Film Reviews by TB

A film which was for years stuck in development hell, but finally was brought to life by Ang Lee, who you would think would be able to make something incredible, especially with the enormous budget and star power in Will Smith.

But unfortunately, whilst there is some incredible CGI and the film as a whole looks absolutely incredible in 60FPS, the story itself is actually rather bland. Will Smith plays an assassin who, after a job goes wrong and he is betrayed, is then relentlessly pursued by a clone of himself.

It's all very schlocky and also, because it becomes so ridiculous, slips into blandness. So you are left with a stunning looking and realised multi-multi million dollar film which then suffocates under the weight of its own preposterousness.

Surely Hollywood could have done something better than this? Or better still, split the budget up among 50 different small filmmakers who could produce something infinitely more enjoyable and groundbreaking.

And finally, as was the case with Lee's previous 60FPS film (Billy Lynn's Long Halftime Walk,) unless you're watching the 4K Blu-ray which has this higher frame rate, this film is pretty much like many other high concept but bland action films set in the future.

This was a very well reviewed series, hence my renting of it. But I just wasn't interested in it. Suzie wasn't a particularly likeable character, the supporting characters were really annoying and I just couldn't be bothered.

There may very well be a good series here, but not one that I am interested in. It took too long to say almost nothing and there are far more interesting series out there.

The first three Jason Bourne films (Identity, Supremacy & Ultimatum,) ranged from average (Identity,) masterpiece and one of the best espionage films ever made (Supremacy) and very good (Ultimatum.) But despite an attempt to launch a new character within the Bourne world (Legacy, with Jeremy Renner,) it just didn't work.

Matt Damon frequently commented in interviews that he was repeatedly asked, sometimes several times a day, when was a new Bourne film coming out? And despite both him and Paul Greengrass (the director since Supremacy and also the only person who Damon has said he will make the films with now,) turning down the opportunity to due to the lack of a good story, the fandom have won out and we now have the simply titled Jason Bourne.

The best bits are actually in the first 20 minutes, where we see Bourne living off the grid, making his living doing unlicensed boxing fights and either knocking out his opponents with one punch, or taking extreme amounts of punishment & not fighting back for a big payday. Then an old friend re-enters his life, sucking him back into the world of espionage & running all over the world.

From there, the film takes you to all the locations you would expect. There is a very good chase scene in Greece and we get an amazing antagonist in Vincent Cassel, who in real-life is a huge martial arts devotee so looks great in the hand-to-hand combat, as an agent who paid the brutal price of Bourne going AWOL in the first film.

But despite introducing new characters including Alicia Vikander and Tommy Lee-Jones, it just becomes very standard spy fare. I was never invested massively in Bourne's mission, plus as has been pointed out by many people, this is now the 4th time that Bourne's personal history/amnesia has been mined/his family involved in order to make a plot that is now even halfway interesting enough to make him motivated to pursue those involved.

As the film progresses, I felt my interest start to wane. And the final car chase/confrontation, racing through the Las Vegas strip before continuing on in the sewers underneath, just didn't excite me that much.

I know that for many people, including me, that Jason Bourne was a part of our childhood and we want to continue to see these films cranked out. And it's a mark of the talent of the filmmakers that the first 3 were of the quality that they are, but I feel that the game's now up. Certainly, the Treadstone TV series launched after this film absolutely tanked, so hopefully this means that it will be left well alone (at least until it's a slow work day at the producer's offices and they decide to reboot the franchise...)

I rented this because I was in HMV and saw that a whole load of these retro sex comedies had been remastered & re-released. They looked so bad & so terrible that I had to see what this was all about.

And the result is both embarrassing & also quite funny. The acting is atrocious and this is made more funny by the fact that the Automated dialogue replacement/ADR (the process of the actor re-recording their lines in post-production for audio clarity) has been done so badly that it often doesn't match up with the lip-syncing on the screen. So you end up watching a film where you frequently hear the dialogue which doesn't line up with the actor speaking, which just looks terrible.

