2010-2019, Film Review

Black Panther (2018)

Posted on February 16, 2018February 16, 2026 by Martin: Through the Silver Screen

Black Panther – Film Review

Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Letitia Wright, Angela Bassett, Forest Whitaker, Andy Serkis

Director: Ryan Coogler

Synopsis: In the wake of his father’s death, T’Challa returns to his homeland of Wakanda to be crowned King. Yet as he seeks to continue the Black Panther legacy, challenges to his rule begin to emerge…

Review: For all the might and marvel that the MCU has built and delivered to audiences all around the world, there was always something missing from this vast and enthralling universe. No, not a female-led superhero film (though that is on its way), but a film that taps into a vast culture that up until now hadn’t really been explored. A culture that encompasses the beautiful continent of Africa and all the beauty it has to offer. Indeed, little Easter Eggs were placed in earlier films, but now at long last, it takes centre stage.

Following on from the events of Civil War, T’Challa returns to his home of Wakanda, a technologically advanced nation in Africa that has chosen to shield itself and its absolutely awesome technology away from the world. However, trouble is brewing for T’Challa as events from the past are threatening to reap terrible consequences on Wakanda and its people. All the while, T’Challa must balance his duties as the King of his country, whilst also being the iconic Black Panther. Being a King is sometimes not the great thing it is so often cracked up to be.

After reinvigorating the Rocky franchise so successfully with Creed, Ryan Coogler takes on what is comfortably his largest project to date. Yet much like Taika Waititi before him, he brings his own sense of style to the story and indeed to the wider Marvel Universe. The work that is done to establish this world of Wakanda is so breathtaking and done in such a vivid manner that it feels like it almost could be a place on this planet. Regrettably, it is not. Of course, it being an MCU film, certain things are almost guaranteed to be present, such as the humour. While a few jokes can be hit or miss, for the most part, the humour adds to the scenes but never compromises the experience of what is ultimately a very personal story about a man, his duty to his country, and to his family, and what that means to his country.

Speaking of which, Boseman continues his excellent work as both the man and the hero, but special mention must go to Letitia Wright as the King’s technological whizkid of a sister, Shuri. She has all the technological toys that she and her brother get to utilise, and their chemistry is excellent. Oscar winner Lupita Nyong’o is also in excellent form as the tough warrior Nakia, as is Danai Gurira as the head of the Dora Milaje, a fearsome squad of badass female warriors serving Wakanda. This cast packs plenty of stars, and nearly all of them really get their moment in the spotlight. Coogler’s muse seems to be Michael B. Jordan, and as Erik Killmonger, he comes across as a strong villain who’s well fleshed out, and you fully understand his motivations.

Re-teaming with his cinematographer from Fruitvale Station, and recent first-time Oscar nominee for cinematography Rachel Morrison, the film is beautifully shot with stunning shots of the Wakanda landscape. There are more than a few insanely good action sequences to relish, but the film is not reliant on these to tell the story and let the audience have fun. The deeply personal story that Coogler and co-writer Joe Robert Cole craft is what makes this story so invigorating. It has central themes that will hit home with anyone who watches it. It’s an extremely relevant and important piece of filmmaking in this respect, and for Marvel to continue to break new barriers, after an incredible 18 films into their Universe, is an important and remarkable achievement.

A gripping personal story, packed with vibrant colours and costumes, terrific characters and a fascinating look into a breathtaking civilisation, it’s another landmark achievement for the MCU. Wakanda forever!

2010-2019, Film Review

The Post (2018)

Posted on February 14, 2018February 14, 2018 by Martin: Through the Silver Screen

**Image is property of DreamWorks Pictures, Universal and 20th Century Fox**

The Post – Film Review

Cast: Meryl Streep, Tom Hanks, Bob Odenkirk, Sarah Paulson, Jesse Plemons

Director: Steven Spielberg

Synopsis: When classified government documents concerning the Vietnam War end up in the hands of journalists for The Washington Post, they must decide whether to risk their careers and the paper’s legacy and publish these documents, whilst risking the wrath of the United States Government.

Review: There is something to be admired about those people who go above and beyond to try and report the facts in this crazy world we live in, especially at a time when journalists in this day and age find themselves under intense scrutiny. As so many people, especially certain world leaders, just dismiss stories about them that paint them in a negative light. Yet, the work these people do plays such a vital role in our society, and that cannot be ignored, especially when the work of journalists .

