Film Review: The Big Sick (2017)

In sickness and in health . . .

The Big Sick (15)

Starring: Kumail Nanjani, Zoe Kazan, Holly Hunter, Ray Romano

Director: Michael Showalter

The Plot: When Kumail (Nanjani) meets Emily (Kazan), a one-night stand quickly develops into a loving relationship, but things end badly when Emily discovers that Kumail must abide by his Pakistani family's rules and enter an arranged marriage. Shortly after, Emily falls gravely ill and is placed into medically-induced coma - as Kumail spends time with her parents Beth (Hunter) and Terry (Romano), he realises that to be with the women he loves he will need to make a very difficult decision.

Review: Romcom. A word that strikes fear into the hearts of many cinemagoers, having endured countless wishy-washy films where Matthew McConaughey leans sideways on the poster. It'd be fair to say that The Big Sick is a romcom of sorts: there's a romance that doesn't run smooth, and there's comedy - a lot of comedy, which you would expect given Judd Apatow's involvement - but there's big doses of sadness as well, and not from your standard will-they won't-they breakup shit. It's very bittersweet. There's even an argument for the film being more about family than anything else. The film's tagline is "An awkward true story", for good reason - this is based on Kumail Nanjani's true-life relationship with his wife Emily Gordon (they both wrote the screenplay), which immediately sets it apart from your more common fare as it quickly becomes apparent that this not your standard film of the genre. It also makes it more awkward to write a review of, as Nanjani plays himself, so for your ease and mine whenever I refer to "Kumail" I'm talking about the character, not the real person.

That it's based on real events is one of the film's biggest strengths. As I was watching, it gave me the distinct vibe of "this feels real." It felt like a very funny, very relatable take on a modern relationship, albeit with some caveats: for example, Nanjani is a comedian in real-life, so therefore Kumail is an aspiring comedian (and part-time Uber driver) in the film - I don't know any comedians, and I'd dare say the amount of people who know stand-up comics in real life is small too, but while I couldn't relate directly to being in that profession (some of the scenes Kumail shares with his comedian friends will likely only be funny to those in the trade) I could relate to his struggle to get where he wants to be. I'm also (obviously) not Pakistani, so while I couldn't relate directly to the problems Kumail has, it doesn't mean I couldn't understand them and be affected by what unfolds. The relationship between Kumail and Emily is particularly well presented and again feels very real (I've been using that word a lot, I know). We spend a great deal of time with them - it's close to 45 minutes into the film before Emily gets sick, allowing their relationship to be really fleshed out first and you get a genuine sense of the chemistry between them.

Given the kind of film, it's no surprise then the driving force of it are the performances. Nanjani takes centre-stage, and seeing as he's already lived through this story once before, it's no surprise to hear that he does well here. What I found most refreshing about Kumail is that he's not always likeable - during the breakup scene he acts like a prick - however there's an honesty about that. We see the best of him and the worst of him, and Nanjani hasn't hidden the worst. He isn't a perfect person, but he sees that he's done wrong and comes to realise that he needs to do something about it. By the end of the film you're rooting for him to make things right, and it's impossible not to feel for him when, finally revealing to his family his intention to defy their traditions, he's disavowed by his own mother.

I must admit to being a fan of Zoe Kazan. I really enjoyed the other films I've seen her in (Ruby Sparks and What If?) and she's one of those actors who is just genuinely likeable. As Emily she has the difficult job of making enough of an impression that, when the character becomes sidelined for the majority of the film, you miss her. And you do. She's very funny and her chemistry with Nanjani is great, and of the two characters hers is the one we sympathise with the most because, as she angrily tells Kumail during their breakup, she's the one who's been consistently honest. When (spoiler alert) she emerges from her coma at the end of the film, she's still hurt and upset and Kazan plays this side of her just as well as the funny, happy version of Emily at the beginning.

