a secret agent and I will critique the spy world without expertise. The paradox here is that if I am a secret agent, I will not divulge this and in fact tell you I am not a secret agent, and appear to critique without expertise. The point of this opening paragraph? To say I’m not a secret agent.

I have never really bothered with Bond before. I’ve seen most of Skyfall in parts, and watched Judi Dench die for some reason, but otherwise it’s just never had a good time to jump in, and honestly NTTD may not be the best time for a new bond fan to jump in, but it’s literally the only thing on in the cinema this week so who cares.

The general story is one I’m sure I’ve heard somewhere before. Opening couple of scenes are flashbacks, one with a girl who sees her mum shot by a bad guy with a mask, the second has Mr Bond in Italy with a woman he likes, before they are found by Spectre, the bad guys. He accuses her of betraying him. We then go five years later where Bond is hidden away retired, however when a mysterious and deadly weapon goes missing, he has to hunt it down before the villain can cause major damage. Alongside his usual alphabetti spaghetti friends and a brand new double-0, James Bond will try to save the world with the suave and panache of this film series.

So I don’t really know where to start with this as I simply don’t know Bond that well, but I guess I will tell you that I enjoyed it. On the whole, the film remained serious, but with that tinge of camp charm that is so often included. You get your “shaken not stirred”, “Bond, James Bond” plethora of moments in amongst a serious attempt at a spy thriller and the occasional use of a kill line is more tolerable than the standard constant Marvel dross.

For Daniel Craig, it was a fitting swansong. This loner starts to show his feelings and his hope and it’s a solid outing. It will certainly be odd to see who the next 007 will be as he is the only one my generation have grown up with. He has that serious suave that you know and are endeared towards and his successor will have a tough time trying to match Craig’s levels.

For every great hero there should be a great villain. Does Rami Malek’s Siffan provide a worthy adversary? No, he was boring. A generic eastern European mumbling accent and a scarred face to boot, Malek is really let down by a fairly shoddy script and doesn’t offer anything of interest either. A big name after Bohemian Rhapsody, maybe his best work is the indie-stuff and he should stick to that as with this role he has nothing. As well as being poorly acted, the character doesn’t bring much to the table either, with the reasons for his intentions never really explained. He wants to kill people just because. If the script had provided more reason for his character to act as he does, the emotional climaxes would have meant something and would have made a bit more sense than just slightly forced plot points, although if I knew more about Bond, maybe the main moments would have meant more to me.

While there is a fairly standard formula, it is stirred, if not shaken. The last act has a few un-Bond-ly turns in it which were a genuine surprise. The addition of the new double 0 was a welcome change, and was well acted by Lashana Lynch. It will be interesting to see if she continues to play a significant role in the future.

At two hours and forty minutes, this is certainly one long film. It generally went rather quickly. At times, it felt slow, but I didn’t find myself bored. That said, it could have certainly streamlined twenty minutes as some scenes tended to feel somewhat repeated, with some American characters not particularly adding much. The moment Rami showed up, the whole thing seemed to slow down as well, when in reality we could have done with less droning from him. Still, on the whole these are minor complaints.

Summary

Craig’s final outing as Bond provides a solid, if not spectacular swansong. He enjoys a well crafted film, although it provides very little revolutionary ideas for film making. The potential impact of a strong last act is mitigated by an overly long run time, and an incredibly dull villain, but this doesn’t take away from a decent movie. [Grade: B-]

So, I must admit there is an issue here. I find myself perpetually busy and it means that I don’t really have as much time to write about the films I see. There is a trade off between how many I can see and how many I write about, and unless I have a burning passion, it can make it difficult to justify the writing of this blog, especially when one has spent so long doing so little over the course of a year or so. I’m not spending an hour or so telling you that Jungle Cruise is shit. But that is fine, and some days or evenings this spewing of consciousness can be rewarding, whether it fills up an evening I decide to rest at home, or becomes a symbol of productivity, a tangible output, it still has a place. If you would like more regular updates about what’s worth watching and to discuss them with me, as well as just sending me a message about them, you can also find me on letterboxd, a pretty cool tool to use as a film diary. You can rate, review and recommend films on the site. It’s pretty epic. Still, enough wittering, it’s time for more wittering.

