“We Are Going To Do Great Things. It’s An Experience. Love, Tragedy, Joy. It’s Something That People Will Feel Belongs To Them…”
Stricken with a long history of production issues and endless failed attempts at bringing the story of rock music’s most flamboyant and talented rock vocalist to the big screen, Bohemian Rhapsody finally brings the life of the one and only Freddie Mercury to cinematic fruition, utilising the skills of Mr. Robot star, Rami Malek, in the lead role within a musical biopic which portrays the rising fame and fortune of Mercury’s involvement with Queen and the subsequent troubles and tribulations which occurred both in-house between the band members and the much publicised issues present within Mercury’s own personal life. Primarily directed by Bryan Singer, the mega-mind behind the best entries within the live action X-Men franchise, yet completed by Dexter Fletcher, director of the upcoming of Elton John biopic, due to Singer famously leaving the project after a wide range of reported unprofessional discrepancies, Bohemian Rhapsody is as overblown, cheesy and undeniably likable as the subject band themselves, a biopic which although sacrifices deep levels of substance for karaoke pleasures and cringe-inducing, fan pleasing nods and knowing gag, still remains entirely watchable, a movie which will undoubtedly serve long-standing fans of the band’s music more than those coming to the movie hoping for a scalpel-like incision of one of rock music’s most studied and iconic figures of the past fifty years.
Much in the way Straight Outta Compton was led entirely, particular in the narrative sense, by the remaining members of N.W.A in return for complete back catalogue access and musical rights, an executive decision resulting in particular audiences commenting on slight historical issues involving domestic and drug abuse being slightly paved over in favour of the glamour and fame of musical stardom, Bohemian Rhapsody strangely follows suit, utilising the combined forces of Brian Many and Roger Taylor in the producing roles to focus the story on a depiction of Queen arguing about record labels, song titles and how much of a wet flannel John Deacon seemed to be instead of completely focusing on the figure of Mercury as he rises from baggage collector to international star within only a couple of riotous musical years. With the majority of the paying audience who will rock up to see Bohemian Rhapsody already well aware of Mercury’s sexuality and subsequent life-ending illness, Singer’s movie does feel slightly underwhelming in attempting to delve deeper into Mercury’s personal life, particularly when considering the dedication put into the role by Malek, whose performance is worth the entry fee alone with him managing to pull off the physicality and likeness of Mercury with a sense of coolness and ease. With the musical soundtrack obviously whipping out corker after corker and the stunningly crafted conclusion leaving audiences begging for more, Bohemian Rhapsody is a solid enough musical biopic which although offers nothing new to die-hard Queen fans already well versed in the history of their fallen hero, will satisfy the mass majority of popcorn eaters simply because of the fact that everyone loves Queen. Get on your bikes and ride…
Overall Score: 6/10
“Violence. Brutality. It’s The Same Story, Just A Different Name…”
Based upon American author Angie Thomas’ 2017 award-winning novel of the same name, Notorious and Barbershop director, George Tillman Jr., returns with The Hate U Give, an idealistic, young adult drama which focuses on contemporary notions of inherent racism from the point of view of Amandla Stenberg’s (Everything Everything) Starr, a bright and strong-willed resident of the fictional neighbourhood of Garden Heights, a struggling and poverty stricken community infested with drugs and control from the infamous criminal gangs led by Anthony Mackie’s (Avengers: Infinity War) local drug lord, King. Attempting to balance the parallel worlds of her life at home and life at her out-of-town school situated in a predominantly white and more affluent area, Starr’s understanding of the world is turned upside down after she witnesses the death of her childhood friend, Algee Smith’s (Detroit) Khalil, by the hands of a young, white Police Officer, resulting in her grasping the reality of injustice within a society which seems to set black people up to fail as preached by her ex-con father played by Russell Hornsby (Fences).
