Film Reviews by Timmy B

When the Fifty Shades books were released, very quickly they became both a sensation & a source of massive controversy. Embraced by enormous numbers of women all over the world, this story of a sweet innocent virgin who falls in love with/becomes entangled with a billionaire who is also in to S&M tapped into something which has so far seen over 150 million books sold all around the world (and that's only the figures upto 2017.) So, it was only a matter of time before the movie adaptations followed.

However, both the books and the films have had excoriating reviews, mainly due to the fact that the story itself isn't actually that good, although the mechanics of the story, in terms of a rich powerful man controlling a young woman also raised a lot of hackles as well. But for me, there is another far more amusing reason as to why this film was always destined for failure: if you want to watch barely disguised soft-core pornography, rent a porn film... And part of the reason this film doesn't work is quite simply because of that.

Also, alongside this, the actual film itself is fairly terrible, starting with the two leads. There is almost no chemistry between them at all. One of the clichés which is often bandied about in the media is when you have two actors who are in an emotional & racy film together, then either get together afterwards or there are rumours of what they got upto... There was no such rumours on this film. They actively look uncomfortable in each others presence when filming the intimacy scenes.

As for supporting characters, these are fairly rubbish as well. Whether it's the different members of Christian's family or Ana's co-workers, everyone looks like they've just come from a Vogue fashion shoot. Every student at Ana's university looks like they are professional models who dip in & out of classes to prance on a catwalk. The filthy student house with the occupants eating nothing but beans on toast seems to have missed this part of the US.

So how come, after writing all of the above, have I given it 3 stars? Because there is also quite a lot of fun to be had if you switch your brain off and don't take it seriously. And I'm not talking about the bondage/S&M scenes. These are terribly filmed/staged, not in any way arousing & did nothing for me personally. What I am talking about is the lightness of touch, as well as the more silly moments.

The best scene by far is the first time Christian & Anastasia meet in his office at the beginning of the film. It is a scene which is allowed to play out naturally, with good dialogue & it is clear that the actors are having fun. There is a silliness which you see here which sadly only lasts for that 20 minutes, although the contract negotiation is also funny, albeit not as good. The other thing which this film has in it's favour is that not only does it have an extremely competent director in Sam Taylor-Wood, but also an enormous budget which this film takes full advantage of. The sets, cinematography, colour palette ect is all absolutely 1st class. To look at, the film is gorgeous.

So taken together as a package, there is much to enjoy here. But don't expect a masterpiece by any stretch of the imagination. If you aren't in the right frame of mind, you'll just get annoyed. However, if you take it with a pinch of salt (I saw it in the cinema surrounded with women and there were cheers & whoops at various points,) you can have a laugh.

Sadly, the sequels are atrocious, primarily due to EL James firing most of this film's creative team & taking full creative control.

In this brilliant & detailed 3 part drama, the case & trial of Dennis Nielsen is looked at in detail. From the initial suspicion after human remains are found in a drain through to the interrogations of Nielson, the series keeps an admirable step back, not in any way gamourising or revering him. In fact, the overriding impression I came away with after finishing the series was one of absolute patheticness. Nielson was a highly intelligent man who also, in his professional life, was known as a good worker who was extremely conscientious to the people in the job center he was helping. But the real person was someone obsessed with control, who never had any and so needed to find the most vulnerable in society & make them drunk before he was able to do what he wanted to them.

But for me, as much as Tennant got the headlines and awards, the best performance was Daniel Mays as the lead inspector. Peter Jay is introduced as the determined cop whose live is collapsing around him (divorcing, trying to rebuild his life, chasing after criminals to distract himself,) but Mays really gives him a humanity behind all that. This was the first thing I have seen Mays in where he has a leading role & I was genuinely blown away. He is excellent & takes the thankless role on and really makes something of it.

Jason Watkins rounds things off as the journalist who makes contact with Nielson once he is in prison and ends up writing for many what is seen as the definitive story of the crimes, whilst also clearly concerned about the representation of Nielson's sexuality would have towards the gay community which he is also a part of.

