Author: Natalie Teasdale

I want to share with other movie fans those amazing films that get under your skin and stay with you for days: the scary ones, the funny ones; the ones that get you thinking. With a background in creative writing, photography, psychology and neuroscience, I’ll be focusing on dialogue, what makes a great story, if the film has beautiful creative cinematography, the soundtrack and any movie that successfully scratches the surface of our existence. My aim is to always be searching for that ultimate movie, to share what I’ve found to be interesting (whether it be a great soundtrack, a great director or links to other information of interest) and to give an honest review without too much fluff. BAppSci in Psychology/Psychophysiology; Grad Dip Creative Arts and Post Grad Dip in Creative Writing. Founder of GoMovieReviews.

Phantom Thread

Rated: M

Writer/Director: Paul Thomas Anderson

Produced by: JoAnne Sellar, Paul Thomas Anderson, Megan Ellison, Daniel Lupi

Music by: Jonny Greenwood

Editing by: Dylan Tichenor

Costume Design by: Mark Bridges

Production Design by: Mark Tildesley

Starring: Daniel Day-Lewis, Lesley Manville, and Vicky Krieps.

A romance for those who don’t like romance.

It’s been a long time since I’ve seen such an absorbing and beautifully crafted gothic love story.

There is such a subtle and careful intimacy of a man measuring a woman’s waist and arms and bust – a vulnerable exposure allowing a man to know so much. Then to be made perfect; wearing his creation is to want to always stay in the light of his eyes because in his eyes you are beautiful.

It’s an old-world love story of a gentleman who has the temperament of a wilful child, his annoyance shown by the jutting of his teeth, and a woman who blushes under his attentive stare but refuses to be changed by him.

Phantom Thread is set in 1950s post-war London, circling around Reynolds Woodcock (Daniel-Day Lewis) and his obsession of thread and lace and pearl; where a dress is more than a piece of clothing – it’s where secrets are kept, sewn into the seams, where locks of hair are held to be always closely kept.

This is the man of, The House of Woodcock.

Living with his sister, Cyril (Lesley Manville), Reynolds confesses his incurable bacholar-hood, calling to his sister to ask whomever the current fancy to leave when he no longer sees them; when they cease to exist in his mind and become like ghosts.

It’s an oddly close relationship, but brother and sister partnerships opening haute couture Houses common at the time. And Reynolds needs his no-nonsense sister to protect him as he creates; the only one to understand him since his mother died. His mother the love of his life and her loss one he’ll never recover: her apperition still haunting the corners of his mind, absorbing any threat for his attention.

His mother’s ghost remains while the objects of his fading desire, die.

Finding himself restless, Reynolds escapes to the country where he meets Alma (Vicky Krieps), an embarrassed waitress who quickly becomes far more than a passing fancy, or muse.

She’s a woman with her own tastes.

This is the second collaboration between Daniel-Day Lewis and writer and director, Thomas Anderson, the first, There Will Be Blood (2007). And another success with his performance making me both want to slap and kiss the man but most importantly to always have his attention because that’s the only time to feel alive: that’s how believable Daniel-Day Lewis is in his role as Reynolds.

Anderson has also brought frequent collaborator Mark Bridges (Inherent Vice, The Master, There Will Be Blood), to create intricate costumes, made from scratch, creating 50 unique garments for the movie, including nine original pieces showcased in a Spring fashion show sequence.

Add music by Radiohead’s, Jonny Greenwood alongside the charm of drawing rooms and tea served in bone china, you have a moving story made aesthetic.

Not that the love story here is all romance – there is far more of the darkness of human nature here.

It’s what love and obsession can do to a soul that’s fascinating to watch: the dance of jealousy and annoyance; the settled and open, to the demanding and cold.

The archetype of a man still in love and grieving for his mother, who only wants to be obeyed; and a spiteful woman, jealous of all other women and demanding of attention.

This is what love can do to us.

And love stories like these will always be relevant – to be ‘protected from ghosts and dust and time’.

I’m not usually one for romances, but Phantom Thread is a thoroughly absorbing enchantment.

