infoalwaysacritic Reviews

Mr. & Mrs. Smith (2024– )

Clumsy, slow-paced sordid drama

[3/10 · 18 February 2024]

Unlike the successful film with the same name, Mr & Mrs Smith is not filled with comedic and witty banter, high-octane action and a celebratory tone. On the contrary, this is a slow-burn drama with brief moments of comedy, often spoiled by music and editing that add tension at a lot of the wrong times.

The season starts with creative introductions and a decent first mission, but it doesn't take long to start getting puzzled with a lack of purpose. Both John and Jane have no formal training, no orientation, virtually no trade skills and, importantly, no chemistry as partners. This quickly leads to swaths of witnesses, evidence and damage in their wake - enough to beg the question why would anyone trust these missions to these people? They are pretty terrible at their job.

John has some positive qualities, but Jane is a prickly, selfish personality that is not redeemed. The show exclusively focuses on their relationship, with stretches of boring banter and grim scenarios that lack comedic lift, suitable context or lack creativity while desperately trying to drive sexual tension while lacking any grand purpose. This leads to two conclusions: 1. They are expendable to their own story and 2. The writers are only interested in exploring the relationship between to the two characters, and not how they fit into the world.

If this is what you are looking for, then you came to the right place, Mr & Mr Smith will give you some miserable grim situations for two people to find each other in. You won't find a smart spy series, a comedy or much action, which, given its name and marketing, one might expect.

Everything Everywhere All at Once (2022)

Raunch and bizarre humour

[3/10 · 19 January 2023]

Telling a coherent story and building emotional connections with the audience are at the bottom of the list for this twisted raunchy trek through what is essentially one long stylized action scene. Combining themes from horror genres and low-brow humour, this is one film that attempts to mash a Christmas carol with nihilism and sex toys.

The writing is deliberately bizarre, with a story that is too convoluted for most, but don't mistake this for a deep philosophical film, nay, to the contrary, it has a social agenda (It's hard to find a film that doesn't these days). If you find plot devices like people having to do statistically improbable things like inserting a butt plug in the middle of a fight scene, or beating someone with a pair of oversized artificial genitalia funny, then by all means you may find this entertaining. If however you find such things deeply offensive, or pretentious, then this is one film probably left alone.

The Princess (I) (2022)

Stupid Grunting Men that say Grrr beaten by Princess

[6/10 · 20 December 2022]

A single prolonged action scene has been the subject of a handful of revenge films, offering thin plots but buckets of blood and gratuitous fighting and the Princess does not disappoint on that front. Joey King plays the role of a princess, set aside by her father to marry rather than inherit the throne, as the last hope for the kingdom due to his lack of a male heir. When she declines, the groom proves to be a controlling freak with an army of grunting plebeians lined up for the princess and her trusted mentor to defeat in a series of stylistic action scenes leading from one boss battle to the next before ultimately overcoming her accursed groom and earning her place as heir to the kingdom.

The politically sensitive might have a lot to read into regarding stereotypes in society, but everything serves to either further the very thin plot or is used for some comedic trope. In this way the film sticks to its simple formula and, for the most part, it works. The criticisms to be levelled are more aptly placed on low-budget fire effects and poor quality sets, or just the incredible simplicity of all of the characters. The story is reminiscent of 8 bit video games from the 90's, with characters so simple they could be a cardboard cutout and painful dialogue. In spite of its failings, the pace of the action and its dynamic sequences are entertaining enough to make it a fun romp through a highly unbelievable fantasy setting.

Those who are squeamish about blood should know that most of the violence takes place off camera, with a couple of jugular bleeds until near the end of the film that contains a graphic decapitation.

Additionally, unlike most exploitation films, there is no graphic sexual content and the main characters are not sexualized.

Clifford the Big Red Dog (2021)

Heart Warming and Wholesome

[8/10 · 28 April 2022]

Remember when kids movies were fun, wholesome and witty? Clifford the Big Red Dog brings back the days of clean fun, with decent acting and writing that keeps you on your toes without dredging through layers of unnecessary politics or mature humour.

Worth watching for anyone with kids.

Cheaper by the Dozen (2022)

Cringy, with some sweet parts

[4/10 · 23 March 2022]

If you're old enough to remember the book and the original Disney film, then you'll be well aware of the glue that is strong enough to hold a family with 12 kids together - unconditional love for the family. When push comes to shove, the Baker clan has always known that family comes first.

