2020-2029, Film Review

Weapons (2025)

Posted on August 18, 2025October 5, 2025 by Martin: Through the Silver Screen

**© Warner Bros. Pictures and New Line Cinema**

Weapons – Film Review

Cast: Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, Toby Huss, Benedict Wong, Amy Madigan

Director: Zach Cregger

Synopsis: A town is left reeling and searching for answers after a group of schoolchildren mysteriously run away during the middle of the night…

Review: Jordan Peele, Robert Eggers, Ari Aster. What do these names have in common? They are directors who, over the past decade, have established themselves as fresh and exciting voices in the horror filmmaking scene. With each new film, they bring something unique and original, turning every release into a highly anticipated event. After unsettling audiences with his 2022 directorial debut Barbarian, Zach Cregger has put himself on a similar path to the aforementioned trio. This trajectory has been further accelerated by his captivating and unnerving follow-up, which will send chills down your spine.

Sometimes, it really pays to know as little as possible before going into a film, and this is one of those cases. So, without going into too much detail, the town of Maybrook, Pennsylvania, is left shaken and confused after 17 children mysteriously woke up at 2:17 in the morning, got out of bed, ran out of their homes and disappeared into the night without a trace. The only link is that all the children who vanished were in Justine Gandy’s (Garner) class. However, the mystery deepens when it is revealed that Alex Lilly (Christopher) is the only pupil who remained. The disappearance of so many children understandably sparks a lot of anger and grief in the community. What could have possibly led to the disappearance of these children, and is Justine really to blame? Is there perhaps something deeply sinister at the centre of this mystery?

For any parent, the thought of their child going missing without a clue where they may have gone would be an absolute living nightmare. Multiply that by 17 sets of parents fraught with anguish, confusion and a demand for answers, and it becomes a powder keg waiting to ignite. These emotions become powerful weapons (pun intended), which Cregger channels into his script into a thorough examination of how grief manifests itself when such a traumatic event collectively impacts an entire community. By dividing the film into distinct chapters, each from the perspectives of the key individuals connected to this disturbing mystery, it keeps the audience glued to the screen across 128 thoroughly tense minutes. We watch with bated breath as each new perspective adds more clues, until the full picture slowly but surely emerges.

The journey to uncover this mystery masterfully maintains tension, keeping the audience fully engrossed. Garner excels as Justine, the poor teacher who suddenly finds herself with an empty classroom. She initially bears the brunt of the community’s anger, with the finger of blame pointed squarely at her. Her pleas that she cares deeply about her pupils and is as eager for answers as the parents fall on deaf ears, which takes a heavy toll on her mental health. Brolin as Archer, the father of one of the missing children, channels his rage at his son’s disappearance by taking it upon himself to carry out his own investigation when the police’s search doesn’t move fast enough for his liking. To say too much more about the rest of the cast would be verging into spoiler territory, but suffice to say, every member of the cast, including young Cary Christopher, is at the top of their game.

With the cast firing on all cylinders, razor-sharp airtight editing by Joe Murphy, and the cinematography from Larkin Seiple, it only adds to the anxiety and tension. You never know who or what could be lurking in the darkness, or indeed the daytime, for that matter, with Cregger all too eager to pack in some truly effective jumpscares. It is a further testament to Cregger that even in a film with the harrowing event of missing kids at its centre, while also tackling subjects such as the dangers of addictions, he manages to find humour in the situation, particularly when one character shows up in that all-important third act looking like something a completely wacky cartoon character that doesn’t seem remotely frightening. Yet, looks can be deceiving, and such is this character’s true nature, it may make you think twice before ever trusting someone with their name ever again.

Achieving a balance between humour and deep unsettling themes requires exceptional skill, and this is a feat which Creggar accomplishes, with a tense and exhilarating finale that will linger in your mind for many days after the credits have rolled. It is early days in his directorial career, but Creggar has established himself as a director who isn’t just making horror films to scare the audience mindlessly. It has something to say about how we, as a species, can react when we experience potent and raw grief and anger in the face of a terrifying situation that is beyond our control, something all too relatable in this thoroughly unpredictable and sometimes downright scary world that we live in.

With only his second feature film, Zach Cregger brings something wholly unique and original to the horror genre, with pointed social commentary, and some truly unsettling imagery that is guaranteed to find its way into your nightmares.

