KrissTolliday14

This new incarnation of the Star Trek franchise has brought the series into the 21st Century and has done it very well indeed. The first film in 2009 was one of the year's best pictures and Benedict Cumberbatch was a breath if fresh air in the not as good sequel Into Darkness. With Beyond we perhaps have the weakest entry in the new trilogy but that isn't to say it isn't still a decent film. It brings back all the old characters and teams them with the member of the crew they haven't quite spent a lot of screen time with. The film does this well and despite spending a lot of time apart, the crew still fizzle when they get their moments together. Idris Elba is the next actor in the line of villains and he plays Krall well beneath the heavy prosthetics. The only downside with this character is that his pan is rather bleak and contrived. Justin Lin directs well but it does miss the Abrams blueprint. Simon Pegg and Doug Jung bring a decent enough script to the table but some of the dialogue could have been sharpened or even delivered better. This isn't as dark as the previous entries but it is a solid addition. Let's just see if these actors continue on the Enterprise's adventures or if this trilogy is enough. As long as the filmmakers don't make a film weaker than this one then all should be ok. Enjoyable if not the greatest Enterprise outing.

The third instalment of the Millenium trilogy, The Girl Who Kicked the Hornet's Nest dives further back into Lisbeth Salander's past and gives us a slight idea into why she is the way that she is. As interesting as this could be it ultimately ends up being the story's major weakness. The Girl with the Dragon Tattoo is a fantastic movie, mainly down to the mismatched leads, their chemistry and the intriguing demeanour of one of cinema's most fascinating characters, however by picking away Salander's layers we remove that mystery that ultimately made her so great. At the start of the movie she spends a lot of time in a hospital gown and it is only when she gets her 'superhero' moment (you know that one when you finally see Batman for the first time), dressed as the punk goth that we know, that you can breath a sigh of relief. The story is much slower than the previous ones and it does finally ramp in when the court case of Salander's murder accusations finally kicks in. There is still tension and frights but Salander as a character doesn't drive this film like she did before. When Blomkvist and Salander were investigating an outside case the narrative bubbles but when it shifts to closer to home the tone differs and is less appealing. The second and third instalments could be from a different trilogy apart from a couple of vital scenes. The Girl Who Kicked the Hornet's Nest still has plenty to saviour. The fact it is still made on a shoestring budget despite the first film's success is remarkable and the performances are still on form however it only goes to highlight how much you will yearn to rewatch the first film again. Long-winded, slightly messy and unevenly concluded but worth a watch solely for Salander and Rapace's once again brilliant performance.

Ben Affleck is becoming one of Hollywood's hottest sells. The movies he directs are strong and his recent performances are turning heads, he was the best thing about Batman V Superman after months of scepticism, and with The Accountant he is proving to be able to add depth to a titular action hero. Here he plays the Accountant, an autistic man having grown up learning very violent ways to defend himself from his militaristic father. Whilst un-cooking the books for deadly clientele he uses these skills to good measure until some rather lethal people start to hunt him down. The Accountant starts slow, showing a good 50 minutes of maths and numbers before any plot really kicks in but it is when it does that it really takes hold. This accountant is violent, nasty and emotionless and he makes for a rather interesting protagonist. It isn't the plot that keeps this going it is the backstory of the character. Whilst learning of his past the film hits its peak and when it returns to the main narrative it does derail slightly. This does make it rather messy as there is a lot going on with many expositional accountancy speeches that are confusing as anything, but don't see this for the numbers see it for the action set pieces and Affleck's performance. Other performers aren't given the room like Affleck but Jon Bernthal does also bring weight to his character. Kendrick gets sidelined as the story unfolds and Simmons has played characters like this in his sleep, that's not to say he isn't good here mind. Others are given smaller roles but really it is Affleck's accountant that you are here to watch. Forget about the films many flaws, contrivances and tangled narrative and go switch off for two hours and enjoy a good solid action thriller. It is a lot more fun then it is given credit for.

