My Thoughts on A Simple Favour

A Simple Favour is a film that I've been looking forward to for some time. I love Anna Kendrick anyway, and everything I saw about this movie just made me more hyped. A stylish mystery thriller with a comic edge about a missing woman? Sign me up. It's not the most original of premises, but lurking just beneath the surface of this movie are some fantastic twists and turns that really make it stand out. So yeah, I was really excited about this movie, and did it live up to my expectations? Let's find out!

Before I start, don't worry, I'm not going to spoil this one. It is better to go in blind, but I'll try to keep any key reveals hidden.

The plot centres on Stephanie (Anna Kendrick), a widowed vlogger who begins to develop a friendship with Emily (Blake Lively), a stylish and enigmatic woman whose son goes to the same school as Stephanie's. Right off the bat, Emily is an incredibly interesting character. She's a definite mystery, but she's got this frankness that makes her really likable. This offsets Stephanie quite well, who is more wholesome and simpler (on the surface) than Emily is. The film establishes this relationship quickly and effectively, and it's this dynamic that becomes the backbone of the plot. The chemistry between Kendrick and Lively is palpable, and it's this relationship that stays at the centre of everything, even when the movie goes batshit. The way that their arcs gradually intertwine is satisfying and fun to watch, and it leads to a truly electric atmosphere in the climax.

The plot itself is so much fun. It knows that this idea has been done to death, so there's a knowing sense of humour to the whole thing. It's never annoyingly meta, but it plays out like a lovingly crafted tribute to genre staples gone by, and it's so enjoyable as a result. Each twist it brings in warps the story, and though the film gets pretty crazy, it never becomes incoherent. As I said, the relationship between Kendrick and Lively keeps the audience tethered to the plot, and ensures that the film doesn't get lost in its own twistiness. And credit where it's due, because these twists actually feel earned. They aren't there for the sake of it, they actually make sense in the narrative. And when you combine that with the knowing sense of humour, you get a movie that's able to acknowledge it's own ridiculousness, while simultaneously taking itself seriously enough to be coherent. That's a very thin line to walk, but A Simple Favour never goes too far either way. Even when it dives into the psychological underpinnings of its characters, there's a breezy sense of fun to this movie that just works. And when the plot veers into the utterly ridiculous, it kind of knows it, and it's that self awareness that makes it sing. The climax might mean towards being too batshit for some people, but I think it works because the plot is so well structured that the film is just about able to handle all of that craziness when it does come up. It feels like a natural progression, even if it is completely bonkers.

This film is exactly what I needed it to be. It's fun, it's gorgeous to look at and it's intricately plotted with just the right amount of craziness to justify those twists. Yeah, it loses some of that structure in the home stretch, and starts to run in pure madness, but it manages to bring that around to a ln ending that's coherent enough to satisfy. The performances here are electric. Lively and Kendrick have one of the best dynamics I've seen all year, and it's this that fuels the movie. There's so much to their relationship, and unpacking it becomes the fun part. This is done so well that it's actually worth the price of admission in itself. Even when Lively isn't on screen, you feel her presence, and it's her essence that haunts the movie like a high society ghost. It's an interesting edge that undercuts all of the glossy fun, and Paul Feige is skilled enough to balance these aspects, and the result is awesome.

My Thoughts on Set It Up

Romantic comedies are interesting. When they're done well, they can be fantastic. When they aren't done well, they can be borderline unwatchable. In the 2000s, these kind of movies kind of gained a reputation for being.... not very great. But they've actually been making something of a comeback in the last while. Stuff like The Big Sick and Silver Linings Playbook have proved that there's still life in the genre, and if Set It Up is anything to go by, this comeback isn't stopping anytime soon. The latest in a string of solid Netflix originals, Set It Up follows the assistants of two of the most influential people in New York, who decide to get their bosses together in hope of a break. As you'd imagine, it's not going to be that simple.

