Bring Her Back (2025)

The sophomore feature from Danny and Michael Philippou, who impressed many horror fans with the superb Talk To Me, what you have here is something that solidifies their reputation, but also makes it interesting to see what will happen when they move away from the blend of horror and emotional gut-punch that they have now presented to us twice.

Andy (Billy Barratt) is the protective older brother of the visually-impaired Piper (Sora Wong). When their father suddenly dies while in the shower, the two siblings end up in care. It should only be for a few months, as Andy wants to be Piper's guardian when he reaches the eligible age in a few months. The pair end up in the home of Laura (Sally Hawkins), a carer who once had a daughter with the same kind of visual-impairment as Piper. Laura also has mute Oliver (Jonah Wren Phillips) in her home, as well as a major secret or two.

Not really a film full of surprises, viewers are clued in to the fact that something is a bit off from the earliest scenes, Bring Her Back is more interested in looking at the lengths that people will go to in order to keep their loved ones alongside them. While Andy and Laura are two very different people, in many ways, they are also two sides of the same coin. Both act as they act out of love for someone, both have are trying to tidy things up after making a bit of a mess (emotionally speaking), and both end up having Piper as the most important person in their lives.

Although not as consistently creepy and unnerving as their previous film, and a couple of traumatic moments feel as if the Philippou brothers may already be showing a bit of a pattern, this is undeniably impressive stuff for those after an original horror movie experience. That's not to say that it is actually all that original, nor will the horror be as effective for some as it will be others, but there has been enough care taken in the writing of the characters that it grounds the entire journey in a very plausible mix of grief, desperation, and madness. It's a very effective remix of familiar elements.

Hawkins is just as good as you'd expect her to be, and seems to relish the role, but it's a relief to see both Barratt and Wong being more than up to the task of sharing scenes with her. All three leads are quite flawless, as far as I'm concerned, and that's essential when the film stays so tightly focused on them for the majority of the runtime. Phillips is also very good, and is the centre of some of the most memorable moments in the movie, and Sally-Anne Upton does well with a minor character who could have very easily been exasperating.

This has the Phillipous at two for two, for me anyway, but the most interesting thing now is to see what they do next. They write and direct well, they get the right people in place behind the camera to ensure great work in the audio and visual department, and they have already given us a couple of real wince-inducing gore scenes, but can they manage to surprise people? That's the question I am hoping to see answered in the next few years.

8/10

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A Boy Called Christmas (2021)

Here we are, with the last Christmas movie of 2021, but is it a good one to end on?

The latest attempt to deliver a nice bit of Christmas cheer to families is this tale of a boy seeking magic in a faraway land, and the cast and special effects work together to tell a familiar tale with a twist. 

Maggie Smith is the relative visiting children who she then decides to entertain with a story. That story is all about Nikolas (Henry Lawfull), a boy who lives alone with his father (Joel, played by Michiel Huisman) in a kingdom that seems to have lost all sense of hope and joy. The King (Jim Broadbent) asks people to travel far and wide in an attempt to bring something that will lift the spirits of his citizens, and that is when Joel heads off on a long journey. He wants to keep his dad safe, but also wants to find the secret magical location where elves live, as described to him by his deceased mother. 

Director Gil Kenan has mostly worked with material that has a healthy portion of the fantastical in it. Arguably best known for Monster House (an animated film loved by many, although I just found it decidedly okay), Kenan is a dependable pair of hands and he has certainly been given a cast capable of helping to lift the material. 

Aside from Lawfull, who is perfectly fine as the wide-eyed boy with good intentions, and Broadbent, a lot of fun, you have a wide variety of roles for people like Kristen Wiig (gleefully playing an evil relative), Sally Hawkins (a powerful elf who resents the presence of any humans in the elf village), Toby Jones (a kind elf), Stephen Merchant (voicing a mouse named Miika), and Zoe Margaret Colletti (a pixie who cannot lie). Everyone is wonderfully earnest and happy to deliver a message all about Christmas spirit, and that is before I even mention the lovely, mischievous, turn from Maggie Smith, who gets to appear intermittently as her young audience question her about the tale they are being told.

Based on a book by Matt Haig, the script co-written by Kenan and Ol Parker plays out exactly as you expect it to, which is no bad thing when you are being comforted by archetypes and beautifully landscapes covered in snow, and this is a safe choice for those seeking some wholesome entertainment for all during the holiday season. It doesn't do enough to become an instant new favourite, mainly because the lead character is just a bit too bland, but it should be a welcome viewing option for the next year or two.

