Worst Films of 2017
With the year filled to the rafters with some simply sublime cinematic releases, it comes at no surprise that where there is light, darkness swifty follows in the form of the real stinkers of the year, films which have managed to enrage, bore and reduce us to sleep induced comas due to their unavoidable awfulness. Whether it be shoddily made crime thrillers, laughable accented spy adventures or distasteful animations, 2017 has managed to succeed in giving us a varied selection of terrible movies and here is where we countdown the very worst, beginning with…
10. Fist Fight
With a characitured Ice Cube and the joint worst leading performance of the year by Charlie Day as the ear-piercing and undeniably annoying mild mannered teacher who is tasked with battling his fellow colleague in order to well, create some form of narrative, Richie Keen’s misjudged nightmare features a wide range of sickening elements ranging from a paedophilic teacher to flatlined comedic puns which results in Fist Fight up there with the worst American comedies to travel the far seas in years. Ice Cube? Get back in the freezer mate.
Featuring the worst performance of the year by a fair few air miles, Michael Apted’s Unlocked utilises the downward spiralling skills of Orlando Bloom as a laughably bad cockney cliche who chases after Noomi Rapace’s CIA interrogator as she finds herself at the centre of some boringly timid government conspiracy. With a cast featuring the usually reliable talents of John Malkovich, Michael Douglas and Toni Collette, Apted’s movie is a ludicrous mix of plot holes and laughable dialogue which comes across as the dead, lost long cousin of the masterful Bourne franchise.
The remake to end all shoddy remakes, Niels Arden Oplev’s woeful reimagining of Joel Schumacher’s 1990 science fiction horror is the definitive blueprint of how not to bring a film back to life, and whilst the inclusion of Ellen Page brought a certain element of interest to the table, Flatliners falls into a concluding second half convoluted with messy and immature character arcs, tacked on CGI and poorly managed horror tropes which just seem shoehorned in and wholly undeserved. Dead on arrival, Oplev’s movie is a laughable excuse to bring back a film which even in its’ original film struggled to properly ignite.
7. The Snowman
Let’s be honest, the mercurial presence of Michael Fassbender hasn’t had the best of years, and even though I was one of the few advocates of the somewhat decent Assassin’s Creed, Tomas Alfredson’s unbelievably shoddy live-action adaptation of Jo Nesbø’s Scandinavian chiller is undoubtedly the worst made film of the year, a picture with a catalogue of obvious and unforgivable sins which succeeds in failing to adhere to even the most basic of fundamental filmmaking principles. With Alfredson himself stating the movie was “incomplete” due to a hectic filming schedule, The Snowman highlights a concoction of disasters which when considering the talent involved, is simply atrocious to say the least.
6. Justice League
The true downfall of DC’s live action adaptation of Justice League falls primarily down to a wavering production process and a heightened sense that the wandering franchise was somewhat heading in the right direction after the critical and financial success of Patty Jenkins’ Wonder Woman, and even with the eye catching inclusions of Batman, The Flash and the first live action appearance of Aquaman, Zack Snyder’s ensemble adventure is absolute tosh. With two dimensional leading characters, awfully constructed CGI and a excruciatingly cliched end of the world narrative, Justice League makes Suicide Squad look a bonafide masterpiece and with the future of the DCEU in undignified jeopardy, Snyder’s move may indeed be the final nail in the coffin.
5. The Bye Bye Man
Horror is the type of genre which is designed to heighten and play with the sense of natural and fundamental animal instincts of fear of the unknown, and whilst The Bye Bye Man does somehow manage to have the cheek to place itself in such a category of cinema, Stacy Title’s truly embarrassing movie is a middle finger to the hoards of horror fans across the globe. With the titular leading villain coming off as threatening as a stereotypical enemy from an episode of Scooby-Doo and a strange ensemble cast featuring the likes of Carrie-Anne Moss and yes, Faye Dunaway, The Bye Bye Man is the type of straight to DVD garbage that deserves to rot way in the bargain bin.