I'll admit, I didn't really expect too much of this film, but I found myself pleasantly surprised by how good this one was. First of all, the two leads (Glen Powell and Zoey Deutch), are fantastic. They've got incredible chemistry together. They effortlessly trade quips with each other, but when they do start to fall in love, you believe that too. They're an incredibly charming duo, and you definitely want to see them get together. They don't just work great together either. They're both incredibly interesting and charming characters in their own right, too. You believe in both of them, and you root for both of them.

It's not just Powell and Deutch who wow. Lucy Liu and Taye Diggs are superb as the two bosses. Liu brings a surprising amount of depth to what could have been a one dimensional bitch character, and ends up being surprisingly likeable in the process. But it's Diggs who steals the film. He's an unapologetic bastard, and he's huge amounts of fun because of it. This guy is a consistent scene stealer, and his he compensates for a lack of development with delicious, and often hilarious nastiness.

The script is fantastic too. It's sharp, zippy and smart. Any overly sweet moments are balanced by a wonderfully acidic wit, but it's not without genuine moments of heart either. It strikes that balance that romantic comedies need to, by being legitimately sweet and actually funny. This film is big on both heart and laughs, which makes up for the fairly formulaic story. The plot itself isn't revolutionary, but the idea of two people who know enough about their bosses to the expertly influence their relationship is a smart take on the genre. It's still got it's clichés, as well as some very predictable story beats, but it knows how to integrate these things in a way that doesn't feel tiresome, and that's what makes it work. It is self aware, but it's not annoyingly self aware, and it's willing to fully embrace genre clichés when it needs to.

Set It Up is one of the genuine surprises of the year. It's a romantic comedy done superbly. Yeah, it's predictable (you can see that ending from a mile away), and the plot isn't anything mind blowing, but it more than makes up for that. I really cannot stress enough how good Deutch and Powell are here. They're truly wonderful together. It's their relationship that's really at the core of the film, and watching it blossom and develop is a true  privilege. The film nails it's tone, always stopping just short of becoming mush, with one of the best comedy scripts of the year. If there was ever any doubt that the rom-com was making a comeback, Set It Up swoops in to put those doubts to bed.

My Thoughts on American Animals

There's something really special about the heist genre. There's an element or urgency and caution when they're done right that gives the viewer a truly unbeatable thrill. But what if it wasn't just a movie? What if it wasn't just based on a true story, but actually was one? That's where Bart Layton's American Animals comes in. It chronicles the attempted theft of priceless books by four college students. As I (and the film's opening credits) said though, this isn't just based on a true story. It's not a fictionalised account of what happened, it's a docudrama that splices its story with interviews from the real guys, and the people in their lives. American Animals is a really interesting take on the heist movie. It kind of flips what I was saying about the genre on its head. There's a definite thrill to be had here, but it throws the finesse of something like Heat or Rififi out of the window in favour of something a lot more visceral and uncomfortable, but more on that in a bit.

The way the film weaves talking heads with reconstructions is clever and deft. Because this actually happened, there's a grim feeling of reality to the whole thing. Seeing the four guys telling this story is just as thrilling as seeing their fictional counterparts carry out the heist, and that's the film's greatest strength. Layton ensures that you're never distanced from the experience and puts you right in there. He does this by showing you these guys, and have them tell you how it actually happened. Or how it didn't. Each of the guys involved have a different account of how it all went down, and their stories regularly conflict onscreen. That's one of the hallmarks of the film's style, and also gives it a fairly strong sense of humour. Even in the movie's grittier moments, there's fun to be had here. The tone bounces effortlessly between  unbearable tension and undeniable enjoyment, before coming down on the audience like a ton of bricks with that devastating ending.

This is helped by the performances, especially Barry Keoghan as the apprehensive but still morbidly curious Spencer, and Evan Peters as the unpredictable wildcard, Warren. Both of these performances are really impressive, and they do a really good job of portraying how the real Spencer and Warren tell the story. Evan Peters is especially good as Warren. He's got this irrepressible mischief in him, but he's not a bad guy. None of them are. They're just bored. They all just wanted something exciting to happen to them, and none more so than Warren.

