Cert: 15 Runtime: 107 mins Director: Marti Noxon Cast: Lily Collins, Alex Sharp, Dana Wilson, Rebekah Kennedy and Keanu Reeves
If you die… I will kill you
As the world is being consumed by Netflix, we ask this question what original movie shall we get next? Okja had a pro-founding effect on me, next up is To The Bone. As many films or shows about eating disorders it has caused 
controversy. Lily Collins did suffer from an eating disorder in her teens, I can imagine it brought a lot of raw emotion out for her. So what is the context of To The Bone? Ellen (Lily Collins) is an unruly 20-year-old anorexic girl who spent the better part of her teenage years being shepherded through various recovery programs, only to find herself several pounds lighter every time. Determined to find a solution, her dysfunctional family agrees to send her to a group home for youths, which is led by a non-traditional doctor. Surprised by the unusual rules, Ellen must discover for herself how to confront her addiction and attempt self-acceptance.
Eating Disorders are a tough subject matter, To The Bone handles the subject with care. Marti Noxon doesn’t shy away from showing you all aspects of what an eating disorder is, and doesn’t glamorise it whatsoever. Don’t expect a 
Hallmark channel afternoon drama. To The Bone gives an accurate depiction of how much of a COMPULSION this is. Lily Collin’s character Ellen, puts her hand around her arm several times to make sure its not getting too big. Just little things like that are sprinkled in. She gives a good performance, but she lacked an emotional core IMO. And I also appreciated that there was a male patient receiving treatment. You don’t see stories of eating disorders with a male perspective too often in media. One of the things I didn’t care for though was the love story. Not only did I not think it was an important aspect for a story about a young woman’s journey into getting better. But he was so pushy.He is also in recovery and without knowing if he’ll be able to go back to dancing, that he would latch onto something else so quickly. He was in a way using her as a crutch, but it never gets properly addressed. And while I understand and agree with some of the doctors methods, I also was quite frustrated with him most of time. To The Bone is delicate and subtle, and probably worth anyone’s time.
many people will know the Don Siegel/Clint Eastwood version of The Beguiled but here we get the Sofia Coppola treatment. She received Best Director at this years Cannes Festival along with great reviews, The Beguiled has even become an early Oscar contender too. So what is The Beguiled about? The story unfolds at an all-girls boarding school in rural Virginia during the American Civil War. When the headmistress (Nicole Kidman) agrees to provide temporary refuge for a wounded Union soldier (Colin Farrell), his sudden presence stirs up sexual tensions in the remote mansion. As each of the women falls for his charms, their tight-knit sisterhood buckles under the weight of deceit and jealousy, and taboos are broken in a dark and unexpected turn of events.
emotional nuances between the female characters in regards to Colin Farrell’s Union soldier character are top notch. This is definitely not a horror movie nor a mystery movie and shouldn’t be seen or evaluated as such. Instead this is a period drama thriller. The misty atmosphere, the cannon shots booming in the far distance, the twisty, vegetative landscape, the darkened interior rooms lit with candles all contribute to a fascinating evolving mood movie as the human interactions, the sexual overtones, the sudden changes in circumstances arise. The Beguiled is eloquently shot and it flows so smoothly. The use of natural lighting is by far the most effective I have seen since Barry Lydon. Like any Coppola film she really knows how to portray a film. Impatient viewers need not attend this film. It builds slowly, but that is for good reason. The tension is subtle but ultimately palpable. And then the dam bursts
power struggle of conflicting emotions. From her subtle come-hither glances and nervous reactions in some scenes to deliberate controlled manipulation and righteous indignation in others, the actress creates a character whose words never are quite in sync with her actions. This keeps the audience guessing about her real motives throughout the film. The true beauty and heart of this film, however, is the character of Edwina played by Kirsten Dunst. From The Virgin Suicides to Marie Antoinette and now The Beguiled, Coppola continues to plumb the depths of Dunst’s range. Her terse, buttoned-up, breathtakingly-desperate portrayal of a woman who had all but given up hope for a life of love outside the walls of the school is at the heart of the movie and gives its very humanity. It is also so far removed from Dunst’s many other portrayals of depression, sadness, and ennui. The film is all romantic notions turned on its head and sexual restraint stretched to the limits. It hides the pulp beneath its splendid veneer with Ms. Coppola’s strong direction and the fine acting from its cast.
