Joker (2019) - Film Review

Review:

*Originally written October 5th, 2019*

This is a hard one to get into. The outrageous controversy surrounding this by fake woke Twitter who had made up their mind on this before even seeing it. It's kinda funny how an ironic and satirical movement of people online using Joker to mascot their joke about being radicalised incels become something the media deemed a genuine threat. In a way, it's the funniest thing about this all. What was interesting to me is the lack of awareness in people and how they couldn't see what these people were doing was satire. The whole Gang Weed thing is literally a joke, nothing more and the fools fell for it.

Getting to the actual film itself, it is a complete triumph. I had genuine concern that Todd Phillips had the maturity to make a film like this after the abysmal Hangover sequels and crappy comedies he usually does. Somehow he pulled it off. He's crafted an entry in the comic-book genre that is unlike anything that came before it. Joker is a character study first and foremost, as we see how Joaquin Phoenix's Arthur Fleck slowly starts to lose his mind and become the iconic Joker.

There was many risks involved in making this. The idea of demystifying on of cinemas greatest villains never seemed like a good idea, alienating fans of comic-book films who are so used to soulless CGI spectacle over anything close to substance that has more or less taken over the genre at this point and making such a dark, violent and adult film for a franchise that has mostly been aimed at teens and children. It was a risk for WB, one I'm glad they've taken, as I'm getting pretty sick of these interconnected universes and much prefer films that just tell their own story rather than trying so desperately to connect to other films and potential spin-offs. 

Going in, everyone pretty much knew the Martin Scorsese influences, which are pretty rampant. While Phillips pays homage to Scorsese's early films, this still has an identity of its own. This version of Gotham is a dark, ugly and unstable, much like the portrayal of New York in Taxi Driver. Crime is out of control, politicians are doing nothing to change the city and everyone is at breaking point. There is also a strong King of Comedy vibe (Robert De Niro even more or less plays the exact same character decades later).

While the political overtones of Joker are very apparent, the main focus really is on mental health. While there is no attempt to justify or make Fleck's actions anything close to heroic, it walks a fine line of showing what can happen if mentally unstable people do not get the help they need. There's no condoning their actions, but it's sad to watch and it's feels very honest, despite being an extreme portrayal. If people don't get the help they need before it's too late, then they lash out. 

That's the main thing Joker gets so right that could have gone painfully wrong. Fleck is not the hero of this story at all, you feel empathy for his descent into madness, but you never once see his actions as heroic or justifiable. It's very uncomfortable and horrible to watch as it just gets more extreme and out of control. This is far from the claims that the film is "Dangerous" and "Will encourage unstable loners to lash out" the media blew out of proportion for their ridiculous agenda. This film is a warning, not an encouragement. 

I should get to Phoenix himself. He's an actor I've always quite liked and has recently popped up in some films I've loved recently, so I was very interested to see how he would handle this role. To no ones surprise, he's quite incredible and is magnetic to watch. His performance is filled with so many ticks, physical transformations as he goes from, sad, funny, pathetic and terrifying with extreme ease. I know it's early to say, but this might be the greatest performance of The Joker we've ever had. Time will tell. Even with Phoenix being in nearly every scene of film, I was utterly compelled the whole way through as to where this was going thanks to his performance. I'd be amazed if an Oscar doesn't come his way next year, or at the very least, a nomination. I think it might be my favourite performance of the year. He takes a character that's been done to death and creates something new, tragic, beautiful and sad with it. 

While Joker does goes some places you would expect with the story, it does still go to some very surprising places, keeping me on edge pretty much the whole way. This is one of the most uncomfortable films I've seen in quite some time. The violence is messy, bloody and horrible to watch. The story also goes to some very interesting places as it builds up to its pretty shocking climax. 

While I haven't always been the biggest fan of a lot of Todd Phillips films, I've always given him credit for his visuals. His work always looks incredibly cinematic with a lot of stylish visuals and memorable imagery. Joker is no different, it's as gorgeous as it is ugly, making use of a diverse colour palette that and some disturbing imagery that is sure to become iconic down the line. There's even a weirdly comic dance number that worked far better than it should have. Oh, and I must give credit to Hildur Guonadottir's foreboding and tense score that really elevated the tension on screen. 