There are moments of magic, there are thrills, there's a helpful reindeer, you have children helping to fix a mess made by adults, and a talking mouse. What more do you need?

7/10

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Paddington 2 (2017)

I try my best not to mix my own politics with film reviews, unless the films are making a strong political statement or something happens that I find so downright loathsome that I just have to say something. And yet here I am with this review of Paddington 2 and it feels as if I should start off with a bit of a statement.

Don't worry, I believe what I am about to say is actually quite bipartisan, but I suppose that really depends on how you're viewing the world around you. Because that world has been getting a bit crappier and crappier for most of the past few weeks, months, and years. Natural disasters, idiots and criminals in positions of authority, tensions between countries with nuclear weapons, business closures and job losses, murders and cowardly terrorist attacks, and the general downsizing of some of my favourite chocolate bars.

Why am I doing my best to make us all a bit depressed? Well, Paddington 2 is an undeniably fun and lovely film, but it's also the perfect kind of film to make you forget about global problems for a while, and I think the timing may be as much a key to its success as the quality of the film itself.

Returning to helm once more, after doing such a great job with the first movie, director Paul King (also co-writing again, this time with Simon Farnaby, who also has a hilarious cameo) crafts another perfect mix of comedy, sweetness, and sheer entertainment.

The plot revolves around a pop-up book. Paddington (voiced by Ben Whishaw) wants to save up his money and buy it as a great birthday gift for his Aunt Lucy. Which makes it very unfortunate when the book is stolen. And it's even more unfortunate when Paddington is mistaken for the thief, leaving him to spend some time at her majesty's leisure while the cunning thief (Hugh Grant, clearly having a blast) uses the book to decipher a code that he hopes will lead to a heap of treasure. Prison life leads Paddington to meet Knuckles McGinty (Brendan Gleeson), and an unlikely friendship develops. But is that enough to keep our little bear in good spirits while people outside the prison walls try to prove his innocence? Or will a prison break be necessary?

Watching Paddington 2, and enjoying it SO much, got me thinking about both of the Paddington films. They both have the same strengths. First of all, the cast. Most people return here to the roles that they had in the first film, and the cast includes Hugh Bonneville, Sally Hawkins, Julie Walters, Peter Capaldi, Jim Broadbent, Tom Conti, and many, many more. Some scenes are a veritable who's who of British talent. Second, this is how you update a cute character who came to prominence in what might be labelled more innocent times. Paddington Bear isn't the type of youngster who has grown up with Twitter and Facebook, he doesn't have a smartphone in his pocket, and a lot of his values are as naive as they are admirable. But keeping him that way, almost a wide-eyed innocent often wrong-footed by the world around him, makes him a great character at the heart of these stories. And the fact that he never doubts himself, the fact that he always treats everyone the same way, makes it easier to accept those reciprocating his kindness and selflessness in a way that somehow doesn't feel too schmaltzy and annoying.

There are other reasons for the films being so successful, of course. The production design, the visuals, the CGI, the music, the pacing, every aspect of the film feels like it has been given due care and consideration. The script balances out the jokes with the emotional content, nicely weighting things on one end or the other through alternating scenes, and both major elements work. And I think I already mentioned Hugh Grant. He may be portraying a very different kind of villain from the character played by Nicole Kidman in the first film, but that doesn't make him less of a threat. He's the type that you want to boo and hiss at, even while laughing at his vanity and showiness (he plays a hammy actor who hasn't starred in a hit for quite some time - at least those costumes he has will help him in a variety of different disguises).

I haven't taken the time to rattle through the entire cast and sing their praises because this is an ensemble piece that brings the best out of everyone, whether they're onscreen for ten seconds or one hundred minutes. You don't view Hawkins, Bonneville, and co. as the supporting cast. You view them as the Browns. You don't spend the film contemplating how good Whishaw is in his voice role, you just accept that he's Paddington. And so on.

There's not much more I can say about it. I don't agree with some who think this sequel is superior to the first movie, but I couldn't say that it's inferior either. I rate both the same, and recommend picking up a nice double-bill immediately if you've somehow avoided either film until now. Buy the films, clear your schedules, make yourself a nice plate of marmalade sandwiches, and then sit down and press play. You'll thank me for it.

9/10

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The Shape Of Water (2017)

Guillermo del Toro has made a career out of trying to convince everyone to view monsters and ghosts the same way that he does. They're just the same as us, but different. In fact, sometimes the very things that make them monstrous or scary are the things that make them a little bit better than your average Joe. The Shape Of Water may very well be his most overt guide to loving monsters yet, taking it quite literally.