I apologise for my absence recently. In the film blog world, we have our own shady universe, with our own banks, churches, schools and courts. You think money runs the world, wrong, what truly runs the world is irregularly updated film blogs from sad guts such as myself, therefore friends, when I rise to the top I Shall remember you (Although, don’t mention this world to anyone. If word spreads that I spilled the beans, I could be killed, or worse expelled). However, in the mean time, I was put in front of film-blog-court accused of attempting to sabotage our friends over at Surbiton Rebel Wilson Fan Club. Once we’d heard from the witness for the prosecution and myself, the 12 angry men decided that I must be innocent anyone who enjoys a Rebel Wilson doesn’t have standards to sabotage. Now that is out of the way, I’m officially back and about as good as ever, so what films have we to look at today?

Luca

Let’s start off with a Disney+ movie. I’m aware this came out a while ago, but I’ve only just seen it and as this blog sticks to my rules, I shall discuss it. (I’ve already reviewed the more recent release on Disney+ which is Cruella).

Having explored the human mind, the after life and rats cooking food, this Pixar movie takes it down a notch. The film introduces us to the fearful Luca, a sea creature who never goes onto the Land. He and his family live off the coast of Italy, near a town who hate sea monsters. One day, he meets Roberto, a confident boy who tells him how wonderful living on the land is. When Luca’s parents find out he’s been on the land, they threaten to send him away to the deep dark ocean, at which point, Luca and Roberto run away to the town to find a Vespa and live their lives free. They realise they can do this along with their friend Julia by winning a competition which involves cycling, swimming and eating pasta (Because, you know, that’s what you do in Italy).

There were a few reasons I liked this film. Aesthetically, it’s one of the most enjoyable films Pixar have produced. The idyllic colourful Italian seaside town has a totally vibrant feeling with an almost beautiful colour scheme. The place feels alive and like it’s own character. Dream sequences were also creatively made and were welcome in their interludes. The music provides 20th century Italian pop which while I’m not an expert, is certainly upbeat alongside a standard string section providing the usual standard of soundtrack.

The plot itself was fairly simple. It’s not going to win any awards for coming up with something new, however what it does do is with a shorter run time of around 90 minutes is forgo the adventure across the world for a simpler character based story and that works so much better than the usual dash from A to B with the character learning a message along the way.

The lesson the film wants to get across is that it’s okay to be yourself. I read the film as an allegory around being gay. The protagonists being hunted for who they were, having to hide themselves and being at risk of being out. There were certainly scenes and moments which were very on the nose for the metaphor, my favourite one being near the end, but for those who haven’t yet seen the film, I won’t spoil it.

Ultimately, Luca proved to be a fun, heart warming family watch. When watching with parents and younger sister, it proved to garner positive reviews. It’s colourful animation, feel good story and enjoyable soundtrack made it a simple, but pleasurable experience. [Grade: A-]

Luca is available on Disney+

The Nest

Meanwhile, a film I certainly wouldn’t watch with my family is The Nest. It’s been around 10 days since I watched the Nest, and already I’m struggling to write down a plot. That’s not down to it being forgettable, but down to it being much more of a character study.

Rory (Jude Law) decides to move back to England from America with his wife Allison (Carrie Coon). She agrees to it, despite her reservations as Rory believes he has a big opportunity. They move into a house which is far too big for them, in an almost haunting way with their two children. However, soon as Rory starts to interact with business partners, Allison starts to doubt the integrity of her husband and whether he can see through his promises. There are questions around whether she is right or if she is becoming paranoid as she increasingly begins to lose her composure.

The plot itself isn’t especially interesting and I didn’t care for the children. However what I did care about was the two lead performances. Jude Law playing a cocky business man is wonderful to watch. His charisma is clear to see as are the cracks as his plans don’t come to fruition. His love and his disdain for his wife switch quickly and create a really tense atmosphere. If he’s great, then Carrie Coon is simply incredible. She steals the show with her descent into madness. We question her and empaphise with her. While Law’s character says a lot with his dialogue, Coon’s says even more without.