THE LEGEND OF TARZAN: With all the superhero movies out there today it was inevitable that one of the first 'superheroes' was bound to get a remake. It is rather ironic however that it is Tarzan that fails to set any kind of benchmark and instead is one of the most generic out of the lot. The plot at its heart is a simple damsel in distress as a rehabilitated Tarzan (now John of Greystoke) returns to his animalistic ways in order to save his beloved Jane. However the narrative of this straightforward plot takes many bends in the road as we include subplots of slavery, jurisdiction, politics, and a rather odd and perverted infatuation. It is all far too much with a lot going on and nothing focused on. The characters are one dimensional with very little tension and emotion feeding through, and Tarzan's connection with the animals is either ham-fisted or unreliable. We are made to believe that he can cope in this wild and then given an on the nose flashback to just remind you of who he is. The flashbacks are unnecessary but I believe are there to pad out the story as with the lack of depth there is very little to sustain the running time, despite it being less than two hours. The cast are rather bland with Skarsgaard fighting a dull character, Samuel L Jackson being Samuel L Jackson, Margot Robbie given little to do and Christoph Waltz basically phoning it in. It isn't the worst film to hit the big screen this year but with the talent involved in it there should have been a much better film produced. Too much and yet too little completely wastes The Legend of Tarzan.

A very difficult film to enjoy with an unusual style and a complete lack of plot that may frustrate many or most viewers. Whilst watching I found myself struggling to become engaged and instead willing for the film to reach some kind of conclusion. In fact I was hoping it would reach some kind of narrative thrust. It is basically a host of vignettes that showcase the strained relationship between a son and father and then shots of the son when he's older wallowing about dwelling on it all. This part is played by Sean Penn and he is billed higher than Jessica Chastain despite his complete lack of screen time.I don't want to say this is a bad film as it is all acquired to taste but for me it was dull, boring and frustrating. The cinematography may be great in parts but it all makes no sense what so ever. If you like Malick then watch but if you don't then save your time for something else.

Following the cases of Ed and Lorraine Warren, two psychic investigators, this sequel pits the duo against a demonic entity haunting a small Enfield home in London. Despite Lorraine's worry that their jobs put them in harms way, Ed is still eager to save desperate families from their spiritual issues and they are convinced by the church to head to England to assess the Hodgson's case. Is it fact or fiction? This is the question that the film threatens to delve down and if anything is the theme that could be of most interest. It is a different angle to other horror movies and could tip it to being more advanced then your typical scare-fest. However that theme is never developed and the story slowly evolves back into the less original frights. The story is slow moving, with the Warren's failing to really get involved until half way through, and actually isn't really very scary. When we start to unravel what the demon is it becomes a little laughable, making it less terrifying than it should have been. The performance of Madison Wolfe is a saving grace for this problem however. As the possessed child she brings a frightening presence more so than what the demons do. There are many good moments but it never delves as deep as what it should have done. If the Warrens were brought in earlier we could learn more about the family and the demons and understand more of what is disturbing Lorraine Warren, however we have two stories that collide when it is convenient for the plot. Characters are also too slow to react to situations, for instance a screaming toy fire truck fails to wake a house of three sleeping children, and solutions come by too easily, mainly through asking questions. James Wan is well known for his horror entries and to be fair his direction and choice of shots are chilling, however he struggles with the emotional moments. The soft score during these scenes is out of place and off tone. These moments are required but are not helped by being forced home. The Conjuring franchise is a step up from many horror films but this second entry could have gone further and never really does so.

Kirsten Dunst stars in Lars Von Trier's sci-fi extravaganza which investigates the internal situations of individuals on Earth whilst science threatens to end humanity. The film is split into two halves following one of two sisters each time as they both battle depression and anxiety issues. It is in this first half where we learn more of Justine, played by Dunst, who deteriorates rapidly during her lavish wedding day and the second is Claire, her sister, struggling to cope with her sister's downfall and the fact that she may never see her family again. Justine's section is fantastic. The slow burn look at a person's fall from grace. We never quite know why she is like she is which makes it feel all the more real. Despite only spending a night with these characters it is as if you have known them for much longer with each one fleshed out and boasting depth. The second half however begins to drag and remove any initial enjoyment. It starts well but by the climax Melancholia has out stayed it's welcome. The title is for the mysterious planet that threatens to collide with Earth and it is this 'character' that is the issue with the film. If it is to be as pivotal as it is then the first half needs more resemblance to it and there is very little science fiction elements in there. However it is this area that could easily have been removed and the drama being left to the humans of the story. Von Trier has gone to lengths and depths for this film and it, at times, is mesmerising but ultimately the long running time and the second half do deflate it. Dunst is excellent and deserved more than just the Best Actress at Cannes awards, and Von Trier's script feels real and researched. If only he hadn't of taken it so far this could have been a masterpiece.