Boosted by a screenplay bursting with substance and depth and featuring a stand-out central performance from Stenberg, The Hate U Give is an engaging topical drama which attempts to balance a wide variety of ideas with a high degree of success, and even when at times the central message becomes slightly messy and overly preachy, a particular scare tactic which might alienate and lose particular audiences who may struggle to put themselves in the shoes of someone in such a dangerous and disturbing American landscape, the central story is undoubtedly well told and follows in the footsteps of Spike Lee’s brilliant BlackKklansman by harbouring a central message which comments on the contemporary societal divide in the a Trump-era United States. Whilst the use of voice-over within cinematic releases can sometimes work with a high degree of success, particularly the way in which Scorsese has utilised the method throughout his career, Tillman Jr.’s movie does fall into the trap early on of favouring rather corny and irksome levels of exposition over allowing the audience to simply discover particular plot developments for themselves, yet as soon as the movie focuses on the central heated debate over the power and positioning of black people even now in a contemporary society, the action swiftly becomes thoroughly engaging, primarily due to the performance of Stenberg who manages to pull of being both believable and empathetic in her discovery for justice. With brilliant supporting roles from the likes of Hornsby, Common (John Wick: Chapter Two) and Regina Hall (Girls Trip) as Starr’s worrying mother, The Hate U Give is the type of YA cinema with a purpose and one bound to provoke discussion regardless of the audience observing.
Overall Score: 7/10
“Doing The Right Thing Is Messy. You Want To Fight For What’s Right, Sometimes You Have To Fight Dirty…”
With Avengers: Infinity War concurring global box office domination for the past four weeks or so, it seems only fair that another highly anticipated superhero sequel should try and chip at the financial willingness of a 21st century, comic-hungry audience, and whilst that sequel this week is of course Deadpool 2, it comes at no surprise that Marvel, and more unsurprisingly, Disney, feel the need to make even more eye-watering sums of cash with yet another hot release. I mean come on, it almost feels like yet another Star Wars should be coming out soon, right? Right? Swapping mass universal destruction and gut wrenching superhero genocide for the 15 rated oeuvre in which 2016’s Deadpool graced its’ successful presence, Deadpool 2 swaps original director, Tim Miller, for Atomic Blonde and unaccredited John Wick director, David Leitch, as it attempts to build on the meta-referencing, fourth-wall breaking shenanigans of its’ predecessor and proving the joke of R-rated comic book carnage isn’t as one note as one might expect. With the original Deadpool described in my own review as “not amazing, but enjoyable nonetheless” and a movie which “goes in one ear and carves its’ way out the other in the most violent and adolescent way possible”, it’s ironic how such sentiments echo the feeling of its’ sequel, a movie which takes the Guardians of the Galaxy Vol. 2 approach of playing to its’ predecessors strengths and attempting to expand upon them to successful degrees, and whilst Vol.2 never was going to match the success of its’ respective predecessor, Deadpool 2 does manage to complete such a task and whilst Leitch’s movie still isn’t on the same level of excellence as other Marvel alternatives, it’s still a expletive laden ride.
With Ryan Reynolds (Life) returning as the invincible and titular figure of Wade Wilson, the added inclusion of 2018’s man of the year, Josh Brolin, as the time travelling, futuristic cyborg killer, Nathan Summers/Cable, is undeniably one of the more pressing reasons for the sequel’s existence, but with Brolin’s superbly crafted digital performance of Thanos in Infinity War setting a new bar for superhero villains, it’s surprising how little character development Brolin’s Cable is afforded in the movie’s extended two hour runtime, resulting in his character somewhat lacking in memorability even when Brolin is as cool and imposing as ever. With an added level of sentiment within a Looper inspired narrative, particularly aided by the inclusion of Hunt for the Wilderpeople’s, Julian Dennison, the tonal shifts between shock value comedy and gut punching loss does not work well at all, with the early death of an important character not entirely suiting the film’s overly silly sensibility, but with at least eighty percent of the quickfire puns and sharp, slick in-house references resulting in effective laughs, Deadpool 2 feeds the paying audience exactly what they want without ever stopping slow enough to fall out of the carnival-esque state the movie straps you into, and with solid enough action and comedy set pieces, a quickfire editing pace and a combination of brilliantly designed pre and post credit sequences, Deadpool 2 is flashier, more experimental and much more rewarding that its’ first incarnation, but too a movie which begs the question how much longer the joke can be stretched out before it begins to feel slightly tiresome. I’m sure the box office will have the final answer on that one.
