I had serious reservations about a Blade Runner sequel which you can read about here, but to summarise; I didn’t think it was possible for a sequel to exist without diminishing the effectiveness of the original.
Oh how wrong I was.
Once again Shane Black proves to be a dab hand at both penning scripts and shooting flicks. The Nice Guys is a bright and colourful buddy comedy that wades through some dark themes but still comes out smelling of roses.
A surprisingly underwhelming horror, IT almost redeems itself by being an enjoyable coming-of-age film. Almost.
Just when you think you know what you’re in for, Drive shifts gear on you and gives you something completely unexpected. Something you didn’t even know you wanted. Something better. Here is a super-stylised visual treat from Nicolas Winding Refn, the same director who turned Tom Hardy into Bronson.
A sub-standard slasher flick that spends more time admiring its unnecessary poker metaphors than it does developing characters.
Director Ruben Fleischer once again teams up with Jesse Eisenberg, the star of his previous film Zombieland, for 30 Minutes or Less. The outcome of this partnership is an amusingly farcical thriller that doesn’t outstay its welcome.
The original Tron was, for its time, a visually groundbreaking film. Embracing the arcade gaming culture of the early ’80s, it was a colourful, highly original visual feast. It was a love letter to the computer generation and it made no apologies for that.
But it hasn’t aged well. Not at all.
Time is cruel. It marches forward mercilessly, forcing us to grow older and more withered but not necessarily wiser.
Well, at least not in my case anyway.
Dripping with both style and blood, Lucky Number Slevin is a super cool but surprisingly violent crime caper that takes great pleasure in wrong-footing the audience.
A collection of borrowed ideas makes Automata a visually interesting tale, but not a very memorable one.