As for the sexual element, this is just a non-starter. The lead actress, who to give her credit seems incredibly game for the various ridiculous scenarios she is put in, frequently disrobes and is surrounded by extremely awkward looking men who then unconvincingly give her a good rogering. And the director also seems to think that one way to really excite the audience is repeated extreme close-ups of her backside or pubic hair, of which there is enough to stuff a mattress.

But it is so camp and so silly that actually, if you are in the mood for a laugh, there is a strange pleasure (not in any way a sexual one,) in watching this cringefest.

Margot Robbie has become something of a legend in my eyes. After The Wolf of Wall Street, she has taken on a variety of different projects, really stretching herself and broadening her range. My favourite currently is still I, Tonya, which if you haven't seen, put it on your rental list.

But the role for which she has become most known and also starred in pretty much non-stop is Harley Quinn. Whilst in other films (Suicide Squad,) she is very much part of an ensemble, this film is unapologetically her film. And as much as it misses, it also has a lot of hits.

Welcomingly, this film tries to do many things differently. It is very zany and the cinematography and art direction really are poles apart from a lot of the dark and dank superhero films we see. It is almost like Robbie (who also produces) and the director Cathy Yan are deliberately thumbing their noses at the continual way that this genre is shot. And this absolutely is to the film's credit and something I really respect.

Quinn is also a very engaging protagonist, never boring and always enigmatic. There are also a decent number of supporting characters who make an impact. But this film has an absolute coup in its casting, with Ewan McGregor. He is brilliant and more than that, totally buys into the hammy and ludacris nature of his character. Whether it's committing graphic violence against his enemies or raging in a childlike tantrum, he is wonderful.

Unfortunately, and what gives the film it's 3 star rating, is that it sets itself up well, and includes a great action scene with wonderful fight choreography, then just coasts. For sections of the film, not very much happens at all, and there is only so much the characters can carry. It does towards the end start to pull itself back, but it still can't escape the slow and cumbersome middle part.

Still, credit where credit is due. This does many things differently and succeeds with a lot of them. Plus can we please see Ewan do more of these roles in the future.

For the first time in his career, Tom Cruise plays a villain. But this is much more than a simple story of good and bad. As this is a Michael Mann film, there are multiple layers of intrigue, motive and character. About how literally a simple decision (calling out to a passenger who had tried to hail his cab and nearly walked away,) can change your life forever.

Cruise plays Vincent, a contract killer who is in LA to carry out a series of hits in one night and who’s MO is to use a taxi cab to get around, thus avoiding detection. Vincent is also one of the most unshowy characters Cruise has ever played. Gone is the normal mega wattage Cruise charm, the sparkling teeth, perfect hair and stand-out wardrobe. Instead we have smart but standard suits, grey hair/beard and blending-in subtlety. This movie absolutely would fail if this was anything other than a low-profile main character. Amusingly enough, in one section of the special features, there is a montage where Cruise goes undercover in the real world as a courier, delivering packages whilst trying not to be noticed, which shows him building up the character through not only looks but actions as well.

The meeting of Vincent with Max and the subsequent story of how the night unfolds once Vincent's cover is blown is brilliantly scripted, but this is where for me the film becomes a 4 and not 5 star one: Jamie Foxx is totally unsuitable for the role. As much as there is a lot of time and effort spent introducing him & building character, the simple truth is that for me overall he was very annoying. And then when he is forced to take Vincent's place in one scene, it is just laughable, no matter how hard he tries.

Welcomingly, the supporting characters are great. My own favourite was Mark Ruffalo as Fanning, the dogged cop who never buys into the narrative that the other law enforcement do. Jada Pinkett-Smith is also very good as well.

The action scenes, especially the nightclub, are brilliantly shot, with Cruise totally commanding the screen.

The film looks stunning and this has only been improved with the 4K remaster, although back in 2003 the film was shot originally in 4K. The depth of the blacks, as well as the shadows in particular are also excellent.

A really good film, which I massively enjoyed.