That's another thing that makes Layton's approach special. He never tells the audience how to feel about the story, or the guys involved. Instead, he shows you as many dimensions of the four as he can, and trusts you as the viewer to make your own mind up. As the film goes on, you see these guys from every angle, and by the end, it's actually kind of hard not to pity them. Especially when Layton uses the real weight and impact of their crime to really fortify that jawdropping ending.

And speaking of jawdropping. The heist scenes are unbelievable. I mentioned heist movies like Heat and Rififi earlier on, because the idea of heist films is something that really ties into the movie. See, the four guys have a plan, but they're far from professionals. So they learn by watching movies. It's the amateurism of their heist that makes it so riveting. They're completely ready on a purely technical level, but totally unprepared for the traumatic effects that this crime is going to have on them. They quickly realise that their plan to not hurt anyone is kind of impossible, and it's this naivety that ends up doing them in. Watching this unfold is almost unbearable, but it's also impossible to look away from. What's especially effective is seeing how it affected the real guys, and that's what resonates here.

American Animals is a truly excellent film. From first minute to last, Bart Layton's film is a breathless thriller with shockingly real impact. There's no glamour to this one, and it definitely isn't an easy watch, but it's definitely worth it for how heart stoppingly tense the whole thing is. This tension is combined with really hard hitting emotion and a thought provoking style, and the result is truly special. This is heart in mouth stuff, blending documentary style with relentlessly raw direction, and ultimately becomes a thought provoking discussion on morality and consequences. Outstanding.

My Thoughts on Upgrade

If you're anything like me, the mere existence of this film will make you very happy. Leigh Whanell's Upgrade is the kind of movie that we just don't see enough of anymore. The kind of genre fare that we saw a lot of in the early 80s. Think of  Cronenberg, Carpenter, and the first Terminator and you won't be too far off. It's interesting to get something like this now, actually. Not that there isn't a great selection of modern genre films coming out, because there definitely is, but Upgrade just has this lovely retro feel to it that makes it stand out. Essentially it follows a man who becomes paralysed and loses his wife after a brutal attack. Luckily for him, a millionaire that he was fixing a car for has developed technology that will allow him to walk again. He decides to use this to get revenge on the gang that killed his wife, but as you might think, it's not going to be that simple.

In a film where the concept and action are really at the forefront, I really have to applaud the plot of Upgrade. Okay, it's not the most complex thing in the world, but there's some really interesting developments here, especially towards the end. The reveals of what exactly is going on makes for something that's actually pretty unsettling. It does lose some of its madcap fun when it starts implementing these twists, but the ideas behind the reveals are what truly stand out, and compensate for that. It doesn't explore the ideas of moral grey and artificial intelligence as well as it maybe could have done, but the discussion of these things at the end actually works, and gives the film a fairly interesting dark edge as a result.

But hoo boy, let's talk about the action. This is what really makes this one special. There's a real crunch and rip to the fight scenes in Upgrade. The action is visceral and gory and pleasingly insane. When Grey Trace (Logan Marshall Green's fantastically minimalist hero) and Stem (his gloriously violent robot companion) fight, magic happens. The way Grey slides about the room under Stem's influence is just so cool to watch. That, combined with the sheer brutality of some of these fights, makes Upgrade a boatload of fun. It swaps size and CGI for something fresh, and different, and soars because of it. But the weight and the stakes keep this action interesting. One scene where Grey has to drag himself through a building to find help is particularly tense, and there's a great one on one near the climax that reminds us that he may not be as overpowered as we thought.....

The whole look and feel of the thing is fun too. The neo noir style gives Upgrade a distinct feel, and the inclusion of drones and self driving cars give the science fiction some real plausibility. The film feels believable, which is handy for a story that could have been so far fetched. It's far removed from our world, but we still believe in it, and that's what makes good sci-fi world building. It just doesn't feel like anything else that's come out this year. The whole atmosphere melds with the frenzied violence, and they blend together so well.