2020-2029, Film Review

Dune: Part Two (2024)

Posted on February 27, 2024September 23, 2024 by Martin: Through the Silver Screen

**© Legendary Pictures and Warner Bros. Pictures**

Dune: Part Two – Film Review

Cast: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Léa Seydoux, Souheila Yacoub, Stellan Skarsgård, Charlotte Rampling, Javier Bardem

Director: Denis Villeneuve

Synopsis: After joining forces with the Fremen in the deserts of Arrakis, Paul Atriedes vows revenge on those who conspired against his family and murdered his father…

Review: “This is only the beginning”, as those words spoken by Fremen warrior Chani (Zendaya), with Hans Zimmer’s incredible score, rang in our ears by the conclusion of the first half of this adaptation of Frank Herbert’s revolutionary 1965 novel, it was a tantalising tease of what was to come. However, it might have all been for nought, as a second film was not guaranteed due to the decision to give it a simultaneous cinematic release and a day-and-date release on streaming. With a $400m haul at the box office (a mightily impressive feat given the pandemic) and viewed by 1.9 million households in the US on its opening weekend on streaming. The audiences spoke, as did the Academy with six Oscars, and the Spice Gods greenlit a sequel. After a few delayed release dates, the time has come to return to Arrakis, and Denis Villeneuve has again defied the odds to deliver another magnificent demonstration of desert power.

Set immediately after the events of Part One, Paul Atreides (Chalamet) and his mother Lady Jessica (Ferguson) have fled to find shelter with the Fremen after his father Duke Leto and the majority of his House were murdered in a coup orchestrated by the villainous Baron Vladimir Harkonnen (Skarsgård) aided by the Sardaukar troops provided by the Emperor Shaddam Corrino (Walken). Though Paul is determined to get revenge, he initially opts to put this to one side and seeks to learn the ways of the Fremen to gain their trust as they see him and his mother as outsiders. Meanwhile, given her status as Bene Gesserit, the Fremen give Jessica an extremely important role within their community. While Paul learns the ways of the Fremen, the work of the Bene Gesserit has convinced some Fremen that Paul is the Lisan Al Gaib or “Voice from the Outer World”. This puts Paul in a moral quandary as to whether he is the prophesied messiah for the Fremen as he simultaneously continues to have horrifying visions for what the future might lead to.

Adapting the first novel in Frank Herbert’s legendary series was always considered to be an unfilmable task, just ask David Lynch. It just goes to show that betting against Denis Villeneuve is never a good idea because he thoroughly proved all the naysayers wrong. With seriously impressive world-building to give any epic franchise of the like a run for its money, Part One immersed the audience in this universe as if you were walking on the sand dunes of Arrakis themselves. However, this was a mere prelude for what Villeneuve and returning screenwriter Jon Spaihts have in store.

Part One walked so Part Two could, like a native Fremen, ride a sandworm in tremendous style. Across 165 spice-fuelled minutes, Villeneuve and Spaiths take all the world-building and the foundations laid by the first film and turbocharge them to deliver an equally epic, but considerably darker, emotionally charged and more action-packed second chapter. Alongside Paul learning the ways, and language of the Fremen, Chani and Paul begin to develop a romance and furthermore, all-out war between the Fremen and House Harkonnen as the former works to disrupt the latter’s spice production. On another side of the Universe, the Emperor’s daughter Princess Irulan (Pugh), who is also a disciple of the Bene Gesserit, begins to grapple with the consequences of the Harkonnen’s attack on the Atreides and the part her father played in engineering their downfall.

Despite the extensive and star-studded cast, such epic franchises can live or die based on the central character at the centre of this journey. Once again, Chalamet demonstrates why he is one of the finest actors of his generation as he gives what could well be a career-defining performance. Part One was very much about Paul striving to learn from leaders around him, such as his father and others he looked up to. Now, he is very much thrust into the spotlight of becoming not just a leader of the Fremen, but something much more. Chalamet magnificently balances Paul’s desire to lead the Fremen to victory against the Harkonnens, but also shows hesitancy to embrace the path that has been put at his feet by the Bene Gesserit. Fremen leader Stilgar (Bardem) is only too eager to believe this notion of a messiah, much to Chani’s chagrin. Zendaya is thankfully given much more to do this time around, beyond the extended cameo she had in Part One. The chemistry between her and Paul, like the dunes of Ararakis, is scorching hot, though there is a lingering doubt in her mind as to whether Paul could be this messiah-like figure and if he is willing to embrace that destiny.

Like Gurney Halleck playing the baliset, there is not a false note in any of the performances. Though out of all the new cast members, the standout by far is the ruthless and psychotic Feyd-Rautha played by Austin Butler, another actor whose rise to stardom is also on an unstoppable trajectory. The perfection of the cast’s performances is matched by the incredible work of Villeneuve and his crew. Whether it’s the roar of the sandworms or the thrum of a thumper, the work of the sound design team makes you feel these sounds with maximum force, especially in IMAX. Likewise, Greig Fraiser’s cinematography be it the bright oranges of Arrakis deserts or the harsh black-and-white palette of the Harkonnen homeworld of Giedi Prime never fails to dazzle. The VFX work once again reinforces what happens when artists are given time to perfect their craft, and of course, Hans Zimmer once again delivers another impeccable and evocative score.