Indeed, the work of journalists has helped to break some pretty major stories like the enormous scandal that engulfed the Catholic Church, making films such as this and 2015’s Spotlight feel extremely relevant in today’s society. When some government secrets that reveal some shocking truths concerning the US Government and the Vietnam War fall into the hands of The New York Times, the US Government forbids them from running any further stories. When the same documents fall into the hands of The Washington Post, the editor Ben Bradlee debates with the paper’s first female owner Katharine Graham as to whether these documents should be published.

In much the same way that Spotlight was a very dialogue driven film, The Post follows in that manner. Therefore the screenplay has to be of a very high calibre, and that quality is ably provided by Spotlight’s scribe Josh Singer as well as Liz Hannah, marking her first foray into screenplay writing. Though the first half of the film delves into newspapers and business, it does mean that unless you’re extremely well versed in the worlds of newspapers, business, stocks and shares, then this could feel a little bit over-whelming. However, once we get to the small matter of whether the story should become front page news, is where it becomes very intriguing to watch.

Under the guidance of such a masterful director like Spielberg, the performances of everyone really shine. Yet in news that should not be surprising to anyone, the limelight belongs to Meryl Streep and Tom Hanks (more the former than the latter though). It is fascinating two of the biggest actors in the business, who had never worked together prior to this film, engage in some deep discussions about whether or not the decision is made to go to print. With this role banking her a 21st Oscar nomination, it’s little wonder that Streep is regarded as one of the finest women to ever grace the big screen, as no matter what the role is, she never fails to impress. Much like Streep, Hanks almost always impresses and as Ben Bradlee, the man who helped break the infamous Watergate scandal, he’s a man who is absolutely committed to telling the public what he feels they have the right to know.

Though the script doesn’t fully portray the important role that The New York Times played in the leaking of the documents, it does remind everyone that at such times when the press is under such fierce criticism, that this industry and indeed these people serve a role that needs to be respected. Otherwise politicians would try to to sweep certain things under the rug. Though the film doesn’t carry the emotional sucker punch like Spotlight did, the key message about journalism integrity and the commitment to the truth retains its indispensable value to our society and our democracy.

Assured direction from Spielberg, and strong performances from Streep and Hanks ensure this trio of extraordinary talents provide a timely reminder of the power of the press and the fundamental aspects of a democracy.

2010-2019, Film Review

I, Tonya (2018)

Posted on February 7, 2018February 7, 2018 by Martin: Through the Silver Screen

**Image is property of AI Film and Neon**

I, Tonya – Film Review

Cast: Margot Robbie, Sebastian Stan, Allison Janney, Julianne Nicholson, Bobby Cannavale

Directors: Craig Gillespie

Synopsis: Telling the story of controversial ice skater Tonya Harding who, whilst competing for her country in the Winter Olympics, becomes embroiled in a scandal following on attack on a fellow competitor Nancy Kerrigan.

Review: The lives of sports stars and professional athletes, are so often very glamorous, particularly when they enjoy success in their field and acquire incredible wealth and fame on a global scale. However, every once in a while, an athlete finds themselves in the public eye for all the wrong reasons. Take for instance, ice skater Tonya Harding. In the build up to the 1994 Winter Olympics, after an attack on her rival Nancy Kerrigan was carried out, a massive public scandal ensued, and the fallout was quite extensive.

This infamous incident is not the focus of the whole movie though. Indeed director Craig Gillespie chooses to focus on Tonya’s entire life, from her early upbringing and being forced into ice-skating by her pushy/over-bearing mother LaVona Golden (Janney) to her marriage to Jeff Gillooly (Stan) to of course the infamous attack on Nancy Kerrigan. He chooses to tell this story in a very unique way, by having the characters as if they were being interviewed by us the audience, and then flashing back to the key moments in Tonya’s life. Constantly jumping back and forth in this manner can be problematic but the film is edited together tremendously well, ensuring it flows coherently.