I, Tonya

Rated: MA15+

Directed by: Craig Gillespie

Produced by: Bryan Unkeless, Steven Rogers, Margot Robbie, Tom Ackerley

Screenplay by: Steven Rogers

Cinematography by: Nicolas Karakatsanis

Starring: Margot Robbie, Sebastian Stan, Allison Janney, Paul Walter Hauser, Julianne Nicholson, Bobby Cannavale, Mckenna Grace.

‘I was loved for a minute, then I was hated – then I was a punchline.’

Based on one of the biggest scandals in sporting history, I, Tonya shows that truth can be fluid.

The film is structured around interviews with Tonya Harding (MARGOT ROBBIE), her now ex-husband, Jeff (SEBASTIAN STAN) and Tonya’s mother, Lavona (ALLISON JANNEY), when questioned about the surrounding circumstances that led to the knee-capping of rival ice skater, Nancy Kerrigan (CAITLIN CARVER).

What fascinated writer and producer, Steven Rogers about the project was just how different the stories told by Tonya versus Jeff were about the incident that ruined her career.

Tonya is candid in her re-telling of the events leading up to that fateful incident but with the contrasting perspective of Jeff, it’s hard not to question the truth of each story.

To demonstrate: the film makers show the continued falls of Tonya on the ice, her re-telling of the episodes making the excuse of her blade being incorrectly repaired and out of alignment to flash backs of her unhealthy lifestyle of smoking and downing shots.

Although it’s difficult not to question the truth of the story, what the film gives the audience is the circumstances Tonya overcame to become an ice skating phenomenon – to this day, one of only six women in the world to make the triple axel.

And she did it 25 years ago.

A feat the film makers had to use visual effects to achieve because of the immense difficulty.

Currently, there’s only two skaters in the world to have any hope of pulling off the triple axel but are unwilling to risk injury in the lead up to competing in the Olympics.

What makes Tonya’s success all the more amazing is her difficult upbringing, as she states, ‘I don’t have a wholesome American family’.

With a mother who strives to make her angry because Tonya skates better when she feels she needs to push back, Lavona is shown in interview with cigi and pet bird on her shoulder included.

The film shows Tonya suffering abuse from her mother, pushing her to the limit from four years of age, through to her teenage years where she met Jeff who continued the abuse with his fists.

When news broke world-wide of the attack on Nancy Kerrigan, I remember thinking it was Tonya who did the deed. An incorrect assumption. And the film shows there’s so much more to the story than petty jealousy.

Oscar-nominated, Margot Robbie gives a gritty performance, digging deep to show the true nature and character of Tonya.

The highlight for me was Allison Janney as Tonya’s mother, Lavona – her performance had to be believable so the audience could digest her bizarre behaviour.

Sometimes truth really is stranger than fiction.

And the difficulties and destructive nature of Tonya’s relationships are the humour in the film – it’s just so bad, it’s funny.

The structure of the film, with the narrative based on the interviews, to flash backs that either support or contradict what’s being said keeps the pace running – camera work of Tonya skating is used up close and personal giving a rawness and faster-paced action.

Yet, I felt I wanted just that little bit more from the script.

I was fascinated by the different perspectives and the perversion of truth. Yet, the incident of the knee-capping itself was down-played to the extent of a one-minute shot.

What’s a knee-capping compared to the abuse Tonya suffered her whole life?

The view taken was to show the other side of the story, not what was portrayed in the media.

The truth of the story? It’s all about perspective.

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Darkest Hour

Rated: PG

Directed by: Joe Wright

Written by: Anthony McCarten

Producers: Tim Bevan, Eric Fellner, Anthony McCarten, Lisa Bruce, Douglas Urbanski

Starring: Gary Oldman, Kristen Scott Thomas, Lily James, Stephen Dillane, Ronald Pickup and Ben Mendelsohn.

Set over the course of four weeks in 1940, Darkest Hour is based on the true story of Winston Churchill and the immense burden he carried as newly-appointed Prime Minister when Nazi Germany invaded Western Europe.

It’s a critical time in history. A decision must be made to either fight in another world war against all odds, the Germans surrounding the entire British army on the shores of Dunkirk – or to negotiate with a madman.