Todd Phillip's Joker is far more successful than anyone could have expecting, including me. It joins The Dark Knight and Logan as one of the few comic-book films I consider truly masterpieces. An unflinching, harrowing and deeply uncomfortable watch that features one of the best performances I've seen in recent years. I really hope Warner Bros continue to push the DC films in this direction because this really is something special and unlike anything in the genre. It might just be a game changer.

10/10 Dans

Joker is out now in cinemas in the UK with a 4K UHD Steelbook available to pre-order in the UK
Watch the trailer below:

Follow us:
Twitter: @FigmentReviews
Instagram: @FRFigmentReviews
YouTube: Figment Reviews 
Letterboxd: Dan
Facebook

Fast and Furious Presents: Hobbs and Shaw (2019) - Review

Review:

*Originally written August 5th, 2018*

2019 in cinema continues to underwhelm and disappoint. Hobbs and Shaw is both the ninth entry and first spin-off of this unlikely franchise that started as a piece of early 2000's cringe about street-racing and wanking off onto a car bonnet or something. No one would have expected this series to go as far as it has or get as big as its gotten, but then the fifth film came along and changed things. It was no longer about getting your dick hard over a bit of vibrating engine and metal, they became ludicrously dumb and entertaining action films that continued to push the boundaries of insanity with each one.

Which is why I guess I'm a little underwhelmed by this first spin-off starring Jason Statham and Dwayne Johnson as the titular Deckard Shaw and Luke Hobbs. This is a fun film, as it should be, for the most part. It just never lives up to its potential, which feels like something I've been saying far too much for films in 2019. The same Fast and Furious gonzo and insane set-pieces are still here, but it lacks the surprising heart of the main series and the ensemble cast.

Johnson and Statham no doubt have great chemistry together, which is why some of the strongest scenes from Fate of the Furious was their stuff together, so it's easy to see why they would pair these two up for their own spin-off together. It's just a shame that a lot of the jokes and banter between them feels so juvenile and lame, I was surprised at just how many dick jokes were crammed into the first half. Honestly, I was astonished, I've not heard that many references to cock and balls since the last time I saw a Seth Rogen film.

The plot they're thrown into is very by the numbers and generic. The mismatched pair have to team up despite hating each other (Didn't they get over that in the 8th film?) in order to take down Idris Elba's genocidal cyborg soldier who wants to destroy most of the population with a virus that ends up in the hands of Shaw's MI6 agent sister (Vanessa Kirby). Yeah, it's a hell of a long way from the days of undercover cops and street-racing.

When I first heard Idris Elba was playing a cyborg enhanced super-soldier called Brixton, I couldn't think of anything better. Something as nonsensical and absurd as that to push this series further and further into insanity. Sadly, he's a little underwhelming. It's not all Elba's fault though, he does a fine job with what he's given, bringing a certain menace and charisma to the role, it's just the character that's very underwritten. He has some really cool moments and his arsenal of sci-fi gadgets and physics defying motorbike is awesome, but his motivations are the same as several villains as of late - "Wipe out loads of the world's population in order to save it", it's oddly dull. 

The real breakout star here was Vanessa Kirby, which I did not expect at all. She really holds her own in action scenes and looks like she has a promising career ahead of her in the genre. She even has much stronger moments and lines than either Statham and Johnson. I hope to see much more of her in this series, whether it be the main series or the inevitable sequel to Hobbs and Shaw.

With David Leitch directing, I had no worries about the action on display here, he did a wonderful job with John Wick, Atomic Blonde and Deadpool 2, so it was awesome to see him work with such a huge budget. His work is easily the strongest stuff on display here and where Hobbs and Shaw really comes alive. It's a shame all the action is spoiled in the trailers, but Leitch really does have a handle on things here. From the gravity and physics defying vehicle stunts to the surprisingly crunchy hand-to-hand stuff, it all feels very fun and creative without living up to insanity of the main series, but it's still wonderfully more crazy and over the top than most films with a budget like this would allow.