But as I alluded to in my title, one of the best things about this documentary is the lack of sensationalism that is given to Nielson and instead the focus given to not only the victims and survivors but also the parents of those killed. One victim, who managed to survive strangulation & drowning, was particularly poginent with the suffering that he had been through, thinking at first it was a dream before being told that everything he was remembering actually happened to him. Similarly, the deliberate (at times) duplicity of Nielson, destroying someone's credibility when he didn't like a particular way he was portrayed, even though he freely admitted at a later time that he had been guilty of the offense was also important to be shown. There is emphatically no pulling of punches with how disgusting Nielson is shown to be.

The production values are high and the mise-en-scene is flawless throughout. The script is also well-written, fleshing out many elements of the strange twists & turns of the case.

An absorbing & thoroughly great watch.

In August 1985, a sickening & horrific series of murders were discovered at an isolated farmhouse in rural Essex. Neville & June Bamber, their twin grandchildren and their adopted daughter Sheila Caffell were found with multiple gunshot wounds. Sheila, who had significant mental health issues/was a diagnosed schizophrenic, was initially suspected of carrying out the killings in a murder/suicide pact, due to her being found with the gun. However, very quickly the anomalies began to stack up, alongside the extremely suspicious/revolting actions & behaviour by the other adopted child Jeremy, who also stood to inherit the entire estate.

The series itself is great at very carefully setting up the initial story and then giving time to flesh it out properly. It is also very clearly stated at the start of every single episode that the story was meticulously researched, alongside certain characters/scenarios being added for dramatic effect. The result is a series which shows the different characters, warts and all.

For me, one of the best things about the whole series was the fact that these characters felt real. By that, I mean that there were no real clichés as such. Almost all the characters were at times extremely unlikable, even the ones other TV programmes in this genre might subtly manipulate you as the viewer to like. As you would expect, Jeremy Bamber is absolutely disgusting: a narcissist so devoid of empathy and exuding such malevolence, you wonder how anyone could tolerate being around him. But it was also made clear that the "perfect family" he was a part of was no such thing, and this extended to the way the other victims were treated.

The cast themselves are great. Freddie Fox, building on his considerable résumé, adds another memorable character to his CV, Mark Addy is always dependable as the dogged police detective who from the off knows that something isn't right. Mark Stanley also does powerful work as the father of the murdered boys/ex-husband of Sheila. And rounding it all of is Stephen Graham as Taff, the Welsh detective with an accent so strong you could cut through a steel door with it.

I really enjoyed this series. It is full of twists and turns, shocking moments but also a determination to ensure that the victims of this unspeakable tragedy are front & centre, not simply an afterthought in a blitz of salacious headlines.

The story of Marcus Luttrell is so incredible, so going against every possible odd, that you almost don't believe it happened. Luttrell is part of an elite unit of US Navy Seals, inserted deep behind enemy lines in Afghanistan in order to execute a Taliban warlord. Whilst moving to the location, the team encounter a couple of villagers with a walkie-talkie. Despite the vehement protestations of some members of the team, the villagers are released due to the Geneva Convention (it is illegal to kill noncombatants) and the mission cancelled. However, the villagers raise the alarm & the unit is forced to fight off hoardes of fighters.

After this story of bravery was told to the general public, it became almost the stuff of legend, especially given the reverence that the military is given in America (and something we could do with much more in the UK.) But, as was shown extremely clearly in the special features, for many years, Luttrell and the families of the other soldiers refused to allow the story to be adapted into a Hollywood film. The reason for this was because they were adamant that the film had to be honest. It would have been the default to make this story basically an Expendables-style endless gunfight film, with those filmmakers effectively using the bare bones of the story as their get out of jail free card.

So, although there is some dramatic licence taken, the vast majority of what is seen on screen happened. And the way the film suddenly turns from a story of survival into something far more complex, nuanced and, welcomingly for a major Hollywood production, not showing one particular religion consisting entirely of evil, bloodthirsty psychopaths, really draws you into the story.

For some people, the fact that in the opening scenes, it is an extremely American, flag-waving & patriotic film, will put them off. However, for me this perfectly juxtaposes the trajectory the story goes on: you need to have that faith & self-belief, alongside accepting help & support from people you may consider to be your sworn enemies.

Mark Wahlberg is perfectly cast, really being able to not only show the toughness which has be a mainstay of his career/characters, but also an extreme vulnerability and fear, which you wouldn't expect. The other cast members are also great, really committing to the real life characters they play. The filming & editing is also exceptional, the tension constantly being ratcheted up until it is almost unbearable.

