Morbius - Movie Review - A morbid misfire

Spider-Man: No Way Home came out just over three months ago and it was absolutely phenomenal. Everyone has sung its praises, myself included, and only now is the dust around it beginning to settle. So, with that in mind, it's about time the next Marvel outings see their releases, isn't it? Marvel Studios have taken somewhat of a break since No Way Home, only now just getting started once again with the gradual release of their new show, Moon Knight, and their next film, Doctor Strange in the Multiverse of Madness, releasing in just over a month. However, also releasing their new Marvel outing at this time, that being Morbius, is Sony, who have lately been trying to replicate Marvel's success with their own Spider-Man cinematic universe. I really wasn't excited for this film, but I thought it may be worth going to see it, similarly to how I thought Venom: Let There Be Carnage from last year may be worth going to see despite very minimal anticipation. 

One thing that occurred to me was all the delays this film received. Of course, its initial July 2020 release as well as some of the subsequent ones had to be pushed back due to COVID closing cinemas down, but it felt like they kept postponing it even when the virus wasn't much of a concern. I mean, at one point it was scheduled to release in late January, a time when cinemas were doing great business thanks in no small part to No Way Home releasing a month prior, yet it got delayed once again to now, the start of April. I suspect Sony were wary that the hype around No Way Home would still be quite formidable around that time, which it was, and thus thought best to push the release back so Morbius wouldn't get stuck in Spidey's shadow. Based on that, maybe this film is something special and the filmmakers thought it deserved the absolute best release window. Maybe, right?

In the film, Dr Michael Morbius is a renowned scientist with a rare blood condition. After spending his whole life searching for a cure, he soon finds something that may actually be what he's been looking for. However, it ends up making things worse for him as he soon acquires the characteristics of a vampire bat, most significantly having the horrific desire to consume blood, turning him into a murderous monster.

The major problem with this film is that it just borrows from every other superhero film we've seen to the point where it feels it doesn't have a single original aspect outside of the main character being one we haven't seen on screen before. The plot just trudges through the typical motions; the main character with a conflict of sorts, the inciting incident giving them a set of powers, a montage where they come to grips with said new powers, then an action scene or two where these powers are exercised, and, of course, a baddie who acquires the same set of powers but uses them in bad ways, resulting in a final battle where two characters with the same set of abilities punch it out until the good one wins. Sorry if that's spoiled the film for you, but if you couldn't see any of this coming, I really don't know what to say. Narratively, this film offered absolutely nothing. It was so predictable and thus such a boring experience. 

What's irritating about this is the fact there is an interesting story buried in here somewhere. The film highlights how Morbius is put into a position where he will eventually have to consume human blood in order to stay alive, which is actually quite a fascinating dilemma, and I think you could derive some very compelling drama from it. However, this isn't Avengers: Infinity War, or Spider-Man 2, or The Dark Knight, that being a superhero film that manages to properly explore the themes and conflicts associated with the main characters while also being a fun and exciting watch - this just raises the questions and moves onto some action scenes and extensions of its cinematic universe, so the attributes that could make for a really intriguing film are just plainly abandoned.

Speaking of action scenes, they're the sort of thing you'd expect to be at least passable in a film of this nature. For example, I'm not such a big fan of films like Venom or Captain Marvel, but they do at least have a couple of noteworthy action scenes to keep themselves afloat amid their rather flimsy narratives. Here, however, they're actually quite incompetent; just a load of ugly CGI combined with an excess of shaky cam and that effect from 300 where what's happening goes from normal speed to slow motion in quick succession, so nothing especially engaging. There's some mildly interesting stuff when we see Morbius harnessing the abilities of a bat such as echolocation, but most of it was just incomprehensible and hardly enjoyable unfortunately.

Is there anything good about the film? Not especially, but there are certainly things that aren't bad. The performances were all fine, albeit nothing outstanding. Jared Leto, who I don't really think is that good an actor, was perfectly adequate in the lead role, and nothing more. I guess he looks the part, but that's about it. Matt Smith was equally fine as the villain, and Tyrese Gibson was actually fairly enjoyable, though that can entirely be attributed to the fact that I just find him innately likeable. I suppose one thing I can praise the film for is its runtime. It's about fifteen minutes short of two hours, which is fairly short compared to other superhero movies. The pacing itself isn't great but at least the film doesn't outstay its welcome. Also, being a new entry in a big cinematic universe, there are a couple of scenes during the credits to hint at what's coming next. I won't spoil what happens in these scenes, but they were moderately intriguing, and actually managed to clear up some confusion I had from the trailers I saw for this film, so that's something I suppose.