The show-stealers, for me, are Holly Hunter and Ray Romano as Emily's parents Beth and Terry. Arriving once Emily has fallen ill and setting up camp at the hospital, they provide a great deal of comic relief as they're an odd couple: Beth a Southern firecracker, Terry a calm New Yorker. Beth is initially distrustful of Kumail ("Emily has told me everything", she tells him) while Terry is more open to his presence. A large chunk of the film is given over to Kumail spending time with them, and it's this more than anything that makes him realise the mistake he's made. Beth and Terry are an odd couple but not perfect, as we discover, but there's a genuine love between them and some of the funniest moments of the film involve them.

Rating: 4 out of 5 stars

A very funny, bittersweet take on a modern relationship that's different from your standard romcom. A great cast deliver a script that refreshingly honest and not afraid to point out people's flaws. How relatable you find the particulars will vary, but this is highly recommended.

Video Game Review: What Remains of Edith Finch (PS4)

A beautiful tragedy . . .

What Remains of Edith Finch (2017)

Format: PS4/Xbox One/Windows PC (Reviewed on PS4)

Publisher: Annapurna Interactive

Developer: Giant Sparrow

What is it: A first-person narrative adventure. Seventeen year-old Edith, the last surviving member of the Finches, has returned to her family home on the coast of Washington State for the first time since she was eleven, determined to make a record of their history. As she explores the sprawling house and its surroundings, the dark and tragic story of her extended family unfolds.

Review: Games in this genre aren't for everyone, that's for sure. Critics tend to call them "walking simulators", seeing as that's what you spend most of your time doing in them. I prefer to call them interactive stories. You don't need extravagant action in a game to tell a fantastic story, and that's exactly what Edith Finch does. If you're familiar with other games in this genre like Gone Home or Everybody's Gone To The Rapture you'll know what I'm talking about.

In fairness, the concept of the game is a simple one: using the analogue sticks to move around and one trigger button to interact with highlighted objects, all the player has to do is move Edith through the Finch home, listening to her narration and interacting with the objects to trigger stories about individual family members. There are no real puzzles to solve, no danger to face. But the story is so enthralling, the environment so fascinating, that the simple nature of the game doesn't matter.

When the game begins the player learns very little from Edith: all we know is that her mother took her away from the house when she was eleven after the death of her older brother Lewis, and she hasn't returned since. Her mother has recently died and bequeathed her a key, which Edith hopes will unlock the front door to the house (it doesn't). And that's it. The real story unfolds as the player explores the fabulously-designed Finch house and its surroundings, and finds objects that unlock the history of Edith's extended family, which she scribbles down in her notebook:

And what a tragic history it is. The Finches, we learn, are one of the unluckiest (and perhaps oddest) families created, with nearly all of them having died in sad and unfortunate circumstances, at various ages. Each bedroom in the eccentric house is a shrine to its lost family member, the doors all sealed previously by Edith's mother. The key Edith received, it transpires, unlocks the entrance to a series of secret passageways linking the bedrooms which allow the player to access them and find the object that unlocks that family member's history.

These moments are the standout of the game. On finding one of the objects, the player is transported into the memory of that family member's last moments of life as they (or sometimes Edith) narrate. Some of these take the form of a character moving around normally, but others are incredibly original: reading the last diary entry of Molly Finch, for example, who died at age ten, she describes herself transforming into various different animals which the player also experiences - at one moment you're a cat stalking a bird through the trees outside the house, the next you're an owl gliding through the air before swooping down to kill a rabbit - until finally you become a tentacled monster devouring human beings on a boat. An odd and unsual experience, until you realise what you're playing is the hallucination Molly experienced before she died of poisioning from eating household substances. All of these moments are tragic. Some are oddly beautiful, while some (like controlling young Gregory Finch, who drowns in a bathtub at age two) are incredibly dark.

