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My Letterboxd review of Kong: Skull Island

Reblogged from my Letterboxd list:

I really wanted to like this. I really did. I was even willing to forgive the handful of creaky moments in its first half hour — paper-thin characters, hackneyed set-ups and more — because the pace is so exciting. When the titular giant ape makes his first appearance, it’s at a genuinely unexpected moment, and the chaos is handled beautifully by director Jordan Vogt-Roberts (The Kings of Summer). I was ready for a thrill ride.

But it’s all downhill from there. You see, it’s one thing to reference other movies, to pay visual or thematic homage; that’s something the otherwise narratively impoverished A Cure for Wellness does to its credit. It’s another, however, to simply mash-up the plots of a few different movies and hope that nostalgia will fill the cracks.

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My Letterboxd reviews of Logan, A Hologram for the King, This Is Spinal Tap, and Mascots

Logan:

So James Mangold finally got to make his R-rated Wolverine. And? Strip away the air of ‘serious film’-ness surrounding this super-anti-hero flick and it’s a fairly ordinary road movie, gussied up by a gritty pomo western style, relatively extreme violence, and uncharacteristic potty-mouth dialogue. All very cute, like when Jackman says ‘fuck off’ in that Avengers cameo. Fanboys can shove it.

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This video gets a bit too cute in its definition of passable (focusing on certain film tropes ‘passing’ for genuine human interactions, but ignoring that such tropes have an important role to play in the medium). Still, the bigger point stands; I’ve seen far too many passable movies lately — and been permissive about it, too. My film diet needs greater nutritional value. #video 

My Letterboxd review of I Don’t Feel at Home in This World Anymore

Reblogged from my Letterboxd list:

Macon Blair’s directorial debut, a blackly comic revenge film, suffers from first-film-itis for much of its running time. Its obvious influences (mostly his old filmmaking pal Jeremy Saulnier, with a smattering of Edgar Wright) get in the way of a story that’s unevenly focused as it is, one minute a me-against-the-world drama, the next a Curb Your Enthusiasm-style cringe comedy. Things improve markedly in the final act, however, with an explosion of violence that brings a film with quirky, flighty tendencies back down to earth hard. David Yow (he of noise rock legends The Jesus Lizard) is a revelation as the primary heel of the piece, and Elijah Wood brings his usual charm as the oddball sidekick, but it’s Melanie Lynskey in the lead who holds it all together, just about, as the woman who decides she can no longer bear to let the bastards get her down.

My Letterboxd reviews of Sadako vs Kayako, This Was the XFL, High-Rise, History of the Eagles, and Any Given Sunday

Sadako vs Kayako:

Unexpectedly decent, this. The postmodern Wes Craven approach is writ large in its first half, and the obvious references pay off in grisly amusement rather than belly-laughs, as they should. It’s also effectively atmospheric, as the tropes start to die off and our main characters succumb to the creeping realisation that there are no rules to this horror movie. If there’s anything really wrong it it, it’s that it suffers from the same problem as that other colossal horror tussle: it’s far too long before the titular characters go one on one.

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Folding Ideas on Suicide Squad and its terrible editing. Some of its problems are obviously in the screenplay and the poor direction and framing, to be fair, but even without those issues, the way it's put together is remarkably lazy. #video 

Santa Clarita Diet

Drew Barrymore in Santa Clarita Diet

Just piping up to recommend Santa Clarita Diet on Netflix, if you haven’t seen it already.

Think a mildly gore-splattered Desperate Housewives with the sensibility of 30 Rock. If that floats your boat, give it a couple of episodes to get going and find its tone; by the third, you’ll know.

For me, it’s all in the combination of great writing — especially in the fleshed-out characters and relationships — and spot-on casting. You can’t go wrong with Drew Barrymore, though Timothy Olyphant is the real standout. Who knew he had such a gift for comedy?

Anyway, if Netflix keeps doing shows as entertaining as this, it’ll make the subscription worth keeping.

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My Letterboxd reviews of Underworld, Evil Dead, The End of the Tour, Voice Without a Shadow, and Criminal

Underworld:

A humourless action slog for the World of Darkness set. A bit more fighting and a lot less blathering on about bloodlines and whatnot would’ve helped.

Evil Dead:

Fede Alvarez’s reboot of the Sam Raimi horror classic pretends to add depth with a thinly veiled subtext of demonic possession as metaphor for drug addiction, but it’s drowned out amid a witless torrent of wince-inducing gore — and a thoroughly nasty, cynical tone. I walked out on this halfway through when it first hit cinemas, and after catching up on Netflix I see I didn’t miss much.

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My Letterboxd reviews of London Has Fallen, The Neon Demon, Unstoppable, Sisters, It’s Alive, I Saw the Devil, The Watcher, and Love Exposure

London Has Fallen:

Olympus Has Fallen comes with a certain charm to its ridiculous premise and theatrical violence. Only a trace of that tongue-in-cheek attitude is present in this cheap and nasty sequel, which takes its jingoism far too seriously. It’s also a film that constantly takes its audience for mugs, and can’t even be bothered to get Gerard Butler and Morgan Freeman in the same place on the same day. That’s pathetic.

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