Sally Hawkins plays Elisa, a mute woman who works as a janitor at a secret research facility. She spends her workdays alongside her friend Zelda (Octavia Spencer) and when at home she sometimes enjoys the company of Giles (Richard Jenkins), an elderly, lonely gay man. There's excitement in the workplace when a bipedal amphibious humanoid specimen (Doug Jones) is brought in, under the watchful eyes of Colonel Richard Strickland (Michael Shannon), and Elisa finds herself forming a strong connection with the creature. Some people might be happy to see that development, Strickland isn't one of them.

While it's certainly a very derivative film in many ways (from the obvious "gillman" movies to the tone and visual palate of Jean-Pierre Jeunet), The Shape Of Water takes the familiar and mixes it into something that feels quite unique. I would say that those looking to hammer the film for the range of influences on display aren't considering how well Del Toro has placed everything. Never one to skimp on the detailing of the worlds he wants to let viewers into, the director, who also co-wrote the screenplay with Vanessa Taylor from his own story, somehow manages to fill every scene with little touches and thematic strands without having it all feel too busy and overdone.

Dan Laustsen, the Director of Photography, deserves a special mention, because there are a number of scenes here that stand out as some of the most beautiful from last year (and I know I am terrible for not often singling out the DPs in my reviews), and Alexandre Desplat has come up with an appropriately beautiful score to accompany those visuals, with everything coming together to make a film that feels very much like a Del Toro film in content and theme, while moving away from his standard visual palette.

Hawkins gives a wonderful central performance, as does the prosthetically-covered Doug Jones. The two manage to say so much without actually speaking. Spencer and Jenkins both give great supporting turns, and chatter away to Hawkins throughout the film, and Shannon is the villain of the piece that the film requires (allowing him to have a lot of fun with some over the top moments). Michael Stuhlbarg is another good presence, but it's easy to forget the other people involved during the moments that show Hawkins and Jones wordlessly connecting with one another.

The biggest problem with The Shape Of Water stems from the biggest plus point. This feels very much like a film Del Toro has had in his mind for years, something he was just waiting to finally be allowed to do. Now, having been given permission, he loads it up with no small amount of self-indulgence. That is fine when it comes to the detailing and style of the film, but it also means that the runtime feels just a bit too long, there are one or two extra plot points that didn't really need to be in there, and some of the quirkier moments don't work.

Those minor mis-steps, however, are nowhere near irritating enough to detract from the gorgeous and uplifting experience that the film provides. It's not up there with the very best films we've already had from Guillermo del Toro, but it's leagues ahead of many other films that you'll see this year.

8/10

There's a lovely book available here.
Americans can order the film here.

Paddington (2014)

I've never read any of the original Paddington Bear stories, but I did grow up watching some of the delightful stop-motion TV episodes, narrated by Michael Hordern. I liked the little bear, initially because he was an identifiable figure (he is, after all, a small, curious child with an addiction to a certain type of sandwich), but later on I viewed him with enduring affection because he was a quintessentially charming British creation. Despite hailing from deepest, darkest Peru, Paddington is as synonymous with the UK as red telephone boxes, a good cup of tea, and people who will do anything to avoid social embarrassment.

And it is this quaint, and largely bygone, view of Britain that makes Paddington such a great success on the big screen. It celebrates many of our idiosyncracies, while also viewing them with the look of puzzlement that they probably deserve.

The basic plot sees Paddington (voiced by Ben Whishaw) arriving here on our shores and hoping to find a new family. He is eventually approached by the Browns, ending up being allowed to share their home until he finds somewhere else to settle. While making many strange new discoveries, Paddington causes numerous accidents (some minor, some pretty big). He soon starts to outstay his welcome. Meanwhile, a taxidermist named Millicent (Nicole Kidman) finds out about this rare beast arriving in the UK and wants to add him to her collection.

Directed by Paul King, who also co-wrote the screenplay with Hamish McColl, this is the very definition of fun for all the family. Kids will love the central character and many of the jokes. Adults will also enjoy many of the jokes, while also being able to spot a myriad of subtler gags and references strewn throughout the film (a personal favourite of mine involves the Brown family in a reversed "Evolution Of Man" tableau). The pacing is perfect, the rendering of Paddington feels very real, and a number of set-pieces ensure that you'll be hoping to see more antics in a sequel even as the end credits are still rolling.