4. Table 19
Let’s be honest here, why is Anna Kendrick still employed when films such as Jeffrey Blitz’s Table 19 highlight just what an awfully misjudged actress she truly is. Harsh somewhat? Negative, and when considering the cringe-laden nonsense of Blitz’s painfully bad romantic comedy, a film which is ironically neither romantic or comedic, the time has surely come to end the suffering of audiences across the globe and simply blacklist anyone involved in such a staggeringly poor cinematic experience which has only resulted in the continuation of nightmares which suggest this is indeed the way cinema may be heading. HELP!
A live action remake nobody wanted of a television show no one has ever heard of unsurprisingly results in shoddiness galore and even manages to make Bad Boys look like The Godfather. With director and leading fallen star Dax Shephard handing over all the reasons to give credence to the notion of him undeniably being the most unqualified man in Hollywood to helm such a production, CHiPs suffers from a tragically dull and cliched narrative, laddish sexist humour and jokes about the disabled which made me want to launch my coffee at the cinema screen, and even with a blink and you miss it appearance from Vincent D’Onofrio, Shephard’s movie at least identifies the American as cinematic influenza.
2. The Emoji Movie
Whilst Inside Out, Zootropolis and Song of the Sea demonstrate contemporary animation cinema at its’ very finest, the abysmal abomination which is The Emoji Movie presents the medium at its exploitative worst, utilising the child friendly nature of the genre to convey a narrative which approaches truly jaw-dropping elements of self-promotion garbage which encourages the younger generation to entirely depend on their mobile devices in order to be the coolest kid in town. With plot threads which delve into piracy and internet trolls, The Emoji Movie is one of the most retrograde misjudged releases in history made all the worse by the universal state in which it is projected. You know what they say, you can’t polish a turd.
1. Transformers: The Last Knight
And here we are at last, the indisputable champion of all things woeful, Michael Bay’s staggeringly boring and unbelievably exhausting marathon of a movie sets a new standard for box office disasters, and even with the added input of a dollar ringed Sir Anthony Hopkins, The Last Knight singlehandedly creates a brand new genre of cinematic ventures; elongated torture. With a runtime which transcends the realm of human nature as we know it, sloppy, disgraceful editing and the utilisation of Laura Haddock as simply distasteful cannon fodder for the perverse prying eyes of Bay’s obsession with the objectification of the female body, The Last Knight sets the bar of the already much maligned Transformers series to new unexplored depths, resulting in the latest addition to the franchise being the categorical favourite for worst release throughout the course of 2017. Congratulations.
Next Time… Looking Forward to 2018 in Film!
Best Films of 2017: 10-1
10. The Handmaiden
With stunning set locations and gorgeous costume design, Park Chan-wook’s deliciously twisty and beautifully made romantic thriller is a real cinematic sight to behold. Based upon Sarah Waters’ novel “Fingersmith”, the Korean’s latest is a multi-layered mystery with a wavering narrative which keeps you gripped and guessing right until the end. Featuring recognisable elements from his previous work on the excellent Vengeance trilogy, The Handmaiden may not be Chan-wook’s boldest movie to date, but boy is it his most richest and bewilderingly erotic.
9. Get Out
Jordan Peele’s directorial debut in the form of Get Out is a crowd pleasing black comedy horror which dwells into social commentary regarding notions of racism within the heart of the white picket fenced home of the Armitage family. With a standout leading performance by Daniel Kaluuya, rib-tickling gags and an underlying narrative regarding a very particular medical operation, Peele’s movie balances the mix between comedy and horror flawlessly, and with enough B-movie elements and exploitation gore to make the whole experience more than rewarding, Get Out solidifies Peele as yet another interesting young director to keep tabs on.