An amazing film and the start of the partnership/collaboration between Wahlberg and Peter Berg, the director.

For anyone over a certain age in the UK, Eddie the Eagle was a popular and wonderfully eccentric part of British culture, representing Great Britain in Olympic ski jumping. He was for many people the epitome of an underdog: instead of chiselled good looks, a polished media-trained demeanour & phenomenal ability, he was fairly bland-looking, extremely eccentric & had multiple horrific accidents due to his lack of skill. However, he was such a genuine and decent man that you couldn't help but love him. This lovingly crafted & excellent film follows his life from a small child, through to the Olympics.

This is a film which is not only interested in its protagonist, but crucially respects him as well. It is very clearly shown in sometimes quite a brutal & cutting way just how much he was ridiculed by those around him and the hurt this caused. This was a man who wasn't, as he was accused of by those in positions of power, deliberately being provocative & clumsy. He genuinely loved his sport, his country & had a self-belief that sustained him through all of the rubbish that was thrown at him.

In terms of casting, Taron Egerton is absolutely perfect for the role. As with Elton John, he really likes the character he is playing, but also manages to really make you root for Eddie from the beginning. Hugh Jackman is also brilliant, playing his coach Bronson Peary. Tapping into his enormous wealth of Aussie charm, the pair make a great double act. There is also a welcome appearance from Christopher Walken, really elevating the film.

Finally, as much as it may be cliché to say this and no doubt has been used repeatedly when talking about it, the two words which come to mind when I think about this film is feel good. I don't care who you are as a person, it is nigh-on impossible to not be totally taken in by the spirit of this film. And alongside that, whenever I think about it, I also start to smile.

And that in itself is reason enough to give this 5 stars. A wonderful, brilliant & uplifting film about following your dreams.

I haven't seen any of the original Death Wish films & know almost nothing about them, apart from that they were infamous for their violence/vigilante themes & also were a starring vehicle for Charles Bronson. This remake made a few waves when it was released, although the general consensus was that as a film, it has its fair share of problems. Whilst I did enjoy it, it did also leave quite a sour taste in my mouth.

Paul Kersey is a trauma surgeon working in Chicago. As is the way with most of these types of films, Paul's life is perfect. So saccharine sweet perfect that it's almost cloying & verges into pastiche: Paul's wife is beautiful & flawless, their daughter no doubt going to follow in her father's footsteps as a doctor or other profoundly impactful career. They live in a mansion & everything is just going perfect. So that of course means that within 20 minutes, they will be exposed to horrific violence & all their lives will change forever. Paul, frustrated with the lack of police progress with the case, decides to turn vigilante & hunt down the perpetrators himself.

For anyone looking for originality, forget it. Exactly what you think will happen, happens. But this is a solid 3 star film in many ways. Willis is always watchable and interestingly here, he also is given the chance to really show his dramatic range. Whilst some have scorned this, I would be lying if I didn't say I was moved by his performance. The scene of Paul working in the hospital then being confronted with the horror of trying to save/operate on his own family is a deeply poignant moment which the film doesn't ruin.

But, despite the good things, this film also has for me and many others a very big issue, which was brought into sharp focus due to world events at the time: this film is unbelievably pro-gun. As in, almost propaganda levels of firearm glorification and festishisation. I have seen before several fairly revolting & disgusting political adverts of American politicians posing with/shooting guns in various contrived situations, whilst making provocative & "right-on" statements designed to appeal to a certain demographic. Those adverts last about 90 seconds... Death Wish is an hour 40 of it. And the world event I mentioned earlier was the Las Vegas mass shooting, which caused the studio to pull the film and delay it.

The rest of the story is fairly standard: there are only really good guys and bad guys, lots of people get shot, the police investigating the rampage are staggeringly incompetent and in the end, everything goes back to being relatively wonderful, despite the trauma suffered by Paul.

But credit where credit is due: despite the issues, I did enjoy this film, especially the supporting cast of Vincent D'Onofrio, who is excellent in pretty much everything I've seen him in.

This film is a masterpiece. Every single second is perfect. From the opening shots of Bourne sharing a moment of peace following traumatic visions with the love of his life, through to the breathless pace as he is chased all over the world by faceless assassins, you are gripped & captivated by every second.

Then, in the final third, the action moves to Russia and culminates in one of the greatest car chases ever put on film.