Upgrade isn't a revolutionary film by any means, but it does feel fresh. It compensates for its relative simplicity by giving us something that we don't really see now. The film is furiously paced and dripping with gore, and as a result, it stands out. Combine that with how well it weaves in its vision of the near future, and you have a winner. If you love genre cinema like I do, it's unmissable. It's crunchy, and fun, and loaded with action. It doesn't do anything especially new, but it draws on genre classics to give us a deliciously retro sci-fi action gorefest, and if that description doesn't excite you, then we probably couldn't be friends. It's definitely not for everyone, but if you like your sci-fi gory, it's not to be missed.

My Thoughts on Blackkklansman

Spike Lee is an interesting guy. Like him or loath him (and I like him), you've got to admit that there's nobody quite like him. Even when his films are bad, they're never boring. There's always something to talk about, and they always start a discussion of some kind (even if that discussion is about how unnecessary an Oldboy remake is). The thing is, there aren't many filmmakers that are this daring, and this brash. So you'd think that with over 30 years in the industry under his belt, Spike Lee would lose his touch

Fat. Chance.

Blackkklansman is one of Spike Lee's best. Ever. I know that I'm supposed to deliver an ultimate verdict on the film at the end, but a film this good and this important cannot be missed. This film is excellent. It's the exact kind of thing we need right now. I generally don't like to get political here, because let's face it, that's not why you're here. That said, regardless of your stance, you have to admit that we're living in politically turbulent times. I'll try not to be too political here, but I will say this. In times like these, a film like this seriously requires the right person for the job. And though Spike Lee's approach has been troublesome in the past, I can't think of anyone who would have been better for this project. His unsubtle ferocity is perfect for something this topical.

For those unaware, the film follows the (true) story of Ron Stallworth, a black police officer going undercover in the KKK. Yep. This actually happened. And although it's a period piece, the plot feels incredibly timely. There's serious relevance to the story, and even from the opening moments, you know that you're watching something truly unique. The plot itself lends itself to not just razor sharp satire, but also some really poignant moments of drama, too. There's some serious heft to some of the scenes in this film, and Spike Lee's brazenness lends them the weight they need. It's definitive proof that Lee hasn't lost his mojo. Even 30 odd years after his debut, Spike Lee still has this incredible power to provoke and shock. What's truly impressive though is how he applies the story to a modern context. Lee never pretends to have all of the answers. He knows that the political landscape is too turbulent to even try. So instead, he does what he's always done. He asks the tough questions, in a way that's honest and direct. That hasn't always worked for him in the past (see Bamboozled), but here, it's perfect. He's not preaching, he's starting a discussion that needs to be had. The result is thought provoking, and truly mesmerising.

And the cast is pretty great too. John David Washington has this really earnest charm to him that makes him incredibly easy to root for. He's a protagonist that you immediately get behind. Adam Diver turns in some of his best work as Stallworth's partner Flip, while Laura Harrier's activist goes way beyond just being a love interest (although the romantic subplot does add some emotional depth to the whole thing), and actually deepens the conflict by offering a different, yet still valid, perspective. But it's Topher Grace who absolutely wows as David Duke, the Grand Wizard of the KKK. He's absolutely unbelievable in this role. He's never a pantomime villain, instead being this real world evil that's all the more sickening because of the reality of it all. He's never over the top, and ends up being so convincing and chilling. He's one of the absolute highlights of the film, fuelling so much of the conflict, and using footage of the real David Duke at the end is another deft application of the film's message to the present day.

But it isn't without it's issues either. Because this is Spike Lee, it should go without saying that the film completely lacks subtlety. As I said before, I do think that this was the right approach, but the film loses some breathing room as a result. The story was done with tact, and the directness of the film works to it's advantage, but when everything in the film is loud enough to be coming out of Radio Raheem's boombox, it can get a little exhausting. The film also has some structural issues, especially with the pacing. It kind of alternates between fast and slow plot progression, and I think it does lose some of its storytelling power as a result.