Hated by most, loved by a minority, Darren Aronofsky’s jaw-dropping psychological horror is part Funny Games, part Rosemary’s Baby, and with a career best performance from leading star Jennifer Lawrence, mother! is a brutal and nihilistic allegorical work of excellence which is as tough to watch at times as it is completely and utterly bonkers in a fashion which makes the final act of Black Swan look like a Mike Leigh movie. For those who can stomach the movie’s polarising subject matter and the evasive camera work of long term Aronofsky collaborator, Matthew Libatique, mother! is Aronofsky at his most creative best.
Directed by big screen debutante Julia Ducournau, Raw is an intelligently written and brilliantly acted coming of age drama with a central narrative which focuses on leading star Garance Marillier’s hereditary and new found lust for human flesh which materialises after a particularly strange university ritual. With a number of scenes which feature genuinely shocking ultra violent imagery and an underlying black comedic tone which gives the movie a somewhat kooky, subversive feel to it, Raw is yet another superb debut for a filmmaker with, excuse the pun, exquisite raw talent.
Undoubtedly one of the greatest and most loyal Stephen King adaptations to hit the big screen, Andy Muschietti’s live action take on the novelist’s best story to date is an outstanding mix of spine-tingling horror, creature feature adventure and coming of age drama which matches the tone and feel of King’s writing to an uncanny tee. With Bill Skarsgård giving the most iconic performance of his entire career as the malevolent and undeniably haunting image of Pennywise the Dancing Clown, It manages to not only measure its’ horror elements to a genre pleasing effective degree but features too the greatest ensemble cast of young actors in years. With Muschietti on course to direct Chapter Two, the concluding half of King’s tale is indeed in the safest of filmmaking hands.
5. Manchester By The Sea
With a leading performance from Casey Affleck which can only be regarded as one of the most deserved Oscar winning roles in recent history as the grieving and emotionally unstable Lee Chandler, Kenneth Lonergan’s low-key masterpiece is a character study of brilliant proportions. Charged by a narrative which is as gut-wrenchingly powerful as it is flawlessly written, Manchester By The Sea might not seem the flashiest film on the surface, but with each and every player at the top of their respective game, Lonergan’s movie works on a level of relatability and subtlety which is rare to find in the current cinematic climate.
Recipient of the Academy Award for Best Picture and Best Adapted Screenplay, Barry Jenkins’ lucid and dreamlike tale of one man’s journey from youth to manhood is a dramatic work of unprecedented proportions featuring superbly understated supporting performances from both Oscar winner Mahershala Ali and Naomie Harris. With a jukebox soundtrack and stunning cinematography, Jenkin’s independant delight is hard to shake off even after repeat viewings, and for a director so young in years and filmic back catalogue, Moonlight is an impressive work of cinematic art.
After tackling space, spies and Batman, Christopher Nolan takes his enviable talents to Dunkirk, a spectacular, IMAX-fuelled masterpiece which favours the use of practical design over digital effects, sound and image over dialogue and an impressively handled three act structure reminiscent of the time-bending narrative of Nolan’s previous work on Memento. With scenes which evoke a wide spectrum of emotions throughout its’ note perfect runtime, Nolan’s movie is a tense and taut war epic unlike anything seen before on the big screen and whilst it is indeed best course of action to devour the spectacle on the largest backdrop you can find thanks to Nolan’s personal fondness of the mighty IMAX, Dunkirk is not the first masterpiece to come from Nolan and I’m sure it won’t be his last.
2. Blade Runner 2049
A sequel to the greatest science fiction movie of all time needed to be something special, and in the hands of Arrival director Denis Villeneuve there was little doubting it wouldn’t be, but what we have with Blade Runner 2049 however is a movie which surpasses even the highest of anticipation, a beautifully bold and emotionally riveting masterpiece of sound, spectacle and art house wonder which rewrites the rule book for what it means to be a big budget production. With Villeneuve not only paying homage to Ridley Scott’s original in a more than respectable fashion but adding his own distinguishable DNA to the mix, the flawless work of Roger Deakins, Hans Zimmer and leading stars Ryan Gosling and Harrison Ford result in Blade Runner 2049 being a deserved science fiction masterpiece in its’ own right and one which will stand the test of time in a fashion similar to its’ equally masterful predecessor.
