The Flash (2023)

If there is a more redundant blockbuster that has been released in cinemas in the past few years then I am struggling to think of it. Even the underwhelming Black Adam at least felt as if it was trying to move pieces into place for the flailing DC cinematic universe. The Flash, on the other hand, changes almost nothing, one groan-inducing punchline aside, and feels like what it is: a placeholder spinning while everyone around it tries to scramble together a plan. The more time that passes with us being presented crap like this while Batgirl remains consigned to movie oblivion, the more resentful I become of WB and DC.

Here’s the plot summary. Please note, I will be mentioning details shown in the trailer, but don’t read further if you want to enjoy any of the best surprises that this contains. Barry Allen (Ezra Miller) is The Flash, often called into action for his superhero abilities when nobody else is available. He doesn’t mind helping Batman (Ben Affleck), but it feels as if he is just used to clean up any big mess. Barry also still spends a fair bit of time missing his dead mother (Maribel Verdú) and is tortured by the fact that his imprisoned father (Ron Livingston) cannot show proof that he wasn’t the murderer, even though they both know he didn’t do it. Realising he can run fast enough to go back in time, however, Barry heads back to try and fix the past. Teaming up with another incarnation of himself (also played by Miller), he aims to make one very small change. Before you know it, Zod (Michael Shannon) is back, there’s a Supergirl (Sasha Calle) where Superman might once have been, and Bruce Wayne/Batman now looks a lot like Michael Keaton.

Written by Christina Hodson (with input from a few other helping hands) and directed by Andy Muschietti, this is a horrible mess from start to finish. Considering how problematic the production was (just look up any news on Ezra Miller), the fact that it was even completed and released may seem miraculous to some, but it’s hard to think of anyone being pleased or satisfied by the end result. Yes, there are a number of fan-service moments here and there, but a film needs to do more than that. And this doesn’t. It REALLY doesn’t. 

The special effects are wildly varying in quality, the depiction of the multiverse is an eye-watering mess, and there’s no consistency in the timing of how things work between our normality and superspeed (e.g. the opening sequence which has Barry waiting for a sandwich order, then being called to a falling hospital in Gotham, speeding there, taking to Batman and Alfred while rescuing people and babies, and getting back in time for his sandwich order being completed).

And don’t get me started on Hodson’s script, which is her weakest work by far (and I have enjoyed most of her other stuff). This is a script based around three things - the central paradox, a load of nostalgia, and one Back To The Future gag that is overused as soon as it is mentioned a second time). Only one of those things works well enough, the nostalgia, and that is more to do with the timeless greatness of Keaton than it is to do with the writing. Whether coincidental or deliberate, it's also worth mentioning that one or two lines are so on the nose that it occasionally feels a bit distasteful. The most egregious moment has Ezra Miller saying: "I understand that these events can be psychologically scarring! You should seek the services of a mental health professional, the Justice League is... not very good at that part yet. Trust me."Sheesh!

Miller is perfectly fine in their dual roles, certainly as enjoyable and fun as they were in their previous main outing as this character. They’re not good enough to be irreplaceable though, and it’s strange that they were kept on, especially when you consider the “escape clause” afforded by this premise. Keaton is the highlight of the film, still showing that twinkle in his eye that has kept him as my favourite Batman since he first started in the Tim Burton blockbuster, but Calle certainly makes a strong impression as Supergirl. I would give Shannon equal praise, but he is sorely underused, and that is a shame. Someone else sorely underused is Kiersey Clemons, involved in a few scenes that effectively frame the main storyline, but made to feel as if she was put in front of the camera after donating enough to a crowdfunding campaign that was offering a “featured role” as a reward. Clemons deserves better, but the same can be said for most of the cast members, as well as the viewers.