The fight on Dunkirk is fresh in the minds of film enthusiasts after the recent release of Christopher Nolan’s memorable, ‘not-a-war movie’, Dunkirk.

Darkest Hour shows a different version of WWII, focussing on the same time in history yet here the story unfolds not on the ground – the soldiers dodging bullets or falling into the icy waters – here, we follow the men making the decisions and observe the politics and strategies of war held behind closed doors. And with Churchill, sometimes the most important conversation taken on the telephone behind the door of the lavatory.

Darkest Hour is based on the beginnings of WWII, yes, but the story is about the man – Winston Churchill and all his flaws. A man who has never taken the tube (well, only once during the strikes), a man whose wife (Kristen Scott Thomas) finds him intolerable but loves him anyway. And no matter his power or position will always know him as, Piggy.

Churchill never gives up, and it’s precisely his flaws that give him the strength to succeed.

Gary Oldman is every bit deserving of his recent Golden Globe award for Best Performance by an Actor in a Motion Picture – Drama. See his acceptance speech here.

As Winston Churchill, Oldman’s barely recognisable as he embraces the part and becomes every bit the British Prime Minister affecting all the required mannerisms of the mumbling, alcoholic, cigar smoking, yet brilliant mind and oration of the man.

Ben Mendelsohn finally gets to be the good guy, here as King George VI. Not the regal performance of Colin Firth in, The King’s Speech (2010) but suiting the tone of the film better with the gritty human nature of the characters used for amusement amongst all the seriousness of the story.

And there’s not many tricks here – director Joe Wright (Atonement, Hanna, Pride & Prejudice, Anna Karenina) keeping any effects subtle with a sometimes lofty birds-eye-view to convey the overall feeling of politicians seeing the population as small parts to be manuvered for the greater good.

Mostly, this is a character-driven film, focussing on the dialogue and emotion of those who discuss the fortunes of thousands of lives. We, as an audience, get a window into the world of Churchill as he weighs the cost; to ultimately decide no cost is too much – there is only perseverance to fight until the very end.

So, for all Churchill’s flaws, we are shown true grit and the character required when the world ceases to make sense. And can the man speak! The real pleasure of the film watching Churchill use his words to win over a nation, his famous speeches delivered by the believable performance of Gary Oldman.

Would I watch the film again? Probably not. This isn’t a thriller that keeps you on the edge, this is a stirring education and insight into just how close we came to losing our freedom.

Nat’s Top 10 Movies for 2017

It’s a personel moment when a film reaches into your mind to take you on a journey. And I’m happy to say this is what the films below have given me over the past year.

Being an avid fan of the horror/thriller I was surprised when I realised IT didn’t make it into my top 10 for 2017. However, after a re-watch I found that, although a great coming-of-age film (still rating:★★★★), IT was more a monster movie than a thriller with Pennywise a little too animated for my taste.

So, brace yourself because it was more about the suspense and intellectual thrill that tickled the grey cells this year, with a bit of humour thrown in the mix.

10.

MOONLIGHT

Drama ★★★★☆ (4.2/5)

Moonlight is unique in that it’s both raw and subtle, creating something else, a feeling that stays with you that’s beautiful because it’s laid bare. What a rarity and an experience you won’t soon forget.

DUNKIRK

Action / Drama / History ★★★★☆ (4.2/5)

Nolan has used his talent to bring the true story of Dunkirk to the screen without over-dramatising, allowing us to admire the courage and valour of the civilians of Britain who saved more than 330, 000 soldiers’ lives.

Suspense like a ticking time-bomb.

WIND RIVER

Crime/Mystery ★★★★☆ (4.2/5)

After writing the screenplay for the two highly regarded crime/thrillers, Sicario (2015) – which I gave a 5/5, and, Hell or High Water (2016), Taylor Sheridan has returned as writer and as director (debut) of the crime/mystery, Wind River: a tragedy based on actual events, beautifully told, where each moment, word and gesture show more than just the surface.

