evel1971 Reviews

Empire of Light (2022)

A Mendes love letter.

[8/10 · 11 February 2023]

If the first act is to introduce the characters of the piece, then the clear implication is that the main character in this is the Empire cinema.

And rightly so. I'm of an age to remember this style of movie theatre. My heart rang at every beautiful angle, every period touch. That first act could have been compiled by the extraordinarily thorough Kubrick.

Then we turn to the trouble of the piece. The early 80s have more than a slight resemblance to the Britain we live in today. So, an important ringing of a bell.

Perhaps if I weren't so invested in the cinema, or the social politics of this country, I wouldn't find so much in it. But it's had my heart pounding since the tenth minute, so I loved it.

Living (2022)

Get busy living.

[8/10 · 27 November 2022]

Before watching this, I have often thought of Brief Encounter as the quintessential film on English repression.

I have to add this. And it (openly, honestly) echoes the Lean classic in other ways, including a piano classical piece alongside steam engine imagery in the first act.

And what a lead performance. I've never been blown away by Nighy before. This is incredible. Every crushing moment, every unspoken word, every flinch. I was right there with him.

The closing imagery is beyond beautiful. And stay for the credits, with a beautiful rendition of a song that features in the story (and breaks your heart).

If you ever feel untethered, purposeless, this may mean an awful lot to you. It does to me.

Run Sweetheart Run (2020)

Accomplished thriller/horror

[8/10 · 29 October 2022]

Emphasis on the former.

While the message may be a little on the nose, it's perhaps necessary in the world at the moment.

There's some accomplished filmmaking here by Shana Feste though. The fourth wall work is inspired, essentially editting what we do not *need* to see and therefore enforcing the point of the film in one fell swoop.

And dealing with menstruation this ... boldly is also surely of great value. Sad it needs to be but that's again where the piece shows its worth.

Epla Balinska and Pilou Asbaek are ripe for their respective roles. Watch as the latter halts you from encroaching on his 'work'.

If I had a teenage daughter old enough to see it, I'd be showing her this film.

Them (2021– )

Vital viewing.

[8/10 · 26 April 2021]

A cast so talented and a story so efficient.

What's perhaps the greatest achievement here is chronicling the various ways that social injustice has infected our lives, years and years after slavery apparently ended.

War, religion, consumerism (the hideously misplaced frustration over the lawn mower!) and even the license serial killers feel because a society that says certain people are of less worth in our world.

Incredible. Efficient. Jawdropping.

Tenet (2020)

Visually stunning but messy.

[6/10 · 30 August 2020]

And perhaps that explains the persistence of releasing it when nothing else is out at the moment. Nolan is an exceptional talent but this is a dud, albeit a beautiful dud.

The Old Guard (2020)

Better than it needs to be.

[7/10 · 11 July 2020]

Not a great film by any means but fun.

Telegrahed at times and a bit clunky - but a good story and an excellent cast pull it through.

The Professor and the Madman (2019)

Simply a great drama, well acted.

[9/10 · 29 March 2020]

There is a film now and again which is routinely snubbed by those that 'know' but not those that go.

While this is no Shawshank, it's not a million miles away.

Gibson and Penn (and Marsan) are magnificent. The story needs telling.

I would urge The Interested (those of interested minds) to see this. It's simply a great drama, well acted.

Uncut Gems (2019)

Masterful filmmaking, incredible lead.

[9/10 · 1 February 2020]

You know the real value in a movie and an actor when you are truly enveloped in the character in the opening few minutes of meeting them.

Sandler does that here.

It is a remarkable film. Truly.

Black Christmas (2019)

Great idea. Unsure about the execution.

[5/10 · 15 December 2019]

If you know the original, this isn't a remake. It's a reimagining. A good idea too but the paranormal angle loses things.

Watch/rewatch the 1974 slasher.

6 Underground (2019)

More style than substance but WHAT style!

[7/10 · 14 December 2019]

Dialogue that could be from any X-Force project and little in the way of a story but whip-smart funnies and excellent action.

Pure popcorn fun.

Terminator: Dark Fate (2019)

2, 1, 5, 4, 6, 3.

[4/10 · 26 October 2019]

And I couldn't split 3 and 6 easily.

Clunky dialogue that's supposed to be ironic

Contradicted abilities.

Good effects, largely (there are some turn of the century howlers).

Avoid.

Joker (I) (2019)

It's so much more than a character study.

[10/10 · 5 October 2019]

There is a danger to this film.

An origin story, sure. But a warning about how society, friends and family can slowly wear away at a person - and how there's no time taken by anyone to understand anyone who is struggling, is different, who's 'failing'.

Like driving and parenting, those who are poor at these things, seldom realise just how bad they are. With social responsibility and awareness, people are just the same. Everyone thinks they're good. Posted that suicide awareness meme? Tick. I'm a solid human being. Then post a video of that weirdo on the bus.

The film has divided many. I suspect that those who've not enjoyed it are those with little empathy or those lucky enough not to have an ignored struggle to cope with. Certainly not adrift from society, or failing to 'achieve' (urgh). It's quite likely the film's closing line was a predictor of those reactions. I was the only one laughing at this and a few other moments.