It's just a shame the downtime between the chaotic scenes of action seem to drag on so much, it has its moments and a very fun cameo, but it honestly feels about 30 minutes too long with so much that could have been cut for a much leaner and easier to watch film. Some gags and jokes drag on for so long they start to feel like a Family Guy sketch, it just goes on and on. I feel like there's a much better film few cuts away from what we got here.


Hobbs and Shaw just feels a bit too by the numbers for a series as insane and crazy as Fast and Furious. There's fun to be had with the really fun set-pieces and seeing Statham and Johnson together, but it all just feels a little underwhelming and not as fun as it could have been. Passable entertainment, but another 2019 film that didn't live up to its potential.

6/10 Dans

Watch the trailer below:

Hobbs and Shaw is out now cinemas in UK and a 4K UHD Steelbook is available to pre-order from HMV

Follow us:
Twitter: @FigmentReviews
Instagram: @FRFigmentReviews
YouTube: Figment Reviews 
Letterboxd: Dan
Facebook

Aladdin (2019) - Review

Review: 

*Originally written May 22nd, 2019*

Yeah, I'm pretty much done with these live-action Disney remakes now. I had a soft-spot for a couple and I really liked Beauty and the Beast and The Jungle Book, but after the mediocre Dumbo and now this incredibly bland and cynical remake of Aladdin, I'm over it. I just wish I turned on these films faster, because in all honesty, they deserve it.

What makes a little of these films great is how tight, fun and entertaining they are. The original Aladdin is even one of my favourite of Disney's animated classics and this re-imagining brings absolutely nothing new to the table and does so very little to justify its existence outside of printing money for Disney. A company I'm very quickly beginning to despise. 

The problem I have with this and earlier this years Dumbo is just wasting the directors. I'm not the biggest fan of Guy Ritchie, but I give him credit when it comes to style, he has own unique sensibilities that feel present in all of his films, for better or worse. His films can be very obnoxious at times, but there is some entertainment in his quick-witted dialogue and incredibly stylised action. His films feel like his own. If I had no idea Guy Ritchie directed this and then afterwords discovered this, I would have thought it was a joke. Aside from two very brief moments, there is not a single ounce of wit or style that makes this feel like a Ritchie film. 

It once again feels like a film directed by a corporate machine with no flair for the cinematic. So much of this feels flat and lifeless. Some of the songs are obviously very good, as they were in the original and the  updates of these songs are absolutely fine, but everything just lacks energy, making it seem like some tiring chore. It's amazing to me that a film with a budget this insanely high can feel so uninteresting and dull. There seems to be a lot going on screen with these musical numbers, but the way its shot makes it seem so damn boring. 

It's a shame too, in hindsight, an Aladdin film from Guy Ritchie actually sounds like an interesting idea. The style from his early British crime films could have actually merged well with the story of a young street rat here, but it's so safe and uninteresting. They do not take a single risk with this update and it shows. It honestly made me wish I was watching Ritchie's King Arthur: Legend of the Sword, one of his biggest flops and a film that was panned left, right and centre, but that still displays more creativity and unique style than anything onscreen in Aladdin. 

It's not all bad though. Even with the horrific marketing, Will Smith somehow managed to be the best thing about this. He brings a lot of charm and charisma to the role, despite the questionable character design. His performance in this is very much Will Smith being Will Smith, but by the time he joins the film, it was a welcome addition. Relative unknown Mena Massoud also gives a fairly solid performance as Aladdin, he's not amazing, but he carries the film well enough.

Marwan Kenzari's Jafar is a big miss. A completely one note and boring villain who's motivations are nothing more than "He's evil", it's just annoying. If they're going to spread these stories out for an extra 40 minutes from their animated originals, they could at least try and use this time to expand on character, but instead they just add filler between the plot beats we already know in order to get the film to around the 2 hour mark. 