The production design behind the house is great as well. It’s creepy and atmospheric, much like the Overlook Hotel. It truly adds to the atmosphere, as Ali becomes paranoid that it’s dividing the family apart. Alongside a droning, low key score the film acts like a horror, but isn’t really. Instead of a psychological thriller, it plays as as a character study as you can read what’s going on much clearer than Ali.

This film won’t be for everybody. The lack of plot or clear direction mean it’s not the most accessible film out there. However, it’s still an experience and if you let yourself into the minds of the characters, you’re going to be immersed in a world which can entrance you.

A slow burning, atmospheric piece, The Nest provides an interesting cinematic experience and is worth going to see if only for two incredible lead performances by Jude Law and Carrie Coon [Grade: B]

The Nest is available in Cinemas Now

Wow, what are you doing re-blogging for the second time in a month(?). Is this your official grand return? Honestly, no. I’ve been hit with a cold. A novel idea after 18 months of bliss, it’s not even knocking me down that much, it’s just a tad inconvenient and would be discourteous if I were to go and watch a movie. I also didn’t have the desire to fork out £50 to watch Palace vs Brighton, so here we are instead. I’ll review two films today.

Everyone’s Talking About Jamie

Maybe my general indifference (or worse) towards Everybody’s Talking About Jamie was damned from the start. I’d heard some average reviews from those I trusted and more importantly, I’d seen it at the West End by chance only a couple of weeks before, so had a solid basis to compare it to. To make things even worse, it had only been a week since I’d watched a musical which was one of my favourite films of the year. But I had hope. Unlike the masses, I enjoyed the similarly corny The Prom the previous year, so I went in with an open mind. Was it any good? No, not really.

Jamie New is a Sheffield based boy who on his sixteenth birthday is given a pair of heels from his mother. From a Northern working class area, Jamie dreams of nothing more than performing as a drag queen, much to the disapproval of his father, played by Finchy from the office. (If this sounds like a shit Billy Elliot, there is a fairly simple reason for that). The rest of the movie is two hours of self discovery and feel-good corniness that you’d expect, culminating in Jamie wanting to wear a dress to prom. Mentored by Hugo, the former drag queen Loco Channelle (Richard E. Grant), he has to find his voice. I know, the plot sounds a bit derivative, but it’s a fair summary. It’s not exactly Inception, but whatever. It’s a corny feel good film.

So, what did I like about it? Max Harwood who plays Jamie does a solid enough job, and one or two of the songs are earworms. There are a couple of humorous and emotional moments but unfortunately, the film falls flat on many notes.

Firstly, the problem is that it feels like a stage play. The dialogue which felt corny (but forgivable) on the stage was kept fully in tact for the musical. In the first and last scenes especially, this doesn’t really work as the dialogue was just dreadful. The director wasn’t brave enough to do any show don’t tell. Lots of Jamie’s mother’s scenes are with her friend Rae, where she just says what is going on. Yes, do this on the stage, with limited resources, but please on a big screen, show don’t tell. Oh, what is happening and how does this character feel? It doesn’t matter, I’ll just say it directly so any popcorn munching, fuel stockpiling idiot can work it out…

The scenes were set up more often than not like the stage play. The song “You are beautiful” is a carbon copy, and that’s fine. It’s just not imaginative. The main problem I had with the songs, is that they didn’t feel like they were being sung, but more that they were dubbed. There were actually a couple of times where I noticed the audio go out of sync with the lips, in a musical. Oh, come on.

Actually, the main moment I saw this was the emotional crux of “He’s my boy”, a song where the mother can thrive, but there was so much going on in the screen, that you couldn’t focus on what a quietly reflective moment this was. The mother really was screwed. Her important moments, such as selling her necklace and letting go of a past relationship were totally scrubbed from the film, so much so that by the time we get her pay-off we have forgotten she’s there.