Phoenix cuts through his character's psyche here more than Joker does any victim. He breathes and cries loneliness. There are several moments which openly show his struggle to join in with a world he doesn't fit into. He waltzes through these and more, pulling you on-side and deeper and deeper. And I felt it. Very much.

And that's where it could be dangerous. A potential call to arms.

But above all, it's a remarkably engrossing piece, linking as much with King Of Comedy as with the Batman story. Drawing the links between the two worlds into focus too, and forcing us to question our ignorance and to challenge known truths.

Phoenix will win Best Actor for this. Rightly so.

Brightburn (2019)

Jonathan and Martha just lucked out.

[8/10 · 19 June 2019]

You can have a child with even less than working parts and half-decent aim.

And that never was enough to make a parent anyway.

A nice, neat, funny half-horror piece, warning against the presumption that you are capable in that field.

An excellent lead, superb support from all corners and a nice teen symbol motiff, even seen in Brandon's blanket.

If you're sensitive to eye trauma, be wary.

Arctic (2018)

Mikkelsen's power on show in this (largely) silent movie.

[8/10 · 20 April 2019]

Stranded and fighting for survival is now a fairly common theme in cinema.

Cast Away, with Hanks rinsing the public again and All Is Lost with the commendable Redford come to mind.

However, this piece is more intrusive somehow, Mikkelsen more on show, in terms of his fragility and his steel.

I had a closer feel of Touching The Void, more than the two films mentioned above.

Mikkelsen is one of the greatest actors of his generation. Watch this and The Hunt for stark evidence.

The Silence (II) (2019)

An expert tension piece.

[8/10 · 13 April 2019]

There's a type of movie that pulls you forward in the seat, that has your mouth open for large parts and has you mimicking the characters in their behaviour - you're that invested.

This is one of those films.

Aside from that, it shrugs off a couple of standard horror tropes within the first half hour, has Spielberg style pull-out shots and a creature with real character.

I have no idea how the ratings for this aren't all 8+.

Watch out for the outstanding posture mirroring by the reverend, of the creatures. Just wonderful.

Us (II) (2019)

Jeremiah 11:11

[8/10 · 23 March 2019]

Probably one of the more important films in recent years, in terms of social commentary.

I would say I'm biased. Horror is my favourite genre and social progress is important to me.

Horror is often used as a vehicle for criticism of society but this film touches deep.

The film keeps up traditional horror tropes. There are a lot of laughs, and you are immediately dragged into an endearing family, thanks to the amiable father.

Peele then takes you to thoughts that (I hope) are a deliberate diversion, just to set up a turn later. If it is indeed deliberate, it's inspired.

All four main actors ('eight'!?!) are superb. Really drawing you in and keeping a divide you never doubt.

As for the commentary, I suspect we're looking at a criticism of consumerism/ wage slavery and the brash, polished veneer that goes along with the great virtue of success. Hollow, hollow, hollow.

There's a challenge or two for the viewer too. I consider this a spoiler but, at the start, we are with our main character who (as a child) she's invited to look at herself in a hall of mirrors. We're meant to do the same after the credit roll, I believe.

Im still spinning. I'm sure that's the idea.

Fahrenheit 11/9 (2018)

A documentary that should unite all, for democracy and vigilance.

[8/10 · 1 January 2019]

A friend of mine believed for a long time that the majority of Americans are pro-gun, war-happy, MAGAs. I've taken a good few years to show her many aspects of American culture that show that isn't the case at all. It's more nuanced than that, of course.

I should have saved my time and had her watch this when it came out.

People and corporations interested in keeping the status quo (the Establishment) are eager to rubbish any voice that challenges progress and change. If you think of it that way, perhaps it's always wisest to first at least listen to anyone who proposes change, for to understand what they think will be actions for the better.

You may not agree with them, but at least you listened to the possibility of something better and understand others' views. I'm sure most people are reasonable enough to know this already. Because by listening to other arguments, your argument would be better understood and you've engaged more effectively.

Now, here's the legacy of Mr Moore. He's now made a series of films over the last 30 years, which will at the very least be an important document in the history of (not only America) but the post-Cold War Western World,

In this particular film, he challenges the current administration but also the previous President (yes, OBAMA), the democratic process of the Democratic party, Flint water, gun use and more.

But that's the point with Moore. He does not just hit the right. The Right will tell you that's all he does. The MAJORITY of this documentary (and his back catalogue) is a swipe to all and sundry who do not represent democracy, wherever they may be on the political spectrum. And there's a healthy criticism of P44, not just P45.

Yes, he's clearly an humanitarian and liberal. However, to ignore watching this for the wrong reasons makes one a sucker to the status quo, the Establishment. And there's a good point - if you truly believe the Establishment is in need of special attention ('drain the swamp'), then why would you ignore such a piece? It's simply a call to vigilance.

It's also not a miserable piece. Like all of his films, there's humour in there. There's self-deprecation in there. There's positivity in there too - he talks a lot about the youth being increasingly interested in politics.

Of course, there are things to learn here too. The biggest fact for me was an explanation of how Trump came to run in the first place. I didn't know the reason behind it until today and it explains an awful lot.

Perhaps most poignantly of all, the end credit roll with K'naan singing the Dylan Song With God On Our Side. Again, spiriting the call for unity - we all think we're on the right side.