It would be easy to get lost down the wormhole of lore the film throws at the audience and while it does teeter on the brink of buckling under all of the weight of said lore, one cannot deny the spectacle and visual majesty of what Villeneuve has brought to the screen. Ever since he broke into the Hollywood mainstream – with a run stretching from 2013’s Prisoners to now – each passing film has shown Villeneuve to be a master at combining emotional human struggles, with the sort of spectacle which is absolutely worth the price of a ticket and a reminder of the sheer power that cinema can have. Villeneuve has made no secret of the impact the novel had on him in his youth and one that also changed science fiction forever. In what is an already superb filmography, this magnificent two-part adaptation will (like its source material) stand the test of time, as one of the most epic sci-franchises ever and perhaps the pièce de résistance of Villeneuve’s mightly impressive filmography so far. Power over spice is power over all, indeed.

Building on the epic foundations laid by its predecessor, this magnificent sequel is another visually majestic reminder of the unstoppable force of desert power and the force of nature behind the camera that is Denis Villeneuve.

2020-2029, Film Review

Dune (2021)

Posted on October 20, 2021February 27, 2024 by Martin: Through the Silver Screen

**© Warner Bros and Legendary Pictures**

Dune – Film Review

Cast: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, David Dastmalchian, Stephen McKinley Henderson, Zendaya, Chang Chen, Sharon Duncan-Brewster, Charlotte Rampling, Jason Momoa, Javier Bardem

Director: Denis Villeneuve

Synopsis: On the harsh desert world of Arrakis, the Atreides family are entrusted with the stewardship of the planet that is home to the most valuable resource in the world….

Review: When it comes to science fiction and fantasy storytelling, Star Wars and Lord of the Rings are two of the pinnacles of the genre, and have inspired generations of filmmakers and audiences. Yet, there is another body of work that is hugely influential to the genre. A story that featured a vast array of planets and civilisations, hailed by many as the greatest science fiction novel of all time. Now, in the hands of one of the finest directors working today, a new adaptation of Dune is here, and ready to win over a brand-new generation of fans.

In the far future, the most valuable resource is the spice Melange, harvested on the planet of Arrakis. For years, the planet and its people, the Fremen, have been under the brutal rule of the Harkonnens, who have ruled with an iron fist of fear. Now, it has been decreed that the planet, and the monumental task of mining the spice, will fall to the House Atreides, led by Duke Leto (Isaac). By his side, will be his son Paul (Chalamet) and Paul’s mother, the Lady Jessica (Ferguson), who belongs to a mystical order of powerful women known as the Bene Gesserit. There’s a lot of pressure on Paul’s shoulders, as the Bene Gesserit believe Paul could one day turn out to be the Chosen One.

Of course, this isn’t the first time that Frank Herbert’s novel has been adapted for the big screen. However, for reasons that are far too numerous to list here, David Lynch promptly disowned his 1984 adaptation upon release. Villeneuve has cited Dune as one of his favourite novels growing up, and from the very first minute, it is clear why he was the perfect director to helm this new adaptation. A glance at Villeneuve’s body of work has demonstrated his outstanding skill to bring jaw-dropping visuals to any story he directs, often in part due to astounding cinematography. While there’s no Roger Deakins behind the camera here, Greig Fraser is an extremely capable replacement. The gorgeous visuals are expertly combined with the sheer scale of this universe, and it is nothing short of epic.

Due to the extremely dense nature of the source material, it is a necessity for Villeneuve and writers Eric Roth and Jon Spaihts, to take their time. There is a staggering amount of existing lore and mythology to establish, as well all the various planets and Houses that exist within this story. It would be easy for any newcomers to get lost in the enormity of the world-building. Hence, the screenplay bides its time, and gives the audience ample opportunity to take everything in. The use of the practical, real life sets for the film’s production design, such as the immense Jordanian desert amplifies the impressive nature of the construction of this universe. As Villeneuve memorably said in an interview last year, “They didn’t shoot Jaws in a swimming pool!” The use of practical sets adds so much richness to the film and ultimately it makes it unlike anything that we’ve seen in this type of big-budget blockbuster filmmaking in a very long time.

At the centre of all this is Chalamet’s Paul. He’s an actor who has carved himself a career in a plethora of Indie films over the years. The central role in a gargantuan behemoth that is Dune, is quite the step up. However, he makes that transition into a leading man seamlessly. Ferguson as the Lady Jessica is a fierce and strong-willed woman. However, there is a vulnerability that she brings to the role as she is fiercely protective of her son and the gifts that he possesses. This adds considerable depth and nuance to the relationship between Paul and Jessica. Oscar Isaac brings a lordly aura to that of Duke Leto. Yet, despite his very many duties as the leader of a great House, he still exhibits warmth, especially where Paul is concerned.

Meanwhile, the characters of Jason Momoa’s Duncan Idaho and Josh Brolin’s Gurney Halleck, core components of the inner circle of House Atreides, are the notable standouts. Opposing the Atreides, is the ruthless House Harkonnen. Right from the moment they are introduced, they are instantaneously the foreboding and ominous threat that any film with such a richly developed universe, incomparable in its scope and majesty, requires. Furthermore, Stellan Skarsgård as the villainous Baron, is an on-screen presence that you will not be forgetting in a hurry.