Even if you think you might find the darkness off-putting, it's such a captivating story and such a rewarding experience to explore the Finch house that I assure you, you'll want to play. It's a beautiful looking game, with clever uses of sound and incidental music. It isn't long - if you take your time, the story can be run through in around two to three hours - but it's a unique experience.

Rating: 4 out of 5 stars
A simple game that tells a story that's both sad and beautiful, using some very clever and original moments of gameplay. This is well worth your attention. 
 

Film Review: Dunkirk (2017)

We will fight them on the beaches . . .

Dunkirk (12A)

Starring: Fionn Whitehead, Mark Rylance, Tom Hardy

Director: Christopher Nolan

The Plot: A dramatisation of real-life events from the Second World War. Allied forces of Britain, France and Belgium have been beaten back to the coastal city of Dunkirk and surrounded. Outnumbered, with little air support and their naval forces being decimated, a desperate call goes out for British civilian vessels to cross the Channel and evacuate their soldiers.

Review: At this point in time a new film from Christopher Nolan is always a big event. The director has produced such a fantastic body of work that his name has become pretty synonymous with quality, so expectations were high for a film from him dealing with WWII. I'm pleased to report that all expectations have been met - this is a fantastic, gripping film that's worthy of the praise that's being heaped upon it. But, for me, it wasn't quite perfect.

The film is split between three different story threads: in one we follow Tommy (Whitehead), a British soldier at Dunkirk who desperately tries any and all methods to get himself onto one of the navy ships heading home but finds himself constantly thwarted. In another we follow Mr Dawson (Rylance), an older civilian who, along with his son, takes his boat on a perilous trip across the Channel to help. In the third thread we follow Farrier (Hardy), a Spitfire pilot headed across the Channel engaging any German planes he encounters. What's interesting is how these three threads intertwine, with each one taking place over a different period of time: Tommy's a week, Mr Dawson's a day, and Farrier's just an hour. It's not until later in the film when the characters begin to cross paths that this becomes more obvious and effective, and it was a fantastic choice in terms of pacing.   

The performances are something of a mixed bag. The three leads are all very good; Whitehead, as Tommy, is a character that felt shifty - despite him being a British soldier, it's hard to get behind him given some of the questionable choices he makes, and he puts in the right mix of despair and dirt. Rylance gives a diginified performance as Mr Dawson, a quiet character but a real beacon of strength to others, but for me Hardy gives the best performance as Farrier, despite spending a great deal of time hidden behind a mask (again!). He remains cool and composed even as his loses comrades and his own plane is damaged, and for most of his screen time it's only his eyes and voice that portray his determination. This guy is just fucking cool. The minor characters is where I felt let down: as a naval commander, Kenneth Branagh isn't really given much to do except stand on a pier and look worried, something he could do in his sleep. I wasn't very impressed with Cillian Murphy (who is usually excellent) as the shellshocked soldier that Mr Dawson rescues, there was just something about him that didn't work for me that's hard to put into words, and the actor who plays the young lad George that tags along with Mr Dawson was just plain awful.

An interesting decision that Nolan must have made for the film is the violence, or rather, the lack of it. That's not to say there aren't action sequences - there are - but there's very little graphic shots of death and destruction and that's reflected in the 12A rating here in the UK. For example, we see soldiers on the beach being strafed by machine guns from German planes, and it almost feels like they do nothing as we don't see soliders being killed by it. I'm not saying that the film suffers badly for it, as all of the death visible is still emotional and effective, but we're used to films not shying away from the real horror of war and I had expected this to be a 15 rating and more bloody as this would have had more impact for me. However, on the flipside of this, I felt the physical destruction on display (such as boats sinking) was much more realistic than other Hollywood fare that revels in huge explosions, which is to the film's credit.