This needs to be the final nail in the coffin of the previous, constantly shifting, attempt to create a DC cinematic universe. In fact, it works best if thought of as a headstone, the shadow looming over a grave where creativity, intelligence, and dignity have been buried. We know about multiverses though, which means those things live on elsewhere, and you can see them in other blockbuster movies released this year. It remains to be seen whether or not they will reappear in the upcoming slate of DC movies.

I have added one extra point for some relatively fun cameos elsewhere in the movie, moments I won’t spoil here, but I almost immediately removed it when I remembered a multiverse sequence in the final act that almost made me throw up in my mouth. Some may like this a bit more than I did (even with the horrible score from Benjamin Wallfisch), but I can imagine only the most die-hard comic book fans will manage to love it.

4/10

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

Netflix And Chill: Shimmer Lake (2017)

I watched Shimmer Lake just yesterday, and I spent some time mulling it over. I think I enjoyed what it did, but I also think that it felt like it was trying a bit too hard throughout. It needs the structure that it has, a backwards chronology that shows viewers the end result of a crime eventually revealed in full before the end credits, but that also makes the whole thing seem a bit too cute, and occasionally bordering on the smug.

As things begin, Andy Sikes (Rainn Wilson) is hiding out after his suspected role in a bank robbery. His police officer brother, Zeke (Benjamin Walker), is searching for him, but Andy is due to meet up with Steph (Stephanie Sigman), with the two then heading off together with their stash of cash.

Writer-director Oren Uziel (making his directing debut, although he already has a number of screenplay credits from the last dozen years) does a decent job, complementing his script with an interesting variety of actors, some you might not expect in this kind of tale. It is telling, however, that he doesn’t really do anything more with the material, unable to add any visual style or freshness to the whole thing. At least the script and cast DO work, but something more was needed.

Wilson is very good in his role, although also slightly underused, and both Walker and Sigman do well in their pivotal roles, portraying their characters in a way that allows the layers to be peeled off en route to the end of the film/start of the whole chain reaction. Rob Corddry and Ron Livingston have a couple of scenes in which they play FBI agents, John Michael Higgins steals a couple of scenes, and Wyatt Russell once again shows his knack for picking projects he at least considers interesting enough to give his time and energy to. There are a number of other fun supporting turns, Adam Pally and Mark Rendall also doing very good work, and Uziel arguably saves himself some embarrassment by casting so well.

It’s all about that structuring though, and Uziel seems to put a bit too much faith in his own writing. It isn’t an original idea, and every new “surprise” ends up being undermined by the information already made available as everything uncoils. In the most basic way, it’s all perfectly fine. It is missing something to make it good though. It’s an unseasoned meal, or a scoop of distinctly average vanilla ice cream without any sauce or sprinkles. Acceptable, digestible, but nothing to revisit in a hurry, if ever.

5/10

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

Mubi Monday: Lucky (2017)

There are a couple of credits that appear after this movie in the filmography of the late Harry Dean Stanton, but I think that is more to do with the timing of the releases, which is why I would be happy if we can all agree that Lucky is his last main movie role, and it's difficult to think of a more fitting swansong for a career so full of memorable turns. It's a shame that he died approximately two weeks before this was officially released, as I am sure he would have been very proud of the final product.

The story itself is simple. Stanton plays Lucky, an old man who goes through the same daily routines as he deals with his old age, the fact that you can no longer smoke in many of the establishments that he used to enjoy smoking in, and how his friends are dealing with their own growing sense of mortality. Lucky is one of those little films that doesn't feel as if it says anything important, it's just the chance to hang out with a great character, but it has some wisdom buried in many scenes. And even if it didn't . . . just spending time with Stanton in a role seemingly perfect for him is enough of a reason to want to give it your time.

Logan Sparks and Drago Sumonja, both able to now list this as their first filmed script, have written such a sweet little film that it's hard to think of it not being personally shaped around Stanton and friends (David Lynch has a small role, as do Ron Livingston, Tom Skerritt, Beth Grant, James Darren, and Barry Shabaka Henley). It's a perfect combination of words and cast.