There's so little to say. It is what it is, a deeply cynical cash grab with a solid Will Smith being himself and a few moments of fun from songs you remember from your childhood. Too competently made to be called bad, but so deeply unoriginal and pointless to be called good. I can't believe I'm saying this, but what a waste of Guy Ritchie....

5/10 Dans

Aladdin is out now in cinemas in the UK
Watch the trailer below:

Follow us:
Twitter: @FigmentReviews
Instagram: @FRFigmentReviews
YouTube: Figment Reviews 
Letterboxd: Dan
Facebook

John Wick: Chapter 3 - Parabellum (2019) - Review

Review:

*Originally written May 15th, 2019*

The John Wick series is an unlikely series if I've ever seen one. Starting off as what could have potentially been VOD/straight-to-DVD trash ended up being one of the most creatively shot, entertaining and classy pieces of action cinema released in the past decade. Sure, it's Keanu Reeves going to war with the criminal underworld after the death of his dog, but it ended up being so much more than that.

The sequel only improved on things. Expanding this insane, comic-book like world and upping the stakes, delivering even more creative, brutal violence and a surprisingly dramatic story that felt like it had depth, even making way for an incredibly effective cliffhanger that leads into this inevitable third film. I wasn't sure just how they'd top the second, but my god, they did it. Those crazy sons of bitches did it.

Taking place instantly after the events of the second film, John Wick finds himself with a $14 million bounty on his head after murdering a high ranking criminal and breaking the rules of his underground crime syndicate, leaving him with nowhere to go and no one to help him. I wasn't sure what exactly to expect from the story here, after the first 40 minutes, everything I was expecting was pretty much proved wrong, making this one of those rare films where I had no idea what was going to happen. 

I knew this franchise was conceived as a trilogy, but with nothing but growing love and popularity for the series between films, part of me knew this wouldn't be the last we'd see of John Wick. I'll admit I'm a little disappointed at the direction taken here to not end the franchise and instead set up an inevitable fourth film, but then again, much like the Mission Impossible series, I'm always taken back at how they manage to up the ante, so I have faith they'll continue this series in the right way. In all fairness, without spoiling things, it does promise a very interesting direction to take the series. 

Even with that, everything story-wise was a genuine surprise. It takes some strange routes to get there, even stopping off at Casablanca for an entire act, but it's always intriguing and makes use of its trademark action and black humour while continuing to grow this ever expanding world of underground assassins with their unique honour system, rules and code. 

Among the returning cast of supporting characters, we also get a whole variety of new faces, most of which are very welcome additions.  A few of the actors from the Raid series get their chance to shine, after having their talents wasted in forgettable cameos withing huge Hollywood films (There's even a great homage to The Raid 2 thrown in here). Halle Berry makes a excellent use of her screen-time in her first good role in years as an ex-assassin with ties to Wick and has two adorable dogs that even get involved with the action. I'm really hoping one of the spin-off films around this series has her in mind.

Of all the new faces, the main one that sticks out is sadly once again the villain. This series has always had a problem with forgettable villains and this might just be the worst of the lot. Mark Dacascos "Zero" gets some brutal and extended fight-scenes, which he does well in physically, but in terms of character, there's very little there. There's a couple of fun jokes about him being a big fan of Wick, but that wears off pretty quickly and he kinda reminded me of Randall Park in Ant-Man and the Wasp. Take from that what you will.

Franchise returners all get much bigger and expanded roles. Ian McShane is still a delight as the owner of the "Continental", although some of his character choices are questionable towards the end. Lance Reddick has much more to do and even gets involved in some action this time around. Then, Laurence Fishburne is still just awful as "The Bowery King", chewing his scenery to unbearable levels in his brief appearances. 

Then there's Keanu Reeves as John Wick himself, a role that's as tailor made for him as John Wick's suits are for him. He continues to expand his range with while playing the cold-hearted assassin with just enough humanity to make him feel like a real human being. His dedication to performance his own stunts and physical work is only rivalled by possibly Tom Cruise. Reeves gives it his all. Many accuse Reeves of being wooden, but he's far from it here, showing Wick his more depth and range than the previous two films combined. 