The film's greatest strength, for me, is the cinematography, which is absolutely stunning. Nolan has always been a very visual director, and his collaboration here with DoP Hoyte Van Hoytema  has produced one of the best looking films I've seen all year, which is something when you consider the bleak subject matter of the story. There are some particularly wonderful shots: the opening sequence as a squad of British soldiers walks through the silent streets of Dunkirk, German propaganda posters fluttering down on to them from above; the lone soldier sitting huddled on the hull of his sunken ship as Mr Dawson approaches; Kenneth Branagh watching helplessly as a medical ship full of wounded is torpedoed and sinks, the screams of those trapped inside audible as it goes down. A special mention must go to the aerial sequences featuring the Spitfires, which are breathtaking. The final tracking shot of Farrier's plane as he glides silently over the beach of Dunkirk, his engine out, is spectacular.

Rating: 4 out of 5 stars

This isn't a long film, clocking in at an hour and forty five minutes, but it's completely gripping from beginning to end. Despite a somewhat neutered depiction of the violence of war and some uneven performances from minor characters, this is a fantastic film and another hit from Christopher Nolan. Highly recommended.  

Film Review: The Beguiled (2017)

Vengeful bitches . . .

The Beguiled (15)

Starring: Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning

Director: Sofia Coppola

The Plot: Virginia, 1864. As the American Civil War rages nearby, Miss Martha (Kidman) runs a seminary school for young ladies. When one of her students discovers wounded Union soldier Corporal McBurney (Farrell) in the woods, Miss Martha takes him in rather than hand him over to Confederate forces. As he convalesces, the presence of the handsome soldier begins to have a noticeable effect on the ladies, particularly Edwina (Dunst) and Alicia (Fanning), leading to a dangerous atmosphere of jealousy and betrayal.

Review: Before I begin, I have to hold my hands up and say that I'm a big fan of Sofia Coppola. If you ask a lot of film fans what their favourite of all time is, many of them will find it very difficult to pick one. I don't - mine is The Virgin Suicides, Coppola's directorial debut from 1999. When you look at her body of work (which includes the fantastic Lost in Translation) I would argue that the only real "miss" is 2006's Marie Antoinette. I've been eagerly awaiting The Beguiled since I first learned about it, and as a fan of Coppola, I wasn't disappointed.

This is a slow-burning film in every sense of the phrase, despite it's relatively short running time. The pacing throughout is calm, the build to the drama at it's conclusion is gradual, and the action, when it comes, is itself more about threat than actual violence. I've read reviews of the film criticising it for not having a more dramatic ending to shake up up the sedate pace, but I don't think they quite get it. This is a quiet, ordered world that the women live in, and when danger threatens that world, they respond in the only way that they know how to. I thought it was very fitting that when faced with McBurney's anger and the barrel of a gun, it's their knowledge and intellect (albeit driven by fear) that allows them to resolve the situation, rather than trying to match his physicality.

The film is beautiful to look at, right from the opening shot of one of the younger girls walking down a wide road lined with huge trees covered in hanging moss. The exteriors are gorgeous, sun-dappled shots, the sleepy nature of the location occasionally shattered by the distant thundering of artillery. The interiors, in contrast, are dark and gloomy, and Coppola's choice of a widescreen format makes things feel more cramped when we're indoors. It's a fantastic evocation of time and place, from the location and costuming to the ladies activities - they spend their days alternating between learning what society expected of them at the time (sewing, music, singing, for example) and keeping a lookout for enemy soldiers with a spyglass from the balcony. It makes it all the more understandable why some of them begin to act the way they do when McBurney arrives.

Of the cast, Kidman and Farrell are given the most screen time. Kidman offers a balanced performance as Miss Martha; she's strict and protective of her charges, and the most practical of the women (being the one to treat McBurney's wound and, later on, amputate his leg), but she too is vulnerable to his charms. As loyal Southern ladies she knows their duty is to turn the enemy soldier over to the Confederates, but she chooses not to - her insistence that "Christian charity" is the reason for doing so quickly becomes doubtful as she becomes more taken with their guest, and we sense her uncertainty. Farrell, unleashing his full Irish brogue, is also balanced as the wounded McBurnley, alternating between humble and explosive ("You vengeful bitches!"). He's clearly manipulative with each of the women and begins sowing discord between them, and he feels the amputation to his leg is their revenge for his actions, but it's left to the audience to decide how much of a villain he really is, and whether he gets what he deserves.