John Carroll Lynch is the one bringing it all together, making his directorial debut after many years of being "that guy" in a number of movies (you may not recognise the name, but you know him), and I hope he follows this up with some other directorial work. He has a great eye, certainly has faith in his cast of quality characters, and also has the patience to hang back and trust that viewers will wait through many quiet moments to enjoy some of the small, but wonderful, payoffs.

Stanton is a treat throughout, unsurprisingly, and his final moment here is just about as bittersweet as you could get. It's a truly fortuitous bit of cinema magic. Lynch gets on well alongside his good friend, not asked to stretch himself while he and others simply orbit the central character, and everyone else mentioned steps up to the quality of the material. Even Livingston, who I like but rarely view as a great actor, makes the most of a moment that allows him to deliver some of the best dramatic dialogue he has ever been given (to my knowledge). Yvonne Huff, Bertila Damas, and Ana Mercedes also deserve a mention for their work.

It's hard to separate my reaction to this as a movie from my reaction to it as a poignant celebration of the massive talent and wonderfulness of Stanton. Others may want to knock my rating down a point or two, but I'm happy to reassure fans of the star that this is an unmissable performance, as well as an amazing tribute to him.

9/10

https://ko-fi.com/kevinmatthews

The Man Who Killed Hitler And Then The Bigfoot (2018)

Yes, it's that film with the sensational title that isn't really how you think it is going to be, The Man Who Killed Hitler And Then The Bigfoot is an interesting little gem, largely thanks to the main performance from the wonderful Sam Elliott, but it's hard to think of who it will appeal to. Genre fans will be left disappointed by the lack of certain elements while those who may appreciate the tone and themes of the film more will very likely be put off by the sensational title.

Anyway, despite it seeming redundant, here's the plot. Sam Elliott plays Calvin Barr (as does Aidan Turner, portraying the character when we see his past in a number of flashbacks). Barr is an ex-military man who seems to be doing his best to live a life of peace. Unfortunately, that's not going to be. He's approached by men who know about his past to do something now that he is uniquely qualified for. It's a mission that will stir up a lot of memories, and not many of them are good.

The feature debut from writer-director Robert D. Krzykowski, this is a very strange beast indeed, no pun intended. If you're not sure of how you might feel about any aspect of it, view it as a film that at least serves the noble purpose of giving Sam Elliott a wonderful lead role. If you like Elliott then you should at least find something to enjoy here, thanks to the scenes that make the most of his wonderfully hangdog expression and air of tired resignation.

Everything is well put together, even as it all feels slightly rambling and inconsequential, but it all lifts up when things become clearer in the second half, in terms of both the main thematic strand being explored and the real heart of the central character.

Elliott is cast about as perfectly as could be. You may not believe that he has done, or could do, what the title states, but you can easily believe that he is a man who has thought long and hard during many times in his life. He seems like a man who can take a moment to weigh up the pros and cons of any situation and then, no matter what it costs him personally, can be counted on to do the right thing. This film would be nothing without him, no matter the decent work put in by Turner, Larry Miller (giving a wonderfully understated performance), and Caitlin Fitzgerald (sweet and shining like a light in the storehouse of memories that our lead wanders through). The other person to note is Ron Livingston, although his role is a stereotypical American agent out to persuade someone who doesn't want to do the job that it is in their best interests to do so.

I'd really like to comment more on what this film is actually about but that would spoil the pleasure of discovering it for yourself. Give it a watch, don't expect anything as silly as the title suggests (although it's not really mis-selling itself), and enjoy basking in the wonderful charismatic glow of Sam Elliott for a small part of your day. What more do you need?

7/10

You can buy the movie here.
Americans can buy it here.

Tully (2018)

Most Hollywood movies have a comfortingly optimistic view of parenthood and families that have to struggle to balance the household budget. You see mothers rushing around, usually in a montage of school runs and sporting events, and most people struggling with debt still seem to have a roof over their head, a car (which I know is more essential in America than it is here in the UK), and a generally decent selection of food and drinks.