One final thing I'll note is an extremely personal factor, and that is the role of bats in this film. Bats are the single thing in the world that I am scared of the most; not because I'm scared they'll suck my blood and kill me or whatever, but because they just look absolutely horrible. So, this film, which features a frankly extortionate amount of bats on screen in great detail, more so than every film I've seen about a character literally called 'Batman', was absolutely nightmarish for me, and I had to look away on numerous occasions. This alone made the viewing experience quite unpleasant, though it is, as I said, a highly personal factor. 

Overall, Morbius is a dictionary definition of mediocre. It's so average, so bland, and so ordinary, that I felt I just got absolutely nothing out of watching it. It isn't dreadful enough for me to hate it and I'm certainly not disappointed by the way it's turned out, but it's still boring and bland. All I can say is that maybe it was delayed as much as it was because the filmmakers wanted to keep it away from us for as long as they could before there wasn't enough room left on the shelf that it'd been sat on for nearly two years. 

I'm going to give Morbius a 4.5/10 

Turning Red - Movie Review - Something new and different buried in familiarity

We all know Pixar, and I think it's safe to say we all love them. Despite this, their newest film, Turning Red, is not one I was particularly hopeful for. From the trailers, this film just looked annoying and very predictable to me. But, it's a Pixar film and it got some very positive reactions, so even though I was still cautious, I had some hope that this may turn out to be something up to their usual standard.

The plot involves a confident young girl named Mei in her teenage years who gets her whole life turned upside down as she obtains the strange tendency to turn into a giant red panda whenever she gets excited. After initially being resentful of this, it soon brings out a side in her that she and her friends start to like.

This film is extremely frustrating. Not just because of the fact that my concerns were completely accurate, but because I can also easily detect a better film within this. This is a coming-of-age story, and to me, the best coming-of-age stories are the ones that just depict life in a way that's completely down-to-earth and thus relatable for the audience. For example, films like Lady Bird or Booksmart, which are enjoyable because of, among other things, how we can easily understand the drama at hand because of how realistically it's depicted and how well defined the characters are. Turning Red has all the attributes of a film like this, as it has very well realised and relatable characters and plays with very human themes. But, what it also has on top of that is a thoroughly unique and beautiful aesthetic with its animation, thus feeling more in line with a slice-of-life Studio Ghibli film such as Only Yesterday or Whisper of the Heart. Based on this, it could have easily been Pixar's equivalent of one of those films, which I would've loved because not only is it the sort of film I find a nice enjoyment in, but it'd also be a nice change of pace for them as a studio. 

However, all this is completely let down by the execution. Turning Red goes about conveying its themes with the implementation of fantastical plot elements, namely having its protagonist transforming into a giant red panda. This is frustrating because it strips the film of the down-to-earth, almost indie style it could've easily had and gives it a far more accessible, mainstream, and childish sensibility. This is made so much worse by the fact that there are individual moments throughout where it behaves as this superior type of film, whether it be Mei just chilling with her friends and getting excited about seeing their favourite band, or her father sitting down and having a heart-to-heart conversation with her. I loved those moments but their integrity is spoiled by the way the film is elsewhere.

I kind of have similar issues with Pixar's other recent films, Soul and Luca. Those also feel like very neat slice-of-life films augmented by silly fantastical nonsense, however, they don't suffer as much as Turning Red does. I find enjoyment in the creativity behind the way Soul's story is made more otherworldly, and it also deals with bigger and more novel themes overall, which makes it more praiseworthy. As for Luca, the fantastical stuff in that film doesn't weigh it down so much, as the fact that the main characters are sea monsters, despite always being an underlying fact, becomes a lesser focus in certain chunks of the film's narrative, allowing those parts to feel nice and down-to-earth. Here, the magical stuff is highly prominent and it doesn't help that the narrative is as predictable as the trailers made it seem. 

You might be asking what's wrong with a film having fantastical elements and using them to tell a story, and to be honest, there's not an awful lot that is. But here I certainly feel it was the wrong choice. Sure, it makes the story more understandable and more enjoyable for kids, but this film makes it clear that it's going for a slightly older audience than five-year-olds who want to see big red pandas jumping about. At age thirteen (the age of the protagonist), you start to feel a little uncomfortable and immature watching animated films, as the stigma is that they are for youngsters. With that in mind, if you're trying to appeal to that audience, why treat them like they're super young and enforce that stigma? I'm sure your average thirteen-year-old would enjoy watching characters experiencing relatable situations more than watching these situations get dumbed-down and made more childish. It's easy for me to say that as an eighteen-year-old but even I think I would've been deterred from watching this movie as a young teenager, outside of my love for Pixar.