Elle Fanning's character Alicia can only be described as horny, a teenager unaccustomed to the presence of men but with no qualms about persuing what she wants, no matter the consequences. The direct opposite to this is Kirsten Dunst's Edwina, who in my opinion gives the best performance of the film. Edwina is quiet, introverted and desperately unhappy, something that she doesn't reveal until McBurney disarms her with a declaration of love. We sympathise with her and why she attaches herself to him, despite his actions in the third act, and it's her that we feel for when the dust finally settles.

Coppola picked up the Best Director prize at Cannes for The Beguiled, and I think it was well-deserved. This isn't the first film to adapt the novel by Thomas Cullinan - a 1971 version exists featuring Clint Eastwood - but through her lens (and script) the film very much becomes about the women rather than soldier, despite Farrell getting top billing. It's a study of how quickly women can turn on each other, but also how quickly they can forgive and rally together when threatened. It's fitting, I feel, that it's the youngest member of the ladies who suggests the deadly solution to their problem at the end.

Rating: 4 out of 5 stars
A dark, erotically-charged thriller that's beautifully shot. If you go in expecting a grand scale of drama you'll be disappointed, but if you appriecate a slow-burn that's done well then this film is for you. In my opinion this is another feather for Sofia Coppola to add to her cap and a reminder that she's one of the best female directors active today.

Film Review: Spider-Man: Homecoming (2017)

The Amazing . . .

Spider-Man: Homecoming (12A)

Starring: Tom Holland, Michael Keaton, Robert Downey Jr.

Director: Jon Watts

The Plot: After his dramatic introduction in Civil War, 15 year-old Peter Parker (Holland) is desperate to prove that he's ready for Spider-Man to step up and join the Avengers. His mentor Tony Stark (Downey Jr.), on the other hand, doesn't think he's ready yet, and wants him to work his way up slowly. This proves difficult for Peter when he discovers that local businessman Adrian Toomes (Michael Keaton) is selling salvaged alien weapons to criminals, and becomes determined to stop him . . . all the while trying to keep his identity as Spider-Man a secret and figure out how to ask his crush on a date.

Review: "Homecoming" is a very apt subtitle for this film. Yes, it does contain a homecoming dance which Peter attends and significant events happen at it, but this is all about Spider-Man coming back to Marvel Studios and the Marvel Cinematic Universe, where he belongs. It's a joint production with Sony, who retain the theatrical rights to the character, but from this point on all Spidey films will take place in the MCU with the full creative control of Marvel Studios, and when it produces films of this quality you realise why fans have been so excited for this. This is phenomenal.

(Spider-Man has always been my favourite superhero, so I was particularly thrilled back when the Sony/Marvel collaboration was announced in the run-up to Civil War. When I was a kid I had Spider-Man wallpaper, curtains, a duvet cover, you name it. It's pretty ironic considering I'm extremely arachnophobic and freak the fuck out whenever I see a spider.) 

With no offence to the previous Spider-Man films, this is without a doubt the best depiction of the character we've had on the big screen. MS absolutely nails every aspect of Spidey here, but also seamlessly weaves him into the MCU as well. It just feels right, like he's been there all along and waiting for the right moment to emerge - something that works given the smart decision to not only make him a teenager, as he was in the comics when he first gained his powers, but to also do away with his origin story. Marvel knows that we, the audience, know it off by heart by now - we know what his powers are, we know how he got them, and we're comfortable with him being comfortable with them. While Peter has moments where he's endearingly clumsy, these, like the mentions of his origins, are few and far between. While the film has many spectacular action sequences, this is more about who he is, rather than what he can do.