Tully is a film about motherhood that impressively, determinedly, moves away from the sugar-coated outlook that appears in most movies. Charlize Theron plays Marlo, the mother of two children, one daughter and one son, with the latter having an undiagnosed condition that makes him behave in a way that others charitably describe as "quirky". And she's expecting her third child. Her husband, played by Ron Livingston, seems to be loving and supportive, but could probably do a fair bit more to help, and her brother (Mark Duplass) thinks that he will help out by gifting her the services of a night nanny. And that eventually leads to her receiving help from Tully (Mackenzie Davis), a bright and energetic young woman who helps to make a positive change in the Marlo's life.

Although still far from perfect in the way it depicts a struggling mother, and the way in which it depicts certain health issues, this is a film that has more for parents, and especially mothers, to identify with than usual. The direction from Jason Reitman is as capable as ever, the guy does solid work without ever really putting his own stamp on things, and the script by Diablo Cody is a nice balance of harsh truths and wry comedy, despite a couple of mis-steps that are easily forgiven once the end credits start to roll and you think over what you've just watched.

Theron hasn't put in a bad performance in a long time, and she keeps her streak intact here, showing a woman changed by motherhood in so many ways (mentally and physically) that she wonders if she can ever get back to finding herself under the layers of selflessness, tiredness, and auto-responses. Davis, another actress I have been a fan of in almost every role she has played, lights up the screen with almost every moment of her screentime. Her enthusiasm and energy come in at just the right time, and Davis does just enough to keep her character sweet and likeable when she could just as easily have seemed annoying, and even slightly creepy. Livingston has a lot less to do, although he's not painted in any kind of bad light until he takes time to look at himself a bit more closely, and Duplass is a lot of fun with his mix of bluntness and genuine care for his sister. Gameela Wright also does well as a teacher who has to break the bad news that the school can't really cope with the additional responsibility of one troubled young boy.

Some viewers may see where this is heading from the opening scenes (I am notoriously unable to foresee things in movies that others say are completely bleeding obvious) but that doesn't stop it being an interesting and rewarding journey. I think there's still some way to go before we see a more realistic portrayal of motherhood onscreen, if it ever happens, but this gets closer than most, which is just one of the reasons to give it your time.

8/10

You can buy the DVD here.
Americans can get a Blu here.

Noir November: King Of The Ants (2003)

It may be a fairly low-budget, rough 'n' ready movie, but King Of The Ants has a considerable amount of talent involved, both behind and in front of the camera.

Based on a novel by Charlie Higson (still best known to many people for his great work on The Fast Show), it's all about a young man (Sean, played by Chris McKenna) who is always on the lookout for some paid work. He takes what odd jobs he can, with one putting him in contact with a man named Duke (George Wendt). Duke then arranges a meeting between Sean and a local businessman named Ray (Daniel Baldwin), which leads to him being hired for a different kind of job. He's to tail a man (Ron Livingston), a man who may have information that could get Ray in trouble. That's all well and good, until a drunken Ray then asks Sean to commit murder.

There's also the lovely Kari Wuhrer onscreen, as the wife of the man who may or may not end up murdered, and Sean finds her quite attractive. Because she is, but that's all I'll say about the plot for now. I don't want to give away any details or potential surprises.

Directed by the always-entertaining Stuart Gordon, King Of The Ants is dark, nasty stuff. Anyone who, like myself, only knew of Higson through his comedy work may well be shocked that he could weave a tale of such stomach-churning nastiness, but just be thankful that he did it. The final result, presented here in a style that veers between minimalist and slightly fantastical (in one or two nightmare sequences), is a memorable film that takes some common elements and makes them feel fresh again . . . . . . . . . . . . . . even if it does that by bruising them and coating them in blood and fecal matter.