this. Not really a horror but boy-howdy it was good. It Comes at Night has had some angry viewers, but a quality A24 release can not be avoided. So what is It Comes At Night about? Centering around a teenage boy (Kelvin Harrison, Jr.) as he grapples with mounting terrors—external and otherwise—in the aftermath of an unnamed cataclysm. Secure within a desolate home with his vigilant, protective and heavily armed parents (Joel Edgerton and Carmen Ejogo), 17-year-old Travis navigates fear, grief and paranoia.
horror elements to it, such as the great amounts of tension throughout the film, and several scenes depicting the son’s nightmares, but at its core, this film is a psychological drama/thriller more than anything else. This is a well crafted film with some beautiful cinematography from Drew Daniels and a brooding score from Brian McOmber, both accentuating the mystery of the film’s narrative. Shults makes It Comes At Night a film where nothing is spoon fed to the audience, instead leaving it for them to make up their own minds, right up until its powerful final moments.
be more passionate in what he is creating. The stand out otherwise had to Kelvin Harrison, Jr., he was very engaging, naive and his fear can be felt throughout. I hope to see a lot more of his work in the future. It Comes At Night doesn’t really have much re-watch-ability, the jump scares cheapen it also. For any cinema lover it’s worth a go, but you can see why it’s so divisive.
together now, Spidey is now in the MCU universe. We knew we were going back into Spidey as a young teenager, in comes Civil War and his cameo is pretty good. Now here we are Homecoming, I watched the trailer once and that was enough for me. So what is Spider-Man: Homecoming about? Several months after his thrilling web-slinging cameo with The Avengers, Peter (Tom Holland) tries to settle back into life as an ordinary high-school student in Queens, New York City. Desperate to prove himself and exercise his superpowers, he gets his chance when a new threat emerges in the shape of The Vulture (Michael Keaton).
lines are repetitive. It really is has the comedy, lightheartedness, and humour that a Spiderman movie should have. It’s a great portrait of teenage angst, you see how Peter tries to become an Avenger and trying to live a normal teenage life. Tom Holland is a charismatic, naive and funny Peter Parker, as Spider-Man as he is growing as an actor the stronger Spidey he will become. As a young actor he has only recently come from this transition period, so he can relate to Peter a lot. It does feel very genuine and he carries the film well. I enjoyed his companionship with Jacob Batalon was very sweet and exhilarating. He did serve a purpose throughout, I do hope he gets developed in the next film. Downey Jr. seemed rather pointless to the plot for me, but it was nice to see the return of Jon Favreau as Happy. For me Michael Keaton’s Vulture is probably Marvel’s best written and acted villain since Loki. He has purpose, conviction and a purpose, I loved it!
scenes. Jon Watts seems more at home directing the more personal moments of the film, whether it be Peter and his best friend Ned daydreaming about girls or Tony Stark mentoring Peter in his duties as a superhero, and as I’ve previously mentioned, these are the moments where the film will make a connection with the audience. The pacing of Homecoming is fast and flows so well, the 133 run-time just flies by. The screenplay is good, I do have some issues but they would push on the spoiler side. Homecoming is a good story with an interesting coming of age story. It doesn’t stand out like Spider-Man 2, but it’s a good foundation to grow on. My main gripe is the Avengers tie in (I know it’s the purpose of it but I find it annoying). Spider-Man: Homecoming is a fun time with a warm heart.
tales of meaning. The big question why make a movie for Netflix? For me I am not that bothered, as long he has the creative freedom to create masterwork I’m happy. During Cannes Netflix received a lot of hate! My only qualm is that Okja will never be the real cinematic release it should be. Controversy aside, what is Okja about you ask? For 10 idyllic years, young Mija (Seo-Hyun Ahn) has been caretaker and constant companion to Okja – a massive animal and an even bigger friend – at her home in the mountains of South Korea. But that changes when family-owned, multinational conglomerate Mirando Corporation takes Okja for themselves and transports her to New York, where an image-obsessed and self-promoting CEO has big plans for Mija’s dearest friend. With no particular plan but single-minded in intent, Mija sets out on a rescue mission.