To me, this film is also responsible for something much more important: without it and it's critical & commercial success, we would never have had the change in tone of the Bond films that were released after it. The Bourne Supremacy literally took Bond, smacked him around and made him/the films into what they became under Daniel Craig, realistic and gritty and meaningful.

I cannot give this film enough credit or reverence. It is one of the greatest action espionage films ever made. Never again did Bourne scale those heights, and Bond rarely came close to it.

Flawless perfection

I can understand the appeal of Kenneth Branagh/Hollywood wanting to bring the character of Hercule Poirot back to the screen in a big-budget adaptation. There have been a spate of these types of films which have been released and have done mega-business, especially amongst the senior population who still actively visit the cinema. Whilst this film does have some nice touches, it also is too long & convoluted to really be that enjoyable.

For me, the best thing about it is how it looks: the colour palette, cinematography, costumes and sets are brilliant. It really is a feast for the eyes. The massively stacked cast of A-Listers also seem to be having a good time. However, when you scratch below the surface, as a piece of entertainment it's actually fairly bland. There are a few curveballs here and there, but not much to keep you watching. It doesn't have much wrong with it, but not that much right either.

However, I accept that this film wasn't really aimed at me. For the demographic it was directed at, they loved it, amusingly making it one of the highest grossing films of 2017 apart from the Marvel movies.

A very competently made but relatively unremarkable film.

The winner of the Best Picture Oscar, Guillermo Del Toro's latest film is, like the rest of his work, deeply idiosyncratic & revels in its weirdness, which is a lesson a large number of other blockbusters could take a cue from. But it also has the other elements that make his films so unique, such as a fantastic soundtrack & beautiful look to them, even when what you are looking at is horrible.

The Shape of Water follows Elisa, a mute woman adopted at birth, who works as a custodian at a secure facility in Baltimore during the Cold War. Elisa is a woman whose life is defined by structure: every morning, she has the same routine and keeps herself to herself. She is also very kooky & childlike, as well as having a vivacious sexuality. One day, at the secure facility she works in, she sees a mysterious humanoid amphibian/alien creature brought in. Elisa becomes fascinated with the creature, eventually falling in love with it & plotting to free it from its confines/the brutal torture inflicted on it by the sadistic Colonel Strickland.

For many people, including some of the other reviewers here, they loathe this film because it is so strange. But to me, that's the best thing about it. We are invited to take the perspective not only of Elisa, but also the creature who is captured. And the collection of strange & surreal characters that this film lovingly surrounds you with is a joy to be around.

The performances are also great. Front and center of all of this is the wonderful Sally Hawkins. As someone who had only ever seen her in bit parts/supporting roles before, here she is a revelation. She is a wonderful & exuberant protagonist, a warm & funny guide to this strange world. Michael Shannon & Octavia Spencer also are great. The creature itself is also perfectly realised, a combination of CGI & costume.

This film absolutely is not for everyone, but I loved it, as well as being moved by it. It is a great adventure & highly enjoyable.

The first Fifty Shades film was by no means a masterpiece, however there was a certain fun to be had watching it. It was very competently directed by Sam Taylor-Wood, had a half-decent script by Kelly Marcel & didn't take itself too seriously. However, despite the enormous creative control she already had with the first film, E.L James by all accounts hated it, as well as being stung by the criticism levelled at it.

So for the second & third films, she took over completely, hiring her husband as the scriptwriter & changing the director to James Foley, who seemed to have only turned up for the cheque. The 2nd film was not great, but there was still something about it which made it half-enjoyable, mainly it's campiness which sometimes raised a laugh or smile. However, all of that is basically lost in the third film.

After the events of the previous film, Anastasia & Christian have married and should be in matrimonial bliss, especially considering the obscene wealth Grey has. But the threats that were in the previous film have not gone away, plus there are some new additions to the villainy as well. Alongside all of this, Anastasia discovers she is pregnant & starts to have second thoughts about the relationship she is now supposedly committed to.

Everything here doesn't work, whether its the chemistry between Dornan & Johnson, the script which a first year screenwriter would have thrown back at them, or the weak attempts to create tension from laughable situations. For example, the main villain is Anastasia's ex boss Jack Hyde, who is basically a carbon copy of Grey (and who you feel was the actor originally cast as the lead role, then lost it, but was kept around in case Dornan flunked out.) The two men are meant to be alpha-males who constantly butt heads and have extreme prescence on screen... they end up looking like a couple of posh boys who decided to hit the gym to get stacked, but who would cry if their lunch money got stolen.