It's impossible to talk about the character without talking about the performance from Tom Holland, who does a fantastic job and proves that he can carry an entire film. He doesn't just look the part (Holland is 21, but is convincingly fresh-faced enough to pass for 15) but captures the essence of Peter (and in turn, Spidey) perfectly - this is a teenage boy dealing with all the social problems that entails, who just so happens to have gained super powers. As Peter he's a quintessential nerd, enthralled by the tech of his new suit, low on the social chain (referred to as "Penis Parker" by Flash Thompson), and unsure how to approach his crush Liz. He's a local boy - with the exception of a brief excusion to Washington DC, the film takes place almost entirely in New York City, particularly Queens. As Spidey he's confident and wise-cracking, but not arrogant, which is important. We can sympathise with him when he does the one thing that Tony tells him not to, which is get involved with the big stuff. Peter, like most teenagers, feels like no-one is listening to him (literally, at some points) and when he sees a danger he feels he has the power to stop, he acts.

He's also very, very funny. The whole film is packed with jokes and gags, which is exactly the kind of tone we were looking for. A lot of them come from Peter's suit which, after he removes the "training wheels" restriction that Tony has installed, he discovers not only has much more tech built into it but also a fully-fledged A.I. which he christens Karen (after "Suit Lady").  His interactions with the suit are hilarious and verge on the adorable, as he begins to confide his feelings and worries to it as if it were a real person. This leads to one of the film's best jokes where, after saving Liz from a falling elevator, Peter (as Spidey) dangles upside-down in front of her. "This is your chance Peter," Karen the A.I. says in his ear. "Kiss her." It's incredibly funny and a nice little nod to the infamous kiss scene from 2002's Spider-Man.

A lot of the promotion of the film has focused on Iron Man's inclusion. Tony Stark has an important role to play in the film but he's used sparingly, and I for one was pleased with this approach, as his absence for notable chunks of the story further increases our sympathy with how Peter feels. Tony is not only his mentor and supplier of his amazing new suit, but he's also something of a father-figure to him (an extremely effective plot thread that I hope will be explored more in future films), so we get why Peter is so frustrated that the man who saw so much potential in him now wants him to play it safe and ignores his warnings about the danger Toomes presents. RDJ could play Tony Stark in his sleep these days, as he's made the role completely his own, but he's not phoning it in here at all. There's a particularly good scene which was used in the various trailers for the film where, after the attack on the ferry boat, Tony angrily dresses-down Peter and tells him "If you're nothing without the suit, then you shouldn't have it." You get a real sense that behind the bravado of the character Tony genuinely cares about this kid, and he's speaking from experience - in the events of Iron Man 3 he had to prove it wasn't just his fabulous technology that makes him Iron Man. 

No superhero film is complete without a good villain, and Michael Keaton knocks it out of the park as Adrian Toomes, a.k.a. The Vulture, although I don't think I actually heard him referred to by that name once. In the comics Toomes was an elderly man whose motivation was to stay alive; this version is considerably younger and driven by an anger at those he sees as above him (the government, the Avengers) taking away his business and the ability to provide for his family. It's a believable anger, but one that proves to be flawed as, when he's revealed to be Liz's father (a very nice plot twist and way for Peter's identity as Spider-Man to be exposed), we know that his family are now living comfortably, so his claims that everything he's doing is for them are bullshit. It's become about power for him and sticking it to "The Man", and Keaton turns in a menacing performance that's left open for a return.     

The supporting cast flesh out the film nicely. It's great to see Jon Favreau return as Happy Hogan, offering his trademark dry performance as Happy has now been assigned to monitor Peter for Tony, much to his chagrin. Jacob Batalon brings warmth and humour as Peter's best-friend Ned, who learns of Peter's identity as Spidey early on and is incapable of dealing with his excitement about it. Marisa Tomei, as Aunt May, is used sparingly in the film (like RDJ) but her rappor with Peter is obvious and the joke about how hot she is runs throughout. Fans will be pleased to see Donald Glover make an appearance as a small-time criminal that Spidey attempts to interrogate, with hilarious results, and also a brief mention should be given to Laura Harrier who, as Liz, is given quite an important role to play as the object of Peter's affections here. She isn't given that much to work with, but their scenes together are adorable.