Overall Score: 7/10
“He’s Here. Or Maybe, It’s All In My Head…”
Returning from a self-imposed early retirement last year with the rather entertaining Logan Lucky after a four year hiatus, director Steven Soderbergh returns once again to the cinematic fold with Unsane, a delightfully kooky psychological thriller starring The Crown’s Claire Foy as the equally wacky named Sawyer Valentini who is forced into mental despair from a stalker whom she believes has followed her into the confines of a mental institution which is seen to be holding her illegally against her will. Whilst comparisons to the standout genre examples when it comes to the notion of asylums and the mentally ill are wholly inevitable, Soderbergh’s latest undoubtedly revels in a familiar B-movie sensibility prevalent in films of a similar ilk, with the likes of The Ninth Configuration, Shutter Island and One Flew Over the Cuckoo’s Nest the main ball-park areas the film can be aligned against, but with the added hysteria caused by the threat of Valentini’s stalker figure, Unsane is closer to Patrick Brice’s 2014 independent chiller, Creep, more than anything else, with the narrative’s uncertain ambiguity resulting in a sense of not truly foreseeing where the film ultimately is heading.
Shot from start to finish by use of an Apple iPhone 7 Plus and the FiLMiC Pro application which allows video to be stored in 4K, Unsane bears more of a tonal similarity to that of a found footage horror, and whilst at times the cinematography is radically subversive and riotously unconventional, the wider ratio aspect and grainy image does aid the claustrophobic nature felt by Foy’s Valentini, particularly with continuous Sergio Leone style close-ups and the jolty movement of the picture whenever the camera follows her character in a deliberate attempt to mimic the continuous threat of being watched. With Side Effects in Soderbergh’s back catalogue, the Hitchcock-esque thriller type is something in which the American is more than capable at portraying, and whilst Unsane does conform to the more wacky end of the genre spectrum, there is no denying that Soderbergh is arguably at his best when offering more of a challenging, unconventional set-up. Whilst at times the many ludicrous plot holes and questionable narrative choices do weaken the final product as a whole, Unsane is a thoroughly enjoyably and viciously wild cult piece which is gelled together by a Claire Foy on cracking form, and with a concluding act which is genuinely freakish and oddly unsettling, Soderbergh’s second return is another rousing, off-beat success.
Overall Score: 8/10
“I Did Not Start This War. I Offered You Peace. I Showed You Mercy. But Now You’re Here. To Finish Us Off. For Good…”
Although the original Planet of the Apes movies are films in which I can apologetically state I have never, ever seen, with not even the woefully panned, Mark Wahlberg starring Tim Burton version being at the forefront of my mind in terms of movie catch-up, 2011’s Rise of the Planet of the Apes was a thrillingly satisfactory reinvention of the famous franchise, using the motion performance mastery of Andy Serkis in creating arguably the most effective digital character of the 21st century in Caesar, (Yes, I know, Gollum is probably more iconic) resulting in a duo hit rate of success with both critics and audiences and ultimately leading to where we are today. After continuing the success of Rise with the Matt Reeves directed, Dawn of the Planet of the Apes, an adventurous, if rather flawed blockbuster sequel, Reeves returns this week with War for the Planet of the Apes, a third instalment of the Apes franchise before setting out and directing that film about that geezer in a cape who likes bats. With spectacle in abundance and an emotional yet wholly bleak narrative at its’ core, War is the best of the 21st century Apes franchise so far, combining perfect and sometimes staggering motion capture with top-notch performances and an array of cinematic nods which result in Matt Reeves offering the most effective slice of blockbuster brilliance so far this year.
Following on from the events of Dawn in which the Human/Ape battle is entirely in full swing due to the actions of the treacherous Koba, War begins with a particularly spectacular opening set piece, one which sets the dark and violent tone for the narrative ahead and one which builds the foundations of Caesar’s decision making in his battle against the psychopath figure of Woody Harrelson’s The Colonel. Whilst the 12A rating will open the film up to an extended audience, including the possibility of kids, War is no means a completely joyous ride, with the narrative undeniably melancholic and sometimes masochistic in its’ portrayal of the conflict between the two opposing sides, whilst the death count on-screen rivals pretty much any top-end blockbuster release within recent years or so, yet with so much darkness and dread encompassing the story, the concluding act feels almost like a substantial reward for an audience who feels every inch of the pain our leading ape has to go through in order to save both his family and his race. With winking nods to films such as The Great Escape and Apocalypse Now, with the latter’s influence clearly stated halfway through the action, War is boosted by the quite brilliant digital effects, effects which completely have you believing in the fictional characters on-screen and effects which showcase once again Andy Serkis for the genius he undeniably is. Grimy, grungy and gargantuan in scale, War is an excellent example of a character-based blockbuster and a movie which is made with such care and intelligence, you leave the cinema only wanting more.
