Minions: The Rise of Gru

The little yellow pills of fun are back, and ready to take on the world in a new adventure.

Gru’s childhood is about to a little heated, as his dreams of hitting the big villain league get a little out of control.

In this heartwarming tale of adolescence, Gru finds his way in the world, with the help of his little yellow minions, to use his talent for getting up to mischief.

But what he doesn’t expect, is meeting his villainous idol, who takes him under his wing and shows him the ropes.

From incredible animation, to crazy plot twists, this film delves into the mayhem of the minion world.

But what this film loses in fluffy unicorns, it makes up for in jokes, that are there to bring a new level of enjoyment to the franchise.

Though this film won’t be everyone, it is an easy watch, and makes for good and wholesome family entertainment, that will make everyone from your 5 year old to your second uncle twice removed glow from ear to ear.

13 Reasons Why

Now, I’m not usually one for writing series reviews, in fact this goes down as the first, but I cannot help but share how wonderful and thought-consuming the outrageous honesty that prevails in this series is.

Suicide is a taboo within our society, one which is often veiled with selfish intention or misunderstandings. 13 Reasons Why does not hide behind any misgivings, but rather displays an unrelenting truthfulness that is far too often swept away beneath a metaphorical rug.

The story of this series centres around one girl, Hannah Baker, and what leads her to give up all hope and pursue a course of no return, which ultimately leads to her taking her own life. Along the way, Hannah confesses all the reasons (13 reasons) that lead her to suicide.

Not only does this series tackle the trauma that precedes and proceeds suicide, but it also addresses the problem of rape culture and bullying. These subjects are not simply glossed over, but instead delved into with a revolutionary brutality that makes you feel uncomfortable and uninvited.

The raw truth of this storytelling is unforgiving and shocking, but more importantly is powerful beyond belief, because it refuses to allow you, as the viewer, to be embarrassed or humiliated, but rather empowers a sense of inner righteousness that you can only wish was available to Hannah.

Instead of shying away from what may be considered ‘sensitive material’, the camera angles invite you to watch every emotion of the characters, regardless of the contents nature. At times, the camera almost encourages you to argue it’s invasion, questioning your right to be uncomfortable.

Without the triumph of acting that is displayed throughout the series, the story would not have had the same devastatingly powerful impact upon it’s audience. The cast, which is full of star-studded performers truly excels and sells the story in which they have been tasked with, making sure to approach it with gentle strength and carry it onto the inevitable success it is bound to have.

 

Their Finest

Authenticity, optimism and a dog; what else could you possibly need for a wartime film?

A married woman and screenwriter find themselves thrown together in a 1940 war-tired Britain as they are commissioned with the dubious task of creating a film worthy of American style propaganda.

Gemma Arterton and Sam Claflin take on the lead roles in this period drama, both of whom manage to fill their roles with heroic integrity and lighthearted humour. Whilst Bill Nighy claims a supporting role; a position which he fills with effortless talent and his ever-so-unique orchestra of hand movements.

The styling and costumes of both set and stars is conveyed with staggering ease, propelling the audience into 1940’s London with an instant glance.

The Direction too is nothing short of magnificent, but nothing else would be expected from Lone Scherfig, the director of similarly natured films such as An Education (2009) and The Riot Club (2014).

Though the story does have relentlessly unpleasant twists, the plot remains humble to its era and clearly everyone involved in the production has ensured the sincerity of the war remained an integral element.

6 Word Movie Tag

Found this really awesome tag over on Through My Eyes, so thought I’d give it a bash.

The rules:

• Choose 5 movies that you like.
• Create a 6 word synopsis of the movies.
• Do include the image provided (no idea what image that’s referring to, so apologies in advance).
• Tag 5 other bloggers and inform them (probably not going do that).

So, here goes nothing…

Harry Potter – Boy with scar kills evil wizard.

Rocky – Guy boxes a lot, usually wins.

Peter Pan – boy runs away, never grows up.