1. La La Land
Following up on Black Ribbon’s best movie of 2015 in the form of Whiplash, Damien Chazelle’s beautifully romantic and stunningly swooning musical drama is a cinematic wonder of enigmatic proportions. With a cross of paths between the doe eyed dreamer figure of Emma Stone and Ryan Gosling’s eccentric and passionate jazz extraordinaire, the narrative moves from the charming first acquaintance to a sombre, heartbreaking concluding act which is just a masterclass in flawless and natural filmmaking ability. The songs are sumptuous, the editing silky smooth and the location design a dreamlike ode to the history of Hollywood, La La Land isn’t just a masterpiece, it’s Black Ribbon’s film of the year and deservedly so.
“I’ve Seen This Raw Strength Only Once Before. It Didn’t Scare Me Enough Then, It Does Now…”
Knocking every other big-screen release of 2017 out of the park in terms of mind-melting anticipation, Disney and Lucasfilm return with the eighth direct entry into the Star Wars universe with The Last Jedi, with it being a whole two years since the revival of the franchise with the scintillating revelation which was The Force Awakens. Dispatching with J. J. Abrams for the time being, with Abrams returning to directorial duty on Episode IX after the cancellation of Colin Trevorrow’s contractual duties, Looper director Rian Johnson takes charge of a release which continues on with the many dangling plot threads left over from its’ predecessor with a returning cast featuring the likes of Mark Hamill, Daisy Ridley, John Boyega and the final on-screen performance of Carrie Fisher as the ever-majestic Princess Leia. Whereas The Force Awakens realigned the critical consensus of a universe which had been somewhat tarnished thanks to the George Lucas directed trilogy released at the turn of the century, The Last Jedi has a somewhat blank slate to go where and which way it chooses, and whilst the latest entry within the Star Wars canon doesn’t exactly hit the lofty heights of its’ predecessor, with particular and crystal clear flaws affecting the final, overall product, Johnson’s movie is a spectacle fuelled adventure thrill ride which has enough twists, turns and eye-watering action to leave even the most casual of Star Wars fans gasping for more.
With a narrative which continues the many dangling plot threads left over from The Force Awakens, The Last Jedi is primarily wrapped around the centre of an escape movie, with the hunted Rebel Alliance at front and centre of the movie’s action straight from the offset in which characters both old and new are are brought into the mould of a two and a half hour journey which moves from the darkness of space to the salt laden plains of an ice covered rebel retreat without ever really coming up to the surface for breath. With subplots which include Daisy Ridley’s Rey and her interaction with Mark Hamill’s aged and hermit-esque Luke Skywalker, the wandering temperament and conflicted heart of Adam Driver’s beefed up Kylo Ren, and John Boyega’s relationship with Kelly Marie Tran’s Rose, The Last Jedi is a film which can’t be faulted for a lack of substance and plot, but with a sagging middle act in which we see one of our heroes venture to a casino-laden planet of riches coming off as the obvious editing misstep, sometimes Johnson’s movie does begin to feel incredibly heavy, and whilst there are comedic elements aplenty throughout the course of the action, the overall tone of the movie is much more darker and melancholic that one might have expected, with the notion of death and loss not exactly hiding away akin more to the sensibility of Rogue One than any other previous release in the series so far.