As a popular game, fanatics must have been either thrilled to see this or worried to death. With Duncan Jones at the helm most fans should have been in the former camp with his previous works being of excellent standard. However this film is an epic mess on all levels. A script that spouts poor and cliched dialogue. Characters left with little to empathise with. A narrative that attempts to force too much in whilst also failing to bring anything together to form a coherent structure. Acting which doesn't belong on a production of this magnitude. A non-existent score. Editing that offers poor transitions between storylines. On the plus side Travis Fimmel gives a decent performance and the effects are rather good. But this can't save it from a very poor adaptation. There is never a real lead to proceedings so your loyalties don't lie with a single camp, keeping you firmly on the outside of everything that's happening. There is far too much magic and world building that all becomes confusing and laughable and this doesn't help the non-existent plot. This is basically franchise bait. There is no real resolution and characters are still in dire need to grow from the one dimension they are in, prompting that sequels will be in the offing but hopefully these will not see the light of day because this is a rather boring film that I doubt will have audiences calling for more. With the talent behind this project, on and off screen, and a fan base that is global this film deserved so much more and it never once hit half the heights it should. One of the poorer films of the year in what is already shaping into a bad year for cinema.

If there was a film this year more suited to being watched on a big screen then someone please shout up. Deepwater Horizon fills the screen with incredible stunts, effects and tension that if you are even remotely considering watching this movie then do not wait for the dvd and get to the biggest screen to watch it. The action is stunning, the tension will have you gripping the armrest, the grizzly injuries will have you chewing your fingers and believe it or not the emotional core will have your eyes watering. Based on the real life oil spill, Deepwater Horizon follows the men as they attempt to evacuate the exploding rig. They are all heroes for their ability to remain calm and follow evacuation procedures, but what makes the film so true to real life is that we don't have one main character being the hero for all, instead it shows how many go that little bit further to prolong time for escape. There aren't many near misses or dangling from ropes over canyons, what we have are major issues and characters navigating their way around in the safest way possible. Sounds as if this will take any tension away but in fact it doesn't instead placing the every man in their shoes. Mark Wahlberg is the lead name on the piece but in fact he isn't particularly for and centre of the narrative. It is more of an ensemble piece with certain characters receiving star names to portray them. Malkovich is great as the sneery BP spokesman and Russell brings a charm to Mr Jimmy with this pair's rivalry being one of the stories strong points. Wahlberg's chemistry with Kate Hudson feels real and the emotional impact upon their family brings a tear. There are problems. At times it is overly sentimental, especially towards the all-American hero, and the characters aren't particularly fully developed but regardless you see this for the pure tension woven throughout, from drill pipe tests to full on explosions. It is a very good film and one of the first that will have you fretting at the sight of high pressure mud.

Bleak and depressing which doesn't make for an overly enjoyable film. The performances are touted as the standout of the piece and it's hard to not say that if it wasn't for them this film wouldn't be worth watching at all. The casting team really take the credit for any high scores the film receives. The performances are top notch individually however the chemistry between the leads is lacking. Their is little to believe in that these two would become a couple . Contrivance also plays a large part to how they meet. Whether this is to do with the writing or direction it is hard to say but although Thornton's performance is excellent (he is fast becoming one of my favourite chameleons), his character border on the line of stubborn hard nut to naive and feeble. This is obviously supposed to be the transformation but it feel unheralded. The inciting incident that instigates this journey is rushed, unmotivated and confusing which leaves a sour taste right from the off. The problems far outweigh anything else. Not enough Ledger, far too slow in places, too morbid, lack of explanation or pay-offs and a resolution that resolves little. Perhaps it is too close to how people live in that some people's lives are just tragic but as a piece of entertainment to watch on a Friday night it is the opposite of what you want to see. Few scenes strike a cord but not as highly as the performances warrant.