But these problems really don't matter in a film this explosive and this important. The actual content is pure cinematic dynamite, stronger than anything Spike Lee has put out in some time. But Lee saves the strongest punch for last, using real footage of Charlottesville to make his primary point: America is in trouble. Again, he doesn't claim to have the answers. But that's not what he's doing in Blackkklansman. He isn't providing solutions, he's using his art to start conversations, and hoping that those conversations can lead to somewhere progressive. And I hope they do. Blackkklansman is truly stunning cinema. Put simply, it's one of the most gloriously incendiary films you're likely to see this year. Go see this movie.

My Thoughts on Mission Impossible: Fallout

What did we do to deserve Tom Cruise? Yeah, he's the butt of pretty much every joke, and yeah, he's made some absolute stinkers, but honestly the guy is pretty fantastic. He's what keeps the Mission Impossible series fresh. Big budget blockbuster entertainment tends to have it's issues. I mean there's a lot  of things now that feel like corporate cashgrabs, and often end up mediocre at best and god awful at worst. Refreshingly though, Mission Impossible has kept it's flavour. I think that's down to two factors. First, the director shifts. Going from De Palma to Woo, to Abrams to Bird, and then to McQuarrie has given each one it's own flavour, and even with McQuarrie behind the camera again, it still feels wholly original. The second factor though, is Cruise. Tom Cruise is interesting because he puts so much passion into everything does. True, he has made some transparently money grabbing studio flops, but he's undoubtedly comitted to pretty much everything he's done. Regardless of how you feel about the guy, you've got to respect him, because he seems to care about every film he makes, and that really makes a difference

And he's what makes Mission Impossible: Fallout so excellent. The plot here follows Cruise as Ethan Hawke, tasked with tracking down some missing plutonium before it falls into the wrong hands. It's a fairly simple plot, but it absolutely works in how it facilitates all of the madness of the setpieces. And in a franchise known for insane action scenes, this one goes above and beyond to provide pure action madness. From the Halo jump to the helicopter chase, and every bathroom fight, foot chase, car chase and shootout inbetween, there's some truly jawdropping action here. Also, the plot has real consequences, and that's something that I feel has kind of been missing from movies like this; that feeling that if things go wrong, they're going to stay wrong. Fallout makes you aware of these stakes, so even if you have no connection to any of the characters, you still feel the peril. You're never distant from the danger, because you're always in the danger.

The plot also works in how it develops Ethan as a character. From the start, it's clear that there's more emotion and depth to him this time around, and that's pretty crucial to making us care about his exploits. It's refreshing to have a protagonist that we actually care about, and can become invested in. This investment pays off big time in the scenes of tension, especially in the genuinely suspenseful climax.

Another thing that makes Fallout stand out is the charm. The dialogue is fast and sharp, and any lighter moments really hit the mark. Ving Rhames and Simon Pegg as Luther and Benji are particularly perfect. They bring huge amounts of personality to what easily could have been generic. But it's the little touches in this film, the small pieces of charm and humour that make it work so well. They fit in with the jaw dropping setpieces so damn well, which makes the film incredibly entertaining as a result.

And you know what? I don't really have any issues with this one either. It achieves exactly what it sets out to do, and does it spectacularly. Especially in an age where studios pump out generic franchise fare, Fallout is truly something to behold. It's blockbuster entertainment done right. It's tense, it's funny, it's so fantastically watchable. Every little twist and turn this film takes reminds me why this series was great to begin with, and why it still works 22 years later. It sucks you in, and does not let you go right up until that unbearably tense climax. It's proper investment, and that makes a world of difference. Here's an example of a film that does exactly what it's needs to do, and elevates both it's franchise, and blockbuster cinema, to new heights in the process. God bless Tom Cruise

My Thoughts on Hereditary

Here's a confession: I'm not crazy about The Exorcist. Don't get me wrong, I think it's a fantastic film, and I definitely get the hype, but it's never been one that I've really loved. It's well made, and excellently acted, but it never had the same impact on me as it did on everyone else. So when Hereditary was billed as "this generation's The Exorcist", I was more than a little skeptical. When I saw Hereditary though, I was actually fairly impressed. No, I don't think that the Exorcist comparison fits too well, but more on that later. For now, let's talk about one of the most surprising and spooky films of the year.