Reuniting with Villeneuve after collaborating on Blade Runner 2049, there aren’t enough superlatives to describe just how special this score by Hans Zimmer really is. The true power of a good film score is how a single note can transport you into that world, and this score by Zimmer will take you back to Arrakis in an instant. While the cast are all phenomenal in their roles, given the obvious influences of Arab culture into the source material, it is disappointing that there is a distinct lack of MENA cast members present. However, as this film only represents one half of Herbert’s novel, a second part would give Villeneuve the chance to rectify that missed opportunity.

To give audiences one half of this incredible story, only to not tell the second half would be extremely disappointing. Sweeping epics like this seldom come around very often. Hence, the spice must flow sufficiently enough to ensure that second part will come to fruition, and not be something that will be swirling in our dreams from the deep forever more.

It was said to be unfilmable. Yet with a superb cast, incredible world-building and a sweeping and enthralling narrative, Denis Villeneuve has accomplished something truly special, and we’re only halfway through the story.

2010-2019, Film Review

Avengers: Endgame (2019)

Posted on April 26, 2019January 29, 2025 by Martin: Through the Silver Screen

Avengers: Endgame – Film Review

Cast: Robert Downey Jr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Bradley Cooper, Josh Brolin

Directors: Joe and Anthony Russo

Synopsis: After half of the galaxy’s population is vanquished by the Mad Titan Thanos, the Avengers still standing must take their final stand, and do whatever it takes to reverse the terrible damage that has been inflicted upon the universe…

This review will be 100% spoiler free…

Review: It is quite remarkable to think when a genius, billionaire, playboy, philanthropist announced that he is Iron Man, audiences had absolutely no idea of the journey that they were about to go on. As the years went by, piece by piece, the Marvel Cinematic Universe assembled itself into this enormous cinematic juggernaut almost unlike anything we had seen in cinematic history. Now, eleven years since Tony Stark uttered those famous words and the twenty-one films that followed afterwards, this journey is now at its end.

Set directly after the events of Infinity War, The Avengers who survived Thanos’s snap are all left completely desolate and broken after failing to stop the Mad Titan from succeeding in his aim to bring balance to the world by wiping out half of all life. It’s a completely bleak existence for them all, but when an opportunity to undo the catastrophic damage that Thanos has done to the Universe presents itself, the Avengers take their final stand for a mission that represents the biggest fight of their lives, with literally everything on the line.

Having pulled off a masterfully crafted piece of action cinema, full of stupendous action set pieces with Infinity War, the Russo brothers, and returning writers Christopher Markus and Stephen McFeely go very much in the opposite direction for this sequel. The film, in all of its three-hour run time, significantly dials back the action, in favour of more personal, more sombre moments of reflection. It bides its time, exploring the emotions, and the development of these characters. As we watch our heroes contemplating what might have been, whilst simultaneously licking their wounds and dealing with the enormous consequences of Thanos’s actions. It crucially allows the audience to watch these heroes that we have known and loved across this last decade of Marvel films, be in such a traumatic place, the likes of which we haven’t really seen before in the MCU.

It is quite incredible that in this decade and almost two dozen MCU films the cast that has been recruited for all these eclectic and colourful characters has been practically flawless across the board, with so many memorable characters that have undoubtedly charmed their way into the hearts of audiences around the world. There isn’t a false note in any of the performances, for this film and for its predecessor, but as the marketing for the film demonstrated, the MVPs here are the original gang of Avengers (Cap, Iron Man, Hulk, Hawkeye, Black Widow and Thor.) It’s this group of heroes that first banded together to save the world in the first Avengers film. We as an audience owe so much to these guys for being the awesome bunch of characters that they have been across these movies, and for laying the foundations that this incredible universe has been built upon.

This isn’t to say that some of the newer crop of heroes don’t get their moment to shine, because they most certainly do. Furthermore, in these dire circumstances, the film finds its ways to be extremely humorous once again. Though the action is dialled back significantly, it wouldn’t be an Avengers film without some intense action. With that, as they have done for the last three films that were under their expert vision, the Russos continue on that trajectory to again deliver an absolutely jaw-dropping sequence, one that hardcore fans of the MCU will undoubtedly enjoy every minute of it.

It is worth re-emphasising the sheer scale of what Marvel has achieved across these films. The work that all of the writers and filmmakers, and all of the crews who have worked on these films have done, to make this cinematic universe so successful. Three phases, twenty-two movies, rich and well-developed characters, laughter and gags aplenty, and plenty of insane and jaw-dropping action sequences, it has all been a fantastic journey to have been on. While the MCU will undoubtedly carry on past this point, part of the journey is the end, and now this iteration has reached its Endgame, and that final outcome is a marvellous and unprecedented achievement that will go down in cinematic history.

A monumental cinematic achievement that delivers the conclusion the legions of MCU fans were hoping for. A triumphant conclusion to one of the most impactful franchises of modern cinema.