But that's not where all my issues end, as this film also has a frankly obnoxious nature. It's so hyperactive and energetic to the point where I just found it downright cringeworthy and exhausting. The main character herself is just plainly irritating as well, and what's perhaps most bizarre is that it doesn't feel like she explicitly grows much as a character over the course of the narrative; the way she is at the start is hardly distinguishable from the way she is at the end, making the growth experienced feel so ill-defined.

My oh my that's a lot of negativity, is there anything good about this film? Well, yes, there certainly is. As mentioned, there are individual moments of genuine, human character interaction that I loved, and they kept me engaged while the film failed to do so elsewhere. Also, aside from Mei, I loved lots of the characters. Her friends were all awesome, especially Priya, whose extremely deadpan reactions to almost everything that happens was just delightful, and Abby, who feels like a character straight out of a Ghibli movie with a wonderfully expressive design and the appropriate amount of unbridled, naïve energy. Mei's Dad was also really enjoyable as he just felt like such an accurate depiction of a Dad, and I can't really explain why, he just does, and I love that. Additionally, the animation is wonderful as usual. The setting of Toronto is very well presented and the characters all have a terrific design with such a unique and memorable style. 

So, Turning Red has a lot going for it, and when watching it, I can detect all the attributes of a great film. It could've been Pixar's Only Yesterday or Whisper of the Heart, but the factors that would make it so are buried in a load of on the nose and childish nonsense. I can't say I'm that disappointed as my expectations were about as low as you could get, but seeing just how close it came to being something special and different for Pixar standards does make me kind of feel that way. It's not their worst film, I doubt they'll ever make anything worse than Brave or Cars 2, but it's definitive proof that, as a studio, they will always be restrained by a need to appeal to young children and have an overall mainstream nature, and this is becoming increasingly detrimental to their recent works. 

I'm going to give Turning Red a 6.0/10

Anyway, looking to the future, I'd say I'm still somewhat optimistic for Pixar. Lightyear, their second film this year, looks like it may actually break away from these restraints in some ways. Tonally, it looks more in line with a Marvel or Star Wars movie than something by Pixar; not necessarily adult or anything but also not directly for children. Also, it's a Buzz Lightyear origin story starring Chris Evans, how can it not be a banger? Let's wait and see, and let's also hope that it gets released in cinemas and not dumped onto Disney+ like all thier recent films.

The Batman - Movie Review - Another Batman, but unlike any we've seen before

When it comes to Batman in film, I'm rather unfamiliar. I've only seen the Nolan Dark Knight films, all of which are excellent, and The Lego Batman Movie, which is also great but for completely different reasons. I've never seen the original from 1966, the Tim Burton films, the Schumacher films, or the recent DCEU ones with Ben Affleck. Despite this, I love Batman nonetheless; he's definitely one of my favourite fictional characters of all time, even if I'm not especially adversed in the many adaptations of him. So, of course I was keen to see the next iteration of the character with Robert Pattinson. 

Even though I was keen to see this film, I had some concerns. From what I saw in the trailers, I couldn't help but get the sense that this film was going to just retread familiar ground in terms of themes and tone when it comes to Batman. There have been so many versions of this character and I was struggling to think of how they could possibly keep any new version fresh. But, it still looked absolutely spectacular, so I was hopeful it'd at least be a great film.

I frankly couldn't have been more wrong. The Batman is a thoroughly distinct take on the character in almost every way. Tonally, it's what people tend to refer to as 'dark and gritty'. This is also a term that defines the Nolan Batman movies, but I think the use of it in reference to those is somewhat misjudged. To me, those films are simply Batman films that take place in the real world; they're very grounded in reality in many areas. Here, while this also feels as if it takes place in reality, it is the epitome of the phrase 'dark and gritty' - it has extremely violent and brutal elements, and is visually almost always bleak. As a result, from a tonal standpoint, it doesn't feel repetitive compared to previous Batman films. 

The same can be said for many other aspects of the film. The genre doesn't really feel like a superhero film or even an action film, it's a mystery thriller, in the same vein as something like Se7en or Zodiac. It's basically a detective movie that just happens to feature Batman and some of his iconic foes and associates. Aesthetically, as already mentioned, it's very dreary, with an abundance of rain and minimal lighting, creating an excellent atmosphere for this type of story. The direction from Matt Reeves is also very distinct and extremely graceful. So much of the imagery in the film is so memorable. I can't discuss some of the specifics of these without getting into spoilers, but there are many images that perfectly scream hopefulness as well as terror, and they were just beautiful. Additionally, there's a car chase in the middle of the film that's admittedly fairly commonplace for the most part but reaches a catharsis that had me transfixed. I can safely say I won't be forgetting it any time soon. Most blatantly, the music is unlike any Batman score we've heard in the past. It's chilling yet exciting and nerve-racking, and also utterly memorable. It's amazing that, despite Batman being associated with so many iconic themes by a variety of artists, this new one manages to feel as definitive as it does.