This updated version sets its tone immediately with a mini-documentary that establishes where all their many kids came from, and in this case it is in many ways. There was a divorce on both sides of the relationship, an adoption, bi-racial kids from the new marriage and of course a nephew that quickly enters the picture to round out a total of 9+1 children.. That's the way they have chosen to interpret a dozen this time around, 12 bakers. You have your black kids, your wheel-chair bound child, your Indian represented child and the white kids and the bi-racial kids that came from the new marriage. If you're getting the feeling that this might be motivated to create a sense of token diversity you might be encouraged to feel that way by the political content of the film. The Baker's home features BLM signs and their dogs are named Joe Biten and Bark Obama (not sure if that's a compliment or an insult). Many opportunities are taken in dialogue to feature political ideologies including micro-aggressions, victim shaming and profiling. There are even some painful moments where the white cast are lectured about inequality and how they naturally fit in everywhere they go because they're white while black people are profiled, ostracized, discriminated against and generally lose opportunities because of generational wealth. White people are told that they can never understand what that is like and that their accomplishments are invalidated.

The writers handle this in some creative ways, and the responses are thought provoking. A contradiction is present, for example, when their white nephew is profiled because of his past behaviour and he was bullied and felt like a misfit, but the answer is found in the Baker's #1 rule - family comes first.

Not all of the scenarios outlined make sense but on the whole it is a sweet story of a family fighting to be genuine and the gist of the plot remains the same as previous films, albeit with some changes to the characters. But too many faces quickly disappear into the background while posing some unanswered questions along the way. There are two sets of twins, contributing to the feeling that the children all blend together. It never truly feels like a full house. This is where the film struggles to stay coherent. There are many characters that fail to be distinct, and several agendas that don't support the plot, all contributing to the feeling that this film was rushed while never connecting well with the traditional family audience that typically supported this kind of a family comedy/drama.

The Hyperions (2022)

A Bizarre Drama

[7/10 · 14 March 2022]

Bizarre, in this case, is not a slight at the movie's content, but a description of its intent. This is a film that, if made by another studio, could have been very violent and chock full of sexual content. Plenty of studios have already played those cards, and that is where the Hyperions goes in a different direction altogether.

Marketed as an action comedy, the tone of the film would be more accurately referred to as a serious drama, with bizarre elements that are sometimes funny, but usually not. A quirky doctor has fashioned a pseudo family out of adopted children, personally selected and granted superpowers. Over time, however, he is influenced by the resulting fame and public relations and loses touch with this family. The story pieces together some of these background elements on the fly, which gives the story a serious tone as you watch the impact of feelings of confusion and abandonment in the young heroes as they mature into lives without their parents.

If you're thinking Umbrella Academy, well that would be very familiar, but this story goes in a very different direction. If the Umbrella Academy has a dark humour and offers no hope of reconciliation with their past, the Hyperions wraps up in a wholesome manner and rebuilds your heart.

Production value is there, with good acting, decent scripts and the occasional quirky joke. Sound and visuals perform well with mixed in animation and some fourth wall breaks. Cary Elwes is excellent in his role as the quirky and naive but stubborn doctor. Penelope Mitchell is excellent in the lead and Elaine Tan plays well off of her counterparts.

Overall a solid dramedy if you're into quirky wholesome entertainment, but some gruesome elements might deter the family audience it most relevantly addresses. These can be avoided for those that check the parent's guide.

Arcane (2021– )

Grim-dark misery pron, but good

[8/10 · 22 December 2021]

Spectacular visuals, wherein almost every individual frame is a work of art, adorn the framework of a show that knows its audience and grips your attention from the first episode to the season finale.

A distinct visual aesthetic is reinforced by solid scripts, excellent dialogue and voice acting and a style of motion that is reminiscent of the best anime. Arcane isn't perfect, leaps in logic fall at some of the worst times making some of its key plot points preposterous, and its inability to stay true to its own myth make some elements of the action shoe-horned into plot points where they don't belong. This makes for some awkward episodes where all of the background and common elements are well-executed but it confusingly fails on some of the big points. This shouldn't be mistaken for poor action, on the contrary the fight choreography is both creative and visually spectacular in its fluidity and tension.

Sound design deserves recognition for its brilliance, playing a crucial role in establishing characters as well as dictating the overall tone, though perhaps it spends too much time leaning into self-pity ballads.

With how well this show has been crafted, there are some content concerns that make this decidedly for a mature audience. While explicit visuals are held just outside the edges of the frame, there is a generous amount of blood, mortal tension and horror visuals including the gruesome transformation of people into Jekyll-like monsters, people being immolated, skewered and disintegrated. Mature concepts are explored in manipulative monologues that expound attractive, albeit unhealthy philosophies that contribute to the mental decline of a major character. The mental instability of the character Jinx becomes a major element of the show's plot - a popular theme for a generation of young people with some of the highest rates of mental illness in history. These themes are accompanied by a small frequency of sexual themes. There is one obvious sex scene in season 1, with disrobing and rolling around in the sheets. Partial nudity starts to show in a few prominent scenes towards the end of season 1, an example of which is with one woman having an implied sex-slave present in most of her scenes, and in one case only his groin is obscured by her naked body while strategically-placed water obscures her nipples. What makes the scene so off-puting is how unnecessary and ridiculous the circumstances are within which it takes place.