In a performance that has landed her her first Oscar nomination, Robbie really shines as Tonya Harding. Despite some of her less than pleasant mannerisms and behaviour, she is in many ways a very tragic character. Clearly very talented, she never quite fully realised that potential, this is perhaps more down to factors beyond her control. Of course she isn’t perfect but, her extremely difficult mother and her topsy-turvy home life certainly didn’t help matters. Janney as Tonya’s mother is also getting some well deserved recognition. Almost every word out of her mouth is profanity or a derogatory utterance directed if not at her daughter, at someone else. Though she strives to do what’s best for her daughter, it certainly doesn’t yield the right results, and she certainly wouldn’t win any Best Mother of the Year Awards.

For a person who had more than a few dark and bleak moments in her lifetime, the screenplay does manage to inject some humour into this picture, which is in no small part down to LaVona’s outbursts, and the bumbling incompetence of some of the characters who played a key role role in the attack on Kerrigan. The aforementioned use of editing in the interviews to tell the story, intertwined with some frequent fourth wall breaking keeps the plot moving for the most part along as briskly as an ice skater who’s right in the middle of their routine would.

The film does suffer from a few pacing issues though, as it seems unsure as to which element it really wants to focus on at least in the first act. There’s also the not-so-small matter of the ice skating scenes themselves. While the camerawork to make them happen is impressive, there are a few scenes in which it is very apparent that we are looking at a stunt double, and not Robbie herself, which can be just a little bit jarring. Yet once we reach the third act and the now infamous attack on Kerrigan becomes the main focus, it becomes wildly entertaining, and serves a reminder of how even the smallest action can have devastating consequences on people’s lives and careers.

Unconventional in how it chooses to tell its ultimately tragic story, but with excellent performances from Robbie and Janney in particular fused with some very dark comedy ensures this biopic has some legs (or should that be skates?)

2010-2019, Film Review

Coco (2018)

Posted on February 4, 2018February 4, 2018 by Martin: Through the Silver Screen

**Image is property of Disney and Pixar Animation Studios**

Coco – Film Review

Cast: Anthony Gonzalez, Gael García Bernal, Benjamin Bratt, Alanna Ubach, Renée Victor, Ana Ofelia Murguía, Edward James Olmos

Directors: Lee Unkrich and Adrian Molina

Synopsis: 12 year old Miguel strives to be a musician, but due to a tragic family past, his family won’t allow it. Undeterred, when he’s accidentally transported to the Land of the Dead, he seeks out his ancestor, who was himself a famous musician.

Review: It is perhaps a question that we as humans have been asking ourselves for as long as we have been around, what happen to us when we die? The belief in an afterlife is certainly extremely prevalent among certain cultures, perhaps most notably The Día de Muertos, also known as the Day of the Dead, a holiday celebrated in Mexico. It is on this premise that animation juggernaut Pixar uses as a backdrop for its latest feature film.

After a few sequels, the decision to focus on an entirely original concept is a welcome one, especially since the studio has arguably been at their best when focusing on original concepts (see Inside Out). At the centre of this new tale is Miguel, a young boy who has a passion for playing music. He is desperate to pursue this dream, but a terrible incident in his family’s past means that music is not welcome in his family, instead their focus is solely on their thriving business. Yet this doesn’t stop Miguel from his dreams. But in trying to accomplish these goals, Miguel finds himself in the Land of the Dead, and is in a race against time to get back to the Land of the Living before it is too late.

For a film that focuses on the afterlife, in which a considerable proportion of the cast are well dead people, seems unlikely to be family friendly material and is perhaps just a bit too macabre for the kids. However as they so often do, Pixar makes it all work an absolute treat. The story they construct is so beautifully told that once again, there are moments here that will tug on your heartstrings to such an extent that any audience member will find it hard to resist the urge to not have a quiet sob.

With Pixar you usually find some of the most beautiful animation to ever grace the big screen, and here they do so once again. The colours on display here are so vivid and just stunning to look at, and the animation feels so life like, that it brings all of the characters to life, whether they are living or if they have moved on. Miguel as our lead is immediately likeable, and despite the aggression he receives from his family for wanting to pursue music, he doesn’t take no for an answer, even when it looks like it will land him in a significant amount of bother.

Once again, Pixar has crafted a story works on two levels to tremendous for both the kids and adults. It explores themes such as love, family and what it means to have a dream, especially if you’re not encouraged to pursue these dreams. With another superb score from Michael Giacchino and what could well be another Oscar winning song in Remember Me from Frozen duo Robert Lopez and Kristen Anderson-Lopez. At this point, with their filmography brimming with so many beautifully told pieces of storytelling and animation, it is hard for any new release to take its place among the cream of the crop. However, Coco might just ensure it takes its place in that collection, as it is another string in Pixar’s guitar, that almost always hits the right notes.