With particular elements which come across somewhat baffling and jarring, including a Guardians of the Galaxy moment for Carrie Fisher’s Princess Leia and a handful of wasted opportunities for particular underdeveloped characters, Johnson’s movie does ultimately make up for these missteps by being a fundamentally stunning and beautifully made movie, with cinematographer and Looper collaborator Steve Yedlin creating a wide range of jaw-dropping images and shots which made me want to stand up and applause in a manner similar to Roger Deakins’ outstanding work on Blade Runner 2049, a film which on some levels does share similarities with The Last Jedi with both movies focused primarily on their feel, look and emotive qualities above anything else, resulting in Johnson’s movie coming across as arguably the least relatable Star Wars movie to date thanks to a somewhat cold and unnerving spiritual tone. With a lightsaber battle which ranks up there with the best the series has produced thus far, a satisfying resolution for particular character arcs and an ambiguous conclusion which leads the Star Wars path onto a vast number of potential directions, The Last Jedi is a flawed but emotionally riveting and spectacular addition into the Star Wars universe, and whilst it may not be the best series offering, Johnson’s movie is undeniably the most beautifully crafted.
Overall Score: 8/10
“We Do What We Can To Endure…”
Fresh from an inevitable and well deserved Oscar win for his performance in Kenneth Lonergan’s Manchester By The Sea, Casey Affleck returns to the big screen alongside Carol and The Social Network star Rooney Mara in A Ghost Story, a supernatural drama written and directed by David Lowery who reunites with the duo after previously working together on the 2013 drama Ain’t Them Bodies Saints. With an eerie, off-kilter sensibility, a staggeringly ambitious ideas narrative and one of the most affecting musical accompaniments of the year in film, Lowery’s latest is unlike anything seen on-screen this year, a film which utilises the basic horror trope of a common haunted house movie but then manages to expand its’ horizons into something which resembles closer an allegorical mix of themes which evoke everything from Terrence Malick’s The Tree of Life to Denis Villeneuve’s Arrival. With little dialogue and a raging art-house aesthetic, A Ghost Story is a film undoubtedly not for everyone, but for those with the patience and willingness to embrace its existence, Lowery’s movie is an exquisite work of art.
Shot in the aspect ratio of 1.33:1, or in televisual and layman’s terms, 4:3, A Ghost Story follows a sheet cladded Casey Affleck who after passing away due to the events of a traffic collision, follows his unnamed wife, portrayed by Rooney Mara, throughout her life after his death, all within the confines of the dated home in which they both shared. With directory David Lowery utilising the retro and “boxiness” nature of the aspect ratio to ensure the audience understands the claustrophobic nature of the film from the point of view of Casey’s spectral presence, the film utilises endless long shots and unbroken edits for the first half of the movie, including the now infamous one-shot “pie scene” and a chilly, uncertain introduction to Affleck’s transition from life to death, and whilst at times the pace of the movie does begin to falter, the second half of the movie in which Christopher Nolan’s Interstellar seemed to be a obvious blueprint for the direction of the narrative, concludes the film in a stunning and ambitious fashion. A Ghost Story isn’t a movie which belongs on the big screen, instead, Lowery’s latest is more akin to a museum piece where examination and steadiness is key to admiring its’ beauty, and whilst the film doesn’t hold together everything it intends to accomplish within such a short amount of time, A Ghost Story is undoubtedly an unforgettable and bold moviegoing experience.
Overall Score: 8/10
“Welcome to Jumanji!”
Despite the fact that the Robin Williams starring, 1995 adventure romp Jumanji was somewhat dismissed by many critics when first released despite it being a somewhat successful item at the box office, the cult status and underground following of the movie since has subversively led to both a re-examination of its’ qualities by many and as per the norm of many cinematic releases in the current climate, a unwarranted sequel. Directed by comedy staple, Jake Kasdan and featuring a script co-written by Chris McKenna, whose previous credits include the likes of The Lego Batman Movie and Spider-Man: Homecoming, Jumanji: Welcome to the Jungle is a functional if rather predictable and laborious adventure romp which utilises the star power of its’ cast to shrug off the many, many weaknesses which encompass its’ existence, and whilst many will be swept up in the wisecracking humour and electric editing pace, Kasdan’s movie is the epitome of a release which can be crammed into the genre of “not exactly my cup of tea”.