A wonderful animation tale filled with original, innovative moments that will make you laugh and cry. Interesting and fascinating characters are spliced with Japanese folklore bringing together a Hollywood version of a Studio Ghibli production. Kubo is the hero of our story. A story teller himself who longs for the truth behind his parent's demise. In order to unravel the one tale he doesn't know the ending of, he must find a suit of armour, with the help of a talking monkey and beetle, before his evil Grandfather and Aunts find him and steal his eyes. What a truly unusual and unique concept and despite how outrageous it sounds the filmmakers manage to pull it off with glee and without feeling daft. Magic is used without having to be fully explained and that can only be a testament to the world that has been created by Laika studios. Compared to the Pixar films I believe this lacks the family friendly warmth that the character's such as Dory or Sully bring to the screen, however with Kubo we have a new storytelling technique for children. It is dark and unafraid to be so. The story isn't forced and overly explained and it encourages children to take hold of a very different type of narrative. There are still the comedic moments from Beetle and Monkey (McConaughey and Theron excellently bring these characters to life) to keep the children happy but it feels educational with dark themes that encourage new ways to look at life. Beautifully animated and wonderfully told, this is Laika pushing Pixar and Disney all the way.

Despite bringing what everyone loves about Jason Bourne back to the big screen, Paul Greengrass and Matt Damon fail to deliver an entry to the franchise that matches the previous instalments. Early on in the film we see Bourne living off the grid, partaking in street fighting to keep himself sane, even allowing himself to receive a beating to combat his guilt, however this interesting direction for the character is short lived and soon he is thrust into the same old scenario we have seen before only this time for a rather contrived motivation. Typical screenplay tropes litter the script and at times the story feels muddied and ham-fisted. A sub-pot merges into the A-story without really feeling developed and characters suddenly have different rules of engagement depending on what best serves the story. Having said all that the action scenes are directed with perfection as you would expect, and the fight sequences are as realistic as ever. Damon Vs Cassel is the biggest draw and when they share the screen the outcome is explosive. A chase through the streets of Vegas is solid, although not up to previous film's final chases, and the opening Athens set piece is high octane stuff. The film is a solid action film but unfortunately holds no patch to the initial trilogy. It does wipe the floor with the Renner led spin-off but you can't help but feel this flawed entry was unneeded.

Fresh, exciting, funny and at the same time frustrating as hell. The frustration however doesn't come from negativity but in the sense that I wanted to see more. The narrative really ramps up two thirds of the way through, and the interaction between Gleeson and Cheadle reaches it's peak, and then within ten minutes it is all over and I was gutted. The script here is brilliant. It doesn't rely heavily on narrative but more the likability of the characters. The interaction from Gleeson's Boyle is hilarious. In one scene whilst being threatened he manages to give himself brain freeze from a chocolate milkshake, or even discusses owning a giraffe whilst at gun point, down to asking if getting shot hurts moments before joining a gun fight. This is what keeps the Guard moving swiftly and for what it lacks in plot and subplot it makes up for with the characters. The end however does feel out of place and although unconventional doesn't wrap the film up in the way it should have done. The villains are one dimensional and the characters wasted on the top cast but if you watch this to enjoy the camaraderie of the leads then you will not be disappointed.

A busy film designed to make you think whilst also developing the future. Twelve Monkeys is certainly ahead of its time and the influence can be seen on mind bending films today. The usual Gilliam techniques are used on a script that potentially was designed for a very different vision however it is Gilliam's uniqueness that makes this film stand out, let alone the fact that the cast members wanted to work with him whatever the cost. In most cases that was for very little. Gilliam's style combined with the solid a-list cast and performances make the potentially messy plot become overlooked. The absurdity of the narrative makes for intrigue and works with the time-jumping story telling. In hindsight it is definitely the perfect script for a director such as Gilliam. The score can feel out of place, the emotional development of the two leads relationship doesn't feel deep enough and there is a slight lull in the middle however this is a film that must be seen to see classy performances from actors at the start of long careers and a narrative that leaves questions open for you to answer yourself on either a second viewing or in discussion down the local.

A lovely story with as much heart as it's predecessor and just as many fun and interesting characters. The story of Dory is one that had to be told and what Pixar does is bring more life to an already colourful world by telling you where the most interesting character came from. It isn't quite the perfect film that the first is but it is certainly up there with some of Pixar's best work. There are more laughs and inventiveness and a seven legged Octopus (a Septopus) that ultimately steals the show like Dory did in Finding Nemo. Perhaps next Finding Hank could be on the cards. The script is poignant and gives each individual a fulfilling arc whilst also connecting every narrative point into a satisfying conclusion. A lot of fun and reminds us all that when the going gets tough to just keep trying, or swimming if you'd prefer.