The visuals and music wallow in depressing grim-dark, revealing that shining "top-city" is just as corrupt as its seedy underbelly in its own way. Prostitution, drugs, drinking, crime, embezzlement; hardly a vice is spared in the illustration of the dark worldview, and the show glorifies several of these elements in stylistic montages. Understanding these things is extolled as virtuous while innocence is ridiculed. A strong emphasis is put on pursuing peace, but the viewer is encouraged to root for war.

Sporting a diverse cast representing different races, colours and hints point to a same-sex relationship in the making. There are strong-willed female characters and male ones, physically powerful women and men, but overall a strong bent leans toward the female cast, with little overt objectification while staying relevant to the fans of the video game's style of artwork.

Altogether, Arcane is a visual treat, with rare attention to the story. It is at once entertaining, delightful and depressing. If ever a show held to the writing adage of creating characters you love, only to gleefully crush them, this is it.

Aloha Surf Hotel (2020)

Charming

[5/10 · 9 December 2021]

Everyone has that quirky unassuming friend that is under appreciated. Aloha Surf Hotel is a story of that kind of a character finding recognition while extolling the virtues of a small island quality of life. Don't expect high budget writing or production, it's okay at best, but the character actors and the light feel has its charm.

8-Bit Christmas (2021)

A 2 hour commercial for Nintendo, but with a good heart

[6/10 · 26 November 2021]

Dads everywhere are guilty of telling tall stories that magnify and romanticize the events of their childhood. 8-bit Christmas plays cleverly on the relationship of parents to their children, delivering a truckload of nostalgia for 80's kids. Be cautioned though, the decidedly weak plot makes it hard to miss the heavy handed product placement for their chief partner: Nintendo.

The opening scenes set the stage for a father to tell his daughter about the Christmas toy of choice from 1986, no 87, no... well the year of the late eighties. This is something akin to the pandemonium of the Tickle Me Elmo crazy parodied in Jingle All the Way, only instead of hysterical grown men, insert a club of boys and one girl. Contrary to the single unifying plot of Jingle All the Way, 8-bit Christmas opts for vignettes that play out characterizations of attempts to obtain the coveted system, against the backdrop of a conversation between father and daughter about the important things in life. Be prepared for some zany humour, however, when children are practically worshiping the power fist or when a large Nintendo display begins talking to the main character.

Despite its super-dry humour, and occasionally belabouring the jokes until their not really that funny anymore, the writing team manage to wrap things up well enough to make this an okay holiday comedy. Some will likely love it a lot, which is understandable if nothing else for the explosive moments of hysteria that interrupt painfully long moments of pointless descriptions of the functioning of a nintendo entertainment system (buy one today!). If not for the dry spells, you might not fully appreciate a drop kick to a television and its ensuing circumstances.

Kill Chain: The Cyber War on America's Elections (2020)

Worthwhile Watch

[8/10 · 25 November 2021]

Even for Non-Americans, the question of election integrity has become extremely relevant to the foundation of a democratic process in the digital age. Is there a cyber war, is not the question, but who is winning it. If the experts in Kill Chain are to be trusted, then America, and other nations, are pretending that the war isn't even happening.

As documentaries go, many are made with partisan funding and motivations, and released during election campaigns with uncanny timing. Kill Chain manages to portray a bi-partisan issue with voices from more than one administration and both sides of the aisle, even if it directly attacks key Republicans. The message is clear, but therin lies some of its faults.

Harri Hursti is the focal point of the documentary, travelling around the world to speak with experts that unanimously pontificate the vulnerabilities of digital voting that lacks a paper trail of accountability for audit. He is accomplished, knowledgable and believable as an expert in the field of cyberwarfare. Assertions are made that the exploitation is a possibility, but little discussion takes place around if they are being exploited - it is assumed that they are. That sets the bar rather low when all that is required is to cast doubt. This criticism, however, is not without merit and that is where Kill Chain becomes compelling in its message.

Numerous examples are provided of how the exploits can happen, and direct comments in defence of the American systems are addressed and effectively disproved with great ease. Election machines, for example, are demonstrated to be easily obtained and brought to a hackers convention that demonstrates some of the most disconcerting patterns of issues. It becomes a lost opportunity in light of the amassed circumstances that none of the official authorities or manufacturers would participate. Their silence, in this case, is deafening.