GOOD TIME

Drama/Arthouse ★★★★☆ (4.2/5)

The Safdie brothers (Josh and Ben) return with their fifth feature film, building on their gonzo-style street films with Official Selection and winner of the Cannes Soundtrack Award, Good Time.

And I was hooked from the opening scene.

PADDINGTON 2

Comedy for kids but made to be enjoyed by all: Hillarious! ★★★★☆ (4.2/5)

When any thought of reality is overwhelmed with wonder.

BLADE RUNNER 2049

SciFi ★★★★☆ (4.3/5)

Atmospheric and quietly menacing.

And that’s the quality of the film, subtle: complicated emotions yet, made to feel simple. A kind of gentle unfolding with an underlying darkness driving life into the shadows, but the shadows fighting back, like life…

Ah, don’t you love it when a movie makes you feel all moody when you leave the cinema!

SUBURBICON

Comedy/Crime/Mystery ★★★★1/2

Deadpan delivery of the clever, the very dark and the very funny.

STAR WARS: THE LAST JEDI

Fantasy/SciFi ★★★★1/2

Rian Johnson also wrote and directed, Looper (2012) and has brought that same attention to the script here, revealing layer upon layer of story to take the audience on a journey totally unexpected.

No other word to describe: Epic!

Miss Sloane

Drama / Thriller ★★★★☆ (4.6/5)

This is a thoroughly absorbing film because its cleverness is combined with an undercurrent of emotion that’s felt without needing explanation.

Classy and smart all the way – brilliant.

https://www.youtube.com/watch?v=TOrsh-D35vg

MOUNTAIN

Documentary ★★★★★

Unbelievable as it may be, but a documentary tops my list of best films of 2017: I felt like my soul was being fed by this symphony of poetry, imagery and sound.

A combination of sound and stomach clenching cinematography creates a thrill as people fly down slopes or jump into the air 1000s of feet above the earth, death defying leaps, where there really must be an element of insanity, to even think, yet, it’s not about thinking, it’s about feeling alive.

Enjoy!

Pitch Perfect 3

Rated: M

Directed by: Trish Sie

Story by: Kay Cannon

Produced by: Paul Brooks, p.g.a, Max Handelman, p.g.a, Elizabeth Banks, p.g.a

Starring: Anna Kendrick, Rebel Wilson, Hailee Steinfeld, Brittany Snow, Anna Camp, Hana Mae Lee, Alexis Knapp with Jan Michael Higgins and Elizabeth Banks.

Firstly, I admit to being a Pitch Perfect novice. In fact, a novice to any musical – I really don’t get it and find the idea cheesy: go watch a film clip if that’s what you want.

But, I can be open-minded and am a sucker for a good joke. And thankfully, Pitch Perfect 3 had more going for it than sometimes out-of-sync, 20-something-year-olds, having their first life-crisis viewed through a soft-focus lens.

Producers Paul Brooks of Gold Circle and Max Handelman and Elizabeth Banks of Brownstone Production have returned after the huge success of the previous Pitch Perfect instalments which made more than $400 million at the global box office.

Writer Kay Cannon, who wrote the first two films of the series, has also joined the team, sharing screenplay credit with Mike White – this time bringing more music and action to the final reunion of the Bellas.

The story so far shows the girls post-graduation from Barden, embracing their new careers as personal trainers and vet nurses, producers of hip hop artists (where I admit the over-produced version Beca makes to improve a track called, Bend Over was worse than the supposed bad original: picking on the authentic, yo!) to the (speaking of authentic) Fat Amy Winehouse with Rebel Wilson still bringing it with those facial expressions and dead-pan delivery of the disgusting that’s funny cause she’s so cute.

But the girls don’t feel like they’re winning in life-after-college, so when they get an invite for a reunion of the Bellas, they can’t wait to get back on stage again.

And the singing is good. If the lip syncing was sometimes very bad.