With the titular gaming sensation transforming its’ form to keep up with the popular trends of the twenty first century, our leading four youthful heroes are sucked into the jungle of Jumanji where complete control of their gaming avatars forces them to play the game and defeat the threat of Bobby Cannavale’s power hungry, insect ridden villain. With Dwayne Johnson, Kevin Hart, Jack Black and Karen Gillan taking over for the majority of the movie therefore, the narrative mixes the absurd nature of our heroes’ surroundings with ongoing banter style comedic quips, most of which ironically do make an appearance in the film’s trailer, and although the chemistry between the leading quartet is undeniable, the film never really progresses from its’ opening gag, resulting in endless penis and body transformation jokes which do end up becoming increasingly grating amidst one of the most self-aggrandizing performances from Johnson ever in his on-screen career. With Cannavale’s pedigree as a villain well known after his turn on Boardwalk Empire, his character is ultimately completely wasted in favour of numerous CGI-ridden action, and whilst Kasdan and the crew are obviously having a superb time, the fun only resonates for a short spate of time, and for a film which runs on for two hours, well, you can do the math.
Overall Score: 4/10
“They’re Trying To Make A Hero Out Of Me…”
Whilst Peter Berg’s rather excellent Patriots Day detailed from beginning to end the events of the 2013 Boston Marathon bombings with an added Mark Wahlberg, David Gordon Green’s latest, Stronger, takes a calculated and extensive look at the life of Jeff Bauman, whose life changing injuries during the bombings were subsequently the subject of a 2013 memoir written by himself and Bret Witter and now the basis of the screenplay for a movie led by the ever reliable presence of Jake Gyllenhaal as the famous and life-affirming Bostonian. Whilst Patriots Day was more focused on the action spectacle and a lightning fast editing pace, Stronger is a more low-key character piece which utilises the background of a terrifying event to understand one man’s journey through pain and suffering, and whilst Green’s latest is a picture seething with top-notch performances and likeable, empathetic characters, a bloated narrative over a needlessly extended two hour runtime does threaten to become tiresome at stages, but with Gyllenhaal on Oscar-worthy form, Stronger does manage to hold its’ own undeniably effectively.
Introducing the troubled, up and down relationship between Gyllenhaal’s Jeff Bauman and Orphan Black star Tatiana Maslany’s Erin Hursley from the outset, the movie swiftly moves onto the events of the bombing without ever specifically focusing on its’ reasoning or motive and instead directly leads the narrative from the point of view of Bauman who throughout the course of the movie recounts flashbacks of the event, with each progressively getting more detailed and bloody as the film trickles through his long-standing recovery in both a physical and mental capacity. With Gyllenhaal using the character of Bauman as a vessel for his already well established acting chops, utilising the direction of Green to balance moments of emotion fuelled drama with low-key physical movements and reactions, Stronger does have a variety of Oscar baity speeches which in other hands would possibly have derailed the movie’s ultimate goal, but with impressive supporting performances from the likes of Maslany and Miranda Richardson, who although in her portrayal of the expletive ridden, Bostonian parent figure did bring to mind the brilliance of Melissa Leo in The Fighter, Green’s movie is a straightforward character piece, but with such an interesting character at its’ centre, Stronger is more then fulfilling, if slightly forgettable.
Overall Score: 7/10
“You Can’t Blend In When You Were Born To Stand Out…”
Based upon R.J. Palacio’s 2012 novel of the same name, Wonder tells the tale of Jacob Tremblay’s August “Auggie” Pullman and his battle with Treacher Collins syndrome as he attempts to manage his way through school and a coming of age lifestyle after years of homeschooling designed to prevent him from facing the potential fear of inevitable youth misunderstanding when it comes to his condition. Supported by the beach burnt Owen Wilson and Julia Roberts as Auggie’s father and mother tag team, and directed by Stephen Chbosky, whose previous credits include The Perks of Being a Wallflower and the lead writer’s gig for this year’s adaptation of Beauty and the Beast, Wonder is a solid by-the-numbers tale of acceptance and individual strength which although features an important fundamental message regarding acceptance and the impact of schoolground bullying, does become increasingly tiresome and overly manipulative in its’ emotional bulldozing as it passively lingers on to a conclusion which does manage to seal the deal to some extent and leave its’ audience with an undeniable smile.