One more complaint, then I’m almost done, and this is probably my biggest one. Richard E Grant’s casting as Loco Chanelle was cheap. He felt overly camp for the sake of it. If you didn’t like James Corden in The Prom, then surely you should be really upset with Grant for this. With the rise of Ru Paul’s Drag Race in the UK, it seemed odd they couldn’t find an actual drag-queen for this role and that would have felt far more appropriate as Grant didn’t quite hit the right notes in my opinion. His song about the AIDS crisis was a sensitive moment (at the expense of a rather humorous dramatic song from the stage play), although maybe after the fantastic It’s A Sin came out on channel 4 this year, it may have lost some of it’s impact. Albeit, younger audiences won’t have watched It’s A Sin, so maybe the comment is more fussy than anything.

Really, my problem was that the film didn’t get anywhere. Most of the kids seemed cool with Jamie in a dress, apart from one and that gets resolved far too quickly in the end. The mother doesn’t do anything. Jamie wears the dress he’s always wanted without many obstacles apart from a teacher, and his big issue, his father Finchy, doesn’t even get resolved. This is a stage problem as much as anything, but I guess the whole story comes across as a bit stagnant at times. Again, it doesn’t matter because it’s a light hearted musical, and I don’t really care that much.

Summary

A star turn from Max Harwood as Jamie doesn’t stop this film disappointing. Questionable sound editing, casting of Richard E Grant, and directorial choices left me feeling flat. Still, if you’re not as picky as me and want an easy feel good musical film, watch it. If not, why did you even bother reading this review. [Grade: D]. Better than Cats.

ETAJ is available for free on Amazon Prime

The Green Knight

I went to my Curzon having just seen a Pompey draw with Charlton and John Marquis miss a sitter, so I was already fairly tired. Therefore, I can say with full confidence, that if you want a high octane, sword fighting movie to wake you up, this isn’t the one for you.

Gawain (Dev Patel) is the nephew of the king of the town. He has never been that close with him, but one day, the King extends an olive branch. As they all sit down to their christmas dinner, a weird tree knight comes in and challenges a night to his game. They strike him, and one year later, they go to the green church and he strikes them back. For some reason, Gawain takes on this challenge, gets rattled and goes for the head. Of course, this was a devious trick from the tree god who survives the beheading, meaning a year later Gawain needs to go on a quest to meet his end.

The story is based on a Middle-English poem called Sir Gawain and the Green Knight, and seems relatively faithful. By this, I mean there are lots of random scenes which aren’t linked thrown together to look like a narrative movie. I really struggled to understand the point of some of these scenes, and the thematic consistency was loose at best. In the end, I did get the characters enough and there is a narrative in the last 20 minutes which felt much stronger and which was probably the best part of the film. Maybe the lack of narrative structure made it tougher to understand why our lead character was so willingly walking to his death.

While the story leaves you wanting more, the film looks and sounds brilliant. The cinematography is wonderful, with a vibrant green and an eerie grey both setting the moods at different times. It’s slightly experimental at times, but most of the things it goes for are brilliant. I particularly liked the scene with the giants which is much more atmospheric than I’d expect for such an independent film.

The soundtrack was also divine. The primarily ominous strings put together by Daniel Hart were subtle, but foreboding as we were being lead to our heroes demise. It really played into this natural, almost empty atmosphere.

Between the two of these, this film is an essential piece to watch at the cinema. I’m not sure how well it will translate into home viewing, as the atmosphere may become a bit lost. The pacing is pretty slow, which works, but it means that it requires a bit more focus.

Otherwise, the film is generally well acted. Dev Patel gives it a good go in an understated performance. His face says an awful lot, especially during the last 20 minutes where he says very little and his face does most of the acting. The maturing of the character can be seen in a way that a less capable actor would have struggled with.

Summary

A well acted, beautiful slow film, what The Green Knight may lack in a coherent, tight narrative, it makes up for in an eerie, atmospheric piece which is much better viewed on the big screen. [Grade: B] B

The Green Knight is available for free on Prime and is currently on a limited cinema run.

So, may we start?