Red Notice (2021)

The Fast And Furious Hitman's Bodyguard...

[7/10 · 14 November 2021]

If the Fast and the Furious had a baby with the Hitman's Bodyguard had a baby, this comedy-caper would be the result. Ryan Reynolds is the world's most famous art-thief, or at least he was until he was sold out by a competitor in a race to assemble three golden artifacts for a wealthy billionaire. What follows is a bro-oad-trip as Dwayne Johnson and Ryan Reynolds banter their way through a humiliating contest against the alluring Gal Gadot.

Where Red Notice shines is not in originality, nor is it in brilliant writing, but in its comical contempt for taking anything seriously. Ryan Reynold's signature wit and comedy riffs break the fourth wall with frequency, including looking for a crate labelled Mcguffin while in an underground Nazi vault. Dwayne Johnson recycles the same character he plays in Jumanji, Jungle Cruise and pretty well every other movie he's been in, while Gal shows a little bit of her creepy side when torturing a prisoner but is never quite convincing in her relationships - one of which feels downright awkward.

The production values are a mixed bag with some prominently poor green screen, and the script had the feel of being so painfully written that the actors started to adlib their own lines to improve it. This plays to that strength of goofy comedy that doesn't require much thought while hedging itself in between several sequences of action and pretentious explosions.

Altogether, its goofiness will attract some, and deter others. For the family audience, frequent swearing and sexualized language push this up to a teen audience even if the sexual content is limited.

Rodeo Girl: Dream Champion (2016)

Watchable for the right audience

[5/10 · 28 October 2021]

As far as fantasy horse flicks for girls go, there are plenty of films to choose from. Some are abismally bad, others had potential and lost it. But to find a clean film for a young audience set to a backdrop of horses, the best options are in short supply, and this one is on the line for watchable.

First some of the bad: The cinematography, from a technical standpoint, was sorely lacking. Some scenes suffered from poor lighting, others had blown out highlight or had contrast and colour settings that distracted from the story - which was so so. But there are some good things.

In spite of these challenges, Kevin Sorbo deserves recognition for delivering a good performance. There are plenty of shots of competition riding in rodeo, and this also plays to the audience intended.

There are better films, of course, and more accurate films for those educated in equine practices, but if you've seen those big blockbusters, this is a watchable option for an evening with young daughters.

Rurouni Kenshin: The Legend Ends (2014)

A mixture of brilliance and simple mistakes

[6/10 · 6 July 2021]

When the second film ended, Kenshin was in a tough spot, Kaoru was missing and Japan was in a difficult position. It is at this point that Kenshin must delve further into his past with his enigmatic sensei to complete the healing needed to fully embrace atonement for his past. It is this element of the film, the first half, and the conversations with his master that have some of the best writing in the series. His master is wonderfully acted, and this film uses the strengths of choreography and the skill of the cast to a new level as they face off in a series of challenges before coming together in a climactic final battle.

Unfortunately, the lessons learned in the first half of the film are diminished as the final battle undoes some of those lessons. Shishio's end comes not as a result of how the characters have grown, which results in the best fights taking place earlier in the film.

As a conclusion it ties up most of the story pretty well and finally creates some clarity around Kenshin's relationships with his new friends, but makes some simple plot errors that diminish the conclusion of the film.

Rurouni Kenshin Part II: Kyoto Inferno (2014)

A solid middle act

[6/10 · 6 July 2021]

Continuing Kenshin Himura's story from the first part, this middle act turns the world upside down as a villain from Kenshin's past, and his successor as a kill-sword, throws Japan into chaos while exacting revenge on the Emperor and Kenshin.

Following the end of the battles to usher in a new era, Shishio is discarded and horribly disfigured in the attempt. With a fresh appetite for revenge, he organizes a series of events that place the government of Japan in his grip, forcing them to hunt Kenshin down for execution. All of this sets Kenshin and his friends into position to take Shishio down and save the day, but the film ends with them in dire straights.

The writers do a good job of moving the motivations forward and introducing a cast of characters, some more confusing than others, to further develop more of Kenshin's mysterious past; this time with his strange sword and his relationship to the Emperor's other special soldiers. Kenshin's superiority with the sword is taken down a notch when he begins to face opponents on his level, providing a few really breath-taking fights.

The stellar fighting, however, cannot divert from the really poor villain, and his rubber makeup, or the painful performances of some of the supporting cast. Be prepared for a weak ending as this film is only in preparation for another - but when taken together it ends up a reasonably good film with some important plot points for the franchise moving forward.

Rurouni Kenshin Part I: Origins (2012)

A Raucus good time

[7/10 · 6 July 2021]

One does not need to watch the anime or read the manga to get pulled into the story of Kenshin, the wanderer and former kill-sword who fought in the Meiji restoration.