The Edge of Seventeen – angsty teenage girl hates everyone/everything.

Lord of the Rings – dude goes on quest, finds ring.

I know the whole point of a tag is to well, tag people, but honestly I don’t like to force people into these kind of posts, so I’m just going to leave this open for anyone else to pick up should they wish too.

Peace out and continue to explore cinema.

Table 19

No wedding is complete without a little drama, and this wedding is no exception.

There’s always that one table at a wedding that is crammed full of weirdos who have been invited out pity, and that is the very subject of this film. Table 19, as you may have guessed by now, is that such table.

From a married couple in turmoil to a teenage boy who’s trying to bag himself a girlfriend, this table has it all.

Though the plot has a great concept behind it, it never seems to reach its full potential, which is no more helped by the often sloppy acting, which is only marginally saved by Anna Kendrick taking centre stage. 

A film that’s entire focus is narrowed to a single table within the wider environment of a wedding is a difficult task and, unfortunately, one that I cannot say was successfully achieved within this attempt, which at most could be described as an experimental defeat.

Going In Style

When someone steals your pension fund, there’s only one thing to do; steal it back. 

Michael Caine, Morgan Freeman and Alan Arkin star in this Zack Braff led production, which takes the hilarity of an elderly led heist job and sprinkles it with a heartbreaking backstory which is bound to bring a tear to the eye of even the most manly of men. 

With such legendary acting talent, you’d be hard pushed to find a fault with the execution of the characters, who seem to bring natural wonder to even the dullest of scenes. 

The plot is a particularly strong concept that truly connects the audience to its subject, using everyone’s worst nightmare; losing your pension. But rather than taking the drama route, the script redirects to find the comic relief in such a devastating circumstance, allowing old friendships to become a crime partnership. 

With brief appearances from the likes of Christopher Lloyd, it’s safe to say the casting team absolutely nailed the auditions. Rather than shying away from the older actors, this film embraces them in all their glory and allows the audience to share the magic of age in the pursuit of happiness.

Cinema Etiquette

Seeing as I spend a vast amount of my life at the cinema, I thought I’d document my experience.

Much like the film ’10 things I hate about you’, I have compiled a list of 10 unforgivable sins you can commit on a cinema outing.

1. Arriving Late

There is absolutely no excuse for this, the time is literally printed in black and white; you wouldn’t arrive late to a job interview late, would you? No, and yet you think a simple ‘sorry, excuse me’ will make up for me missing the all important opening scenes because apparently not only are you late, it takes you about half-an-hour to actually sit down. Unacceptable.

2. Children

If it’s not a children’s film, then leave them at home. There’s nothing worse than having a three year old getting so bored they begin touring the cinema under the illusion the auditorium is just a massive play area. Not to mention the fact that apparently they need to empty their bladders every 5-minutes, which further upsets the equilibrium.

3. Babies

Speaking of children, babies are just as annoying, perhaps even worse, mainly because of that crying thing they do, which apparently most parents don’t think constitutes reason to leave.

4. Popcorn Munchers

Now, admittedly its not our fault that some nut-job decided that, possibly the world’s nosiest food, provides perfect accompaniment for the cinema, but that does not mean you have to live up to expectations and chew with your mouth open, prolonging that astonishingly annoying crunching sound. I think we can all agree that there is nothing worse than being unpleasantly surprised by a ginormous crunching sound just as the plot drops its biggest twist yet.

5. Can Openers and Slurpers

These guys are probably best mates with the popcorn munchers. Why, oh why do people wait until the middle of the film to open a can, it’s not as if you were given 20-minutes of advertisements to prepare or anything.

Likewise, we get it, your drink is finished, making horrific slurping noises isn’t going to make things better, at most you’ll get  an extra 0.01 ml out, just admit defeat already, some of us are actually trying to watch this film.