The acting from all concerned is pretty solid, if not always great. McKenna is a likable presence in the lead role, even as his character makes some bad choices. Wendt and Baldwin are both intimidating in different ways, and have the likes of Vernon Wells and Lionel Mark Smith on their side. Wuhrer is quite lovely, which I've already mentioned, and does a decent enough job with her few scenes. And Timm Sharp is a welcome inclusion, playing Sean's friend, and one of the few characters onscreen not carrying around any big secrets.

While not exactly tense, in the traditional sense, this is a movie that certainly leaves you on edge throughout. I know that sounds paradoxical, but I simply mean that the movie often paints such a dark picture that being tense, hoping that characters can turn things around, seems futile. It may also turn your stomach, thanks to the mixture of violence and the sheer depth of despair and hopelessness that it explores. I'd argue that it's the darkest film in Stuart Gordon's filmography (although Edmond is a movie that has evaded me over the years), and that alone should make it worth a watch if you're a fan of the man.

Well worth seeking out. Just don't watch it if you're after something to put you in a good mood.

8/10

http://www.amazon.com/King-Ants-Chris-McKenna/dp/B0001ZX088/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1415976796&sr=1-1&keywords=king+of+the+ants

You know how you can show your appreciation for bloggers? If you share and share then every additional reader helps. Connect through Google or Blogger or any way you can, and rest easy in the knowledge that you've made little ol' me a very happy man.

And/or you could also buy my e-book, that has almost every review I've written over the past 5 years. It's very reasonably priced for the sheer amount of content.

The UK version can be bought here - http://www.amazon.co.uk/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1395945647&sr=1-3&keywords=movie+guide

And American folks can buy it here - http://www.amazon.com/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_fkmr0_1?ie=UTF8&qid=1395945752&sr=8-1-fkmr0&keywords=TJs+ramshackle+mov

As much as I love the rest of the world, I can't keep up with all of the different links in different territories, but trust me when I say that it should be there on your local Amazon.

Drinking Buddies (2013)

There's something about Drinking Buddies that I liked, despite the fact that the film just seems to be an aimless, inebriated, waste of time while it's on. Writer-director Joe Swanberg is happy, as ever, to let things play out in a way that demands patience and no small amount of empathy from viewers. He's helped by a great cast, all working well together, and one or two scenes that sneak up on you with their warmth and, yes, romance. In between the many beers being drunk.

Olivia Wilde plays Kate, a young woman who works in a brewery with Luke (Jake Johnson). She also has a decent boyfriend, Chris (Ron Livingston), while Luke has a girlfriend named Jill (Anna Kendrick), but that doesn't stop both of them enjoying a friendship that keeps them closer than most couples. They work together, they joke around, and they often go out for a few beers. And then a few more beers.

People familiar with Swanberg's work will know what to expect here, some slightly rambling tale that focuses on character interaction above anything cinematic. That can be frustrating at times, but it has to be said that his attempts to capture something that feels more naturalistic on camera results in some moments of great success.

This movie has some very sweet scenes, and numerous moments that ring true. The chemistry between Wilde and Johnson is great, with the pair really feeling like two close friends comfortable enough to joke around with one another, comfort one another, and even chastise one another when one thinks that the other is out of line. Livingston and Kendrick may be slightly sidelined, but they're allowed to affect main events without being reduced to a simple plot device. And there's a fun supporting role for Ti West, who walks a thin line between cocky and just comfortable in the company of workmates.

Drinking Buddies is worth a watch, but it's nowhere near as good as it could have been. Neither the dramatic nor comedic elements work as well as they should, and it's enough to make you want to grab Swanberg by the collar and give him a shake, forcing him to just focus on one way of telling the tale.