Where Lenny Abrahamson’s Room introduced the world to the enviable talents of young Jacob Tremblay, Wonder solidifies once again that a huge future awaits for an actor who although throughout the film is covered in prosthetics akin to John Hurt in David Lynch’s heartbreaker, The Elephant Man, manages to encompass Auggie’s spectral of emotions to such an extent that the audience can’t help from getting on board and totally support the film’s leading character as he makes his journey through the trials and tribulations of a diverse and sometimes ignorant collection of fellow schoolmates. Whilst Wonder does attempt to balance the heavy dose of Auggie’s characterisation with his fellow family and friends, with the movie sometimes wandering off on tangents to do such via Tarantino-esque title cards, such diversions do come across as somewhat pointless, particularly when regarding the film’s overplayed two hour runtime, and with overly saccharin scenes of animal deaths and endless crying montages, the sentimental value of the narrative does become pretty irksome at times, but with Tremblay stealing the show and even Wilson and Roberts having a fair share of effective quick comedic quips as the relatable parents, Wonder is sometimes preachy but undeniably good hearted.
Overall Score: 6/10
“Just Because You Want It Doesn’t Mean It Can Happen…”
Whilst aware of the infamous nature of Tommy Wiseau’s 2003 independent drama, The Room, a movie widely quoted as the worst cinematic release of all time, I confess to not ever finding the time to sit down and embrace it aside from skimming across YouTube videos and university students screaming “hey, watch this movie, it’s so bad”, of which I inevitably and quickly chose not to listen to. Based upon Greg Sestero’s 2013 autobiographical book “The Disaster Artist”, a first hand account of Sestero’s involvement in The Room’s troubled production and his relationship with Wiseau, James Franco directs and stars in a dramatic adaptation of the source material with Franco himself starring as Wiseau and brother Dave Franco as Sestero. Whilst Franco-led comedies in the past have somewhat failed to ignite my comical ways, the same cannot be said for The Disaster Artist, a sharp and hysterically funny look into one of the more subversive and mysterious characters to originate in the world of filmmaking since the turn of the twentieth century, and a film which on the one hand shares admiration and on the other pokes holes into the darker side of a man whose name is slowly becoming a cine-literate household commodity.
With Franco’s portrayal of Wiseau being introduced in a barmy expose of talentless squander, the narrative primarily follows Dave Franco’s Greg Sestero as he begins to pull back the layers of the mysterious Wiseau after blindly following him to Los Angeles in order to fill the craving of success and stardom in the cut throat world of Hollywood. Bringing into conversation questions regarding Wiseau’s background, age and financial caterings, Franco’s portrayal of Wiseau is indeed one of riveting success, a performance which captures both the comedic traits of the character with a numerous amount of zippy, laugh-out-loud quips, as well as the more subversive, darker means and ways of a person whose societal skills and understanding of basic human conditioning is frankly rather non-existent. With the main comedic bulk of the movie focusing completely on the creation of Wiseau’s dramatic project to an alarming top-notch and uncanny degree, The Disaster Artist is an entertaining blend of comedy gold and character examination, and with a person as inevitably ambiguous as Tommy Wiseau at front and centre of the project, there is no reason to suggest why The Disaster Artist might prove to be the ticket to the Oscars Wiseau always dreamed of after all.