Now, what you're all here for with a John Wick film is the action, and yes, the film delivers this in levels that I could barely take in with just one watch. The third film in this series is absolute carnage brimming with creativity. It's beautifully shot with no shakey-cam bullshit, it's relentless and feels absolutely brutal. Wick makes use of whatever he can to kill someone, from guns, knives, books, his hands and even a horse (All within the first 40 minutes). It is utter carnage.

Each set-piece expands upon itself and ups the stakes to near comical levels, Which is what you should expect at this point. Once you embrace how absurd this world is and how deranged the violence gets, you really do learn to love it. I miss films like this, brutally violent action films with just enough budget to accomplish huge action scenes without having to tone it down for a family friendly audience. These really are the films we should be supporting. 

I'd argue that Parabellum is exhausting, but in a good way. It rarely slows down from the action, kind of similar to Mad Max: Fury Road or Mission Impossible: Fallout, it's exhausting, but so rewarding by the end of it and while you're sitting there just taking it all in, it's a transcendent experience. I never thought I'd say that about a film series that started with a retired assassin avenging the murder of his dog.

Amongst all the incredible action, this is also a gorgeous and beautiful looking film. Even the smaller scenes have a cinematic flair to them, but this series loves neon and continues to do so. Some of the sets and designs are absolutely stunning, brimming with interesting details, lighting and colouring. It must be said how underappreciated Tyler Bates score is too, reusing and remixing previous tracks from the series and bringing in some pulsating and tense music to accompany the already insane action scenes.


If you're a fan of this series so far, I can't imagine you'll be disappointed by what's been put on display here. A gorgeous visual feast of creative violence and carnage that manages to be one of the best action films of recent years in a series that just gets better with each film. I'll be amazed if 2019 gives us a better action film than this. 

9/10 Dans

John Wick: Chapter 3 - Parabellum is out now in cinemas in the UK
Watch the trailer below:

Follow us:
Twitter: @FigmentReviews
Instagram: @FRFigmentReviews
YouTube: Figment Reviews 
Letterboxd: Dan
Facebook

The Expendables 3 (2014) - 4K UHD Review

Review:

*Originally written March 10th, 2019*

For many, this entry in the Expendables franchise killed it, and to be honest, I can see why. It ditches what people loved about the series so far. The gimmick of these films are the nostalgia of throwback, violent action with the faded action heroes of the '80s and '90s. So it really is bizarre for them to release the third film in this series as a toned down, cleaner entry that sidelines the characters in favour of a younger cast of unknowns.

 Based on this, it's not hard to see why this was received so poorly and has left the franchise dormant for 5 years now (With on and off reports that The Expendables 4 is happening with an R rating again). Despite all the things they just got plain wrong, I still kinda had a good time with this. Sure, the blood, swearing and tone is mostly gone, but it's still head and shoulders above the awful original and it's hard for me to not just take this for what it is and just enjoy it.

The series continued to improve its villains with each entry and this was no different, Mel Gibson is an absolute, scenery chewing maniac here and it is wonderful to see. This came along after he disappeared for a while after his legal troubles and phone call leaks (You can listen to them of YouTube, essential stuff). It's just sorta nice to see him here having a good time and hamming it up, he's the perfect sort of addition to this series. Would love to see Danny Glover in a future entry. 

In terms of the new cast, they are mostly just brutal. A bunch of nobody actors I'd never heard of, aside from Ronda Rousey, who is just awful in everything she does. The whole MMA fighter turned actor thing rarely works, and this might be the best example of that. It's just disappointing what they do with the original Expendables, Terry Crews is quickly written out for most of the film and Jet Li is nowhere to be seen until the end, but he does at least get a surprising pairing with Arnie that is far funnier than it should be. Oh, and Harrison Ford pops up too, who seems to be having the most fun he's ever had on a film in decades. Remember when that guy used to have charisma before giving up? Which reminds me of Bruce Willis's curious absence from here and a few characters just mentioning he's a dick. What happened there?