Whishaw is a perfect vocal fit for the main character, helping Paddington to remain very much the furry child that still has so much to learn. The Browns are nicely portrayed by Sally Hawkins and Hugh Bonneville (as the mother and father), and Madeleine Harris and Samuel Joslin (the daughter and son). Bonneville gets to have the most fun with his role, but Hawkins also has some great little moments, while Harris and Joslin both react very differently to the presence of the little bear in their home. Julie Walters is the housekeeper who seems unfazed by anything, and even thinks that the Browns may benefit from Paddington's presence, and Peter Capaldi is a nosey neighbour, providing some more laughs in the second half of the film. This may not be the kind of film that you'd expect Kidman to do well in, but she does. Her villain is perfectly balanced, she's a genuine threat to Paddington without ever being TOO terrifying for younger viewings. And the motivation for her character is surprisingly brilliant.

With cameo appearances from many other fine British performers (Jim Broadbent, Michael Gambon and Imelda Staunton in voice form, Alice Lowe, Steve Oram, Matt Lucas, Geoffrey Palmer and Simon Farnaby being the main ones), a lively score by Nick Urata, plenty of iconic imagery and clever use of pesky pigeons, this is a film that easily proves more than just bear-able.

Oh come on, I got all this way without one groan-inducing pun. There had to be one.

9/10

The movie won't be out on shiny disc for a while, so treat yourself to some nostalgia here - http://www.amazon.com/Paddington-Bear-Complete-Classic-Various/dp/B004HI79LY/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1419689429&sr=1-1&keywords=paddington+dvd

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Bonus Review: Godzilla (2014)

Let me start this review by reminding people that I was in the minority when it came to Monsters, the cinematic feature debut of Mr. Gareth Edwards. I thought that the film was good, but not great. Edwards had the potential to do much better, I thought. When the news came that he’d been handed Godzilla, I was as excited as anyone else. And as the hype machine started to gather speed I was definitely eager to be wowed by this movie. I paid extra for IMAX tickets, I picked the best seats available, and I slipped on the 3D glasses.

And two hours later I walked out of the cinema with a feeling of disappointment.

What’s the plot? Well, after a fantastic credit sequence, we get to see Joe Brody (Bryan Cranston) trying to figure out what to do about tremors that he fears may cause problems for the Japanese nuclear power station he works at. Those tremors do cause problems. Major problems. Fast forward by fifteen years and Joe is still obsessing over just what happened. The area is, apparently, dangerously radioactive, but Joe thinks that something is being covered up. When he’s arrested for trespassing, while trying to access his own home (abandoned in the middle of the disaster, it has some of his work/research that he desperately needs), it’s up to his son, Ford (Aaron Taylor-Johnson), to travel to Japan, pick him up and try to keep him out of further trouble. Ford had just started to enjoy some leave time from the military, settling down with his wife (Elizabeth Olsen) and son (Carson Bolde), but picking up his dad will soon be the least of his worries. It’s not long until a MUTO – Massive Unidentified Terrestrial Organism – shows up and starts to make a mess, to put it mildly. And then, well, it’s only a matter of time until the titular creature makes an appearance.

Godzilla is not a BAD film, and many fans of the big guy have expressed their absolute delight with the final product, but it’s a film that highlights just how small the bag of tricks is that director Edwards is working with. Most of the movie can be summed up in this way – camera looks at character, character looks awestruck, camera then moves to reveal part of whatever is inspiring reaction. Seriously, remove every shot just like that and you could probably shave ten minutes off the runtime. Some have complained about the slow build, but that really didn’t bother me. Patience is a virtue, and it’s fair enough to make people wait and wait for the main event. It’s a shame, however, that an early trick/gag of cutting away from some monstrous action is then repeated on so many occasions that you start to suspect that the whole thing is one big leg-pull. The big third act was interrupted a few times, each time cutting away to scenes that seemed painfully boring compared to what viewers knew they were missing out on.

It’s also a shame that everything felt as if it was taking place in a large studio lot, as opposed to a city full of people. I know that evacuation measures were put into place, but I find it hard to believe that the location of the final battle would be cleared out so quickly. The end result is something that feels impressive, but also feels as if it is taking place in a vacuum. This is a failing highlighted by just how potentially great the mid-point sequence in Hawaii is, but that set-piece is one of those just used to tease the audience on the way to the grand finale.