Loosely based on history, the story moves away from the childish humour of the anime series, instead focusing on the serious nature of the times and the characters' struggles. This doesn't mean there is no humour, but the physical nature of the combat and the film's focus on swordsmanship means that a fair bit of blood will decorate the sets and characters in the process.

Kenshin Himura is a mysterious wanderer with a shameful past that left him scarred in more ways than one. Intrigued by the motto of the dojo of a woman he meets in his travels, he embarks on a journey of atonement in this first part of a series of 3 movies.

In the set of 3, this one has the primary revelations with regards to Kenshin's history, what he did that he is ashamed of and how he got part of his prominent facial scar. As an added bonus, the costumes and acting are not too far over the top, making this series a legitimate sword action series.

The sets are astounding, the action is complex - fast and furious, and the characters are genuinely interesting, even if the over-all plot is pretty simple to follow.

Maquia: When the Promised Flower Blooms (2018)

Exceptional Animated Fantasy Drama

[8/10 · 19 June 2021]

If anime as a genre brings to mind fanservice, childish boob-humour and a bizarre obsession with characters that have a single emotion they express every time they open their mouths, then leave it to this film to add some variety to the pallet.

While anime has examples of all styles and genres of film housed within its animated shelves, there aren't a lot of films that bring a serious tone, thoughtful plays on philosophy and stunning animation, while avoiding the cliche's of anime. This is one of them.

Beginning strong, the film immediately sets out gorgeous visuals with a high-key pallet and beautifully envisioned world. The attention to detail in architecture and environments will encourage the use of the pause button, while the complexity of background animation is at such a level that the sheer number of moving characters approaches that of a live action film. This level of work is rarely seen in animation and is worth applause on its own, not to mention the beautifully coordinated combat late in the film.

Characters are written to be fairly simple, but in complex circumstances. This dedication to simplicity, at times, struggles to progress the characters despite time moving fairly quickly at times. Ariel, in particular, is barely developed in spite of the story's scope containing his entire life. Other characters are deeply wounded by their circumstances and have decisions to make regarding the road they will follow afterward. At times these wounds are gut wrenching but sadly aren't utilized to their fullest extent in developing the characters involved.

If watching the english subtitled version, there are some things lost in translation, that could result in some confusion. The jumps in time are also not the easiest to follow, which doesn't help the pacing. In the end, however, they successfully blend a heart-felt story of love and maturity and family together with a fantastical setting with hints of deep lore and history that satisfies on a higher level than the vast majority of big-budget films being released in current days. The animation is spectacular, the story is thought-provoking and the world is entrancing.

The Imaginarium of Doctor Parnassus (2009)

Dark, Surreal and Tragic in more ways than one

[6/10 · 5 June 2021]

The imagination of the Director and producer are in itself a feature of the films Terry Gilliam has made and the Imaginarium of Doctor Parnassus is no exception. The ability to poke and chide culture while weaving fantasy into reality are a staple of his productions, and most of the time it works in its own twisted sort of way. But if you aren't enamoured by frivolous breaks from narrative that deliberately dwell on dialogue for the sake of dialogue, then the themes of this film are not likely to entertain you; it's a shtick with a loyal audience that probably started with one of his other films as their first step into the weird and wonderful mind of Doctor Parnassus, or should we say Terry Gilliam.

Dr Parnassus has fallen on hard times with his travelling performance troupe, aboard their horse-drawn cart/stage/dilapidated home that is in itself a reflection of his own despairs when he is confronted by the impending celebration of his daughter's 16th birthday. The problem is that he has struck a deal with a being as immortal as himself that requires him to relinquish his daughter to him. The troupe itself is in turmoil when a new member joins after he is saved by them from certain death. The game being played by the pair of immortals carries ramifications for each of the members of the troupe and ultimately the destiny of Dr Parnassus' daughter hangs in the balance.

The first thing to know about a film like this is that it is deliberately obscure. If watching the film without having read a synopsis or the cover, one could easily become confused by the obtuse unfolding of events. There is a share of comedy included that will entertain, but at the heart of the story is effectively a petty gamble between representations of God and the Devil, in what is a sort of love-hate camaraderie. There is essentially no good and evil, just interests and play-things. It is in this sea of grey that themes of right and wrong and truth and deception are tested, played with.

While famous now as Heath Ledger's last film, it is certainly not his best performance, nor his best character to play. The real star of the film is Lily Cole, who is stunning in almost every scene.

Technically, the style of the film is intricate and detailed, and over all it is well executed for its time. Lighting and set design, when real, were well executed. The writing has its moment of brilliance, but it's mostly a drug trip of disjointed scenes that are intended to be knit together by your imagination, not a coherent narrative. In the end, it's an average Gilliam film, not complicated nor does it come to any moral conclusions, but enough to stimulate some thought.