The action does lose the violent impact of the first two and suffers from some terrible quick-cut editing in order to work around some of the more brutal kills. Why even keep Jason Statham's character as a knife specialist who stabs people brutally if you're just going to cut away? There is some cool stuff going on, the relentless wave based assault on Mel Gibson's compound at the end certainly held my attention for longer than I expected. I'm pretty sure I watched the uncut version too, which did very little to leave an impact on the violence.

Outside of a few choice action scenes, there really is very little here, but it is oddly quite fun, I can't quite put my finger on it. I should absolutely hate this, but I still enjoy it. I think I might even be oddly invested in these characters too, I hadn't seen this in about 4 years and I was strangely compelled and interested by Stallone's Barney Ross here dealing with a ghost of his past. Stallone does a merely okay job conveying emotion, but for what this is, it's fine. 

I was also pretty torn over this 4K release too. On one hand, the detail is extremely strong, pretty much reference quality consistently throughout, but the HDR is a complete mess, colours looked off and weird, blacks looked more like a dark grey than the usual deep and inky blacks I'm used too. It's just a shame, as the detail is so sharp, but someone really fucked up the colour grading of this release. 


The Expendables 3 is far from great, but it's the third in the series of B movies starring faded action stars and it lacks a bit of what made the second entry the best in the series, but it's still good fun and Mel Gibson is endlessly watchable as the villain. Hoping they sort out The Expendables 4 soon. It's been 5 years. I'm ready.

6/10 Dans

The Expendables 3 is out now on 4K UHD, Blu-ray and DVD in the UK
Watch the trailer below:

Follow us:
Twitter: @FigmentReviews
Instagram: @FRFigmentReviews
YouTube: Figment Reviews 
Letterboxd: Dan
Facebook

Alien (1979) - 4K Cinema Review

Review:

*Originally written March 7th, 2019*

It's always pure joy for me to get to see one of my favourite films of mine at the cinema. Even better when it's presented in a gorgeous 4K remaster like the one displayed here. I've had a long history with the Alien franchise, I used to frequently watch Alien and Aliens on DVD on repeat as a kid, but I always liked this one more than Aliens. I just prefer the slow-burn slasher aspect of this to the more action-heavy sequel. The less said about Alien 3 and Resurrection the better though.

Being it's 40th anniversary, this still holds up extremely well. This is Ridley Scott on the top of his game. There is so much detail in every part of the production design, from intricate Nostromo ship to the foggy alien planet, everything is a feast for the eyes. Made even better with its reference quality 4K transfer. One I will be buying when it hits disc in late April.

It carries a very simplistic plot. A crew of a spaceship investigate a distress signal on a planet while on their way back to Earth, but end up bringing in an Alien entity that slowly starts to pick off the crew one by one. 

What helps most is how likeable the crew are at the beginning. We spend a good 50 minutes or so with these characters before the chaos starts. The cast all work well off each other, making for some surprisingly decent bursts of humour that I had completely forgotten were in this film. Sigourney Weaver is obviously the most developed of the characters, but it's a stroke of genius that she doesn't become front and centre until very late into the film, making me appreciate how much of a surprise her survival and role must have been back when this released. Weaver herself is fantastic though, a strong female lead that takes control of the situation and is never once a damsel in distress, making for one of the most iconic characters in sci-fi.

The Alien itself is still an absolute masterclass in creature design. The practical costume looks incredible and is used just enough to keep it mysterious and intimidating. It really shows that less is more, using the shadows and dark areas to hide various parts of the costume is a smart move that pays off in spades. I wish the franchise would go back to its roots and use suits like this again, as this holds up far better than the overly CGI look of the creatures in Alien: Covenant, which was only 2 years ago. 

I won't lie when I say some things just do not hold up. It's easy to make fun of a film made 40 years ago, but I could see why some people could find some of the effects a bit cheesy and laughable. In particular, after the alien bursts out of John Hurts chest, it runs across the table, and it looks a bit dodgy to say the least. Then there's the scene where Ash starts to malfunction and make weird sounds while all I could think of is he might just puking up lots of cum. 