The story staggers on, with enough soapy emotions & situations to provide a year's worth of scripts on Corrie or Hollyoaks. But what is most staggering, continuing on a running theme from the previous two films, is how even incredible actors have their abilities lowered as soon as they step on the set. For example, Jennifer Ehle and Marcia Gay Harden are Oscar/Tony Award-winning actresses, women of staggering ability & talent. Here, they play barely one-dimensional characters and even that's being generous. The same goes for Dornan & Johnson.

The result is something which, like other products of Hollywood, made herculean amounts of money, filled up cinemas (never a bad thing,) and left probably most of the people leaving it wanting their money back.

For the final time, it has to be said: if you want to watch 2 good-looking but vapid people having sex in various plush surroundings, buy a porn film. At least the acting will be better and the sex real...

François Ozon continues his run of provocative, unpredictable but also engrossing films. Whilst many of the other reviews criticised the length and pace of this film, for me it was actually pretty well balanced.

The story is about a woman called Chloé, who when we meet her is suffering from unexplained abdominal pains. She is told that nothing is wrong with her physically and that she should consult a psychiatrist. She goes to see Paul and the two eventually become romantically involved & move in together. However, she discovers that Paul is concealing his real identity, which starts to really mess with Chloé and her emotions.

One of the things I liked most about the film was the fact that it did not take any shortcuts and really leaned into the erotic & sexually duplicitous side of the story. This is a properly adult-film/thriller, with committed performances from both actors. The script also has enough moments to keep you guessing and the twists are really well worked into the story.

If you are expecting a quick moving & fast-paced story, there is no point you watching. This film takes its time setting up the story & slowly ratcheting up the tension. The result is a solid & intriguing film, well-worth your time and attention.

I rented this film due to the massive critical praise, particularly the 5 star Empire review, which absolutely raved about it. Otherwise, I would never have rented it, as sports movies on the whole are not the sort of films I am that interested in. And I am so glad I did. This is a wonderful, deeply human and compassionate film, looking at how from even the bleakest of situations, hope & promise can be found. It also features a star-making turn from Joe Cole.

Billy Moore is a Liverpudlian man who lives in Thailand. At the start of the film, he is involved in both professional boxing & drug dealing/petty crime. After a dawn raid, he is arrested & convicted of drug possession and sentenced to 3 years in the notorious Klong Prem prison. A literal hell-on-Earth, the prisoners are at the whim of the brutal guards, as well as the high-ranking gang members incarcerated in the cells with them. Whilst at first Moore spirals rapidly downhill mentally, he then is welcomed into the gym/Muay Thai boxing team, which in turn supports him & enables him to start to believe he has a future again. Moore then becomes the first non-Thai to fight in the prison Muay-Thai championships.

The best part of this film and, to be clear, the reason it works so well, is down to Joe Cole's stunning performance as well as the beautiful direction by Jean-Stéphane Sauvaire. This film really delves deep into not only Moore's emotions, but also the strong bonds formed not only with the other prisoners but also the boxers within the gym. They are broken, troubled & yes some of them deeply immoral, dangerous men. But this film seeks to show a different side, as well as the incredible redemptive power of sport, particularly boxing.

Don't be put off by the subtitles or the fact that it is marketed as a sports film. This is a warm, thoughtful and deeply moving film with an incredible Cole at its core.

Essential viewing

Ben Wheatley has had a career that defies the fairly standard director's output/filmography. He has effortlessly moved between horror, comedy & action. But this movie, his 2nd full film but the first to really draw attention to him, is a visceral & shocking journey into a darkness few films go near.

Jay & Gal are two friends who served in the army together & now make their living as contract killers. They are wildly different personalities, Jay clearly suffering from PTSD after a disastrous mission in Kiev, whereas Gal is more stable. Jay's relationship is on the verge of breakdown due to financial issues, until the pair are hired by a mysterious & ominous client to carry out three contract killings. However, the hits turn out to be anything but simple...

As referenced in the title, this film is unbelievably distressing in many ways. The level of violence is genuinely unsettling & horrific which, when coupled with the constant threat in the air, really becomes a sadistic journey into hell. However, I do say this as someone who isn't a big watcher of horror films, so there will be people for whom this is not that shocking.