Rudy Rose joins the cast in the attempt-to-be-cool villain and lead singer in a band called Evermoist, which competes against the Bellas in a USO tour that involves playing in front of army boys. Add country band Saddle Up and DJ Dragon Nuts and DJ Looney, the Bellas get their much needed competition, that really becomes more about signing a contract with DJ Khaled, AKA Bill – the simplified name, Billy kinda cracking me up with the script adding some odd-ball humour. As did Lilly (Hanna Mae Lee) with her truly random behaviour…

It wasn’t until Beca tells Theo (the music exec and key part of DJ Khaled’s crew, so a big deal regarding the competition) that he looks like a turtle, and then to face-off the awkward moment, that I really started to get into the film.

So, really, I think the idea is to have so many different characters with unique personalities, so the audience will identify with at least one?

But what they all have in common is they look like they’re having a good time.

This is a high-energy movie where some noise in the audience is all part of the experience.

The best and most believable performance had to come from competitor’s Saddle Up, also a band in real life and the DJs were pretty good (also real-life musicians – Trinidad James and DJ Looney). But jeez, I did not get into the Evermoist crew. But I guess that’s the point, being the villains and all. Still…

So anyway, the Bellas get back together and jet-set around the world in this USO tour, when suddenly Fat Amy’s long-lost Dad (John Lithgow) finds her in Europe (having been banned from the US for his criminal activities). And I have to admit, Lithgow pulls off a pretty decent Aussie accent.

So that adds a few twists to an otherwise musical about the usual friendship/finding love formula.

What can I say, a musical, yes, but with some good comedy and odd-ball random moments thrown in for the non-musical fan.

Pitch Perfect 3 was quickly forgotten but fun while it lasted.

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Star Wars: The Last Jedi

Rated: M

Directed by: Rian Johnson

Written by: Rian Johnson

Based on Characters Created by: George Lucas

Music by: John Williams

Cinematography by: Steve Yedlin

Starring: Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Andy Serkis, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Kelly Marie Tran, Laura Dern, Benicio Del Toro, Frank Oz, Billie Laurd, Joonas Suotamo, Amanda Lawrence, Jimmy Vee, Brian Herring and Dave Chapman.

A long time ago, in a galaxy far, far away, there was the best episode of Star Wars made to date…

Star Wars: The Last Jedi (Episode VIII) is epic people!

This film has everything: fantasy, drama and conflict and betrayal and action with lightsaber fights that last just long enough…

And I was surprisingly emotional through-out the film with General (Princess) Leia Organa (Carrie Fisher) filmed and thankfully not animated so she looked so real and so there.

It was such a pleasure to see Carrie Fisher up on the big screen for the final time… See what I mean about emotional?!

Director and writer, Rian Johnson has spent a lot of time getting the detail of the story right. There’s new characters mixed with old that keep the story interesting with the familiar and the excitement of seeing new critters adding to the lightness and wonder of this visual story.

Rian Johnson also wrote and directed, Looper (2012) and has brought that same attention to the script here, revealing layer upon layer of story to take the audience on a journey totally unexpected.

And I liked how the film was set both in space and on land – the effects of space fantastic on the big screen and the grounding of seeing the ocean crash into rocks and the salty sand of the desert kicking up red dust visually surprising.

The island where the previous episode, The Force Awakens, leaves us with Luke Skywalker (Mark Hamill) is expanded upon, the thought put into the vastness of the landscape impressive with new sea creatures and those cute Porgs (that look like a cross between a penguin and a puffin) alongside old favourites like Chewbacca.

This episode sees the story unfold around the never ceasing Resistance as they fight The First Order led by Supreme Leader, Snoke (Andy Serkis) as he takes hold of the universe. The final threads of the Resistance making that final last stand with Rey (Daisy Ridley) seeking the return of the equally resistant Luke Skywalker hiding on his island after losing all faith when his student and best friend and sister’s son, Kylo Ren (Adam Driver) turns to the Dark Side.

Adam Driver has really grown into his role as Kylo Ren (the highlight for me) – the film taking time to explore this new character, making him as deep and fascinating as Darth Vader.

But like life, there’s dark and there’s light. There’s good and bad in everyone – the conflict of the Force in Luke and Rey and Kylo adding to an otherwise action and suspenseful film.

And, for me, the most suspenseful Star Wars so far.