2010-2019, Film Review

Sicario 2: Soldado (2018)

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

Sicario 2: Soldado – Film Review

Cast: Josh Brolin, Benicio Del Toro, Matthew Modine, Catherine Keener, Isabela Moner

Director: Stefano Sollima

Synopsis: As the drug war at the US-Mexico border rages on, and with the cartels now transporting terrorists across the border, the US government recruits Matt Graver (Brolin) and Alejandro (del Toro) to fuel tensions between rival cartels…

Review: Every once in a while, a film comes along that is so gritty and grounded in terms of its execution, that you could be forgiven for thinking that it was a real life drama that was unfolding in front of you. One such film that falls into this category is 2015’s Sicario. The scope of this film focused on the battle on the drug trafficking across the US-Mexico border, and the murky boots-on-the-ground mission that ensued. It was a simple story, but one that was told magnificently through superb cinematography and directing, and a compelling lead performance from Emily Blunt.

So for this next mission, unfortunately all of those three aforementioned components are gone. Blunt’s Kate Macer is out of the picture and out go Denis Villenueve and Roger Deakins as director and cinematographer, and in come Stefano Sollima and Dariusz Wolski respectively. Brolin and del Toro return as does Taylor Sheridan on screenplay duties. This particular story is one that feels very timely as the cartels are smuggling terrorists across the border and so in an attempt to retaliate, the US Government wants to put petrol on the fire and ignite a war amongst the cartels.

Taking the reins from Villeneuve is a big ask, but Sollima’s direction is assured and retains that gritiness and horrifying realism that the first film captured. In addition, with Brolin and del Toro, you know you’re going to get confident performances from these two. However, as good as these guys are, the absence of Blunt feels like a missed opportunity as no one really steps up to fill that important moral compass role that she represented, even in such a murky and dangerous world. Because these guys are not heroes, not in a million years.

**And it’s good night for this person…**

With the high of his directorial debut Wind River, Taylor Sheridan again pens the script. Though he has written four stellar screenplays, this is his first major misstep. Though this film is a lot more complex than the first film as it tries to weave several different strands together, but this results in a very messy and meandering story that just does not mesh those strands together well enough, and is really unfocused. What’s more the characters of Matt and Alejandro are barely developed from the first film, which is a real shame as for Alejandro especially, given the enthralling and deeply personal arc that his character went on in the first film. There is an attempt to expand on that arc, but it is minimal at best.

That is not to say, there are one or two moments in the film that really ground the film in reality, especially a scene near the beginning that bluntly remind the viewer that this is a dangerous conflict that we face in the world today. Hildur Guðnadóttir’s score is assured, but nowhere near on the level of the brilliant, incredibly tense score that Johann Johannsson (RIP) provided for the first film. There is an argument to be made that a sequel was certainly not needed for this film, and when you take away the elements that made that first film great, it should come as no surprise that you’re going to get a film that despite the best efforts of everyone involved, is really lacking the quality that made its predecessor such a riveting piece of cinema.

Retaining the dark and gritty nature of Sicario, Soldado tries to deliver a more complex story, but its messy screenplay severely lacks the spark and emotional punch that its predecessor delivered.

2010-2019, Film Review

Deadpool 2 (2018)

Posted on May 24, 2018April 24, 2024 by Martin: Through the Silver Screen

**Image is property of 20th Century Fox and Marvel**

Deadpool 2 – Film Review

Cast: Ryan Reynolds, Josh Brolin, Morena Baccarin, Zazie Beetz, Brianna Hildebrand, Julian Dennison, TJ Miller

Director: David Leitch

Synopsis: When the menacing mutant Cable travels back in time and threatens the life of a troubled young mutant, Deadpool must bring together a team of heroes to stop him…

Review: The journey for Wade Wilson AKA Deadpool to get to the big screen for his first outing a couple of years ago was a troubled one. Yet when he finally arrived in all of his red spandex glory, it smashed all sorts of records and changed the game as far as comic books and superhero films go. However in Deadpool’s case, the hero “tag” is perhaps not one he is best suited to. Nevertheless, the fans responded and, with his katana in hand, the Merc with a Mouth cut box office records in half, and it was inevitable that a sequel would be given the thumbs up.

While the first film was your classic origins story about how the man became the Merc. This time around, we meet Wade trying to balance his Deadpool duties with his personal life with Vanessa. This is until his path crosses with Russell, a mutant with some fire abilities, and the villainous Cable, who travels back from the future with the sole goal of killing this boy. Part of what made the first film the juggernaut of the success it was its routine fourth wall breaking, pop culture references, quite excessive uses of profanity and upping the violence factor considerably. If the first film was not your thing, chances are this film will not win you over. The story does go in interesting and ballsy directions that keep things moving swiftly along in a gleefully bloody direction.

**Just casually jumping out of a plane, as you do…**

Every once in a while, when an actor takes on a superhero role, they are just such a perfect fit that you just cannot see anyone else stepping into their shoes, and Reynolds fits into this description with his performances, gone be the memories of the first time he stepped into the role of this character. Likewise to that other time, he took on the mantle of a different hero. Aside from the returning Colossus and Negasonic Teenage Warhead, there are a plethora of new characters this time around. Though many are just filler, the main ones to focus on are the lucky superhero Domino (Beetz) and Josh Brolin’s Cable, clearly having not filled his villainous boots after going after those Infinity Stones as Thanos.