Overall Score: 8/10
“What I Need Is An Amazing Adventure…”
In a world where American comedy is usually as effective as a chocolate teapot, Amy Schumer undeniably is up there with the worst that particular side of the continent has delivered over the course of the past few years, with her venture onto the big screen with releases such as Trainwreck burdening millions with her screechy Americanised tones and hysterically dull sensibility which really doesn’t compute with my idea of an effective comedic personality, particularly in a day and age in which memorable comedies are quite hard to find. Co-starring this week in Snatched with Hollywood legend Goldie Hawn, mother of Kate Hudson and partner to the awesomely cool Kurt Russell, Schumer once again proves that her particular brand of comedy just doesn’t work within the cinematic atmosphere, resulting in a performance which ultimately solidifies the notion of her inability to create laughs through a tired and cliche-ridden narrative which attempts to turn the vulgarity up to eleven in order to distract the audience from the utter boredom which encompasses the events on-screen. Goldie Hawn, what on Earth are you doing in this movie? I guess a gas bill must be due sometime soon. Ker-ching indeed.
After being dumped by her rock and roll boyfriend, Schumer’s unbelievably annoying leading character decides to make the most of her pre-planned trip to South America by inviting her feline-loving mother (Goldie Hawn) with a penchant for over-protection and questionable sculpturing techniques. Cue loud and completely unnecessary scenes of alcoholism, party music and nudity, Snatched is the type of 21st century so-called “comedy” which adds to the argument that the good times have most definitely come and gone in regards to its’ respective genre. Whilst Hawn seems to be there only for the sake of financial inducement, the film really doesn’t paint a sympathetic picture of its’ leading character, resulting in a warped sensibility which desires her captors to actually go through with their sickening plan and dispose of their prisoners as swiftly as possible. If this was indeed the case, the audience would have been spared from a 90 minute bore-fest whose only redeemable character is the poor U.S state department official who gets forced to help save their lives. Maybe next time mate, just forget the rescue and leave them to it.
Overall Score: 3/10
“You’re An Exception. The Rules Don’t Apply To You…”
Whilst Warren Beatty might be best known in contemporary media circles as being lead conspirator in the Best Picture fiasco at this year’s Academy Award’s ceremony, a recent high-profile cock-up more commonly known as “La La-Gate”, the attention comes in a somewhat suspiciously well timed manner considering the release of Rules Don’t Apply this week, a picture directed, produced, written by and of course, starring the cinematic legend, who takes the leading mantle as infamous businessman Howard Hughes within the setting of 1950’s Hollywood, supported by a simply enormous cast featuring the likes of Hail! Caesar star Alden Ehrenreich, Lily Collins, Matthew Broderick, Annette Bening, Alec Baldwin and the always superb, Ed Harris. With a cast as vast as this, Rules Don’t Apply is the type of movie you would think on the surface is one which everyone in the current cinematic world seemed to aching to be involved in, particularly with the reputation of Beatty at the helm, yet the finished picture is one of entirely mixed fortunes, one which suffers from a non-existent narrative and some misjudged moments of self-indulgence amidst some basic film-making errors which makes you wonder whether the real Warren Beatty should most definitely stand up.
Of the good things within Rules Don’t Apply, the leading trio of Beatty, Ehrenreich and Collins each give respectable performances amidst a screenplay which doesn’t really offer much chance to break new ground, with Beatty really hitting the zany mark in his depiction of Howard Hughes, taking cues from DiCaprio in The Aviator when needed but strictly focusing on the wilder side of the infamous billionaire, whilst Ehrenreich continues to impress every time I see him perform on screen, gearing him up for inevitable higher levels of stardom come next year’s Han Solo spin-off release. Star of the picture however is Lily Collins as the doe-eyed and wondrous Marla Mabrey, the keen and confident Virginian rookie who although is trying sometime in terms of awkward character quips and decision making, is a real find and completely holds her own against the likes of Beatty in a leading role. As for the not-so good elements of the film, Beatty treats the film as a personal blueprint for himself to engage in exceptional levels of excess, an understandable element when considering the character in which he is portraying, yet the sight of an aged Hollywood legend feeling up an intoxicated young star really didn’t sit well on a personal level whilst some fundamental film-making traits are completely disregarded, with endless questionable edits and narrative trails which simply go nowhere. resulting in a movie which ultimately is a complete drag to sit through and when you consider the talent at hand behind it, Rules Don’t Apply can only be regarded as a monumental disappointment.