Raya and the Last Dragon (2021)

The uplifting story for this time

[8/10 · 11 March 2021]

In a time rife with division over ideology and morality, there is a need for a story of hope and that is where Raya comes in.

Raya is a guardian, raised to protect the heart of the land, both literally and figuratively speaking. When the heart is broken, it then falls to her to bring back the source of that heart to overcome the blight that has befallen everything around her.

Raya and the Last Dragon attempts to tell a story that is difficult to do successfully and while there are plenty of opportunities for technical criticism around the plot, pacing and even some animation issues, it is the heart that shines through and brings enough to overcome those hurdles for those looking for an uplifting tale.

Turn on Raya and you're encouraged to forget the real world long enough to find messages of hope through unity and trust for one another. These themes permeate the dialogue, the music and even the artistic style of the film. It is in a word: beautiful to look at. Bright colours bring life in contrast to the sinister dark purple orbs that represent the scourge that steals life, freezing people as stone statues in its wake. In keeping with asian influences, the story has many shades of grey in the characters, leaving room for redemption and weakness in the heroes and protagonists.

Of course, there are criticisms to be levelled, in particular in the realm of disjointed transitions for a few scenes with awkward fade outs or lack of attention to background animation. In one case a large number of cats use what appears to be the same animation script, creating the unnatural appearance of them all moving at exactly the same speed and with too much similarity.

The plot follows a video game trope, and the story itself isn't all that original, borrowing from many other genres, but in Disney's case, this is not without precedent or without its merit. It was refreshing to see major characters engage in all out mortal physical battle. This is rare for Disney, even if there are some convenient issues around the end of the film that if dwelt on too closely, you might lose the whimsical joy of the film's message.

Apart from the heavy handed moral ideology, which is common for Disney films to begin with, Raya doesn't address many of the social issues in political debate today. Diversity doesn't feel forced, and other issues aren't shoe-horned in with pretentious and unnecessary scenes. As a result, it does its job well of presenting a heart-warming and uplifting tale.

The Current War (2017)

Thought Provoking Surprise

[8/10 · 4 February 2021]

Well written, well acted, this came as a surprise. In the whole, the topic of a dramatized telling of a battle for market supremacy in the turn of the 19th century might inspire the imagination to concoct skull-duggery and deceit, and cobblestone chases. What you find instead is a refreshing and slow-moving drama that builds into a well-executed climax of talented writing, imagery with a genuinely interesting story. There are no over-the-top action scenes forced into the narrative and no pretentious gratuitous sex scenes. Calculated dialogue shows the major players to have complexity and depth to their characters that reveal internal struggles of conscience and conviction. Each of the major characters make good and bad decisions and have to wrestle through the consequences. The visual effects bring the time period to life, and the acting talent in the cast was top notch with a surprising number of them with excellent talent. As far as historical dramas go these days, many fall short of portraying history at all, favouring titillation and concoctions of pretentious fabrications that undermine characters or distort facts to favour political agendas. This does none of those things while dispassionately bringing to light the conflicts of the period in a thought provoking manner.

Lost Girls: Angie's Story (2020)

Emotional heartfelt drama

[8/10 · 11 January 2021]

The topic of trafficking and prostitution has been brought to cinema in many forms. A difficult topic to tell a story around while avoiding the pitfalls of titillation, explicit content or exploitation in the process of illustrating what happens in the seedy world of trafficking. Many films struggle to find the line, either delving into making their own exploitation porn in the process or dubiously hiding behind the justification of art while the actors are exploited themselves. Angie: Lost Girls is a breath of emotional fresh air, dwelling on the psychological effects of trafficking on the victims and their families and the manipulation and struggles that make it such a serious and elusive crime.

Angie is a happy suburban girl, with providing parents and a good relationship with her sister. She is targeted by a trafficking ring and moments of weakness are exploited while entering into a secret relationship. She is misled into a meeting that turns into a nightmare as she is abused and trafficked against her will. Films of this vein are often heavy handed on the subversive guy and the harrowing tale of their escape. In this case, the film focuses on the tracking and capture of traffickers, and Angie's experience is one of many perspectives shared.

The camera work is excellent and most of the actors deliver solid performances, especially Jane Widdop as Angie. Lighting is also well handled, working with the director's vision of handling hard circumstances without crossing the line into explicit content and creating distinct feeling to the sets. This film is proof that content can be and is often more emotionally impactful when not explicitly shown.

There are many films in this genre, but few accurately portray the methodology, the effects and the struggles of trafficking. Some would argue that the circumstances of the film are hokey at times, and the criticism may be correct that there are some scenes that feel rushed, but the circumstances are real, they happen and are worth a watch.