The film boasts considerably more action than its predecessor, and having suited up John Wick for the first time (in addition to having killed his dog), former stuntman David Leitch takes over from Tim Miller as director. Like he demonstrated with John Wick, the action scenes are slickly produced and just extremely entertaining to watch. Though the film is for the most part extremely entertaining with some excellent gags to some classic Hollywood cinema (one will stick out in your mind in particular) the plot while undoubtedly entertaining, does run out of steam in a few places, and is a little bit thin on the ground. Furthermore, you will find it difficult to look at certain plot points and think back to certain films of the past.

In any case, with the memories of the ill-fated first time he stepped into the role, it is great to see Reynolds seemingly have such an absolute blast with the role that he has completely made his own. In this era of superhero and comic book genre dominance, it is refreshing to see this type of superhero film that just honestly doesn’t give a shit and just wants to serve the audience up with a quality-sized slice of hilarious, fourth-wall breaking and crude entertainment. If that is what you’re after, then Mr Deadpool is the man to provide that, in a hilarious and extremely bloody fashion too.

As crude as its predecessor, all while delivering much bigger action set pieces and some very amusing gags, all while building depth to the Merc with a Mouth’s character. Maximum effort, maximum enjoyment.

2010-2019, Film Review

Avengers: Infinity War (2018)

Posted on April 28, 2018September 3, 2018 by Martin: Through the Silver Screen

Avengers: Infinity War – Film Review

Cast: Spoilers!!

Directors: Joe and Anthony Russo

Synopsis: Thanos, the Mad Titan, is seeking possession of the Infinity Stones that would give him unrivalled power, and it’s up to the Avengers and the Guardians of the Galaxy to stop him as the fate of the Universe hangs in the balance…

This review will have no spoilers…

Review: Ten years in the making, with eighteen previous entries in this incredible cinematic universe that we have watched grow over the past ten years. It has been quite the fun and enjoyable ride, but this is what it has all been building towards. After all the work that was put in to establish this world and its characters in the previous decade of Marvel goodness, it would be fair to say the weight of expectation on this film was enormous. Therefore, one must give kudos to the Russo brothers, who return to the directors chairs of the MCU for the third time, and complete their hat-trick in spectacular style.

The plot, without straying into spoiler territory, focuses on the maniacal Thanos and his quest to obtain the infinity stones with the help of some underling servants known as the Black Order, to wreak unprecedented destruction on the universe, which understandably captures the attention of just about every MCU hero we have met thus far. Given the sheer number of heroes we have met thus far, there was understandable concern from certain quarters as to would they be able to balance the story with so many larger than life heroes? Well as they proved with Civil War, the Russos and returning screenwriters Christopher Markus and Stephen McFeely, do just that.

Each hero that we meet is given their chance to shine and there’s no one that feels out of place. They are all relevant pieces in this battle, and as such , everyone has ample screen time in this battle that simply put, has unprecedented stakes for all of our heroes. Yet despite these threatening stakes, as Marvel so often does, the film is peppered with plenty of humorous moments. But these never negate the moments of drama or danger that these heroes find themselves up against, as you feel that no one, no matter how big or how long they have been a part of the MCU, is in very serious peril.

Speaking of, it has been no secret that the MCU has had some trouble with crafting compelling villains. With a few exceptions, many of them have been very bland and forgettable. Thankfully, that is not applicable with Thanos. It is hard to humanise a villain who wants to kill at will, but he is given the crucial depth that a good villain needs to get in order to make them memorable. Furthermore, they need to be given a presence that our heroes feel, and they certainly feel Thanos’s presence alright, the much needed villain to truly break the villain curse that has plagued so many MCU movies.

As they demonstrated with both of their previous MCU entries, the Russos are once again right on the top of their game when it comes to delivering the compelling action scenes that were used so effectively in their previous MCU films. There are plenty of these throw-downs scattered throughout the film, you really feel the scale of the events that are taking place within this world that we as an audience have grown with over these past ten years. It is some heavy stuff and with this latest entry, again without straying into spoiler territory, it is a film that will have a major impact on the Marvel Cinematic Universe as we have known it.

With only a handful of films left in what has been the third phase of their cinematic universe, it is hard to not feel that all of this is all coming to a close. In a film like this, you need to just give the audience a complete and emotional sucker punch that leaves them reeling, and by the end of this movie, said sucker punch will have been delivered. Though there is still a second part in this story, and a few other films in Phase 3 to come, there is no escaping the fact that with this film, the Marvel Cinematic Universe has been shaken to its core.

It has all been building towards this, and it brought home the goods. So many heroes could have been problematic, but it is all weaved together tremendously well, and a truly memorable villain in Thanos sets things up perfectly for Avengers 4.