I also miss what a talented filmmaker Ridley Scott used to be before having one of the most hit-and-miss careers of any director I can think of. He uses everything to his advantage here to rack out tension from nearly every scene. It's such a shame he's never managed to live up to this high standard as he continues to try continue the Alien franchise, but never coming close to what made this original film so great.

The sound design is utterly insane here too. Jerry Goldsmith's score is one for the books and seeing this in a loud theatre with surround sound was such a treat. It made me appreciate just how important sound design is to a film like this and how much it brings to the tension and dread of the whole thing.


Alien is still a defining sci-fi horror classic and easily the peak of the series. One of my favourite films of all-time brought back to life with a gorgeous 4K transfer that makes me appreciate a film I already loved so much. The peak of the franchise and possibly Ridley Scott's career. Pure cinema. 

10/10 Dans

Alien is out now on Blu-ray and DVD in the UK with a 4K UHD release due out April 22nd with a steelbook available from Zavvi to pre-order

Watch the trailer below:

Follow us:
Twitter: @FigmentReviews
Instagram: @FRFigmentReviews
YouTube: Figment Reviews 
Letterboxd: Dan
Facebook

Cold Pursuit (2019) - Cinema Review

Review:

*Originally written February 26th, 2019*

You kinda know what to expect when it comes to Liam Neeson action thrillers by this point. Aside from the Taken sequels, they are perfectly serviceable pieces of throwaway entertainment. I was very much expecting this to be more of the same, but instead, it is far more out there, weird and surprisingly different to his usual revenge films.

There are so many strokes of such weird broad comedy littered throughout. I mean, it can be a bit of a mess at times, I rarely knew when I was meant to just be laughing, taking it seriously or just meant to take in the gonzo randomness of it all. At the very least, there are some very strong moments of broad, strange humour that do land, I just wish it was a little more consistent for the most part.

Neeson is as reliable as he usually is, once again playing a man who is avenging the death of a family member. In this case, the family member being his son, who is found dead of a heroin overdose despite the fact he was never known to be a drug user, so see goes on a quest to figure out who did it. Even in his older age, Neeson is still a competent action star and they use his age to the films advantage, never getting him to do insane stunts or anything to unrealistic for a man his age. He does also display some nice touches towards the beginning as a man distraught of the loss of his young son, probably helped by his own loss of family in real life. 

While being an action film, there's never really any massive memorable set-piece for the most part, aside from one final shootout that barely even has Neeson in it. It's mostly a series of cold executions from Neeson, as he makes his way from target to target, gathering information and coldly killing anyone involved with his sons death. I was a little reminded of Taken, which I always appreciated for him just coldly murdering anyone who got in his way and the take no prisoners attitude.

As entertaining as this all was, there's a lot added subplots that really don't add up to much. The weirdest of which being Laura Dern as the wife of Neeson's character, who really just had no purpose in the film and is quickly written out of the film with a brief and pointless role. Then there is also the inclusion of two cops who you'd assume would be tailing Neeson's exploits, but the two stories barely come together and also just feel like needless padding. The removal of both of these could have easily given the film a much brisker run-time, not that 2 hours is completely unreasonable.

There is also a decent amount of the run-time dedicated to the villain, which is rare for a film like this. I honestly could not tell you anything about the bad guy in a previous Liam Neeson action film. Thankfully, Tom Bateman's "Viking" is a fun piece of eccentric villainy, a camp, pantomime performance filled with weird little ticks and characterisations that really steal the show.  

I was also unaware this was a remake of a Norwegian thriller "In Order of Disappearance", also directed by Hans Peter Moland. I'm not sure how this compares to the original, but I am very interested to check it out at some point. In all honesty, I am shocked this wasn't another collaboration between Liam Neeson and Jean Collet-Serra. They do so many action films together, that I just expect every new Liam Neeson thriller is directed by him.