6. Phones

There is absolutely no excuse for this one, if you want to browse instagram, just stay at home. In case you haven’t noticed you’re in a darkened room, a bright light kind of draws attention and distracts everyone.

7. Armrests 

Just because you’re a man, or excessively overweight, does not give you the right to claim both armrests. We’ve all paid the same price, I deserve one of those armrests too. And if you are really that determined to hog both armrests, then can you at least try and keep your elbows to yourself?

8. Coughing

Yes, I know, we all get a tickly cough sometimes, but if your coughing is continuous, then the least you can do is excuse yourself from the screen whilst you compose yourself, as opposed to ruining the atmosphere for everyone else.

9. Talking

The cinema is not a social engagement, it should be a silent procedure. As such, talking is not permitted once the opening credits have begun and if you persist on doing so, then expect sour looks from your fellow cinema-goers, because no one likes the low hum of conversation during the film.

10. Excessive Laughter

At this point you might be thinking what an utter Grinch I’m being, but hear me out. Granted, we all laugh during films, it is only human nature after all, but there’s always that one guy who has to take it too far and is still laughing two scenes on; it really wasn’t that funny and you’re just annoying everyone, even your family and friends are embarrassed for you.

And that, Ladies and Gentleman,  pretty much sums up my cinema pet hates. I’d love to hear if you agree or not in the comments.

Free Fire

Comedy, guns and violence; what more could you want?

In an abandoned factory where an arms deal goes down, two gangs meet to discuss the technicalities, but when shots are fired, all hell breaks loose as each member fights for their survival.

What is so remarkable about this film is it’s simplicity; the whole film remains in one setting, a setting which barely alters and yet remains the base throughout. Similarly, the characters commit to each of their roles without hesitation and with tremendous authority.

Though the film is nothing but a shoot-out, it still manages to entice interest despite its basic concept, perhaps due to the depth of characters and the comedy that provides room for the mostly fast-paced environment.

It is a film that goes nowhere, but has everyone hooked from the offset.

 

Power Rangers

Go Go Power Rangers. More like No No Power Rangers.

Original content seems to be a thing of the past for filmmakers today. Dredging up past concepts has become a trend within the cinematic world.

Rather than leaving the Power Rangers in their ever so glorious past, instead the story has been warped and conveniently adapted upon breaching the surface for a second round.

The acting is just as you’d expect from a film that drenches itself in teenage adolescence; awful. The cast seem to have a consistent default setting of mild frustration throughout the film, a characteristic that is undeterred regardless of circumstance.

If the acting wasn’t enough to make you nauseous, than the astonishingly shocking use of CGI certainly will. With a film as full of stunt orientated action, one would have thought that a little more effort could have been injected into the post-production aspect of the special effects. But, alas, the audience is left contemplating why the creators even bothered to remove the green screen, for the painful lack of realism that the final cut displays.

What is more, is the very fact that the vast majority of the film doesn’t even show the Power Rangers as, well, Power Rangers, until the last twenty minutes of the film; a climax that is of no satisfaction after enduring a storyline lacking both substance and originality.

Viceroy’s House

Tremendously historic in its execution, this film proves that peace and war do not go hand in hand.

As the last British Viceroy in India, Lord Mountbatten has the task of delivering India to its people, inducing their freedom. But with a civil war breaking out between Hinduism and Islam, a division of the country is imminent.

With a film as magnificently drenched in historic realism as this one is, it was with the utmost importance to keep the script as tactful as possible. Keeping this is mind, the writers managed to create a story of love and loss to retell one of the most horrific governmental decisions to date. 

Hugh Bonneville (Lord Mountbatten) and Manish Dayal (Jeet) show both parts of this story through the perspectives of a British master and an Indian servant.

The cultural competence present within this film is a refreshing look at Indian culture and allows for a non-stereotypical taste at 1947 India.

Though the film is unlikely to reach as bigger an audience as perhaps it ought to, anyone who does watch this film is sure to go away with a newly found respect for a story that is all too often forgotten.