The only area where I did feel like the film wasn't going anywhere especially new was in its themes. A lot of the thematic elements of the film touch upon similar ideas to the Dark Knight trilogy in terms of fear, corruption, and hope. They were all very well explored and given enough variation, but I did notice the familiarity here more so than with any other parts of the film.

As you will probably expect, the performances are terrific. Robert Pattinson was brilliant in the lead; much like every other aspect of the film, his version of Bruce Wayne is very unique. He's not the charming, suave, likeable billionaire we've seen before, he's solemn and almost sociopathic based on his mannerisms and interactions with other characters, which was refreshing to see. His version of Batman wasn't anything especially new but did certainly strike me as more intimidating than any previous verison. The opening scenes of him alone cemented this. Jeffrey Wright gives a solid performance as James Gordon (he's always great), and Andy Serkis was wonderful as Alfred, surprisingly so, but he was very underused unfortunately, though there is only so much you can do with that character I suppose. As for the villains, Paul Dano is genuinely terrifying as the Riddler, continuing to prove what a talented performer he is, and Colin Farrell gives an energetic and completely unrecognisable performance as Penguin. 

There aren't many major issues with the film, but the runtime certainly was one of them. I definitely felt I was sat watching the film for three hours, unlike many others who have claimed the film went by swiftly. While it didn't necessarily drag, it did occur to me that the plot seemed to be going on and on and that it might have benefitted from being truncated in some places. I like the nature of the film as a slow burn, so I don't think a faster pace would've been better, I just think chunks of the story where it somewhat goes in circles could've been omitted to create a tighter, more succinct film. Additionally, parts of the film were unfortunately just plainly dull, but there was always enough going on that was interesting to keep me engaged and keen to see what'd happen next. Regardless of this, the film manages to come to a perfect conclusion that leaves you both satisfied with what you have while also being desperate for more, just like the Nolan movies were each able to, and that was awesome. 

All things considered, The Batman was pretty damn great. I don't think I like it as much as the Nolan movies but its existence is undoubtedly justified through the masterfully distinct ways it reinterprets the caped crusader. I have a suspicion it'll improve the more I watch it as it does offer a lot and I don't think the single viewing I've had has allowed me to sufficiently comprehend each and every aspect. Just time spent reflecting on the film after watching it and writing this review has already elevated it in my head, so further viewings will likely do the same. If there is one more thing left to be said, it's that modern DC have cracked the code on making great movies - putting 'the' in the title. They did it with The Suicide Squad, and now with The Batman. Here's to more definite articles in DC movie titles.

I'm going to give The Batman an 8.0/10

Death on the Nile - Movie Review - Return of the glorious moustache

Kenneth Branagh is a filmmaker you've probably heard a fair deal about lately, as his relatively new film, Belfast, has been met with numerous nominations at all the big awards ceremony and will, presumably, be the winner of many too. However, the release of this film and all the discussion sparked a different thought in my mind, that being me remembering that we're still yet to see his second round as Hercule Poirot in Death on the Nile. This is another one of those films that saw an extreme delay in its release due to the pandemic, and I think it's probably the last of the initial bunch to finally hit the big screen. I may well be forgetting something, but we'll find out whether that's the case as the year goes on. 

I wasn't highly anticipating this film, but I was still very keen to see it. Murder on the Orient Express from 2017 was a film I enjoyed, albeit one I haven't revisited since seeing it in the cinema all those years ago. One thing I distinctly remember was Kenneth Branagh, who not only directed the film, playing Poirot with an absolutely bonkers moustache, which combined with his scenery-chewing take on the character all the more entertaining. Additionally, I always enjoy a murder mystery, so I feel there was plenty convincing me to go out and catch this. 

In the film, Hercule Poirot's holiday in Egypt is disrupted as he accompanies a newlywed couple on a private river cruise along the Nile. Things get worse and his detective skills are put to the test when a passenger on board is killed and the murderer needs to be identified. 

