Netflix And Chill: Train Dreams (2025)

I made some time for Train Dreams this weekend because it is one of the few films nominated in the main categories at the 2026 Academy Awards. There was no other reason. I didn’t even really know what it was about, but I suspected it might be one that didn’t impress me. Joel Edgerton is someone I am still wary of, despite the fact that he has quietly delivering brilliant performance after brilliant performance now for at least the better part of ten to fifteen years. And even people who praised the film seemed to avoid mentioning what it was actually about, which made me think it was going to be less than captivating.

Happily, I was wrong again. Edgerton plays Robert Grainier, a man who just happens to be born at a time when American is starting to build railroads and hurtle towards a momentarily gleaming and awesome future. But the hard work must be done before the celebrations can begin. Rail tracks are laid, gangs of men are left in the wilderness to work hard and risk death every day, and few of the jobs helping to create a transport infrastructure are without major risk. Robert can keep thinking about his wife (Gladys, played by Felicity Jones) while he sees the pain and death around him, but it isn’t long until his own life starts to be overshadowed by tragedy.

Adapted from a novella by Denis Johnson, this screenplay by Greg Kwedar and director Clint Bentley (who also co-wrote Bentley's first feature about five years ago) is an enjoyable look at the many changes one man can see happening in a particular lifetime. Robert may seem to be a background character, in many ways, but he is a witness to a very interesting chapter in history, as well as being an important part of the machinery used to build and shape the USA, in more ways than one. Bentley takes in everything around the main character, but the narrative and Edgerton's presence, as quiet and still as he is, stops viewers from forgetting who is the essential jigsaw piece completing the big picture.

Edgerton is a calm and stoic lead, as good here as he has been in any other role he's had throughout his career. He has the right face for showing endurance and growing tiredness. Jones has a lot less to do, in many ways, but works perfectly as the woman so beloved by him that her presence is felt reverberating through everything else that he does. William H. Macy is delightful in a bittersweet supporting role, and there are great moments for Clifton Collins Jr., Paul Schneider, John Diehl, and Kerry Condon. Everything is also helped by the superb narration from Will Patton, who has the perfect voice for this story.

At once both small and vast, this is an epic tale told through the prism of one "bystander". It's a timely reminder that, however much we want to participate or stay out of things, we are all a constant part of history. We can add something worthwhile, we can allow horrible things to happen without intervening, but we all play our part. And if that isn't something that everyone needs reminding of right now then I don't know what is. 

9/10

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The Great Gatsby (2013)

It feels like a lose-lose situation when it comes to adapting The Great Gatsby into film form. Often in the conversation when people are considering the “great American novel”, it’s a fantastic tale that means many different things to many different people. I have read it, amazingly enough, and what I remembered most about it was the feeling of ennui and boredom that seems to cover the central characters like an umbrella, underlining the idea that money can’t buy happiness. There’s also a commentary on permitted behaviours in different social classes, and the fluidity of Gatsby’s personal history, a story people keep gossiping about, feels very much about the bemusement of those who have always had money and wealth reacting to someone new to their particularly privileged strata.

While the story is interesting, it’s also one that superficially appears to be one long sequence of parties that go on for a bit too long. Thinking back on The Great Gatsby, I think of those parties. I think of a feeling of haziness, that moment in between pure joy and paranoia, when the time seems too early to leave but you already know you have stayed up too late. You’re going to be in trouble the next day, but that doesn’t matter right now. Right now is all about the music and dancing and good company.

So who better to convey that feeling than Baz Luhrmann, the master of the numerous loud and brash cinematic equivalents of a party megamix? 

Leonardo DiCaprio is Gatsby, the enigmatic figure who changes the life of Nick Carraway (Tobey Maguire). Their relationship is the heart of the film, although Gatsby has a yearning for Daisy Buchanan (Carey Mulligan), who is already married to the rich, but unrefined, Tom Buchanan (Joel Edgerton), and tension builds between all four characters as the story hurtles towards a finale that may change the lives of everyone forever. Or may prove merely a small bump in the road for those who can speed away from their problems in a fancy sports car.