Hereditary follows the Graham family after the death of their grandmother. What follows won't be spoiled here, because it does go to some really interesting places, and I think it's best experienced blind. The really interesting thing about Hereditary's plot is that so much of the horror and suspense lies in the trauma of the whole thing. It takes the impact that the grandmother's death had on the family and uses that as a catalyst to unearth all sorts of horrors. The film's real strength is how it uses the characters and their personalities as a link to something really scary, while never quite revealing what that is until the end. The gradual unpeeling of the horror makes Hereditary a very tense watch, and builds this phenomenal atmosphere of dread.

Ari Aster's direction also throws the audience off guard fantastically. The scares here are gradual but masterful, with one scene involving an allergic reaction being a near unbearable watch. But what really frightens are the ideas of trauma and mental illness, which linger long after the credits roll. Especially when the film suggests that these things are passed down through families. That's the truly scary stuff here.

The acting is also a highlight. Toni Collette is unbelievable here, and absolutely sells every moment of this film. She never feels like a horror victim, instead being someone who's genuinely struggling with trauma, grief and.... well, you'll see. She's a tragic character more than anything else, and she always feels human, even when she cranks up the terror and fury later on in the film. But it's not just her. Alex Wolff holds his own fantastically here, which isn't an easy task when Colette is on top form, but he really knocks it out of the park. He's also maybe the most sympathetic character here, and gives the film a really human edge, even during it's truly insane moments. And Milly Shapiro is pretty great here too. She excels at being both very unsettling and quite sad, and plays a huge part in setting up the film's disturbing atmosphere.

And if those three are fantastic, then I'm not quite sure what to say about Gabriel Byrne. I hate to say it, but he's definitely the weak link here. And it isn't that his performance is bad, it's just.... confusing. There were moments that I found his accent slipping, and there was definitely some overacting going on too. Again, he plays a crucial role, and he does act genuinely well, but for every moment that he pulls off perfectly, there's at least three that kind of took me out of the whole thing.

And on the topic of qualms, I have a few with the ending. I'm still not going to spoil it, so don't worry. I love the core ideas of grief here, and I think that they make the film so scary, but by the ending, there's just too much going on. There's a little bit of everything here, and it just feels bloated. Rather than feeling overwhelmingly scary, Hereditary's ending just feels baggy and unnecessary. That's a serious shame when the film had such a great atmosphere and such fantastic ideas. This should be gripping stuff, but it just lost me. And that's a serious shame. Because I wanted to love this one all the way through. It's not even the Exorcist comparison that puts me off, it's just everything that the film was working towards seems squandered on a mish mash of horror tropes.

And on the topic of The Exorcist. This film really isn't anything like it. The Exorcist approaches it's ideas from a spiritual standpoint, while Hereditary focuses on how grief and psychological trauma affect families. Even the way they scare you are totally different, with Hereditary favouring a quiet scare (for the most part), while The Exorcist's scariest moments generally aren't as understated. But also, comparing these films really doesn't do either of them any favours. I get the whole "if you liked this, then you'll love this" thing, but saying that this film is "this generation's The Exorcist" is kind of ridiculous, because The Exorcist hasn't lost much of its cultural impact over the last 45 years. Hereditary is this generation's Hereditary. The Exorcist is still The Exorcist.

But even then, Hereditary is still generally impressive. Any real issue I have with it lies in the last twenty or so minutes, and up until then it's pretty damn scary. I love that Ari Aster gets horror. He knows that it's not just there to scare, but explore the ideas that really make us human. His use of these themes and ideas in this film is deft and eloquent, and it's worth watching for those core ideas alone. The actors (generally) have no trouble expressing these ideas and emotions, and that results in some truly dynamite horror. I had my problems with this film, but I'd be lying if I said I didn't enjoy it, and it's definitely good. Go see Hereditary. Go see The Exorcist. Enjoy them both for what they are.