Delivering animation of the highest quality once again, with another beautifully crafted story that tugs at the guitar strings and the heartstrings in equal measure. Another Pixar masterpiece.

2010-2019, Film Review

Darkest Hour (2017)

Posted on January 24, 2018January 24, 2018 by Martin: Through the Silver Screen

**Image is property of Universal, Working Title and Focus Features**

Darkest Hour – Film Review

Cast: Gary Oldman, Kristin Scott Thomas, Lily James, Ben Mendolsohn, Stephen Dillane

Director: Joe Wright

Synopsis: In the early days of World War II, with the rest of Europe falling under the iron grip of the Nazis, Winston Churchill ascends to the role of Prime Minister, with the country seemingly on the brink of almost certain defeat…

Review: In periods of war, strong leadership from those who hold positions of power can be the difference between victory and defeat. Never is this more applicable than for the United Kingdom in the early years of the Second World War, which like the film’s title success was truly some of the darkest days for the country. The Nazis closed in having swiftly conquered the majority of Western Europe, and there seemed to be no one capable of stopping Hitler from his mission of total domination across the continent. This is of course, until one man came to the fore, and that man is of course Winston Leonard Spencer-Churchill.

Being one of, if not the most prominent Prime Ministers in UK history, there has been a great many actor to play Churchill, and Gary Oldman becomes the latest man to assume the role, and it is one that he fully commits to, giving an absolutely incredible performance that has rightfully installed him as a hot favourite to finally scoop a Best Actor Oscar this year. His performance captures Churchill and his mannerisms so well that at times you forget that it is indeed Oldman under all that makeup.

Having seen his predecessor Neville Chamberlain being forced into resignation, Churchill assumes office and immediately realise the enormity of the task facing him as the British forces find themselves stranded on the French coast with the Germans closing in fast. While Churchill favours a more guns blazing approach, there are those who would prefer to negotiate a peace treaty with Hitler and as one character calls him, his “lackey” Mussolini. As the days go by and the situation worsens, pressure and indeed opposition towards him grows stronger, but Churchill will not yield.

Given the gravity of the situation, it would be easy for the script to be completely dreary. However, the screenplay by Anthony McCarten allows for plenty of humour, of which Churchill is of course front and centre. Aside from Oldman’s towering performance, the rest of the supporting cast all deliver assured performances. Chief among these are Kristin Scott Thomas as Churchill’s wife Clementine and Lily James as his secretary Elizabeth Layton, while neither are given extensive amounts of screentime, they both make their mark on Churchill and are figures of support as he battles his opponents who are calling for him to negotiate for peace, led by the stern Viscount Halifax, who is expertly portrayed by Stephen Dillane.

With meticulous production design by Sarah Greenwood, director Joe Wright and cinematographer Bruno Delbonnel capture 1940s London in intriguing visual style. The scenes in Parliament especially stand out in the way Wright shoots them, using lighting that gives the scenes an almost melancholic feel to them, which to be fair wouldn’t entirely be out of place in war time. Yet it is here where Oldman shines brightest, giving the rousing “We shall fight them on the beaches” speech that has taken its deserved place as one of the best speeches in history.

In what is almost a companion piece to the gripping retelling of the Dunkirk evacuation from Christopher Nolan, while that film focuses on the evacuation itself, Darkest Hour focuses on the man who at a time when his country needed him most, rose to the challenge and helped to make it all possible. In the darkest hour that perhaps the UK has ever faced, one man showed us the light.

A gripping story of a country on the brink at its centre, with a magnificent performance from Oldman at its core, this is Wright’s and Oldman’s finest hour.

2010-2019, Film Review

Three Billboards Outside Ebbing, Missouri (2017)

Posted on January 18, 2018January 19, 2018 by Martin: Through the Silver Screen

**Image is property of Fox Searchlight and Film4**

Three Billboards Outside Ebbing, Missouri – Film Review

Cast: Frances McDormand, Woody Harrelson, Sam Rockwell, John Hawkes, Peter Dinklage

Director: Martin McDonagh

Synopsis: After a young woman’s murder goes unsolved, her mother rents out the use of three billboards just outside her town to try and force the authorities into action…

Review: As human beings, it would certainly be fair to say that we can be at our lowest ebbs whenever someone we love has passed away. Whether it be from natural causes, or if they’re cruelly and sometimes callously taken away from us. But what could anyone do in the case of the latter? Well there’s not a lot you could do except hope that killer was caught and swiftly faces justice for their actions. However, what if that doesn’t come to pass? Do you have any other options?