Now, there's one character I haven't mentioned so far and it brings me on to something I need to talk about. There are a number of things that Marvel have changed for this new version of Spider-Man, and I can totally see purists not being happy about them. I've already briefly mentioned Flash Thompson earlier - he's still the source of Peter's ridicule at school, but he's no longer the stereotypical jock and instead a rich-kid member of Peter's mathematics club. As we've skipped over the origin story there's no Uncle Ben (Peter briefly mentions the "hard time" May has been going through), and because of that the film lacks the great mantra of "With great power, there must also come great responsibility." This is very imporant, as it's the code Peter lives his life by, as given to him by Uncle Ben. The closest we come to it is the earlier-mentioned scene of Tony and the importance of being more than the suit, which I personally found fine and works really well, but I hope the classic theme of responsibility will be explored in a future film. I was fine with all of the changes made, in all honesty, except for one:

Ah, Mary-Jane Watson. The stuff dreams are made of. Well, maybe just mine, being a very big fan of redheads. There is an MJ in this film, but she's not who you think. She's not even called Mary-Jane. Instead she's Michelle, played by Zendaya. I need to be very careful here and stress that it's not the casting I'm unhappy with, or her appearance, or her peformance - she's really good, and really funny. The character of Michelle is something of an outcast, a very sarcastic member of Peter's mathematics club (along with Ned, Liz and Flash) who seems to be taking an altogether too obvious interest in Peter, much to his complete ignorance. But this isn't Mary-Jane, despite her reveal at the end of the film that "My friends call me MJ." Mary-Jane was and always has been the ultimate girl-next-door, high up on the social scale and completely out of Peter's league. I'm all for change when it makes something fresh and interesting, but they've changed the character completely here and I don't like it. And not just because she's not a redhead anymore, honest.

But let's not end on a bum note, as my unhappiness with MJ in no way affected my enjoyment of this utterly fantastic film. This was a statement of intent from Marvel, showing that when they're given the reigns to their poster character, they can deliver him into the MCU in spectacular fashion. Visually stunning, full of heart, humour and action, this is the best Spider-Man film to date and, quite possibly, one of the best MCU films so far. I can't wait to see more of this version of Spidey and see where Marvel take him in the future.

Rating: 5 out of 5 stars
The future is bright for Spider-Man and the MCU, based on this film. With an appearance in Avengers: Infinity War and more stand-alone films planned as part of Marvel's "Phase 3" of MCU films, there's a great deal more to come.

Film Review: Baby Driver (2017)

Hit it . . .

Baby Driver (15)

Starring: Ansel Elgort, Lily James, Kevin Spacey, Jon Hamm, Jamie Foxx

Director: Edgar Wright

The Plot: Baby (Elgort) is an outstanding young getaway driver working for crime boss Doc (Spacey), to whom he owes a debt. Suffering from tinnitus due to a childhood accident, Baby listens to music constantly to drown out the sound. When he meets waitress Debora (James) he falls instantly in love and sees a way out of the life of crime, but Doc is not so willing to let him go and insists on one final job that may prove deadly . . .

Review: Films like this are why I go to the cinema. After a string of recent big-screen disappointments, it's wonderful to have a film arrive that's so original, so well-made and so fucking cool. Now, from my run-down of the plot you may be thinking original, really? It just sounds like a heist movie. Well, yes, but it's so much more than that. It's a heist movie, but it's also a musical, and a romance, and a comedy, and even has touches of a thriller. I haven't seen a film blend so many different genres, and blend them well, for a long time.