Like before, the best part of the film is Branagh. He's just so much damn fun as Poirot and he has some really hilarious lines, so seeing him navigate another mystery was inherently enjoyable. Additionally, he's once again accompanied by a solid ensemble. The standout for me was Emma Mackey as Jacqueline de Bellefort; I always enjoyed her as Maeve in Sex Education, and it's really nice to see her have such a prominent role in a big film like this. I really hope this gives way for more great stuff from her. 

Much of the film was well crafted; the production design and costumes were all very slick and made the film visually pleasing, though I do think it relied a little too much on noticeable CGI and green screen a lot of the time. Watching the film so close to Branagh's Belfast has made me realise just how distinct all his films are. It may well just be me, but I feel there's little cohesion across his filmography as a director. If you put Thor, a big-budget Marvel movie, Cinderella, a live-action Disney remake, Belfast, a black and white indie drama, and this film along with Murder on the Orient Express in a room together, I'd have a hard time telling you they were all helmed by the same person. I suppose they're all very slick and stylish from a production standpoint, but that's sort of where it ends for me. 

Narratively, parts of it did drag a bit. I feel like it took a little while to properly get going, as the plot isn't set in motion until around the forty-five minute or maybe even the one hour mark, which made much of the first and part of the second act a little dull. Additionally, once the main part of the plot is set in motion, it does feel repetitive in places as it goes through the usual whodunnit structure of going from one suspect to another and analysing their motives, which kept the film from being completely engaging. However, I was always interested overall as the general prospect of finding out how the intricate plot has panned out was enough for me despite the sections where I somewhat zoned out. I did enjoy the plot and thought it was quite unpredictable, though that's probably more to the credit of Agatha Christie's original book, which I haven't read, than it is to the film.

As a whole, I enjoyed Death on the Nile. It isn't the most engaging film but Kenneth Branagh being back in this role was a delight and everything around him was executed sufficiently. So, I had a good time. I can't really say if it's any better / worse than Murder on the Orient Express as it's been so long since I saw that film, but from what I remember, this is about on the same level of quality, so if you enjoyed that film, then I'd recommend this, but if you didn't, I doubt this will do much for you.

I'm going to give Death on the Nile a 7.0/10 

Top 10 Films of 2021 + Personal Summary of 2021 in Film

So, the end of another year has come. 2021 has, overall, been a fairly mixed year for films in my opinion. Obviously, it was wonderful to have many highly anticipated films that've been delayed due to COVID finally see the light of day, and it was also great to be able to see many of them in cinemas. Overall, it felt like we were moving towards some form of normality after all the disruption. However, the films themselves and what they represent hasn't been so consistently good. Today, I'm going to do my usual round-up of the best of the best from this year, but, in doing so, I'm also going to discuss my specific feelings about the year, which is a mixture of good and bad. So, let's get going!

10. No Time to Die

For the tenth spot on this list, it was between this and Shang-Chi. While I may prefer the latter a tad more, I think the former means a lot more and is worth praising more. This is generally labelled as the film that kicked off the delays due to COVID, and it received numerous delays even after its initial one. So, to finally see it hit the big screen was really exciting, even though I'm not a die hard James Bond fan. While I think No Time to Die doesn't convey the atmosphere of an epic conclusion as well as it could have nor does it have the most refined story, it has everything you could want from an outing with 007 through its action and performances. So, because of that and what it represents, a space on this list was certainly earned.

9. tick, tick... BOOM!

Well, this film sure came out of nowhere, didn't it? While randomly scrolling through new releases for Netflix one day, I saw an upcoming musical starring Andrew Garfield and directed by Lin-Manuel Miranda. So, naturally, I had to give it a watch, and surprise surprise, it was terrific. Garfield is magnetic in the lead and gives his second best performance of the year (because, you know), and he navigates a story with some really thoughtful and powerful themes, some of which really resonated with me. As a musical, while none of the songs stood out to me as anything amazing, the musical numbers were all very competently crafted and solid. So, overall, a great film that I'd happily revisit any day. This also leads into one of my biggest joys of 2021 films, that being that we saw so many musicals! This genre isn't the most common nowadays, yet this year alone we got so many, and most were a delight! With this, West Side Story, Vivo, and a few upcoming entries on this list, it's been a rather nice year in this area.

8. Spencer

This is, without a doubt, the biggest surprise of the year, and I say that because it's really one of the only surprises of the year. One thing that was sad about 2021 is that there was a deficiency in films that exceeded my hopes / expectations. This doesn't mean there were many disappointments per se, as there were plenty of films that I expected to be great and turned out to be just that, but there weren't many things that I came out of and was really surprised by. Luckily, despite this, we at least got Spencer, which in itself is one of the biggest surprises in recent years to be honest. I never would've imagined myself loving a bleak, biographical period piece drama, yet I absolutely did. The mesmerising central performance and masterful filmmaking made this rather exceptional. I don't know if I'd instantly want to watch it again, but when I did, I thought there was plenty to admire. 