Girl Lost: A Hollywood Story (2020)

Hollywood has not figured out how to tell this story

[3/10 · 30 December 2020]

Although this story is not one that hasn't been told in part in other films, Hollywood has yet to figure out how to tell it responsibly and accurately and this film is no exception.

Hope is a minor that comes from a home wherein she is abused by her babysitter and neglected by her parents. Her path into the sex industry crosses faintly with the other primary character who travels from stripping and dancing topless to more extreme behaviour in an effort to provide for her child.

Overall there is a story told that progresses into more intense exploitation as the film goes on, but in the process the filmmakers go off the rails as they expose child and adult actors to exploitation themselves in their attempts. The intensity of the film grows with each passing minute that crosses lines, pushing them and progressing them unwillingly and further into the life of a sex-worker.

The tragic nature of the character's journeys are emotional at times when engaging in conversations with others who want the best for them. However, the adult character engages in stylistic soft-porn while the viewer is lead to feel that the tragedy is really for her daughter and not so much for herself, and at times in front of child actors. The underage character is herself playing a sexualized role, dancing provocatively in her underwear, talking sexy and touched and caressed by others in intimate fashion.

If you are looking for voyeuristic titillation, it is better found elsewhere than this soft-rendition of pedophilia and soft-porn. If you are looking for a hard-expose or insight into the lives of sex-workers, Hollywood has not learned how to tell this story responsibly or accurately and this film is no exception.

Greed (I) (2019)

Confusing themes clash in dry satire

[4/10 · 11 October 2020]

Satire is usually a comedy built upon overstating irony or poking fun at a subject, and in this case it is far more likely that the producers landed pretty close to reality in their portrayal of the lavish and hedonistic lifestyles of the rich and the famous. Centering around the preparations for an over-the-top birthday party, most of the characters have enough flushing out to be seen clearly in their trope which is good for a few laughs - a foul-mouthed greedy fashion baron who loves only the art of the deal, the Irish grandmother who believes in pulling one up by the bootstraps and pride in oneself over class distinction, and the pragmatic mother who rightly sees the family as a brand. The children are ripped from the tabloids as dysfunctional and deluded or deeply unhappy, neglected teens. Fun is poked at the absurdity of "reality" TV and the interruption to their golden lifestyle by the less fortunate, perceived when refugees camp on the beaches of Greece, and inconveniently in the backdrop of their event. This climaxes, if it can be called that, in a predictable tragedy, that is intended to be a high moral point of justice, but lacks the moral purity necessary and becomes instead something of a wet dream of the socialist fight for the underdog built not on justice but moral objections of inequality. Featuring a strong performance by Steve Coogan, who has experience playing similar roles before, and supporting actors are sufficient to inject some genuine moments of humour. the film follows a steady march that arguably did nothing to add to the villainous descriptions of people who were generally immoral and unscrupulous, but also not disobedient from a legal sense. The filmmaker fails to justify the heroic characters from the villains in that sense that both are immoral, and that leads this film to a rather ambiguous ending that will have some people feeling vindication and others unresolved, or worse - boredom. In a nutshell, Greed is a film about morally objectionable people, being generally unlikeable, cussing a whole lot while watching those less fortunate struggle with their impunity. There are some laughs, and some tokens of global social concerns to encourage some reflection at the end, but it also reveals nothing significant in the process as the film tries to parody a bio-pic, satire and social activist docucomedy while accomplishing none of those particularly well.

The Old Guard (2020)

Mediocre, run of the mill action movie with old tropes and new ropes

[6/10 · 11 July 2020]

The Old Guard is filled with heavy handed agendas, decent action and an okay central plot to keep it moving. All around that plot are extensive character developments in a failed effort to enhance its mostly generic cast.

Charlize Theron holds the cast together with a memorable performance, distinct character and a physicality she rarely shows. A handful of other characters are there to fill in the background, but it is unlikely you will remember more than one or two names, preferring instead to recognize the actor who played the part.

The premise is as standard as they come - immoral big pharma wants to experiment on immortals to benefit humanity, but they want to do it in an evil way. Do the ends justify the means? That's pretty much as philosophical as the film gets when it isn't trotting out historical sins to paint organized religion in a negative light, naming crusades, witch-trials and even monologuing about the ignorance of organized religion. There are several scenes of the villainous characters being mean to same-sex partners (some explicitly stated, others implied), physically separating them, verbally accosting them and being generally very bad people. One might mistake the title of the film for referring to people of a certain mind-set or persuasion and not the immortals themselves.