The most successful element of this film is splicing the hitman genre with a combination of horror & the occult. This is a film where mysterious happenings occur, where people who seem innocent are anything but. And screaming through all of this is constant presence of threat & dread, seeping out of every pore. If you were living in this world, you'd be constantly checking over your shoulder, not trusting anyone & doing everything possible to get out of the living hell you were existing in.

The performances are great, especially the two leads. Neil Maskell & Michael Smiley are a fantastic double act, perfectly complimenting each other. Unlike In Bruges, which looked at two hitmen & their journey in a relatively warm way, Kill List affords it's protagonists no such luxury. I was also extremely impressed with MyAnna Buring, who has built up an impressive career with supporting performances. Shel is on the surface a loving & understanding wife trying to deal with a clearly damaged husband, but also has her own significant issues, as well as a hair-trigger temper.

But what makes this film stand out is that as much as the violence & story is shocking, the script is also excellent & the various elements work well together. By no stretch of the imagination is this simply a film full of shocking moments which only seeks to be provocative. It is an unforgettable journey into the abyss.

After a series of films featuring male protagonists, Martin McDonagh wanted to write a story showing a woman's journey. But, being Martin McDonagh, this was never going to be an easy watch about light subject matter. As anyone who has had experience of his work knows, the worlds he creates are full of harsh & sometimes dispicible characters, sudden violence and deeply questionable choices. But this is also why he is such a master storyteller.

Mildred Hayes is a broken & emotionally destroyed woman: a mother whose daughter has been taken from her & killed in the most upsetting & horrific way imaginable. Despite a police investigation, no-one has been charged & the case has stalled. Mildred decides to take matters into her own hands, renting out 3 disused billboards & putting on them a message excoriating the lack of action from the police, directly criticising Chief Willoughby. Whilst this generates headlines, it also has ramifications for Mildred, including massive backlash due to the popularity of Willoughby within the town; as well as deeply angering Officer Dixon, an poisonous & disgustingly racist cop who is a close friend of Willoughby's.

In terms of its actors, this film is an embarrassment of riches. When McDonagh was writing the script, there was only really one actress he could have chosen, as well as having wanted to work with Frances McDormand for many years. And it's no surprise to report that she dominates this film in every way you could imagine. I struggle to think of another character since Ellen Ripley who is not only tough-as-nails, but also unbelievably vulnerable & scared, whilst facing stratospheric odds against her from pretty much all directions.

But she is also ably supported by Sam Rockwell, as well as my own personal favourite of the film, Woody Harrelson. John Hawkes, Lucas Hedges & Peter Dinklage also provide memorable characters/performances.

As much as this film is well-scripted, for me, the biggest problem with it is the ending. Whilst I'm obviously not going to give anything away, it does to a certain extent affect the film for me as a whole. Because, literally, the film just suddenly ends. Randomly, in the middle of a scene, it finishes, making no sense & leaving you sitting there just thinking "Errrr, why did that just happen...?" And, in a film which has not misstepped in any way, this sticks out like a sore thumb.

But this is powerful & moving filmmaking, with massively impactful performances & a killer sense of humour. You certainly wouldn't ever want to piss Frances McDormand off...

Ben Wheatley continues his career as a filmmaker impossible to pin down to one particular genre. With his filmography full of very different & at times challenging themes, it is great that he is able to keep going in different directions. This latest effort is mixed, although when all is said and done, I have given it 4 stars as it is an interesting mix-up.

The story concerns a group of individuals who all meet up in a dingy warehouse at the fag-end of the 70's to conduct an arms deal. With mistrust thick in the air, the massive egos & trigger-happy fingers combust and the film descends into an epic shoot-out between the two parties. The film then ratchets up the stakes as the characters become increasingly desperate.

Far and away, the best part of this film is the characters/actors playing them. For me, my favourite was Sharlto Copley as the extremely enthusiastic & unstable Vernon. With his highly-strung accent and mannerisms, coupled with an instability that knows no bounds, he is massively watchable. Armie Hammer also does good work, as the super-smooth Ord.

The story does at times run out of steam, despite the efforts of both the actors & creative team. But I was never bored and did genuinely enjoy the journey. Mercifully, the short running time means the film does not outstay it's welcome.