The acting from everyone concerned is just fine for the film. I thought Taylor-Johnson was decent enough as the rather bland military man who ends up stuck in the middle of a monster mash, Cranston is the human highlight of the cast, but isn’t around for long enough, and Olsen has to look concerned a lot of the time, which she does. Ken Watanabe gets a few choice lines, he’s a man who knows what Godzilla is and how he should be respected, while Sally Hawkins hangs around beside him and isn’t given all that much to do at all. And then there’s David Strathairn, who does well as the Admiral trying to save as many lives as possible. While nobody, Cranston aside, is on their best form, complaining about the acting in a Godzilla movie is like complaining about there not being enough sex and violence in a Pixar film. The two don’t really go together, so just sit back and enjoy it for what it is.

The other main stars are pretty superb, it must be said, with Godzilla looking the best that he’s ever looked. He may be a CG creation, but he feels real, he has weight, and his appearance mixes new touches with the established, classic template. Similiar praise can be heaped upon any other creatures onscreen, although it’s a shame that the main MUTO feels a bit too much like a blend between the creature from Cloverfield and Super 8.

The script by Max Borenstein is okay, bringing a seriousness back to the franchise that was missing in the much-maligned 1998 movie (a film which most like to dismiss, but I enjoyed). But giving the movie a serious tone and forgetting to include ANY sense of fun are two very different things. Aside from one cheeky gag – a big showdown being played on a news report – the film is a pretty po-faced and humourless affair. Thankfully, it does include plenty to appease fans, and at least consistently tries to deliver spectacle on a grand scale.

Last, but by no means least, I have to mention the superb audio work. The score, by Alexandre Desplat, is almost flawless throughout, and I’ll happily admit that there have been few sounds to impress me in the cinema half as much as hearing that mighty Godzilla roar.

Even if you end up as disappointed as I was, this is a film to see on the big screen, accompanied by a superior sound system. Although it falls down on a number of main points, there are also still many great moments in the movie. Edwards has done what he set out to do. Put Godzilla back on the big screen, atomic breath and all, in a movie that gives him the respect he deserves. Maybe next time he’ll also respect the audience a little bit more.

6/10

While waiting for the Bluray further down the line, quench your kaiju thirst with this collection - http://www.amazon.com/Godzilla-Collection-Yuriko-Hoshi/dp/B000VXWK86/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1400613055&sr=1-2&keywords=godzilla

All Is Bright (2013)

Recently paroled ex-con, Dennis (Paul Giamatti), is so desperate for work that he ends up forcing himself upon his friend, Rene (Paul Rudd). Actually, Rene isn't quite the friend that he once was, considering the fact that he plans to marry Therese (Amy Landecker), the former partner of Dennis. Dennis and Rene travel to New York to sell Christmas trees, and it doesn't take long for things to get tense between them. Dennis just can't seem to let go of the past, despite his insistence that he wants to, while Rene doesn't help the situation with his far-too-laidback manner and inability to think of the best ways to make the business profitable. But things start to look up when Olga (Sally Hawkins) comes along to buy a tree, and ends up befriending Dennis.

This is a strange, strange movie, mainly due to the setting. Dennis and Rene are two men who live in a French Canadian area, but that isn't something that factors into the movie enough to really warrant its inclusion. I'm not saying that you can't have people from French Canadian territories making a trip to New York to sell Christmas trees as the core of your movie, but it just seems a bit unnecessary, when the film feels, in all other respects, like a film that could have been made about characters from anywhere. Okay, they may be selling a better quality of tree (I guess, I'm no expert on tree types) and there are a few moments when language proves to be an extra obstacle/irritant, but that's it. I'll admit it, during the first 20 minutes or so, I assumed that this was a clumsy remake of a superior film.

Giamatti and Rudd both do well together, with the former being the best thing in the movie, using his standard hangdog expression to great effect. Landecker isn't onscreen for all that long, despite her character being most important in the tension that's created, but she does well enough. Hawkins is a lot of fun as Olga, playing the quirky female who enters the life of the lead character without it feeling just like every other quirky female role to have popped up in a lot of independent dramas in recent years.

Director Phil Morrison doesn't really do much at all, or so it seems. Of course, I might have been offering him some praise if he'd deliberately kept everything low-key and natural, deciding on that as the best way to deal with Melissa James Gibson's script, but that's not how everything is. It becomes clear, at times, that the movie is trying to blend a grittiness with that magical, Christmas-time feeling, but it doesn't work. The horrible, distracting, score by Graham Reynolds is just one of many mis-steps as the movie plods along from start to finish. To list all of the others would take too long. A LOT of the problems come from the script, but Morrison certainly doesn't do anything to help.

If it wasn't for Giamatti, Rudd and Hawkins then I wouldn't recommend this to anyone. Their performances make it tolerable, while everything else in the movie conspires to get viewers to give up long before the end.

5/10

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