Yes is the answer for one bereaved mother, as she chooses to take matters into her own hands. After her daughter Angela was brutally raped and murdered seven months prior, Mildred Hayes makes use of three large billboards just outside of her town, with messages that are directed at the police whose investigation hasn’t yielded any clues. Though by doing this, it causes a stir among the population of the town (and not in a good way) that creates some problems on top of the problems that Mildred is already having in her life.

You would think that such a bleak scenario does not allow for comedy, but that’s exactly what writer/director Martin McDonagh provides. His superb screenplay manages fuses both the comedy and the tragedy of this family drama so effortlessly that one never negates the other. One scene can shift from a wonderfully humorous moment to a gut-wrenchingly sad moment in an instant. Furthermore, in a country that is facing some deeply testing times, the screenplay also goes beyond the personal grief of one family and examines some important issues facing American society today. It’s extremely powerful and hard-hitting.

Being the centrepiece of this story Mildred Hayes is a character who it is clear has had a lot of shit going on in her life besides the tragic fate that befell her daughter. Even though she isn’t exactly going things in the most acceptable or indeed correct manner, you understand her rage that she has for certain people and as such you do sympathise with her. Frances McDormand gives a terrific performance that has already won her a Golden Globe, with more nominations and potentially awards to follow, all of which would be well deserved. Equally terrific are Police Chief Willoughby (Harrelson) who’s encountering his own difficult personal problems and a bigoted policeman (Rockwell) who is absolutely not a friendly chap whatsoever. Yet there is a hint of a man who is a little bit vulnerable, though the same could be said for perhaps almost everyone in the town, with these events having clearly taken their toll on the town as a whole.

With each of the story-lines that these characters have and the ensuing journey that these three in particular go on makes for some hilarious, and in some cases, harrowing viewing. Yet it handles its subject matter in such a delicate manner that the comedy and the tragedy do not cancel each other out. With McDonagh’s razor sharp screenplay and direction, combined with the electric performances from the ensemble cast ensures that the film is extremely thought-provoking. It packs so much more emotional weight that ensures it will leave a lasting impression, on both the viewer and indeed on this current awards season race.

Funny, shocking and depressing, sometimes all in the same scene, but McDonagh’s razor sharp screenplay ensures it is all meshed together supremely well. This is bold, but quite brilliant film-making in equal measure.

2010-2019, Film Review

All the Money in the World (2017)

Posted on January 13, 2018January 13, 2018 by Martin: Through the Silver Screen

**Image is property of Tristar Pictures and Scott Free Productions**

All the Money in the World – Film Review

Cast: Michelle Williams, Christopher Plummer, Mark Wahlberg, Charlie Plummer

Director: Ridley Scott

Synopsis: After his grandson is kidnapped and held for ransom, billionaire businessman John Paul Getty refuses to negotiate, while his mother works tirelessly to secure his release.

Review: It became one of the biggest stories in the world of film in 2017. When allegations of sexual misconduct were made against Kevin Spacey, it had far-reaching consequences. With Spacey having completed filming for the role of John Paul Getty, amid fears that having him in the final film would be financially catastrophic, it prompted Ridley Scott to hurriedly axe Spacey from the role of John Paul Getty and instead replace him with Christopher Plummer, at a reported cost of £7.5 million. It was an enormous gamble, but one that definitely paid off.

Based on the incredible true story, as he’s walking around Rome, John Paul Getty III is whisked away by some kidnappers who demand a lofty ransom from his super rich grandfather. This sets in motion a tense battle between Getty and the mother of his grandson Gail (Michelle Williams) to ensure his safe release. While Gail is doing all she can to secure her son’s release, Getty remains defiant, refusing to submit to the demands of his grandson’s kidnappers, whilst being extremely cold and distant towards Gail. This sets off a chain of events that trigger a race against time to ensure that her son makes it back home alive, whose life it would be fair to say, is hanging in the balance.