Overall Score: 4/10
“Nature Made Me A Freak. Man Made Me A Weapon, And God Made It Last Too Long…”
With the monumental success of Marvel’s Deadpool last year, the inevitably of a sudden spike in similarly R-Rated comic-based movies was somewhat unavoidable, with Suicide Squad being the first to match the all-swearing, all-shooting red guy in terms of regressing to a somewhat more “adult” nature with naughty swear words and a level of sexual awareness which was unbeknown to the vast majority of audiences who simply couldn’t believe a film could actually be made, let alone be a success. Whilst Deadpool was a middling critical success, Suicide Squad on the other hand was a film which at the time seemed no more than a utter disappointment, yet in almost six months retrospective can only be regarded as an utter, utter clanger. Attempting to establish themselves as the leading figure of recent R-Rated superhero adaptations this week is Logan, a continuation of the X-Men/Wolverine movie franchise directed by James Mangold, famous for movies such as Walk The Line, 3:10 to Yuma and The Wolverine, and of course starring Hugh Jackman in a leading role which since 2000 has arguably been his most iconic and eye-catching amongst the many X-Men movies which have graced our screens over the last 17 years. Most impressively, Logan is indeed the movie everyone wanted since the film first began to play its’ cards in pre-production, but more importantly, it is the film the superhero genre needed. Forget Deadpool, Logan is the ultra-adult, ultra-violent and swear-tastic Marvel film we’ve all been waiting for.
Set in 2029, an elderly Wolverine strives for survival in the heat of the Mexican border alongside a severely ill Professor X within a world in which the mutant race has all but been wiped out with no sign of a mutant birth in over 20 years in a Children of Men style world crisis. After colliding into the life of young Laura however, Logan is forced to battle his demons and seek closure not only from his own life and the past he most desperately is seeking to leave behind, but for the future of mutants entirely. With Logan being released half way through the week, my view count of the movie has already hit the lofty heights of two, resulting in a much more aligned opinion of a movie in which hype and excitement has once again preceded its’ release. With the parallels between Logan and Deadpool almost inevitable, the difference between the two is astronomical in terms of tone and overall satisfaction levels with the former being a hard-hitting tale of age and loss and the latter just an open canvas for a silly, albeit moderately enjoyable, teenage fantasy of sex, violence and breaking of the fourth wall. Logan is the type of movie in which pain is transposed from screen to audience, with the sharp swoosh of Wolverine’s claws being as piercing as they are deadly, resulting in a wide array of foes and enemies which are violently massacred in jaw-dropping moments of action which bring to mind everything from Kill Bill to The Raid.
One of the main questions arising from the release of Logan however is why has it taken this long to finally see a Wolverine this exciting and deadly? With Hugh Jackman on top-form almost every time he kicks into the character of Wolverine, the foresight of witnessing a rip-roaring Logan in his prime is mouthwatering to say the least and although Mangold’s movie does indeed mark the end for both Jackman’s portrayal of the iconic character and Patrick Stewart as Professor X, Logan is the melancholic, character-based superhero movie no one was really expecting, yet a movie which makes crystal clear sense in regards to a conclusion for characters which have graced our screens for nearly two decades. Whilst not exactly The Dark Knight in terms of overall superhero greatness, Logan is a surprisingly powerful Westernised drama which just happens to feature mutants. Obviously Jackman deserves to take the plaudits for his conflicted and degrading portrayal of the titular hero, but kudos too belongs to Stewart and newcomer Dafne Keen whose ambiguity and bad-assery threatens to steal the limelight away from her elder counterparts. Logan is excellent, there are no two ways about it, with the second viewing only increasing the levels of enjoyment of which the film secretes throughout a running time which simply flies by. A fitting end for one of the most iconic big-screen characters of this millennium so far, Logan is brill. That cross turn bro, that cross turn.