2010-2019, Film Review

Sicario (2015)

Posted on May 9, 2017December 5, 2024 by Martin: Through the Silver Screen

**Image is property of Black Label Media, Thunder Road and Lionsgate**

Sicario – Film Review

Cast: Emily Blunt, Josh Brolin, Benicio Del Toro, Jon Bernthal, Daniel Kaluuya

Director: Denis Villeneuve

Synopsis: In the war on drugs on the USA/Mexico border, an FBI agent is recruited as part of an undercover operation to take down a leading drug cartel.

Review: Whenever you depict war on film, chances are the results usually aren’t going to be pretty, especially the story you’re telling is focusing on the war on drugs and drug cartels near the US/Mexico border. Some folks are going to get their hands dirty and things are going to get messy very quickly, with some fatalities along the way. Though this is an ongoing conflict, and even though the events portrayed here are fictional, you would be forgiven for thinking that you are in fact watching a documentary about this struggle, and not a fictionalised version of events.

The gritty and dark nature of the story then is the perfect material for Denis Villeneuve, the director behind Prisoners, the dark and unsettling drama about a family who see their young daughters mysteriously disappear. Once again Villeneuve chooses a subject matter that will almost undoubtedly be very unsettling for some, but at the same time, it’s a story that is told with such conviction you will not want to take your eyes off the screen. The main protagonist here is Blunt’s Kate, an FBI agent who just wants to do what’s right, and that desire takes her into this conflict, and what she sees really opens her eyes. Alongside her is Josh Brolin’s Matt, an agent that is quite casual about the mission they’re on and Benicio del Toro’s Alejandro who by contrast, is not fucking around.

Taylor Sheridan in his debut screenplay tells the story in a very ambiguous way, is what we’re seeing right or is it wrong? There are certainly some things displayed on screen that are certainly very wrong, and not exactly pleasant, but for a film about the war on drugs, that is hardly a surprise. The film might be a slow burner, but the script keeps you hooked in the story, and Jóhann Jóhannsson’s score will keep you on the edge of your seat. The three leading actors all deliver performances of a very high award-worthy calibre, but special mention must go to del Toro who has perhaps never been better in his career and was mightily unlucky not to have received an Oscar nomination. He’s a man who is driven by his motivation, and that makes him one scary dude that you don’t want to anger, and if you have angered him, well you’re in deep trouble.

Villeneuve’s direction is masterful with some breathtaking wide shots of the FBI teams on their patrols, the camerawork is so authentic, that it really makes you feel as if you’re on patrol with these guys. It kind of goes without saying at this point but Roger Deakin’s cinematography is as beautiful to the eyes, and Johannson’s score is to the ears. Deakins’s work, as is so often the case is just mesmerising to look at, even with the depravity that you see on screen sometimes. It’s incredible to think that he has never won an Oscar across his superb career, despite amassing THIRTEEN nominations. It’s only a matter of time before he lands that coveted Oscar gold, Blade Runner 2049 perhaps?

With a pulsating final sequence that will have you biting your nails until the credits begin to roll, Villeneuve reinforced his growing reputation as a filmmaker to watch, which he further cemented with his magnificent alien invasion flick Arrival. To make a movie about such a weighty subject matter cannot be an easy task, but with Prisoners and Sicario, Villeneuve really proved more than anything when it comes to directing, he most definitely is a Sicario himself, one that is absolutely deadly and does not miss.

Dripping with gorgeous visuals combined with some heavy subject matter seems an unlikely recipe for success, but with electric performances and assured direction, this is superb tense and gritty entertainment.

2000-2009, Film Review

No Country For Old Men (2007)

Posted on December 12, 2016December 13, 2016 by Martin: Through the Silver Screen

No Country For Old Men – Film Review

Cast: Tommy Lee Jones, Josh Brolin, Javier Bardem, Woody Harrelson, Kelly MacDonald

Directors: Joel and Ethan Coen

Synopsis: When a man stumbles across a drug deal that has gone sour and finds a suitcase with a large amount of cash, he finds himself being pursued by a relentless hit-man who will stop at nothing to reclaim the cash…

Review: What would you do if you happened to come across a substantial amount of cash that you found in the desert? Chances are you’d probably take the loot and run as fast as you could for the hills. Yet what if you knew (somehow) that the money was the subject of a drug deal that had gone just a bit awry? Would you think twice? You might well do if you knew that there was a psychopathic man after you, who will stop at nothing to recover the loot from said drug deal.

Adapted from the novel of the same name by Cormac McCarthy, at the centre of this thriller is Llewelyn Moss (Brolin) who upon finding the aforementioned loot does decide to bag the cash and make a run for it, along with his wife Carla Jean (MacDonald). However his pursuer Anton Chigurh (Bardem) is the crazy mofo who is after the cash, and possess machine like determination in order to hunt Moss down and reclaim the cash. Thus this gives the audience a game of cat and mouse, that is brilliantly written and expertly brought to the screen by the Coen brothers. Right from the moment the chase begins, the tension begins and never abates until the credits role. The dialogue is minimal in some scenes but the tension remains high throughout the two hour run time as you watch this chase unfold.