chase scenes, social commentary, and a few elements of outright horror. It’s not entirely successful. Some side characters and subplots seem half-baked. Bong Joon Ho delivers a quirky and witty film, with a clever message about corporate capitalism (FYI Joon Ho always has a message for us).It’s not vegetarian propaganda at all (this comes from a vegetarian),I can see why people find it preachy for a film. Joon Ho is showing a portrait of industry of abuse, and how the corporation has two faces: the glowing media face and the ugly side full of greed and no mercy.Everything has a price!
get it. Seo-Hyun Ahn truly carries Okja, her pure essence gives the film such soul. Her evolution and her manipulation by the corporation is a clever way to evolve her character. Tilda Swinton gives yet another great performance for Joon Ho. Their partnership is a perfect match. Jake Gyllenhaal has caused a split between people, for me it works in Joon Ho’s film. He has two sides to him, it works for me. Paul Dano keeps developing into a great actor, he stands out in all his scenes. Joon Ho continues with his great work. As disappointing as it is I didn’t see this in the cinema, but still this is some thought provoking cinema. It has such soul and feeling, probably you have Netflix so give Okja a go. You may like Joon Ho’s stuff, watch Memories of Murder after it’s amazing!
music video! Since the trailers for Baby Driver the world was sold. Even though the release date was pushed forward there was no cause for concern! Since SXSW it has had nothing but praise from everyone. So what is Baby Driver about? A talented, young getaway driver Baby (Ansel Elgort) relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams Deborah (Lily James), Baby sees a chance to ditch his criminal life and make a clean getaway. But after being coerced into working for a crime boss Doc (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom.
excellence in writing, directing, and technical elements. The opening sequence is jaw-dropping. The key of the scene lies in the ability for Wright to flabbergast us without leaving us to overwhelmed or purely exhausted. The scene is perfect, just as good as the opening sequence of Inglorious Basterds. It’s a real world setter and glues you to the screen, and continues to keep it up there for the whole duration of the film. Just like the skill and pace of Baby’s driving, the pacing of the film is exquisitely handled! Baby Driver has incredible cinematography, sound design and editing. It works so well in the world of fast cars and heists. But what makes it different to other of the same genre it has heart and soul. Wright’s dismissal from Ant-Man is a blessing in all honesty, because Baby Driver is that good. This is some top notch work from him, it’s his style and technic make Baby Driver a true triumph for him. The seeming of the music and the scenes are pure magic! It’s like a giant music video, so much rhythm and oomph. The script works so well with the soundtrack, Wright really has set the bar high. Such a unique film for this current period of dullness in generic cinema!
relationship, it felt very natural. Jamie Foxx an actor I enjoy watching, I loathed him in a good way. He played the Dick very well. Kevin Spacey keeps the ship steady and commands each of his scenes, he’s the spine of Baby Driver. Jon Hamm does a great job here too, normally as a secondary character he shouldn’t have much depth but Wright really provides a nourishment of story for him. What Wright does well too is that there isn’t a real villain here, you have to choose who the evil is? Baby Driver has an energy that is unparalleled by any recent film, and that’s because both the major and minor components work together like a well-oiled machine. This is what a Summer movie should be!
The Bad Batch has provided Amirpour with a stellar cast and a dystopian universe on top of that had me game. So what is The Bad Batch about? Arlen (Suki Waterhouse) is abandoned in a Texas wasteland that is fenced off from civilization. While trying to navigate the unforgiving landscape, Arlen is captured by a savage band of cannibals led by the mysterious Miami Man (Jason Mamoa). With her life on the line, she makes her way to The Dream (Keanu Reeves). As she adjusts to life in the bad batch, Arlen discovers that being good or bad mostly depends on who’s standing next to you.
yourself whether the act you have just seen was justified, indefensible, or some indescribable mixture of the two, even as you watch Suki Waterhouse ask herself the same question — what have I just done, and was it good or bad? The pace is measured, even contemplative, and the camera lingers on the actors’ faces. It is, above all, tremendously thought-provoking. The movie defies another convention: it never bothers to explain what seem to be unlikely elements of the portrayed world. However, Amirpour says she did extensive world-building and even devised complete back stories for every character. Her strategy is to keep viewers as uninformed as the characters themselves. The Bad Batch is an exemplary addition to the small but growing group of art-house science fiction films. It more than fulfils the promise of Amirpour’s art-house debut.