Many parallels exist in the film to suggest that the writers want to broach the topic of same-sex attraction as a major theme in the film. The Immortals only want to better the world, but people won't let them because they fear those that are different, who can't help who they are and subject them to lab testing to find out what makes them tick. This narrative undertone comes close to taking over the middle of the film, but fortunately doesn't prevent the film from getting back to its central plot, leading to a climactic and engaging final act with a handful of characters you will appreciate.

Effects are on the whole decent on the characters themselves, plenty of bullet healings and the like. Background muddiness or hasty cells added in a foreground fall apart only rarely - I'm looking at you stock after effect of a water splash. As the cover would imply, there is a good deal of violence on people who cannot die, and those who can.

All in all, a decent flick for fans of psuedo super-hero action movies with the classic immortal themes.

Extraction (2020)

Quality cast, production and non-stop action

[7/10 · 17 May 2020]

When John Wick snuck under the radar before blowing up on streaming services, it changed cinema in the way that Hardcore Harry showed the possibilities of POV. Keanu Reeves' character bobbed and wove through seamless action scenes littered with bodies and close quarter pistol techniques that were both brutal and poetic. Extraction brings the efficiency and intensity of battling for survival to the underworld of India in the hands of Chris Hemsworth's haunted mercenary- Tyler Rake.

The character introductions are well handled, with Tyler's depression clearly signalling a painful past. Flashbacks are used to hint at the nature of this past, without fully becoming clear until the final act. Tyler is recruited to a mission that he says no other mercenary would touch, and this again signifies Tyler's broken state accepting a mission that is bound to go wrong. There is more characterization done on Tyler's counterpart, the man hired to protect the victim from the start, with a clearly defined motivation and predicament around the boy - Ovi, who is excellently played by Rudhraksh Jaiswal. What follows is an intense series of action scenes with few breaks for exposition before wrapping up in the final act.

Where the story succeeds most is in the dynamic visuals and the scant dialogue is effective in furthering the plot while racking up a massive body count. Scenes move smoothly from running through the jungle, to a furious car chase, before the camera travels out a window into a building chase sprawling multiple rooms and floors before crashing from a balcony into the streets again. This gives little time for characters to emote beyond grunts of exertion and desperation. This leads to some of the films shortfalls, moral ambiguity and lack of vested interest. Far too little time is spent getting to know characters that their loss is hardly felt, while others undergo significant screen time that ends in tragic survival. This undermines the primary antagonist when subordinates demonstrate agency over their actions without consequences and often in ways that don't affect the narrative arc. A show down takes place, for example, between a background character that has had only a few short lines, while significant time is spent flushing out the unexplained thirst for violence in a young person who ultimately fails to contribute much to the plot at all. This leads to a moral ambiguity that is emphasized by a conversation between Tyler and an old friend - There are no good guys.

Tyler demonstrates many admirable traits in the film, willing to stick with things to the bitter end, driven by something deep within him. He fights for what he thinks is right and does it well. He is however working for a drug lord to rescue his son from another drug lord. No matter where you point, there is no moral high ground, and there is legitimate concerns raised over the permanence of their actions, causing many questions to be left with simplistic or incomplete answers.

The end result is a genuinely impressive action film, which benefits from a simple viewing. There are some deeper themes hinted at, not very well flushed out, but for sheer adrenaline and stylistic violence, it is a well done film. Chris Hemsworth and the other leads deliver on pretty well all fronts, and the production is very well done.

Rage of Bahamut: Virgin Soul (2017)

Gets Under Your Skin

[8/10 · 26 January 2020]

What starts as a quirky tale around a girl coming to a city with a problem of races and injustice a series of half-revelations around a vigilante quickly indicate that the story-tellers are attempting to do something much more. Fans of the previous series will find familiar characters supporting a new lead, who is charming and overwhelmingly optimistic. This is needed in the light of the morally corrupt and bleak world crafted around her.

What goes well goes really well. Animation and voice acting in the original Japanese is excellent, adding a great deal to the characters beyond the visuals. Most of the 3d art is non-intrusive, lending its strengths to most of its applications. Action sequences and in particular some dance sequences are beautiful and emotive.

What doesn't go so well has to do with infuriating and illogical actions that serve only to string out the plot, interrupting the flow at times. Character development is done late in the series, taking a long time before revealing answers to big questions that only satisfy in a few cases. Those few cases that are satisfying are still enjoyable, even the ones that are predictable.

Since this series is a love story first, and action adventure series second, there is a moral downfall to the love interest, unfortunately it is debatable whether they are sufficiently redeemed at the end of it; this likely contributes to the mixed consensus on how the series ends. With likeable characters and some great sequences, if you enjoy the fantasy action side of the story, and don't pay too much attention to the politics, then there is lots to love here.