Adapting F. Scott Fitzgerald’s work for the big screen, writer Craig Pearce and Luhrmann (who have collaborated on almost every other film that Luhrmann has directed) allow themselves plenty of time to unsurprisingly lead viewers into a world of indulgence and excess. That really is Luhrmann’s M.O. A lot of The Great Gatsby is as stylish and beautiful as you would expect from a film set in the 1920s, but Pearce and Luhrmann both do a great job of letting viewers sense something unpleasant beneath the polished veneer. It’s a grand hotel suite, full of flowers and pleasant scents, but one with a decomposing body hidden under the floorboards.

Maguire and DiCaprio are perfectly cast, with the former acting wide-eyes and easily manipulated by those around him while the latter simply embodies what you think absolute charm and charisma wrapped immaculate clothing should look like. Mulligan and Edgerton aren’t as natural a fit in their roles, but both do well, and it’s always believable enough when Mulligan plays someone beloved by those around her (she has had amazing screen presence in every single role of her career). Jason Clarke and Isla Fisher do decent work in their roles, but the real star amongst the supporting cast is Elizabeth Debicki, who I wanted to see much more of. Debicki feels the most at ease in the trappings of the time period, and her character sits nicely in between the extremes of the other personalities in her circle of friends.

I haven’t seen any of the other film versions of The Great Gatsby (I THINK there are about 4 or 5), but it’s hard to imagine them rivalling this. As usual, Luhrmann creates a complete audio and visual blend that both bombards and immerses viewers. He directs his movies like he’s presenting a magic show, plenty of misdirection and distraction delivering straightforward fun in between the moments that show what he was really up to all along.

This may not be one of THE great American films, but it’s a damn fine adaptation of the source material. And it’s a damn fine film. I recommend it to everyone. If you don’t enjoy it then all I can do is apologise, old sport.

Note - I HIGHLY recommend seeing this in 3D if you can. I have the 3D Blu-ray and it was even more brilliant and bedazzling than expected. Although, knowing Luhrmann, I should have known he would have a blast with that format.

8/10

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Prime Time: The Green Knight (2021)

A green knight confidently strides into the court of a king. He puts forth a challenge. Someone needs to face him in combat. But whatever injuries they cause will be returned to them in exactly one year. Step forward Gawain (Dev Patel). The fight is over when Gawain beheads the green knight. No need to wait a year for a return injury if your opponent is dead, obviously. Except there is no death here. Reattaching his head, the green knight reminds his opponent of the terms of their duel, and leaves. The clock is ticking.

Written and directed by David Lowery, taking inspiration from a 14th-century poem entitled “Sir Gawain And The Green Knight”, The Green Knight is a fantastical drama that benefits from sterling central performances and gorgeous cinematography throughout (from Andrew Droz Palermo, who collaborated with Lowry on A Ghost Story). It is loaded and layered with intriguing imagery, in line with both the tone of the film and the main themes, but manages to be both dense and accessible.

Also, and I feel this is important to note here, The Green Knight is cinematic and entertaining for the entire runtime. I say that because I wasn’t sure if it would be, which is why I didn’t get to it sooner. I expected/hoped to enjoy this, but I assumed it would be a film that I would need to then spend more time digging into and contextualising. While there is a bit of “further reading” you can seek out, Lowery puts everything in the film that you need, with every well-considered detail available to piece together into a number of fascinating character studies.

Patel is brilliant in the lead role, happy to show his character in a poor light as he wrestles with situations that allow him to either realise his full potential or find an easier, less courageous, way out. Alicia Vikander plays two roles here, both equally important in different ways, and she is just as good as Patel. And disguised as The Green Knight himself is Ralph Ineson, putting his memorable timbre to great use. There are also enjoyable supporting turns from Sean Harris, Barry Keoghan, Joel Edgerton, and Sarita Choudhury, all playing a crucial part in Gawain’s journey. There’s also a gorgeous bit of VFX work that allows Patel to share the screen with a helpful fox for a number of scenes.