Riffing off the current hype of found footage movies, Apollo 18 fails to build any of the suspense of tension that earlier instalments, such as The Blair Witch Project and Cloverfield, had in abundance. What we get instead is ninety minutes of not a lot. It takes plenty of time to get going, then nothing really happens, and then it ends. It feels overly drawn out considering it is a short movie but what it should be is a fifteen minute short movie that really nails the premise. There is potential. During one scene the film felt claustrophobic despite being set in the vastness of space. This is a feat that suggested greater things to come and despite the odd jump it doesn't bring anything good let alone great. There is nothing to the characters giving any emotional appeal or empathy to their plight. Maybe this is because their situation is one we will never find ourselves in?! As the film plods on there are no great escapes, no dices with death, no challenge for our characters to overcome, meaning we are left with something rather dull. The story could work however the found footage idea and the lack of depth suggest this shouldn't be a cinema release and instead a short movie watched online.

The Finest Hours tells the tale of four brave members of the coast guard who brave the storm like elements on a small boat to rescue the crew of an fractured oil tanker stranded at sea. This story makes for strong special effects, cgi and cast members shouting into the watery atmosphere and it is within these elements that Craig Gillespie directs his film so well. For the first half the action scenes stand strong with characters using quick thinking to gain as much time as possible to cling on to. It is unfortunately however that the final half becomes rushed and the early tensions and emotions appear to drown. Casey Affleck's character spends the first half manufacturing make shift ides to keep the tanker's crew alive however in the second half he is sidelined and barely features. It is actually the rescue itself which fails to feel as tense as it really should do and leaves actors simply standing around. It needed more near misses, more drama and above all more thrills. The on-shore story also fails to really develop and at times becomes muddled between hinting at a backstory that fails to really get a catharsis. Where The Finest Hours works is in the early stages and with the simpler A-story, it is just a shame that the pacing in the second half and the lack of depth do let it down. It becomes more of a drama than an action adventure that it was calling out to be. Chris Pine is very good playing against type and Casey Affleck brings a rather two dimensional character to life, however neither could prevent me finishing the film and feeling unsatisfied and ultimately wanting more. Other than the main story and the love story other relationships feel **** only it could have given me that little bit more.

A surprisingly fun film which doesn't rely on the success of Shrek to gain its plaudits. Despite spawning from Shrek, Puss in Boots manages to breed it's own world with it's very own characters. They are very familiar characters but the take on the fairy tales is original and a lot of fun. The script is tightly woven and links together well giving an emotional backstory that is worthy of the required character arcs. The animation is as solid as you expect from Dreamworks as is the A-list voice cast. It is potentially Humpty Alexander Dumpty that steals the show here who is well voiced by Zach Galifianakis. There are stumbles, especially after the halfway mark where it all threatens to fall to pieces but the final act does bring it back on track despite not hitting the initial laugh count. There are laughs, action, fairy tale and darkness and all comes together to make a thoroughly enjoyable film. Shrek it isn't quite but it certainly beats some of the poorer animation efforts.

Solid CGI and good acting does not necessarily make for a good film. In fact in Spielberg's 'The BFG' these are the only two elements that lift this film from being utter drivel. This story is supposed to be heartwarming, caring and loving. The story of an orphan wanting to find love and comfort only to be taken by a giant, however in this version only the latter part of that actually happens. There is no depth or development to the lead character's relationship so by the time the upbeat, happy moments take place you can't help but not really care. The lack of real villains also doesn't help. We have the bad giants but they barely seem threatening or hold little motivation. They appear to want to eat the little girl but in comparison that is like me and nine friends fighting over a Twix! Mark Rylance does put in a solid performance but newcomer Ruby Barnhill makes Sophie annoying. This may be down to her inexperience in front of the camera or Spielberg's lack of direction. Despite the heavy CGI and motion capture this feels like Spielberg's most lethargic film in a long time. The emphasis has gone mainly into the visuals rather than telling a beautiful tale. The visuals at times do look stunning but it all becomes meaningless when there is no depth. It was actually the daftest part of the movie where I found myself more engaged and that is when I knew this movie just didn't do it for me. This doesn't know ultimately what it's trying to do and for someone I know who adored the original book and movie, this was a real disappointment.