Having made a great impression on horror fans with the hugely enjoyable Wyrmwood, the Roache-Turner brothers then went a bit quiet, although they have delivered some enjoyable shorts over the past few years. Thankfully, they returned to feature projects with this horror comedy, a film that feels like a demon-infested mix of Ghostbusters and The Frighteners, with a hint of Big Trouble In Little China also in there. The end result is one of my favourite first watches in a long time.
Ben O'Toole plays Howard North, an average guy who one day finds out that he's really not that average. He's actually a powerful demon slayer. He just needs to be shown how to use his power. And the people hoping to show him are Luther (David Wenham), and his daughters, Molly (Caroline Ford) and Torquel (Tess Haubrich). He'll also get some assistance from his friend, Rangi (Epine Bob Savea), although Rangi kickstarts the whole chain of events by accidentally unleashing some demons through a mobile phone app. There are plans afoot to make the world a very bad place indeed, and those plans are being overseen by Finnegan (Monical Bellucci). This makes things a bit more complicated when Howard finds out that Finnegan is also his mother.
It's hard to write this review because, on the one hand, I want to convey to everyone just how much I enjoyed this movie, but, on the other hand, I don't want this to give everyone high expectations that the film then doesn't live up to. Director Kiah Roache-Turner, who co-wrote the screenplay with brother Tristan, has gone all out to give horror fans something bloody and fun. There's a bit of exposition at the very beginning to set everything up, and then it's non-stop fun with demons, apparitions, and the kind of splattery kills that deliver some bloodshed while still somehow keeping a sense of fun (hey, multiple deaths don't always have to be a downer, don't you know).
Everything is helped along by the cast, all giving performances that shrug off the silliness of it all, even as the third act careers from one wild idea to the next. O'Toole is the kind of hero who is largely useless until that moment of self-belief that has to happen, while Ford and Haubrich are entertainingly badass, and Savea is the most overtly comedic of the performers, his character helping to keep things light as he also asks questions that can lead to some more helpful exposition. Bellucci makes a great impression in her first scenes, thanks to the imagery of her beauty and grace juxtaposed with some crazy "sorcery", but she's not served as well by the script when the time comes for her to deliver typical dialogue expected from a main villain. Wenham is very good, but fans of the actor will want to be warned that he has less screentime than the others mentioned here.
I finished watching Nekrotronic and immediately shared my love for it, convinced that everyone I know would feel the same way. That wasn't the case, and it would seem to be more divisive than I would have thought. But that won't stop me from heartily recommending it, and I can only hope that those with the same good taste* as myself will enjoy it as much as I did.
*not guaranteed to actually BE good.
9/10
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Showing posts with label ben o'toole. Show all posts
Showing posts with label ben o'toole. Show all posts
Wednesday, 22 July 2020
Saturday, 6 January 2018
Detroit (2017)
Based on a true incident that happened in Detroit in 1967, Detroit is an intense, infuriating, engrossing return to top form for Kathryn Bigelow, a director I have always enjoyed, despite not loving her past few projects as much as many other people.
Things kick off with a police raid on a club that leads to a riot. African Americans feel, quite rightly, that they are being unduly picked on by authorities. With rocks being thrown, stores being looted, and properties being vandalised, it's not long until permission is given to back up the police with the National Guard and Army bods. Against this backdrop of racial tension, the members of a vocal group on the verge of great success decide to relax and party in their hotel. Someone mucking about at the party decides that they will have fun with a starter gun . . . and that is when things really start to go downhill. The police surround, and enter, the building. And they're not leaving without being satisfed by their own level of justice.
As mentioned in the film itself, this isn't a 100% factual representation. It's a depiction of an event provided after sifting through a variety of conflicting accounts of what happened on that night. But it certainly feels as if writer Mark Boal doesn't ever veer too far away from the truth. Whether things were twisted to make them more cinematic or not, this is a masterclass in character sketches, ratcheting tension, and how to shade morally bankrupt figures without making them seem completely inhuman.
Bigelow has been working with material this tense for some time, with moments of The Hurt Locker being the most obvious example, and she's a dab hand at it (to say the least). Those scenes dealt with physical explosives. Detroit focuses on a situation that viewers know could explode at any moment. Things are bad, but everyone involved knows that one wrong move could make things a hell of a lot worse.
It helps that the cast are all very much up to the task in hand. Algee Smith and Anthony Mackie are two of the main men being held by the police, with the latter a war veteran who prompts one or two individuals to consider changing their tack. John Boyega is on the scene, a security guard torn between his duties as an employee and his desire to resolve the whole situation peacefully without anyone being beaten or shot. And Will Poulter, Jack Reynor, and Ben O'Toole are the three main officers dictating how the whole scenario will play out. Reynor and O'Toole are both very good, but it's the sheer disgust coming out of the very pores of Poulter that overshadows everything else. His performance is excellent, as discomforting and scary as anything you might see in a mainstream horror movie.
It's a great shame that none of the events depicted in Detroit feel any less believable nowadays. We should be watching this in state of incredulity, shocked at what was once acceptable but has since become a rarity. And the fact that it's not hard to believe adds another layer to the whole experience. It's not comfortable, it's not pleasant, but it's one of the best films of 2017.
9/10
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Things kick off with a police raid on a club that leads to a riot. African Americans feel, quite rightly, that they are being unduly picked on by authorities. With rocks being thrown, stores being looted, and properties being vandalised, it's not long until permission is given to back up the police with the National Guard and Army bods. Against this backdrop of racial tension, the members of a vocal group on the verge of great success decide to relax and party in their hotel. Someone mucking about at the party decides that they will have fun with a starter gun . . . and that is when things really start to go downhill. The police surround, and enter, the building. And they're not leaving without being satisfed by their own level of justice.
As mentioned in the film itself, this isn't a 100% factual representation. It's a depiction of an event provided after sifting through a variety of conflicting accounts of what happened on that night. But it certainly feels as if writer Mark Boal doesn't ever veer too far away from the truth. Whether things were twisted to make them more cinematic or not, this is a masterclass in character sketches, ratcheting tension, and how to shade morally bankrupt figures without making them seem completely inhuman.
Bigelow has been working with material this tense for some time, with moments of The Hurt Locker being the most obvious example, and she's a dab hand at it (to say the least). Those scenes dealt with physical explosives. Detroit focuses on a situation that viewers know could explode at any moment. Things are bad, but everyone involved knows that one wrong move could make things a hell of a lot worse.
It helps that the cast are all very much up to the task in hand. Algee Smith and Anthony Mackie are two of the main men being held by the police, with the latter a war veteran who prompts one or two individuals to consider changing their tack. John Boyega is on the scene, a security guard torn between his duties as an employee and his desire to resolve the whole situation peacefully without anyone being beaten or shot. And Will Poulter, Jack Reynor, and Ben O'Toole are the three main officers dictating how the whole scenario will play out. Reynor and O'Toole are both very good, but it's the sheer disgust coming out of the very pores of Poulter that overshadows everything else. His performance is excellent, as discomforting and scary as anything you might see in a mainstream horror movie.
It's a great shame that none of the events depicted in Detroit feel any less believable nowadays. We should be watching this in state of incredulity, shocked at what was once acceptable but has since become a rarity. And the fact that it's not hard to believe adds another layer to the whole experience. It's not comfortable, it's not pleasant, but it's one of the best films of 2017.
9/10
If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share
Labels:
algee smith,
anthony mackie,
ben o'toole,
detroit,
drama,
hannah murray,
jack reynor,
john boyega,
kathryn bigelow,
mark boal,
will poulter
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