Alternating between moments that are intimate and moments that are epic, this is a film that has clearly been made with a great deal of love and care, and it shows. It could have ended up in any number of final incarnations, but I am glad we got this version. Cinematic, thoughtful, and one that will reward rewatches as much as it rewards patience. Having taken inspiration from a poem, it translates the material into cinematic poetry, to hopefully be appreciated and enthusiastically examined by film fans for many years to come.

9/10

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Prime Time: Thirteen Lives (2022)

If you try to keep up with major news events then you will know the story that Thirteen Lives is based on. In fact, even being tangentially aware of major headlines should have you knowing enough about this before it starts to play out. This was a huge story in 2018, with many people gripped by the plight of those involved, a group of young male footballers and their coach stranded in a water-filled cave system in Thailand. You might even think that there’s no point in dramatizing there story and presenting it to people who may have those headlines still relatively fresh in their minds. I’d politely say that you would be wrong.

At approximately two and a half hours in length, this is a film that takes just the right time needed to set up the main premise, bring in the main characters (the rescue mission ended up being headed up by two British cave divers, Rick Stanton and John Volanthen), and show the many people who came together during this time. From the Navy Seals who may underestimate the conditions they need to work through to the person hoping to divert rainfall away from the openings that lead to the cave system, from the distraught parents to the farmers who agree to have their crops flooded.

Director Ron Howard, working with writer William Nicholson (a dab hand at this kind of thing, and helped with the story development by Don Macpherson), makes this an incredible viewing experience, crafting a film that presents plenty of data, context, and tension while giving equal time to the main characters. The boys needing rescued don’t have too much screentime, understandable as they simply had to wait while others struggled to figure out a workable plan, but Stanton and Volanthen go through a real variety of emotions, as do the people working with them, and the local governor who is kept in place to take the blame when the expected, “unavoidable”, deaths occur.

With Viggo Mortensen and Colin Farrell playing Stanton and Volanthen, respectively, and their main team being filled out by Tom Bateman, Paul Gleeson, and Joel Edgerton, it would be all too easy to make this a film about a rescue mission in Thailand that focuses purely on the white men who were brought in because of their niche expertise. So it’s a good job that Howard allows time to show the work of the local Navy Seals, and the ultimate responsibility placed on Sahajak Boonthanakit (playing Governor Narongsak). Vithaya Pansringarm is also a formidable presence, as General Anupong, and it would be remiss of me to not highlight the optimism and energy delivered by Nitipoom Khachatphai, aiming to help divert as much water away from the cave system as possible.

Everyone gives a very good performance, but hats off to both Mortensen and Farrell for also putting on decent English accents. The two men apparently took their roles very seriously, often performing their own diving for most of the shots, and they slip into their characters so well that you very easily forget that it IS actually Viggo Mortensen and Colin Farrell you’re watching. Bateman and Edgerton are the other actors to single out, both bringing different elements to the story, and both seeming very much out of their comfort zone in different ways. 

A good documentary could give you all of the information presented here, and there is at least one good documentary already made about this incident, but a good drama can somehow deliver the same information to you in a more effective way, when it is done as well as this anyway. Distances, timings, the co-ordination between so many different groups of people, the weight of every decision, the technical details that are discussed, everything is here, and it is all improved by viewing it from “behind the scenes”, warts and all, and being reminded of the rollercoaster journey that everyone went through while the tick of the clock grew louder and louder.

Thirteen Lives is a fantastic telling of a story that deserves to be told in full. The hefty runtime flies by, and by the time it all ends you feel as if you have watched something great, but also something that succeeds in properly honoring the amazing achievements of everyone involved.

8/10

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Red Sparrow (2018)

Although I didn't really dislike Red Sparrow while it was on, it's not a film I can wholeheartedly recommend to anyone, mainly because of the way it constantly wavers between being too slick and neat and being bloody and faux-gritty.