For what it is worth, those pricey reshoots certainly made everything worthwhile as Plummer is tremendous and steals the show. It is hard to imagine anyone else playing this role. In spite of his vast riches, and despite caring for all of his grandchildren, he simply refuses to negotiate or cave to the kidnappers demands, and though it seems heartless, you understand why he refuses to give in to the demands of his grandson’s kidnappers. The screenplay by David Scarpa, adapted from Painfully Rich: The Outrageous Fortunes and Misfortunes of the Heirs of J. Paul Getty (quite the long title!) tells this remarkable story in a manner that is extremely gripping. Though the film does suffer from some pacing issues where not a great deal is happening, the back-and-forth between Getty and Gail makes for some tense magnificently acted family drama.

Speaking of, Michelle Williams as Gail is also superb. In spite of the extreme difficulties she faces in getting Getty to cough up, she pursues every avenue that she can, possessing a relentless motherly drive to be reunited with her child, who is brought to the screen tremendously well by Charlie Plummer (no relation to Christopher). Wahlberg certainly doesn’t steal the show like Plummer or Williams, but he gets the job done as the man who Getty hires to assist Gail in her desperate quest to find her son.

Ridley Scott is a director who has had quite the career, but with Alien: Covenant receiving a decidedly mixed reaction among many cinema goers, it is pleasing to see him bounce back here. The film is directed tremendously well and Scott brings out some excellent performances from his cast, which is impressive given how little time he had to complete the reshoots to make the film’s release date. The third act especially is where Scott really turns the tension up a few levels and delivers a pulsating conclusion to a film that might have gone down in the history books for all the wrong reasons if Scott had chosen to not do anything. Thankfully, and indeed all the money in the world (well not quite) to help pay for those reshoots ensured it is another remarkable entry into Ridley Scott’s remarkable filmography, and given the circumstances, that is some achievement.

An incredible true story told with sincerity by Scott and boosted by the superb award worthy performances of Williams and Plummer, all the more remarkable given the circumstances that necessitated the latter’s last minute involvement in the project.

2010-2019, Film Review

Molly’s Game (2017)

Posted on January 9, 2018January 9, 2018 by Martin: Through the Silver Screen

Molly’s Game – Film Review

Cast: Jessica Chastain, Idris Elba, Michael Cera, Kevin Costner

Director: Aaron Sorkin

Synopsis: After her professional sports career lies in tatters, a young woman named Molly Bloom sets up and runs high stakes poker games, but it isn’t long before she finds herself at risk of running into trouble with the law…

Review: When it comes to a screenplay that is written by the one and only Aaron Sorkin, you’re going to get extremely well written and extremely engaging dialogue. In addition, the characters on screen will be talking in a fast pace that keeps you completely focused on the words that they are saying, whilst moving the plot forward in a timely manner. With Sorkin he can take almost any aspect such as the inner workings of baseball, or the lives behind the founders of Apple and Facebook and turn them into extremely entertaining, very character driven pieces that yield exceptional performances. Except this time, having for so long been the master of the screenplay, he makes his first venture in the world of directing.

His debut feature tells the story of Molly Bloom, a budding young athlete in her early life with dreams of going professional. This was until a horrendous incident ruined those dreams for good. Seeking a new venture, she finds herself working as for want of a better word, a secretary for a man who runs poker games. After acquiring the experience and developing the skills, she becomes extremely good at this, to the point where she decides to set up her own business running extremely high stakes poker games for some A list celebrities. However it isn’t long before she finds herself dealing with some much more scary sort of clientele that soon lands her in some hot water.

Sorkin chooses to tell Molly’s story by focusing on her fraught meetings with her lawyer (Idris Elba) and then flashes back to her past and how she went from an athlete with shattered dreams to running high stakes poker games for some truly A list clients. Among these clients include some very high calibre Hollywood actors, though the real identities of these people have been deliberately obscured. The script is filled with Sorkin’s familiar sort of very fast paced dialogue, with extremely watchable characters who definitely have a story to tell, and in the case of Molly Bloom, hers is certainly one that will have your interest in from the word go.

As she so often is Chastain is fantastic in this role that has already bagged her a few award nominations. She displays dogged determination to succeed in spite of some people giving her some rough treatment, whilst crucially giving the character strong emotional weight when she’s tussling and arguing with her lawyer, and even more so when the effects of her glamourous lifestyle really begin to take their toll on her. Elba, as said lawyer is also excellent as he tries his best to determine the best course of action for Molly to take in this precarious situation.