So I guess that's why I was so surprised by the weird and unusual tone for such a film, but for all of the films tonal messes, Moland has directed a genuinely great looking film, making use of its gorgeous snowy town in a fictional town in Norway. Thinking about it, this might actually be Neeson's best film since The Grey. It's not quite up to the level of that masterpiece, but I think with rewatches, this could grow on me as I adjust to the weirdness and tonal awkwardness.


Cold Pursuit might not be what you would expect from a typical Liam Neeson thriller, but is all the more better for it. Neeson is reliable, the action is cold and brutal, and it's surprisingly out there and weird. It's a shame it's done so poorly, as it's one of Neeson's best in years.

7/10 Dans

Cold Pursuit is out now in cinemas in the UK, with a 4K UHD Steelbook available to pre-order from Zavvi

Watch the trailer below:

Follow us:
Twitter: @FigmentReviews
Instagram: @FRFigmentReviews
YouTube: Figment Reviews 
Letterboxd: Dan
Facebook

Destroyer (2018) - Film Review

Review:

*Originally written February 21st, 2019*

Well, looks like I'm in for another year where my favourite films of the year don't play anywhere near me in theatres. Meaning I either need to wait for a watchable torrent or a Blu-ray/4K release down the line. This is the state of cinema in the UK outside of huge cities at the moment. Unless it's Star Wars, Marvel or award contending Oscar-bait, I do not get to see the film at the cinema. Leaving me to wonder why I even bother any more.

Destroyer is already one of those, and it's only February (It was released here in January, but like I said, showed nowhere near me. Despite being heavily advertised at the Guildford Odeon. Honestly, the month leading up to its release, any film rated 12A or above showed the trailer for this. Then its release date came and nothing). 

I'm amazed how overlooked this has been this awards season. Nicole Kidman is absolutely on fire here, in her most volatile, heartbreaking and ferocious turn I've ever seen from her. There's obvious comparisons to Charlize Theron in Monster, where they "Ugly" themselves up to look barely recognisable. It works here incredibly well, making for not just the best performance of Kidman's career, but one of the best of 2018. It is a travesty this was overlooked at this years Oscar's in favour of more baitey performances. 

Outside of Kidman's performance, this is still an incredibly effective and uncomfortable corrupt police thriller that spans multiple time periods. Karyn Kusama balances everything with such care, delivering some powerful storytelling with bleak and brutal violence, leading to a surprisingly poignant ending (Although I'm not sure about that final shot).

I was instantly reminded of some of Taylor Sheridan's works throughout. Being a coldly told and bleak story featuring gorgeous cinematography and bursts of harsh violence. I'm amazed this came from the director of films like Jennifer's Body and the atrocious Aeon Flux, it's rare that a director can move on from films like that to create something far more meaningful and worth watching. I'm very impressed and once again she's shockingly overlooked along with several other female director's who failed to be nominated at this years Oscars.

We've seen corrupt police dramas told many times before, perhaps peaking in FX's series 'The Shield", but I really have a soft spot for films about these broken people who use their abuse of power in order to earn some kind of redemption down the line. While Kidman's Erin Bell is definitely not one of the most evil of corrupt cops we've seen in media, she is definitely one of the more interesting. Her handling of guilt after the events decades before the film begins which we learn through flashbacks throughout makes for some genuinely compelling viewing, leading to how she ends up the way she is.

Then there's the lengths she'll go to cover up her crimes and how that effects the relationships with the people around her. The relationship with her daughter is a little cliched, but Kidman's sincere performance certainly makes something we've seen before work, especially with help of the excellent script. 


I'm really surprised this was completely slept on. I know I have a soft spot for these sorts of films, but it really is something special that really deserves seeking out. Kidman's performances carries a film that is excellent in all other aspects of its own right. A tight, compelling, beautifully shot piece of harrowing police drama that will most certainly be in my top 10 of 2019. 

10/10 Dans

Destroyer is out May 27th, 2019 on Blu-ray and DVD in the UK
Watch the trailer below:

Follow us:
Twitter: @FigmentReviews
Instagram: @FRFigmentReviews
YouTube: Figment Reviews 
Letterboxd: Dan
Facebook