The Last Jedi is a further exploration into the Dark Side giving this episode a sharper edge and depth – the fantasy element making the story more griping and thought-provoking than the usual Sci-Fi weight of the previous instalments.

And the timing of the story was perfect. The twists in the tale, many.

Prepare for an epic experience: it’s a long one (2h 33m) but well worth the journey.

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Paddington 2

Rated: G

Directed by: Paul King

Produced by: David Heyman

Written by: Paul King and Simon Farnaby

‘Paddington Bear’ created by: Michael Bond

Starring: Hugh Bonneville, Sally Hawkins, Brendan Gleeson, Julie Walters, Jim Broadbent, Peter Capaldi with Hugh Grant and Ben Whishaw as the voice of Paddington.

Sans nephew and not having seen the original Paddington (2014) – well, only bits on the cable TV that I caught watching with a patient at (my other life) work; both of us agreeing the film looking surprisingly good and Paddington The Bear textured and lovely: I wasn’t sure what to expect with Paddington 2.

But when a premier ends with applause from the audience and finding a grin on my face with added moments of laughing-out-loud, you know you’re on to a winner.

‘Stop that stunning sister!’ Yells Barry (Simon Farnaby – also co-writer!), the vice deputy security guard of St Paul’s Cathedral, as the villain-of-many-disguises, Phoenix Buchanan (Hugh Grant) escapes capture disguised as a nun.

There’s something about that British humour here that just tickles. And Hugh Grant cast as the has-been actor (now famous for starring in dog commercials) is hilarious.

Paddington 2 is the sequel to the hugely successful 2014 Paddington – a world wide hit and the most successful non-US family film of all time.

Based on the children’s books written by Michael Bond, Paddington 2 is a fitting tribute to Bond who passed away this year aged 91.

Producer David Heyman has re-united the Paddington team with Paul King at the forefront as director and co-writer – and they’ve all brought their A-game.

From the delightful costumes from designer Lindy Hemming (seriously, I spent half the movie laughing at Phoenix-the-villain’s outfits, socks pulled to knees over breeches included) to the intricacies of the set surprising and clever (production designer Gary Williamson) reminiscent of the Harry Potter movies but with the bright lights of a carnival and a jail shown like a stage set with the jungle of Peru growing through the floor boards.

And of course, Paddington – the texture of his fur making him appear so realistic.

Yet, the story did have glaring holes that is so incredibly un-realistic with the movie about Paddington unjustly being incarcerated for stealing a pop-up book from an antique store for 10 years: really?!

But this is a kid’s movie and when the pop-up book rises to fill the screen and to have Paddington running through the scenes of the book’s pages, any thought of unreality is overwhelmed with wonder.

And there’s some beautiful characters here – the film isn’t all about Paddington.

There’s Knuckles McGinty (Brendan Gleeson a personal favourite actor of mine), the shaggy dog, the Brown family and the neighbours living on the same street who all have their own story, used not just as a backstory for Paddington, but to also circle back into the film making each character worthwhile and needed giving that satisfying feeling of completeness while adding a layer to the themes of acceptance and finding the good in everyone you meet.

I’m still grinning replaying the moments, even if I’m not a fan of marmalade.

The Disaster Artist

Rated: M

Directed by: James Franco

Screenplay by: Scott Neustadter & Michael H. Weber

Based on the book: “The Disaster Artist: My Life Inside the Room, the Greatest Bad Movie Ever Made” by Greg Sestero and Tom Bissell

Produced by: James Franco, Vince Jolivette, Evan Goldberg, Seth Rogen, James Weaver

Starring: James Franco, Dave Franco, Seth Rogen, Alison Brie, Ari Graynor, Jacki Weaver, Josh Hutcherson, Zac Efron, Bryan Cranston, Sharon Stone, Melanie Griffith, Jason Mantzoukas, Hannibal Buress, Paul Scheer and Sugar Lyn Beard.

James Franco: “For this movie to play in cities around the world means there is something more going on than just an espically bad movie that’s fun to laugh at with a group of people. ‘The Room’ is unique because of Tommy Wiseau, who put his whole heart into his project. ‘The Room’ has what other bad movies don’t have, which is pure passion.”