Jennifer Lawrence plays Dominika, a Russian ballerina who ends up struggling after an injury cuts her promising career short. She is then approached by her uncle (Matthias Schoenaerts) with a job offer - seduce a local gangster. That job ends in death, and Dominika is then given the option of either training to become an intelligence agent or being killed, to ensure there are no witnesses left. It's not much of a choice, and Dominika also has an ill mother (Joely Richardson) to consider. She starts her training, which soon puts her at odds with those around her, due to her strong will and determination, and then ends up heading to Budapest, where she meets an American agent (Nate, played by Joel Edgerton) who may end up being able to help her with her predicament. Or maybe she will just do her job, leaving a number of corpses in her week.

Directed by Francis Lawrence, Red Sparrow is certainly an ambitious film, considering the attempt to make an old-fashioned spy movie that will appeal to a wider age range than most. Lawrence did a decent job of mixing pure entertainment with interesting psychological moments in his three movies that made up three of the four The Hunger Games series so it's a shame that he can't do just as well here. Perhaps some of the fault lies with the script, by Justin Haythe, or perhaps the source material, written by Jason Matthews, was just never suited to what feels like a more sanitised telling of the story (despite a few strong moments).

Lawrence does a good job in the lead role, and her accent remains consistently impressive throughout. She's given good support by other fine Russians, such as Richardson, Charlotte Rampling,  Ciaran Hinds, and Jeremy Irons (obviously all picked for their talent and name recognition, as opposed to their actual . . . Russian-ness). Schoenaerts feels more obviously authentic, despite being Belgian, and he does a lot with a role that could have easily been either a pantomime villain or just a forgettable plot device.

Red Sparrow gets a few things right. The performances, the generally clean shot compositions and style (this is not a film for anyone looking out for the next Bourne), a lot of the plotting. But it doesn't ever do anything to make it stand out, cinematically, and the 140-minute runtime feels overlong by a good 20-30 minutes. But it's that inconsistent approach to the material that probably harms it the most. There are scenes that Lawrence knows can't be shown to be cool or sexy, he'd be in big trouble if he tried, but then he tries to keep everything moving along in between those scenes by utilising the star power of his leading lady, who inevitably comes across at times as, well, cool and sexy. It stops the film from having one true identity throughout.

Worth a watch, I'm just not sure of anyone who will love it, and I can't see it being one that anyone will choose to revisit more than once or twice.

6/10

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Bright (2017)

People have been rushing to call Bright one of the worst films of 2017. It's not. It's not even the worst thing that Netflix have done. Not by a long shot. It's not even the worst thing that director David Ayer has done. People have also been rushing to call this out as a reworking of Alien Nation. Okay, that's a bit harder to deny. Essentially a blend of Alien Nation, Training Day, and World Of Warcraft, this is a messy, fun film. It gets a number of things wrong, but also gets quite a bit right.

Will Smith plays a cop named Daryl Ward, unhappy because he's been paired up with an orc (Jakoby, played by Joel Edgerton). He's also unhappy because he's about to go back into service after recovering from a gunshot wound, a wound perpetrated by a criminal that he believes his unwanted partner let go free. That has to be pushed to the bottom of his list of priorities, however, when the pair find themselves getting their hands on a magical artefact that lots of people are willing to kill for.

What works well here? Well, if you buy into the main conceit (life going on as usual in a world that happens to also have elves, orcs, fairies, etc living alongside humans), most of it. I am pleased to see that, with this and Suicide Squad, Ayer has convinced Smith to once again spend some time in roles that work well with his charisma and cockiness. He isn't stretching himself here but he's suited to the role. Edgerton is even better, despite working through a load of make up that makes him unrecognisable. The world that the two inhabit is nicely realised, with a lot of minor details and casual snippets of dialogue helping to flesh things out. There are also some really good action beats. Perhaps not as many as it needs, but the set-pieces are very well done.