Let's start with the music, because it plays such an important part of this film. There's barely a scene where music isn't playing or isn't audible. The volume fades and rises as Baby takes off his earbuds then puts them back on again. Characters discuss music and sing along to songs (but not break into song, it's not a musical in the traditional sense). Entire scenes are written around and choreographed to specific songs - the most notable being the film's opening chase sequence, which is set to "Bellbottoms" by The John Spencer Blues Explosion and is something director Edgar Wright has been trying to get onto the big screen for years. The music in this film is a device that works incredibly well - we as the audience are being taken into Baby's world, and Baby's world revolves around music. It's his coping method not only for his medical condition but also for the trauma of the childhood accident that he's still trying to deal with, and as he's a character of not many words, it's the music that helps us to understand him. The soundtrack itself is also fantastic, an eclectic mix of tracks that span two CD's which I highly recommend.

Wright has assembled a fantastic ensemble cast here. Now, if you were aware of Ansel Elgort from The Fault In Our Stars and the Divergent series, you may be wondering if can he pull off a character like Baby? Well, I'm happy to report that he can. With his shades, headphones and quiet demeanor he's almost effortlessly cool. There's something inherently likeable about Baby - behind the wheel he's all-business, but beyond it he's very much a young man. It's easy to see why the death of his mother still affects him, or why he falls so helplessly for Debora. He's not a complete badass - despite his driving talent, he's uncomfortable around guns and violence, and Elgort nails both sides of the character. He's funny, charming but also vulnerable, which makes it all the more easier to root for him.

Lily James, unfortunately, isn't given as much to work with and it's the one real disappointment of the film for me. There's nothing wrong with her performance - she's great - but her character isn't as fleshed out as the others and suffers for it. Debora is the perfect match for Baby, sharing his love of music and the desire to leave the past behind, but the reasons for that aren't explored very well and as she becomes the most important person in his life, it's a shame that we aren't given more of her backstory. Their chemistry together is great though, so it doesn't spoil the performance, but I do wonder if more scenes with Debora were shot that had to be trimmed out.

Kevin Spacey is on typically fine form as Doc, the mastermind of the heists to whom Baby is bound. There's a rhyming quality to his dialogue and he has some of the best lines in them film (he introduces one new member of the crew with "He puts the Asian in home invasion"), and while he defends Baby there's also a sense of menace to him - it's up to the audience to decide if he's the villain here or not. John Hamm is clearly having a whale of a time as Buddy who, paired with Eliza Gonzalez's Darling, make up the Bonnie and Clyde element of Doc's crew, although it doesn't take long to see through their bravado. Jamie Foxx rounds out the crew as Bats, the most menacing of the bunch although not quite living up to the "crazy" reputation of his character. All of the actors bounce off each other well and some of the best dialogue and laughs comes from the scenes where they're together.

Given the nature of the film you'd expect some serious car chases, and Baby Driver delivers in spades. From the opening sequence as Baby tears around the city in a Subaru to the final one within the confines of a car park, we're treated to some of the finest chase sequences I've seen in a film since Drive. Kudos to the stunt drivers who worked on it, as this is thrilling stuff. It's a beautifully shot film - we've already seen from his previous films that Wright has a fine eye and it continues here.

Baby Driver has been a labour of love for Edgar Wright. It's taken him many years to get it made, and I'm so glad that he did as this is his best work to date. There wasn't a moment during this film where I wasn't grinning, laughing, tapping my foot, nodding my head or (quietly for the sake of my fellow cinema patrons) yelling out, or a combination of the above. It's exciting, it's funny, it's tense, and there's a real heart to it as well. Above all, it's just incredibly cool. I loved it!

Rating: 5 out of 5 stars
A strong contender for the best film I've seen this year. Thrilling car chases, great performances, laughs, romance, and one of the best soundtracks (and uses of a soundtrack) you'll find in any film. One of the coolest films I've ever seen - go and see it right now.