6/10

http://www.amazon.co.uk/Drinking-Buddies-DVD-Olivia-Wilde/dp/B00G7M18S8/ref=sr_1_1?ie=UTF8&qid=1390170402&sr=8-1&keywords=drinking+buddies

Office Space (1999)

Written and directed by Mike Judge, Office Space resonates with a hell of a lot of people just as much now as it did when it was first released. The fact that the film wasn't given much, if any, support and advertising when it was released perhaps explains why those who love the film are so loyal to it. It's a cult hit but it's a cult hit with a lot of appeal to anyone who has been stuck in an office job at some point in their lives. It's a movie that you can watch nowadays and share with others, an experience full of familiarity and wish-fulfilment that makes for perfect viewing when you need cheering up after a bad day at work.

Ron Livingston plays the central character, Peter Gibbons, one of the hundreds of thousands of people who seem to spend their working days trying to hold on to whatever is left of their sanity from the moment they wake up to the moment they leave the office. He stares at the cubicle walls around him and spends a lot of his day just zoning out. That all changes, however, when he takes part in a unique hypnotherapy session that leaves him completely calm and not caring one bit about his job. This could get him fired, of course, but actually ends up making him look better to the two consultants who are checking out the company and "streamlining" some departments.

It's a bit rough around the edges, and not quite as sharp as it could be, but Office Space well and truly deserves the reputation that it has amongst people who have been praising it for years. The central characters are all superb but the biggest laughs come from the supporting cast of downtrodden workers (especially Milton, played by Stephen Root - a pretty perfect physical interpretation of the animated character*).

Ron Livingston is ably supported by David Herman and Ajay Naidu, both portraying fellow sufferers, and there's yet another wonderful turn from the always wonderful Richard Riehle. Gary Cole is hilarious as the office boss while John C. McGinley and Paul Wilson prompt more laughs as the two consultants impressed by Peter's attitude. Then there's Jennifer Aniston, giving a bright and breezy performance as Joanna, a woman stuck in a different kind of workday hell at an eatery named Chotchkie's.

It's a shame that a subplot about the workers trying to make themselves a small, dishonest profit feels shoehorned in and not that well thought out but there are enough brilliant scenes (many of them involving a frustrating printer) to raise the movie well above average and make the whole thing worth repeated viewings.

*For those who don't know, Mike Judge made the film based on his own animated works, "Milton", that proved to be very popular on Saturday Night Live.

8/10

http://www.amazon.co.uk/Office-Space-DVD-Ron-Livingston/dp/B0000BZNIU/ref=sr_1_1?ie=UTF8&qid=1342348922&sr=8-1

Campfire Tales (1997)

Campfire Tales is, as you might expect, a horror anthology movie based around some pretty well-known urban legends that are given a fun twist. While it's not all that scary, the tense moments somehow lack any real tension, it's certainly fun while it's on and benefits from a decent wraparound that ends things nicely.

Jay R. Ferguson, Christine Taylor, Christopher Masterson and Kim Murphy play people who have to kill some time after their car goes off the road. They set up some flares and then move into the woods to build a campfire and scare each other with some urban legends. As the movie opens we get a version of "The Hook" but then the car passengers go off road and settle down to tell the three main tales: "The Honeymoon", one that I won't name because the title gives away the punchline and "The Locket".

The direction by Matt Cooper, Martin Kunert and David Semel is okay. There's nothing too flashy here and nothing too terrible but the movie does feel a bit slow in places, despite coming in at just under the 90 minute mark. The script, by Cooper and Kunert and Eric Manes, doesn't really sizzle either, which is a shame because if the material had been handled better then the overall outcome would have been a significant improvement. The middle of the three tales is so badly fumbled that it's robbed of any tension it should have but the strength of the punchline is too good to be completely undone by the poor execution.

The cast assembled is a big plus. As well as those mentioned, there are small roles for James Marsden and Amy Smart. Ron Livingston (who appears in "The Honeymoon") will also be familiar to viewers while even those who aren't so well known acquit themselves reasonably well.

It's not a bad little movie but there are better urban legends to choose from and better ways to showcase the material.

6/10.

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