7. Raya and the Last Dragon + Encanto

It's a Disney double bill! For the last month or so, I've considered 2021 a relatively weak year in terms of animated features. Not because we saw much bad stuff but just because we didn't see much amazing stuff, it all mostly seemed to be solid and nothing more. This has been one of the more unfortunate aspects of this year for me because I love animation ever so much, and every year for the last two decades or so has given us at least one amazing animated film, even 2020, which was a fairly rough year for films otherwise. Because I really wanted at least one to make this list, I rewatched a few of this year's animated offerings and realised that, although there hasn't been anything especially outstanding, we've still had some pretty damn good stuff, and one studio that managed to deliver not one but two really solid animated features in 2021 was Walt Disney Animation Studios, and I feel both are worthy of a spot. Raya and the Last Dragon is one of them; I really admire how mature this film is - a lot of the dialogue as well as what unfolds onscreen and within the story such as the action feels very bold and stands out compared to lots of other contemporary animation. It isn't perfect for sure, as it could've done with less childish humour, a lot more subltety, and perhaps even some more ambiguity in its themes, but it at least shows elements of something audacious, which I can't help but respect. Additionally, it has stunning animation and a beautiful score, as you've come to expect. As for Encanto, after giving it another go upon its Disney+ release, it worked a lot more for me. Sure, I still don't think it's anything groundbreaking, but it just does what it does so damn well, with some wonderful animation, a loveable cast of characters, all of whom have such terrific designs, and an excellent selection of songs. I still believe 2021 could've been far better in terms of animation overall, but I'm glad we at least got these gems and that they were able to rank among the year's best.  

6. Last Night in Soho

This was another film I was really looking forward to, and of course it didn't disappoint. Edgar Wright is my favourite director of all time, and even though he steps out of his usual snappy and comedic territory with this film, it was still brilliant. The deliciously twisted and hypnotic atmosphere combined with two phenomenal performances from two of the best actresses working today made Last Night in Soho thoroughly engaging. While the filmmaking generally lacks a lot of the attractive aspects of Wright's style, it's still a really strong film on its own. It isn't his best work, but considering that almost all of his other films are bordering on perfection, that's hardly an issue. I can't wait to see what this man does next because I just don't think I can imagine him ever putting a foot wrong. 

5. In the Heights

While maybe not one of the best films of the year, this is undeniably one of the most joyful watches I've had in 2021, so it had to make the list. This is more proof of how musicals have been thriving as of late, and for that I couldn't be happier. From the electric and upbeat musical numbers to the magnificently feel-good and celebratory tone alongside some really compelling stories and characters, In the Heights is an absolute joy from start to finish. I just got the DVD for Christmas and it was so nice to spend another two and a bit hours smiling, laughing, and tapping my toes. Great stuff, and I kind of feel like it's been forgotten by many as the year has progressed, which is a real shame.

4. The Green Knight

My oh my, what a film. What. A. Film. Of all the films released this year, none have left me with as much to chew on as The Green Knight has. The neverending rabbit-hole of thematic elements to dissect and think about make this easily one of my favourites from 2021. I remember my walk home from the cinema consisting of me just trying to comprehend what I'd just witnessed, and many of those thoughts are still lingering in my head. It also looks great and is very well acted, so there's an awful lot to praise. I'm sure I'll be coming back to this for years to come, as there's so many ways one can interpret it, so I'll be eternally transfixed by each and every aspect it offers and finding new meanings.

3. A Quiet Place Part II

If you're still a little confused by what I meant when I discussed films being unsurprising yet still good, allow me to draw you to maybe the best example. Obviously A Quiet Place Part II delivered, how could it not? Despite losing an ounce of the tight and concise nature of its predecessor in the nature of being a sequel, this retains all the thrill and tension of that film with some more nerve-racking sequences, including an outstanding opening scene, and excellent performances. How do I know this film is so good? Because I rewatched it on a tiny, poor-quality TV in my university dorm and I'd still say the was experience as immersive and tense as it was on a giant cinema screen. All that's left to say is keep it up John Krasinski and co.