Overall Score: 8/10
“I’m Done Talking, Let’s Play…”
Fresh from her Oscar win in 2017’s best film so far in the form of Damien Chazelle’s La La Land, Emma Stone leads Battle of the Sexes, the latest from Little Miss Sunshine and Ruby Sparks directors Jonathan Dayton and Valerie Faris, and a film which focuses on the titular infamous tennis match in 1973 between Billie Jean King and Bobby Riggs which ultimately lit the touchpaper for King’s advocacy for feminism and LGBT rights within twentieth century America. With Steve Carell co-starring as Riggs and the likes of Andrea Riseborough, Sarah Silverman and Bill Pullman all making an appearance, the husband and wife directorial pair’s return is one of rousing success, a brilliantly acted docu-drama with a hell of a lot to say, and whilst the film sometimes doesn’t quite succeed in cracking open effectively all the notions evident on display, Battle of the Sexes is admirable in its’ attempt to raise the same questions which were raised forty four years ago but are unfortunately still increasingly evident even today.
With Stone continuing to prove why she is arguably the most in-demand talent within Hollywood at this moment in time with yet another brilliantly nuanced performance as Billie Jean King, the film’s strongest narrative thread is undeniably the relationship between her character and Andrea Riseborough’s stylist love interest, Marilyn, a partnership which not only holds the most substance between any of the leading cast in the movie, but thanks to effective dialogue and intensely invasive camera shots is so authentic in its’ design, the movie could have been good enough simply focusing on this particular plot thread alone. With a grainy, stylised 1970’s aesthetic and a jukebox soundtrack accompanying the story, Battle of the Sexes is undeniably a crowd-pleasing ace, and with a final act which although is undeniably inevitable in regards to its’ outcome, still manages to be rousingly intense, Faris and Dayton’s movie is ironically one of the more timely releases in a year rife with discussions regarding women’s liberation and the effect of feminism. Long may it continue.
Overall Score: 8/10
“This Year It’s No More Back And Forth At Christmas. It’s A Together Christmas..!”
With 2015’s Daddy’s Home being one of the few cinematic releases which managed to simply pass me by without me having the chance, time or perhaps the need to catch up and review it, the release of it’s inevitable sequel after the comedy hit became Will Ferrell’s highest grossing live action film to date brings with it a sense of heavy duty dread, particularly when reminiscing the more contemporary Ferrell releases such as The House and Zoolander 2, and whilst it requires quite an extensive amount in the American comedy genre to actually impress me, who would have thought that a Christmas themed sequel to a film which never really was asking for a continuation in the first place was actually somewhat quite good fun? With Mel Gibson and John Lithgow added to the cast as the fathers of Mark Wahlberg’s Dusty and Ferrell’s Brad respectively, Daddy’s Home 2 is a surprisingly sharp and witty sequel which although suffers from a overly formulaic plot, some interesting narrative swings and a completely saccharin sweet ending which nearly resulted in me chucking up into the nearest popcorn box, is throwaway comedy trash of the cheesiest order which just happens to be quite enjoyable.
With a script which ironically mirrors the Bad Moms Christmas approach by utilising the added input of an older generation to the plot and therefore the inclusion of much more acting talent, the inclusion of both Gibson and Lithgow does strangely work, with the latter using all his musky, outdated charm and guile to interfere with the family arrangements, and the latter’s penchant for cringe-laden conversations and weirdly intimate family relations managing to balance the widely cliched characterisation of pretty much everyone from child to elder. With rib-tickling set pieces managing to win me over from the start and Wahlberg being undeniably the star of the show, Daddy’s Home 2 does falter in an over-reliance on weak slapstick more times than necessary, whilst the inclusion of a strangely ill-judged gun scene is somewhat muddled in its’ execution, particularly when contemplating recent events in the US. Daddy’s Home 2 isn’t perfect, but nobody heading in was expecting It’s A Wonderful Life, and whilst some may feel the need to slate it’s cocksure and rather unsteady cinematic existence, it really isn’t worth getting angry about, and with that particular mindset in check, Ferrell’s latest is just plain dumb fun.