Based on the true story and book written by Greg Sestero and Tom Bissell, The Disaster Artist is about the making of, The Room, AKA the, Greatest Bad Movie Ever Made.

Director and star, James Franco embraces the role of Tommy Wiseau – a man who embodies the saying, that Truth (or here, a man) really is stranger than fiction.

Beginning in San Francisco, two aspiring actors, Tommy (not Tom) and Greg Sestero (Dave Franco) meet in acting class: Greg, shy and nervous and Tommy, filled with unrelenting self-confidence… And no talent. Together, they make an odd yet perfect team.

Making a pact to become movie stars (just like James Dean), they move to LA to make the big time.

Tommy, has an apartment in LA and a seemingly endless pit of money where to this day, no one knows the source, nor where he really comes from. Tommy claims he’s from New Orleans but sporting a Slavic accent he can’t disguise, it’s hard to believe. He’s a mystery.

What can be believed is his passion.

After being constantly rejected by Hollywood, Tommy decides to create his own film, starring himself as the hero while also writing and directing the disaster that becomes, The Room.

Acting, writing, anything creative, really – it’s just so hard to become successful yet so many people try. As producer J.J. Abrams says to Tommy, Just because you want something doesn’t mean you’re going to get it.

It’s heart breaking because we’ve all been there at some point – seeing the want turn into a caricature of ourselves. Most give up. Not Tommy.

It’s funny. Tommy’s funny because he wants it so bad. And the beauty of the film is the ability to be able to laugh at what the weight of the obsession turns people into: ‘It’s human behaviour’. That’s what Tommy wants to show the world. His own unique view of what it is to be human.

James’ performance as Tommy gives that perfect balance of a unique strangeness with insight into a demanding yet warm heart.

Not that the script writers had to go far for material. It’s all there, even down to the side-by-side shots of the original movie versus the remake of the same scenes just to show how incredibly bad, The Room really is.

I had a great time watching this film – the story hilarious and full of heart and well-cast with James and brother Dave showing the bromance between the two unlikely friends of Tommy and Greg. And the clever way the film was put together, blending the original with the remake, just added to the fun (make sure to stay until after the credits!).

Only in Hollywood could you find a guy like Tommy – although he’s from New Orleans, right?!

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Justice League

Rated: M

Directed by: Zack Snyder

Screenplay Written by: Chris Terrio and Joss Whedon

Story by: Chris Terrio & Zack Snyder, based on characters from DC, Superman created by Jerry Siegel and Joe Shuster

Produced by: Charles Roven, Deborah Snyder, Jon Berg and Geoff Johns

DC Super Heroes: Ben Affleck as Batman, Henry Cavill as Superman, Gal Gadot as Wonder Woman, Ezra Miller as The Flash, Jason Momoa as Aquaman, and Ray Fisher as Cyborg

Also starring: Amy Adams as Lois Lane, Jeremy Irons as Alfred, Diane Lane as Martha Kent, Connie Nielsen as Hippolyta and Joe Morton as Silas Stone, and expands the universe by introducing J.K. Simmons as Commissioner Gordon, Ciarán Hinds as Steppenwolf, and Amber Heard as Mera.

Based on characters from DC comics, Justice League is a team of superheroes brought together by Wonder Woman and Batman to fight against the world’s old nemesis, Steppenwolf.

Previously conquered in the ancient past by the Amazons, the inhabitants of Atlantis before the city sunk into the sea, and even the gods; they all fought side-by-side to stop the warlord from Apokolips from taking over the world.

Now, Steppenwolf has returned with an army of parademons (think a cross between an insect and vampire) to claim what he believes is rightfully his.

After seeing Wonder Woman in the recent film set during World War I, Justice League is present day – depicting an, approaching-middle-aged Batman and the ageless yet, powers-unseen-by-the-public, Wonder Woman.

Now that Superman is dead, the population is grieving and unable to see any hope for the future – chaos is gaining power as the people sink into darkness with newspaper headlines asking, Why are all the superheroes disappearing? With Prince and David Bowie pictured alongside Superman. Which I thought was quite clever, but also depressing, right?