2. Dune

Part of me wants to say this was unsurprisingly good too, but another part of me recognises that this could've been a dud. Bringing to life the first half of a long, arduous novel that consists of mostly chit-chat and exposition in a plain, desert setting could've easily been one of the most dull experiences of the year, yet it was absolutely extraordinary. There's nothing more to be said about Dune to be honest, but if there's one other thing I would like to flag up, it's another one of the great things about film in 2021 - that being that we didn't just return to cinemas this year, but lots of the films we saw in them were truly designed for such a way of viewing. Films like Dune and even A Quiet Place Part II are the sorts of films that are made for the experience offered by viewing a film in a cinema, and at a time when cinemas have been struggling, it's ever so good to see some films making them feel worthwhile, because they absolutely are. Also, I'm ever so happy that we're getting more of this, it's ridiculous that it wasn't guaranteed from day one.

1. Spider-Man: No Way Home

Yeah, there was no competition for the top spot whatsoever. I was tempted to slap Dune in the number one slot because it is probably the single best film of the year, but then I realised that, even though it's mostly personal factors that make me love Spider-Man: No Way Home so much, it still deserves this just as much, if not more. While certainly imperfect, this is another enormous yet remarkably cohesive and satisfying outing from Marvel Studios. It has the stellar action and charm we've come to expect, but also a lot more maturity and seriousness that we don't usually associate with them. It also brings together the previous iterations of this character in the most perfect ways possible. This is also more proof as to why cinemas ought to be protected, as the viewing of this film in the presence of many other fans like myself at ten o'clock in the morning on opening day with clapping and cheering throughout is something truly special that I don't ever want to stop experiencing. I thought Avengers: Endgame was an unbelievable achievement that could never be replicated, yet the geniuses over at Marvel have managed to deliver another film on the same level. It may be big, sugary, blockbuster nonsense, but it's that sort of stuff at its finest. So, Spider-Man: No Way Home definitely, comfortably sits at the top of the ladder that is cinema in 2021. 

So, those are what I believe to be the best films of this year, and they also summarise a lot of my feelings about this year overall. With experiences that lend themselves to cinemas, many marvellous musicals, and highly anticipated films finally surfacing, it's been jolly good. But, at the same time, with a lack of surprises and a relatively weak selection of animated content, it hasn't been so good. 2022 is upon us and there's lots to look forward to, so let's hope that, now the film industry seems to be back on its feet, we get an amazing year of output. Speaking of which, here's a quick rundown off all the bits and pieces I have my eye on:

Death on the Nile - still waiting to see that glorious moustache again

The Batman - hopefully another great DC film with a definite article in the title

Turning Red - looks as generic as anything but... it's a Pixar movie so should be good?

The Northman - Robert Eggers does a fantasy historical epic, how can I say no?

Doctor Strange in the Multiverse of Madness - Intriguing genre shift in a Raimi / Marvel reunion

Jurassic World: Dominion - DINOSAURS    

Lightyear - It ain't anything new or original but should be cool

Thor: Love and Thunder - More of Taika and Thor, yes please

Don't Worry Darling - Booksmart was great so let's hope Olivia can do it again

Spider-Man: Across the Spider-Verse Part One - Spidey fans are getting spoiled right now and I love it

Black Panther: Wakanda Forever - I wonder where they're going to go

Super Mario Bros. - odd casting choices but I'm optimistic

Babylon - Mr Chazelle, we've missed you, this frankly can't come soon enough

The Matrix Resurrections - Movie Review - Nostalgia, lots of nostalgia

Happy New Year all! In keeping with tradition, I've got a list of my favourite films of the last year on its way, but I've still got a few things I'd like to see before publishing it, so it'll probably be ready by the end of this week. As for now, here's another review of something I saw recently.

I'm not a massive fan of the Matrix movies. I really like the first one - from it's bold, philosophical themes to its distinct, stylised action, it's just awesome. As for the sequels, not so much. The Matrix Reloaded is alright, but it's overloaded with boring action and has little thematic intrigue, and the The Matrix Revolutions is just a headache in the form of a film. I cannot recall a single thing that happened, except for the cool final fight, and I was so bored throughout. So, you may be wondering why I'd want to see the next entry in the franchise. The truth is, I don't really know either, but I thought it looked decent and I'm always open to movies winning me over even when previous outings haven't. So, I thought I may as well give it a go.

In the film, Thomas Anderson (also known as Neo) is living a supposedly normal life as a game designer. But, after a series of strange visions, he realises that reality is, once again, not what it seems.