What doesn't work? Well, the script by Max Landis seems eager to throw as much into the pot as possible, which is especially obvious in a few opening scenes that overstay their welcome before the film starts to find its feet. There's also one major moment that is lifted almost completely from Training Day. It felt like a bit of a push then, it feels even more implausible here.

And you also have a supporting cast that feels largely wasted. Noomi Rapace has a good presence, she's the main villain of the piece, but it would have been nice to see her pop up for more than just a few scenes in the second half of the film. As for the other police officers we see here and there, none of them make an impression, even when involved in some pretty major scenes.

If you like Ayer movies then you should like this. Despite the characters and plot incorporating a number of fantastical elements, this is typical of his kind of stuff. Of course, some people may not enjoy his sensibilities being mixed up with orcs and elves and the like. I found it worked surprisingly well. I am already looking forward to the sequel - Fantastic Beasts And How To F**k Them Up.

7/10

Bright is on Netflix. Other David Ayer movies are available here (UK) and here (USA)

Warrior (2011)

Directed by Gavin O'Connor, who also co-wrote the screenplay with Cliff Dorman and Anthony Tambakis, Warrior could just as easily be a greatest hits megamix called "Now That's What I Call 101 Cheesy Fight Movie Moments".

Tom Hardy stars as Tommy Conlon, an angry young man who returns to see his alcoholic father (played by Nick Nolte). He blames his father for a lot of things, especially driving his mother away and leaving him to watch her die slowly from a terminal disease. Tommy also blames his estranged brother, Brendan (Joel Edgerton). Brendan chose to stay close to his father because he'd just met a young woman that he'd fallen in love with. That woman would become his wife (Jennifer Morrison) and his happy family life with his wife and kids causes yet more resentment. Tommy considers himself alone. The only thing he shares with his brother is a strong dislike of his flawed father. Well, they also both happen to be pretty handy at fighting in a cage which leads them to enter a MMA tournament with a $5 Million prize. Tommy wants the money for reasons that will become clear as the movie unfolds while Brendan wants to avoid losing the family home.

So what does this all add up to in terms of the viewing experience? We have the family drama, the personal problems and the far-fetched nature of the whole thing. It's ridiculous, almost childishly simplistic in places and only ever gets into top gear when the vicious fights are taking place. Yet I still enjoyed myself and I still had a tear in my eye by the time the end credits rolled, even while I was cursing the movie for being so bloody manipulative.

Tom Hardy puts in a good performance but I remain unconvinced of his greatness. In this performance he mixes elements from Bronson with his performance in The Dark Knight Rises and it all just starts to feel a little too familiar already. Joel Edgerton is easy to root for but completely unconvincing as a potential MMA champion (though I'm sure that he could kick my ass if he ever felt the urge, along with 75% of the entire population of our planet). Nick Nolte is excellent in a role that easily gives him the opportunity to . . . . . be excellent. Jennifer Morrison, Frank Grillo, Kevin Dunn and Bryan Callen all do good enough in supporting roles and there are also a number of muscle-bound men out to hurt each other en route to the big finale.

O'Connor directs the whole thing competently enough. The soundtrack and score may be a bit underwhelming but all of the shots and scenes are generally well presented and the film overcomes the problems inherent in the unoriginal material by simply giving time over to every cliched aspect and treating each one as if it deserves inclusion. Strangely enough, this means that by the time all of the elements come together at the very end of everything they DO all deserve inclusion.

Okay, so it's easy to believe that before writing the script for the movie everyone involved simply sat down and watched all of the Rocky movies, each instalment of The Best Of The Best and a few older Jean-Claude Van Damme films for good measure. But that doesn't necessarily make for a bad blend of movie moments. In fact, on this occasion it makes for something overwrought, cheesy and, dammit all, solidly entertaining.

7/10

http://www.amazon.co.uk/Warrior-Blu-ray-Tom-Hardy/dp/B0063H2ZS4/ref=sr_1_2?ie=UTF8&qid=1344271119&sr=8-2