The film is bolstered immeasurably by the performances of its three main actors, all of whom give excellent performances, Tommy Lee Jones is perfect as the gruff Sheriff Ed Tom Bell who becomes involved in the chase between Moss and Chigurh, all the while becoming horrified with what the world has become. Brolin, as the mouse in the chase, is also excellent determined to do whatever it takes to survive, mainly due to the strong love of his wife . Yet, it is undoubtedly Bardem who gives the most impressive performance. Here’s a man who could make the most innocuous conversation sound utterly terrifying, such as a conversation about the toss of a coin. He hunts his prey with Terminator like efficiency with even a terrifying haircut! He will spare no one in his quest to reclaim the cash, and is certainly remains one of the finest psychopathic, menacing villains that has ever been put to the big screen.

The Coens masterful writing, lifting McCarthy’s novel from page to screen excellently, and their exquisite direction is aided by the usually flawless cinematography from Roger Deakins, marking his incredible 8th collaboration with the Coens. Both were recipients of Oscar nods for their incredible work, and in the case of the Coens, it was three times a charm as took home the prizes for directing, writing for an Adapted Screenplay and Best Picture, as well as a well earned triumph for Bardem for Supporting Actor. Sadly Deakins did not take home the gong for cinematography, but the sheer quality of his work remains crystal clear. What also remains clear is that this is one of, if not, the finest pieces of work from the Coens. The ending leaves much open to interpretation, as such, it may jar with some, but when you sit down and assess everything you have witnessed, it is absolutely perfect, a word that could be used to describe just about every aspect of this extraordinary film.

Anchored by three outstanding performances by its leads, with brilliant dark humour thrown in for good measure, this is the Coen brothers’s masterpiece, without any question of a doubt.

2010-2019, Film Review

True Grit (2010)

Posted on May 6, 2016April 29, 2018 by Martin: Through the Silver Screen

True Grit – Film Review

Cast: Jeff Bridges, Matt Damon, Josh Brolin, Hailee Steinfeld

Directors: Joel and Ethan Coen

Synopsis: A young woman (Steinfeld) seeks revenge for the murder of her father and enlists the help of a US Marshal (Bridges) to help track down her father’s killer.

Review: Remakes and retelling of stories we have seen before tend to have something of a curse upon them. Audiences may tend to moan and whine and say that the new effort to tell a story that has already been told is not worth telling. Well Messrs Joel and Ethan Coen might just have something to say about that, as their retelling of the novel of the same name by Charles Portis, which was first adapted for the big screen in 1969, is well, a remarkable triumph.

The story focuses on young Mattie Ross, a girl of 14 years of age, who after her father is murdered by an outlaw, seeks vengeance on her father’s killer. To do this however, she must enlist the help of the law in the shape of US Marshal Rooster Cogburn and Texas Ranger LaBoeuf, and so begins a manhunt. The Coens certainly showed that they understood the Western genre with the thrilling No Country for Old Men, albeit that was a Western set in modern times. Here however, it’s a traditional western tale fused with good ol’ fashioned revenge, and the Coen brothers absolutely nail it once again with a terrific story and a wonderful screenplay, that is aided in no small part by the phenomenal performances of its actors, and the quality of the source material.

In the lead role of Rooster Cogburn, a role that won John Wayne an Academy Award, Jeff Bridges is excellent as he re teams with the directors that brought to life one of the most iconic film characters of all time, that’s the Dude man! His accent is very thick and a little bit hard to understand in places, and while he may have been a bit hostile towards her in the early stages, his relationship with Ross is ultimately what drives the story forward and their chemistry is excellent. Speaking of which, Steinfeld as Ross is also fantastic, in what was an incredible breakthrough performance after she beat well over 15,000 people for the role. Matt Damon also puts in a superb performance as the Texas Ranger but it is the work of Bridges and especially Steinfeld that steal the show, as the two of them ensured Oscar nominations for Best Actor and Best Supporting Actress respectively came their way, and well deserved ones too.

As usual with the Coens, the film making here is of a very high quality, the cinematography by frequent Coen collaborator Roger Deakins is as usual glorious. Night time scenes feel realistic and one can almost feel the cold of winter as the Marshal and his employer set off and encounter some of that pesky snow. Deakins certainly knows how to set up a good shot and there are plenty of these packed throughout the movie, with the Coens once again showing they certainly know how to direct remarkable action sequences that are sure to leave the viewer on the edge of their seat.

The Coens certainly know how to leave their unmistakeable stamp on a project, as they did so in emphatic fashion with No Country for Old Men, and here they do so again. As well as the acting nominations, the film secured eight other nominations, and while it failed to secure any, make no mistake, this adaptation, likes its characters certainly is full of true grit, and of a very high calibre to rank itself as one of the finest films the Coens have ever put to the big screen.