I go to the cinema with Liam fairly regularly and usually we have mutual opinions on films. Some we disagree on, we may like some more than the other and that’s cool. Occasionally, one of us will enjoy a film, but it won’t be the other’s favourite (He liked Jungle Cruise?). However, I don’t think a film has divided us as viscerally as Annette. One of us thought it was a bloated mess and was glad it was over, the other considered it one of their favourites of the year so far. As I was watching, I could see how someone could love and hate this marmite film, considering those I’d recommend it to and those who I’d tell to avoid it regardless of my personal opinion. If a 2.5 hour long rock-opera with music made by the Sparkes Brothers takes your fancy, a film which brings the weirdness up to 11, Adam Driver playing a dark humoured comedian, and a film which has a cursed puppet baby as it’s central focus, then please read ahead. If this sounds like your version of hell, you won’t like the film. That’s okay. One of me and Liam didn’t like it either.

This is a very difficult film to describe without spoiling a major plot point, but I’ll try. The trailer above manages to give nothing away, which doesn’t help me work out what I can spoil either, but it’s a fun film to go into blind. Henry (Adam Driver) is an abstract comedian, and very succesful in his life, he falls for Anne (Marianne Cottilard). They then have a baby, and following an event, it is realised this young child has an incredible singing voice, so Henry gets his conductor friend (Simon Helberg) to help him make her a star.

The above sounds very standard, but the film is anything but. It’s impossible to describe without spoilers. The film has deceit, death and characters who are wooden puppets. I was lucky to have had a drink before hand, because fully sober, or in the wrong mood, this film would have rubbed me up the wrong way. It’s not accessible and in fact, you need to suspend your disbelief, and there is one thing that helps you do that, Adam Driver.

Back from his incredible performance in Marriage Story, Driver is absolutely incredible in this film. He gives everything and in his most stagey moments captivates you, like your one of the crowd. Going from a performer to an emotional wreck, the instability of his character leads to apprehension. He’s a ticking time bomb who likes control and can’t have it. He desires the voice of his daughter, but is in anguish when he hears it. This role is such a difficult one and he pulls it off which such suave. Despite not being likable, the character was so intriguing and powerful. There is a particular scene three quaters of the way through where he says nothing, but his face does all of the acting. Surely, he should be considered for an Oscar, if not an ASBO nom is likely to be headed his way.

The casting is absolutely excellent across the board. Marion Cottillard has an absolutely incredible voice, while Simon Helberg (Howard from the Big Bang Theory) is absolutely wonderful. There is a scene midway through where he is conducting a band, but talking to the audience, and he portrays so much emotion within his words and actions. Now he has the chance to show his talents, boy is he thriving. His scenes with Driver, including a wonderful example of physical theatre are all divine. There is also an actor who comes in late in the film (I shall not say who as it involves a spoiler) and despite how unlikely this seems, she really stands level with an actor as talented as Driver to give the film an incredible finale.

While the actors alone are a pleasure to watch, the set design and cinematography are brilliant as well. With an envious green tone throughout, some of the sets just feel brilliant, especially the hyperbowl one. Meanwhile, the camera movements are incredible ambitious in certain scenes, such as the opening one and particularly the Helberg conductor scene.

I’m this far into a review about an opera and haven’t discussed the music. It’s a wonderful alt rock soundtrack by Sparks. It goes from rock to operatic very quickly, keeping you on your toes. The music may not vary that much and there is a lot of Les Mis singing what you’re thinking, but it’s so big and grand and done with such emotion that it doesn’t really matter. The humour in these scenes is very meta and on the nose, as is clear in the opening scene which is a song called “May we start?“

While I found the film capitivating with its key ideas of jealousy and control, there is a lot that people won’t like. They might say it’s an overly-long repetitive film which swaps story telling for weirdness. That may be true, especially the latter half. Baby Annette is a marionette (showing the themes of control and her parents’ relationship with her) after all and requires a significant suspension of disbelief or a drink before hand. However, if you really are into it, the 140 minute run time flies by. Sure, the music is a bit samey at times, but it’s fine as the performances are what draws you in. People may wish it ended earlier, but we’d miss one of the best final scenes of the year.

It’s a really strange movie and it will divide you. This blog is where I write my opinions and I won’t apologise for that. Love or hate this film, you won’t be able to stop thinking about it.