I realised shortly into the film that my optimism was almost definitely misplaced, as this is just another Matrix sequel in the same league as the previous two. The biggest problem with it is a problem faced by all sequels made over a decade after their predecessors - repetition. This movie retreads so much familiar ground, both in terms of plot and themes. Most of the time it just feels like we're going through the motions and it's kind of boring to be honest. What makes The Matrix so great is its themes; the fact that one leaves the cinema with food for thought and ponders questions they perhaps never thought of before. So, when you simply rehash that original film as they have here, you instantly lose that aspect because nothing being said is new or intriguing, it's all familiar and thus kind of dull. Additionally, it feels far less subtle than the original in how it conveys these ideas, which makes it even worse. 

What's also problematic are the new elements of the film. There are obviously some differences from the original as it is a sequel, but everything that's new does little to benefit the film. There's a lot of complicated reasoning behind why things are the way they are which means that almost every scene that isn't an action scene is an arduous exposition dump. You can tell that the filmmakers likely didn't know exactly how to excuse making another sequel after how the last film ended, as much of what is said feels like waffle and doesn't make a ton of sense. I mean, I'm sure someone somewhere could explain it all to me, but the film couldn't. It's also really long, and it definitely feels that way. So, I often found myself really unengaged and unable to follow along with the film.

Okay, so the film is a bit flimsy in its themes / plot, but the other defining aspect of The Matrix is its action, so how's that in this movie? Not much better. It's all fine and perfectly serviceable, but nothing special. Again, when you finish watching The Matrix, you can pinpoint almost every action scene because it's all so distinct. Whether it be the iconic dodging the bullets, the opening chase, the subway fight, or the hotel lobby shootout, all of it is so well-crafted and memorable. Here, as is the case with the other sequels, the action all feels very homogenous and is rather forgettable. Not terrible by any means, but just nothing noteworthy. This may be due to the fact that The Matrix was a pivotal point in movie history as much of what it brought to the table was so new and refreshing, but nowadays we've naturally come to expect this sort of stuff, so it all just seems highly workmanlike.

One thing I will praise about the movie is the visuals. While the original Matrix has aged rather well, the second and third films haven't because of their extreme overreliance on CGI that wasn't really ready to pull off the desired effects at the time. But, because of how far technology has evolved in the last two decades or so, this universe feels like it has finally been given justice from a visual standpoint - it's all very arresting. Additionally, it's all well acted. Keanu Reeves is mostly the same as Neo, and he's still very likeable, but some performances I very much enjoyed were Yahya Abdul-Mateen II as a new interpretation of Morpheus, Jonathan Groff giving a new take on Smith, and Jessica Henwick as a new character called Bugs, all of whom made the most of what they were given and were very enjoyable, keeping the movie afloat. 

All things considered, I'm not so keen on The Matrix Resurrections. I don't think it's a bad film at all as it looks great and parts of it are enjoyable, but its repetitive nature and continued absence of thematic intrigue and memorable action weakens it quite severely. I'm glad I saw it and I do think it's better than the last two sequels, but that isn't really saying much. If anything, it's more proof that the original should've just been left as it was, because it was perfectly satisfactory and complete on its own. 

I'm going to give The Matrix Resurrections a 6.0/10

The King's Man - Movie Review - Different look, same bonkers fun

Hope you all had a lovely Christmas. I was able to catch one new release and haven't had much time to give a proper, in-depth review, so I'll just be brief here.

I really like the Kingsman movies. The first one is definitely one of my favourite films of all time and the second one, while not as good, is still thoroughly enjoyable. So, I was ever so excited for a return to this world with The King's Man, even if it wasn't to involve the characters we know and love and would explore many different aspects. In the film, after a group of baddies led by a mysterious figure prompt the beginning of the First World War, a small independent team of British individuals attempts to foil their plans and restore order in some form. 

Despite being very different from the previous two films in a variety of ways, The King's Man retains much of what made them so much fun. The action is still an utter delight, and the historical setting enables the bonkers nature of the franchise to be applied to more distinct situations. Whether it be jumping out of biplanes or old fashioned sword fights, it's still as chaotic as ever but feels refreshing and new at the same time, which I liked. The performances are also still very enjoyable despite a new cast of characters. The plot is less of an over-the-top take on the spy genre here as it is more of a comedic take on historical events, and it is quite funny. It offers a fictionalised account of events involving certain figures during the First World War, and some of it is very entertaining. If I have any issues with the movie, my biggest one is the pace. The first forty-five minutes to an hour of the film are really dull, and are mostly just setting the scene. However, once past that point, it really gets going and is a consistently enjoyable ride. So, I think I can sufficiently look past that. Overall, I really enjoyed The King's Man. It's differences from what we're used to don't stop it from being the same level of manic action and chaos.

I'm going to give The King's Man an 8.0/10