Overall Score: 8/10
“Do You Know What The Cure For The Human Condition Is? Disease. Because That’s The Only Way One Could Hope For A Cure…”
Rather annoyingly, the use of the term “visionary” is something of which is pushed around so often in the current cinematic climate that to be regarded as such is somewhat of a negative down-stroke. With the likes of Zack Snyder and now Gore Verbinski proclaiming themselves as visionaries of modern cinema, directors who have released such “classics” such as Sucker Punch and Mouse Hunt respectively, the term has now officially become defunct and saved only for those who are deserved of the term, you know, like directors who have actually made films of some worth. Anyhow, Verbinski returns this year with the 18 rated A Cure For Wellness, a film which harks back to everything from The Ninth Configuration to Lars von Trier’s Riget, and a picture which can only be regarded as one of the most boring, misjudged and overlong works of horror I can remember within the remits of recent history. Whilst many have condoned A Cure For Wellness as simply nothing more than a Shutter Island rip-off, Verbinski’s latest makes Scorsese’s OTT two hours of mania look like a modern masterpiece, with it more likely to send you into a deep coma of confusion than inflict any real tangible sense of threat throughout a barnstorming length of two and a half hours.
After dropping a job-losing clunker and subsequently threatened with criminal prosecution, egotistic Wall Street flunky Lockhart, played by The Place Beyond the Pines’ Dane DeHaan, is sent to a mysterious health care centre in the heart of the Swiss Alps in order to retrieve a AWOL financial executive who has supposedly regressed into a complete and utter basket case and refuses to return to the US of A in order to complete a huge financial deal. Cue creepy looking patients, a mindless and ridiculously overcooked narrative and a concluding feeling of watching a movie which not only could lose at least an hour of its’ running time but one in which nothing actually happens, A Cure for Wellness suffers primarily from a runtime which is unbearable to say the least, and although Verbinski is renowned for an array of miscalculated movie lengths, with Pirates of the Caribbean 3 being a prime example, A Cure for Wellness is his pièce de résistance in terms of runtime malpractice. Whilst Jason Isaacs does do the best with what he’s given in the cliched “foreign stranger” role, the movie can’t escape the problems of its’ silliness, particularly within scenes of unnecessary violence including a cheesy R-rated dentist appointment and an attempted rape scene which borders on the outskirts of being a utter cringe-inflicted misstep. If you wish to see the type of movie A Cure for Wellness is so obviously attempting to be, seek out something like Shutter Island or The Shining instead, relieving you of the utter tedium of delving into a horror which is neither horrific or interesting. A cure for wellness? A cure for sleep deprivation.
Overall Score: 3/10
“I’m Starting To Feel Like Myself…”
Oh nepotism, how we love you. It is regrettable that after losing track in recent years when it comes to replicating the real quality of his earlier projects such as Blade Runner and Alien, director Ridley Scott has somewhat diminished in terms of reputation, particularly when examining his recent work such as Exodus: Gods and Kings, Robin Hood and The Counsellor. Yes, The Martian was pretty solid and a welcome return to some kind of form, yet it is still rather disheartening to think films as radical as Blade Runner may indeed never break out onto the big screen ever again. In the meantime however, Ridley’s knack of tackling sci-fi genre conventions has seemingly passed on through the gene pool and onto Luke Scott, whose directorial debut in the form of Morgan, no, not a documentary on Morgan Freeman, is the canvas to showcase whether the son has even half of his father’s early talent. Part Ex-Machina, part Terminator, Morgan has the necessary blueprints to regard itself as a work of science fiction, yet its’ ridiculous plot and complete lack of subtlety, particularly in its’ shambles of a final act, means Morgan is a lukewarm start to the ventures of baby Scott.
Although Morgan boats an extensive amount of talent in terms of its’ casting, with Kate Mara, Toby Jones, Paul Giamatti and Brian Cox all managing to squeeze in to the films’ 100 minute run-time, The Witch’s Anya Taylor-Joy takes the titular role of the synthetic-based humanoid in her stride, pulling out a performance that if served by a sharper and tighter script, may have been something of better consequence. Although the film does hark back to classics of the genre, some even made by father, Ridley, Morgan fails on some level by not entirely deciding on what it really wants to be, much like its’ titular character. Is it a horror? Is it an action thriller? Is it a bit of both? Who knows, and with the fast-paced editing of the latter act of the film not allowing one frame to settle, you leave the cinema with not only a head-rush bit with a sense of something that could have been better served if not for a more careful design. The main talking point of the movie may indeed be the final revelation, yet for anyone with a brain cell, it can only be regarded as wholly predictable, so much so that it shouldn’t even be regarded as a full 360 degree twist. Maybe a 40? Anyhow, Morgan isn’t the decades’ Blade Runner and although guided by the no-how of his father, Luke Scott’s debut is unfortunately one to forget.