Sorkin is undeniably a master when it comes to screenwriting, as a director he shows himself to be equally adept combining his signature dialogue and making the film cohesive and structurally on point. The weaving together of two timelines can lead to a messy outcome, but thankfully the film doesn’t collapse and fall apart like a poker player might if they had a terrible hand. Even if you have no clue whatsoever when it comes to poker, the story is told in such a way that keeps you engaged and interested in this woman and her truly fascinating story from the depth of despair to a remarkable rise to riches, and back again.

Anchored by an electric performance from Chastain, with superb work from Elba, Molly’s Game ensures that Sorkin’s directorial debut has plenty of aces up its sleeve.

1990-1999, Film Review

Terminator 2: Judgement Day (1991)

Posted on December 26, 2017 by Martin: Through the Silver Screen

**Image is property of TriStar Pictures**

Terminator 2: Judgement Day – Film Review

Cast: Arnold Schwarzenegger, Linda Hamilton, Edward Furlong, Robert Patrick, Joe Morton

Director: James Cameron

Synopsis: Having failed with their mission to assassinate Sarah Connor, the machines send a new and much more advanced lethal to go after John Connor as a child. However, the adult John Connor counteracts this by sending the same cyborg that tried to kill his mother, to protect him.

Review: “I’ll be back,” said the T-800 before he rammed his car through a police station during a climatic event of the first Terminator movie as he ruthlessly hunted down his prey, Sarah Connor, in a bid to kill her to prevent a deadly war between man and the machines from ever taking place. It’s a line that has become one of the most quoted lines of dialogue in cinematic history. Though he did not succeed in said mission, he was true to his word, and came back with an almighty bang to help create what many feel is one of the greatest sequels ever made in the history of film.

The first Terminator film was revolutionary and it managed this feat on quite the remarkably small budget. Hence for the sequel, as sequels should do it upped the ante and in considerable style too, including quite the higher budget. With the war against the Machines still raging, and having failed to eliminate Sarah, Skynet sends an advanced Terminator, the T-1000 back in time to eliminate John Connor as a child to prevent him from leading humanity to victory against the machines. Yet to counteract this, the adult John sends back a reprogrammed T-800 that was originally sent to kill his mother, back to protect him at all costs.

Having shown himself to be a ruthless badass killing machine in the first film, to see Arnie flip that on its head, and be a little bit more compassionate this time around was a masterstroke in terms of storytelling. Yet at the same time, he still remains an absolute badass that you wouldn’t want to find yourself up against. And once again, he has some terrific one liners that he delivers with such charisma. The role of the Terminator is what perhaps Arnie has become best known for, and he absolutely bosses every minute of screen time that he has.

With Sarah Connor as well you also have a character who has gone through some shit, and it’s made her a much tougher individual in this film than compared to the rather timid waitress she was in the first film. Taking the characters from the first film and developing them is what sequels should do, and this film does it perfectly, as Sarah is a transformed woman in this film. On the other hand the T-1000, played by Robert Patrick, is one of the most persistent relentless antagonists ever put to film. To watch him scrap with Arnie, two very well matched forces, it makes for some pulsating action. By doing this it makes it that so much more compelling, given that in the first film it was Arnie VS Sarah and Kyle, not exactly the most even of match ups.

With the budget now considerably enhanced, much like The Terminator himself, Cameron manages to create just as compelling, if not more compelling action sequences. he manages to top those action sequences here. The film is paced perfectly with plenty of tremendous action scenes to keep the energy going, including perhaps the best chase scene that has ever been put to film. However, though there are a lot of these chase sequences, it crucially allows those personal moments between the characters particularly between John and Sarah, and indeed the whole plot surrounding the war between man and machines and the dreaded Judgement Day.

It’s the perfect blend of upping the ante in terms of action and the drama, whilst crucially giving moments for the central characters to develop. It’s one of the finest examples of a sequel that some might argue is better than the original. It is a film that has helped shape science fiction and indeed action films in the years that followed, and will in all likelihood, continue to be a staple of both genres for many more years to come.

He said he’d be back, and he certainly was a man (?) of his word. With much more developed characters and some breathtaking action set pieces, this is the perfect example of a sequel done perfectly. Hasta la Vista Baby indeed!