I was also beginning to think the film was going to be a history lesson into each character.

Yet, the introduction of: Aquaman, shown to be just as strong on land as under water; Flash, the hero in training and Cyborg, a biomechanic meta human (and a new addition and update in the current techi-driven world), was necessary and brief. And somewhat offset by the antics of Flash, adding some light humour to the mix.

The story could have gotten messy trying to give weight to each hero, but it worked.

Each character had their own personal conflict to conquer, giving the film layers beyond action. And I could feel the humanity of Batman, not quite metahuman, his self-professed only super power being rich.

The need for this super-powered Justice League team fighting together stems from the power of Steppenwolf – the super villain.

The film flashes back to the past, giving Steppenwolf backstory, yet I wanted more grit, more than just another villain wanting to conquer worlds. I would have also liked to have seen more of his home world of Apokolips… But I had fun watching this film.

Gal Gadot has continued to shine as Wonder Woman and the sparks of humour from Ezra Miller as Flash were funny.

I wasn’t blown away, but Justice League was a fun ride – more of Aquaman in the water next time!

The Killing of a Sacred Deer

Rated: MA 15+

Directed by: Yorgos Lanthimos

Written By: Yorgos Lanthimos and Efthimis Filippou

Produced by: Ed Guiney, Yorgos Lanthimos

Starring: Colin Farrell, Nicole Kidman, Barry Keoghan, Raffey Cassidy, Sunny Suljic, Alicia Silverstone, Bill Cam.

Director and co-writer of, The Lobster, Yorgos Lanthimos, has returned with another psyco-drama, medical mystery, that revolves around Steven Murphy (Colin Farrell), a cardiac surgeon and his family including his ophthalmologist wife, Anna (Nicole Kidman) and son Bob (Sunny Suljic) and daughter (Raffey Cassidy): a seemingly happy family.

They lead a controlled, perfected and always logical expression of everyday life.

Until Steven’s friendship with young Martin (Barry Keoghan), a fatherless 16-year-old who’s expressed interest in becoming doctor, becomes increasingly sinister leading to Steven having to make an impossible choice.

It’s only in crisis any individual of the family shows any emotion.

And this constant calm while faced with the truly bizarre sets the tone of the film.

The nature of Martin matches the sociopathic behaviour of the family, husband Steven taking Martin under his wing, to befriend and become one with his family.

The scene of Martin getting to know the children highlights the strange nature of the characters in this story, making the impossibility of unexplained sickness believable.

Showing surgeons talking about the mundane after facing the confronting task of heart surgery is a picture of a surgeon’s normal day. But as the film progresses, so does this response – like the bizarre is the mundane: the camera work focussing in, slowly down that narrow hospital corridor, to MRI scans and lumber puncture’s, so real and awful but what happens to many in a hospital setting.

To pan away from Martin, standing in a car park, to daughter, Kim, waving from the hospital window. Like the normal is on the outside looking in through a window to the inexplicable. Like the world has been disturbed, inverting Martin’s absurd world onto the focus of his revenge.

It’s a strange story but shown well with the hint of the disconcerting given with the opening clang and rising clash of the soundtrack.

And there’s some heavy weights in the cast with Colin Farrell (after featuring in, The Lobster) returning in his role as Steven, and Nicole Kidman as his wife.

Nicole’s performance was exceptional as Anna, being able to express a probing puzzlement and shock, looking for explanation for why her children are becoming sick, all in a look from an obviously intelligent mind.

And yes, the story works.

But it’s just such a heavy, absurd story.

This film took me to dark places, so much so, I was reminded of an article I recently read entitled, ‘The Dark Side of Doctoring’ – posted by an ENT, Head and Neck Surgeon, discussing the depression and suicide of doctors when they experience loss of control, support and meaning because of their career.

I like dark humour, but most of the time I found, The Killing of a Sacred Deer troubling.

Unlike, The Lobster, that allowed moments of lightness – dancing and love (of sorts), there was an unrelenting here that waved more into the dark.

I’m still frowning in wonderment.

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