Summary

Annette is a captivating, strange musical. You won’t have seen anything like it, so it’s a massive risk. While some will despise it, it is in my opinion one of the best films of the year with a world class performance from Adam Driver, a wonderful dramatic score and a beautifully shot film entrancing me and more than making up for any flaws within it. This film is the sort which could truly become a cult classic in the years ahead. [Grade: A]

Annette is on a limited cinema run now and is on MUBI in November.

I must apologise for my recent lack of updates on this website. I’ve been doing some covert surveillance for the alliance to ban popcorn (ABP). I have recently made some significant progress by infiltrating the Rebel Wilson Fan Club. To get in, I had to answer one seemingly simple question “What is your favourite Rebel Wilson Movie?” Of course, the correct answer is none, they are rubbish. However, I decided to bite my tongue. It was clear the answer they wanted was Pitch Perfect. For Fat Amy to have never gotten an Oscar was blasphemous, but as I went to type Pitch Perfect, I couldn’t do it. It wasn’t worth the cost of this. So I found a middle ground. My response was “Jojo Rabbit. Rebel Wilson is very funny is the movie.”. You may notice the typo and think that was stupid, but alas it was not. Fans of Rebel will naturally have lower intelligence, so this was the perfect intentional cover.

And it worked. We are now on the inside. So far, most communications have been utter rubbish. Someone sharing a mediocre dance videos and regular sharing of what a psychic said. Of course, it is the case that people who like Rebel Wilson will believe in such a fraudulent profession. Anyway, we are in and ready to break it down and I’ll update you with more progress soon.

Review Starts Here: Speaking of places which aren’t special, you are probably here to read a review of the film “Nowhere Special”. John (James Norton) is a 34 year old window cleaner who is a single parent to Michael, his six year old child. His life is incredibly unremarkable as he goes about his day, but we very quickly see his bond with his son is so special.  We see him going around and meeting families who are all talking about adoption and then it becomes clear to us that James is terminally ill and is looking for a new family to adopt Michael once he has passed away.

This is no easy task for John, who can’t quite work out exactly what he’s looking for. At one point he says he thought it would be as easy as yes or no and director Uberto Pasolini is incredibly good at letting us see these potential candidates and why John would think against them even though they are lovely people. These are offset by moments of John and Michael bonding, which are the most beautiful and fun moments over the course of the entire film.

As you will probably realise from this opening description, Nowhere special is a very sad film. It’s wonderfully tender and authentic. You believe in what you’re seeing on the screen.

James Norton does a wonderful job of bringing his character alive. Along with a great script, we are slowly fed more information which help us understand his psyche, especially around making this decision and we see the impacts of what people say to him, especially around the importance of having a mother around. These comments play on his doubts brilliantly. He has a subtle inferiority concern having raised his child on his own in a not very glamorous, yet incredibly caring way. He also has concerns about his legacy and a feeling that he is betraying his young son. For most of the movie, they don’t discuss what is going to happen, John wants to protect his child. However, much like The Farewell, there is a question of how much Michael is picking up on during all these home visits.

He also has to come to terms with his own mortality and limits. Part of the reason this task is so difficult is because he doesn’t quite seem to accept how little time he has left. This isn’t ever said as much out loud as it is in his actions.

As well as the script, the way the film is made is very subtle. It is an independent film with lots of intimate face shots which give us a full insight into the characters. The look of the film is grey and overcast, until one shot where it notably isn’t. This may just be a consequence of shooting in Ireland, or maybe it was more deliberate.

Of course, as we get to the conclusion, things become more emotional. These moments are dealt in a respectful, understated way. Throughout the movie, the make-up artists make the most subtle changes to make the lead character look slightly more ill and show his deterioration. Then when we see the conversations which are needed, they feel authentically sad and not confrontational, leading to a crescendo where I shed a tear.