2010-2019, Film Review

Star Wars: The Last Jedi (2017)

Posted on December 16, 2017June 6, 2018 by Martin: Through the Silver Screen

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Star Wars: The Last Jedi – Film Review

Cast: Daisy Ridley, Mark Hamill, John Boyega, Carrie Fisher, Adam Driver, Andy Serkis, Laura Dern, Domnhall Gleeson,

Director: Rian Johnson

Synopsis: Following on from the events of The Force Awakens, The First Order is hot on the trails of the Resistance, while Rey seeks out the guidance of Jedi Master Luke Skywalker.

This review will be 100% spoiler free.

Review: Very few films manage to become such events that build anticipation and excitement among audiences quite like Star Wars does. Though for a long time (a decade to be exact) no new films were made in the Star Wars universe, it never lost that magic and majesty that it carries for so many people. Though that was unlikely to ever diminish, as 2015’s The Force Awakens came along, it was the film the franchise needed to revitalise itself and get the force flowing through it once more.

Picking up almost immediately after the events of Force Awakens, without divulging too much information, the First Order is now aggressively hunting The Resistance, which is to be expected after you blow up a significant asset, namely Starkiller Base. Meanwhile over on Ahch-To, Luke Skywalker has chosen to hide himself away, due to a horrible event that took place in the past, which doesn’t bode well for Rey, who is seeking Luke out to return a significant possession of his, and for help in honing her Jedi powers.

For many a big criticism of Abrams’s efforts was that it was just a rehash of A New Hope, and while it is not a shot for shot remake, it does undeniably heavily borrow elements of that film. The reception of the prequels and how different they were to the original trilogy meant that the decision to make the first chapter of the new trilogy feel like the film that started all this was a sound decision. However, taking over from Abrams, Rian Johnson continues on what Abrams built so successfully and gives another strong addition to the franchise that continues at the themes that almost every film before it has touched upon.

For many the greatest film in this celebrated franchise is The Empire Strikes Back, and justifiably so too. It took the characters and developed them in extremely unique ways, and it’s clear Johnson is going for a similar vibe, but this is not just a rehash of Empire, it crafts a story that needs to be told, taking the characters and taking them in certainly very intriguing directions. Conflicts are occurring both between the First Order and the Resistance and intense personal conflicts are raging inside some of the characters. Of the familiar faces, Daisy Ridley is once again superb as Rey, adding real intensity into her performance as she goes on a journey to discover the answers to the questions that we had about her last time out. John Boyega likewise as Finn, is certainly a very likeable presence, as is the roguish charm of Poe Dameron. Of the newcomers, Laura Dern has an authoritative presence alongside the late Carrie Fisher’s Leia.

On the flip side, there’s a lot going on with Kylo Ren too, which given the heinous crime he committed against his father is understandable. But even then, his character has a lot on his plate, just like many of the characters here. Though once again, the Skywalker siblings are key pieces in this puzzle. Having had a mere cameo last time around, Luke has a lot more to do this time around and given that so much has happened to him since he decided to adopt the hermit lifestyle, there’s much to be explored and Hamill is once again terrific in the role. Though there is an obvious element of sadness surrounding Leia and the passing of Carrie Fisher, in what will be her final turn in the role, she bows out tremendously. That being said there are some new characters who could have really done with more fleshing out, and some characters who were so frustratingly underutilised previously are still not given the time to shine.

Though the story does move along at a steady pace, there are moments in particular around the second act that really slow the film down, and in some cases seem almost completely out of place and for some it might take them completely out of the film. That being said, that does not take away from the brilliant direction that Johnson puts into this. Sometimes a film can have the feel that it was almost directed by a committee, absolutely not the case here. The film looks immaculate and the action scenes are superbly well handled. There are some scenes that could have been omitted but there’s plenty of scenes that will get the adrenaline flowing.

A key task of any chapter two in a trilogy is to leave the audience desperately wanting more by the time the credits start to role, that criteria has been met. What Johnson crafts here is so well done it’s easy to see why Disney has given him the green light to make a new Star Wars trilogy unrelated to the current events of the saga, or so we are led to believe at this moment in time. The task of completing this story for these characters now reverts back to the man who introduced the world to them, and given that excitement and interest in this franchise is now likely to continue to the end of time, can we somehow make the jump into lightspeed to December 2019 already?