Summary

Nowhere Special is a sweet intimate film with a tragic story and theme. It doesn’t avoid its difficult moments but deals with them in a respectful human way. The script is incredible and James Norton provides a career defining performance. [Grade: A-]

Any cinema worker in the south west area of London will know me as the one with the rucksack and green lid water bottle who shoots a disgusted look when asked if I would like to buy any food. It’s part of my persona, like the big guy who brings his folding chair and table to takeaways all over the country (If you don’t know who I’m talking about, look up Rate My Takeaway on YouTube). However, this week I decided to change it up and for the first time ever, I consumed alcohol in my sacred temple. Was I going off the rails? No. Was there reason to celebrate? No. Instead, it was to immerse myself into Best International Film Oscar winner Another Round.

I must say that going into this film, my expectations were sky high. Having been a fan of director Thomas Vinterberg’s previous films such as Festen and The Hunt, I really had a feeling this would be special. Unfortunately, when you think this way, most films let you down. But not this one.

The film focuses on a group of four teachers, the main protagonist of whom is Martin (Mads Mikklesen). They are all missing some spark in their life. Martin in particular seems to have been worn down and has low self confidence and his relationship with his wife is stagnating. None of the others are especially happy either. One has young children and hasn’t slept a whole night in years, one is totally alone with his elderly dog and one is worried he will be forgotten and has no children. Each one is slightly lost, so at a birthday party, it is suggested they undertake an experiment to test a hypothesis that the human is born with a blood alcohol content level of 0.05%. Of course, they start doing this and see some interesting results. At first, it seems to increase their confidence, but as they further the experiment, things will start to go wrong.

A dark Danish comedy about the dangers of alcoholism doesn’t sound like most people’s cup of tea (or alcoholic equivalent), but the film really does hold up as a comedy. It’s the funniest film I’ve seen in a while. These men with their hijinks and interactions with those around them were extremely entertaining and humane. You see them let go when compared to their uptight beginnings. There are of course dark moments as you’d expect in this subject matter, but the use of humour is insane.

The whole film is a real romp. It’s snappy and electric. For the first 90 minutes, it doesn’t let up at all. When you’re in you’re in and it doesn’t break your focus at all. You care for the characters and the cracks come about slowly and organically. The thing about them is that it isn’t one character trying to make the others agree to a crack pot scheme, but at each junction a different member of the group will lead them on to their next step.

While the film will be known as the Danish drinking film, it looks at so much more than that. It’s a celebration of friendship and of living. In a world which has been so flat, it’s about seizing your life and being your best self. The methods of achieving this had some dire consequences, but the use of alcohol allowed the characters to push slightly closer to what they wanted to be and helps them discover it, particularly lead character Martin. The film lets you think about what was right or wrong. It doesn’t just say alcohol is bad or alcohol is great. It looks at Denmark’s drinking culture and looks at the characters, gives you a story and lets you make your own judgement. You’ll either want to drink ten shots after this film or never touch another drink again.

The story is engaging and remains human. It focuses on its characters and the effects of their actions. It keeps an air of unpredictability as it makes sure to be more than just alcoholism.

The great story was brought to life by some of Denmark’s finest actors. Mads Mikklesen (who you will probably recognise from Hannibal or Doctor Strange, but should recognise from The Hunt) will no doubt get most of the plaudits for his leading role, however it is at your peril that you forget the performances of Magnus Millang, Lars Ranthe and especially Vinterberg’s long time acting choice Thomas Bo Larsen who acts with grace and nuance despite stumbling around the town off his face.

As with The Hunt, I really loved Vinterberg’s choice of music. He switches interchangably between Danish pop music, classical piano themes and choral music for his most devistatingly intense moments. The switch between all of them is subtle, yet very powerful. It shows the whole film isn’t a party and can bring everything back to earth with a sobering effect.

The whole movie is put together tightly. The use of cinematography is great, with the greys at the beginning of the film showing the dullness of the group’s lives soon replaced by a much more vibrant pallette as it becomes more upbeat. There aren’t many effects as the film docuses on its writing and story more than anything else, however when used sparingly, any extraordinary technique is used well.

The film really is a lot of fun culminating in the best dance based ending since Paddington 2! (Spoiler hidden)

Summary

Another Round is an incredible dark comedy about the effects of drink which is also a celebration of life and living as your best self. The story is great fun running at a great pace throughout with brilliant acting and directing making it one of the standout films of the year. [Grade: A+]