Luc Besson ventured out of his native France to New York City for this amazing tour de force film (although amusingly the vast majority of the interior scenes were shit in France.)

Jean Reno plays Leon, a hitman who despite his incredible lethality, is also in many ways a childlike character. Natalie Portman, in he debut here, plays Mathildè, a girl who watches her parents be brutally slain and then take solace with Leon. From there, she asks him to train her as a killer to avenge her brother's murder.

But this film belongs to Gary Oldman. He is quite literally... something else. He is a total, complete and utter psychopath, his skin crawling with violence and electricity. And I loved every second watching him on the screen. As much as he is used absolutely perfectly, as in not too much, I just wanted to spend the whole film watching him. One fun fact, regarding his infamous "EVERYONE!" scream is that this was totally improvised. Oldman randomly just decided to shout it at his henchmen, hence the shock. In that moment, a cinematic legend was cemented.

A brilliant film and perfectly realised.

This is such a great film. Brendan Fraser is never better as Rick O'Connell and Rachel Weisz his guide and later love interest. The action is brilliantly staged and there is never a dull moment.

For me though, the best thing by far is how light the film is in tone. Unlike the terrible Tom Cruise reboot, which decided that throwing lots of story with terribly shot action was the way to go, this Mummy film certainly delivers the scares and action, but with a lightness of touch which is so welcome. Stephen Sommers deserves so much praise for not only writing but also directing this, never losing the wide-eyed excitement we as the audience get.

And welcomingly, this film has been remastered on 4K Blu-ray with brilliant results. The CGI has held up so well and the colour palette looks stunning. I have The Mummy Returns to watch next and I hope this remastering is as good with that as this.

Finally, the 15 rating still baffles me. Whilst there are absolutely some unpleasant moments and shocks, these are never more than a strong 12 rating.

This is a relatively good film, especially with Naomi Harris's performance. Having first seen her in 28 Days Later, her ability to be able to hold the screen and act her heart out are incredible.

This film takes us on many twists and turns, from the initial witnessing of drug dealers being executed by cops, then a frantic chase to try and stop Harris from reporting what she has seen.

Tyrese Gibson is also very good, bringing gravitas to what could in many ways have been a thankless role. There is also a lot of focus on the complete mistrust of the police in the US, which Harris's character is trying to change.

As much as the film had some good points, to me it was never anything higher than "average." I wanted it to be more, especially with Harris in the cast, but unfortunately the limitations with the script start to become really noticeable as the film goes on.

But still a solid Friday night rental with a few curveballs.

The film that made Dennis Hopper, which I have seen repeatedly on various greatest films ever lists.

But it doesn't really do very much for me. The opening, showing Hopper and Fonda conducting a drug deal which then allows them to bike across America whilst taking lots of narcotics & mixing with random people, just didn't click. I do absolutely acknowledge that in 1969, this film will have had a very different and profound impact, judged not only by how it was received but it's box office haul.

The film however does go very very slowly. There is a welcome appearance from Jack Nicholson, who it has to be said seemed to be indulging in almost as many drugs in real life as the fictional characters. In some scenes, he is certainly flying high...

The other equally strange thing is the ending. It doesn't make sense and also is so random that after it happened, I remember thinking "Errr OK is that it?" and then seeing the titles come up.

As much as it will be a landmark for many film buffs, it was lost on me. Maybe will rewatch it again sometime, but not in any rush to

I was addicted to this series when I was younger. As someone who had certain teachers I detested, I was very easily able to identify with the group of kids battling against their evil headmaster.

Great acting from everyone, but especially Hardiman. Also, when looking back at it now, the level of production values for a children's TV series was amazing, hence why it is so good.

A brilliant and scary watch, with many memorable moments. Definitely rewatch if you remember this as a kid.

I was addicted to this series when I was younger. As someone who had certain teachers I detested, I was very easily able to identify with the group of kids battling against their evil headmaster.

Great acting from everyone, but especially Hardiman. Also, when looking back at it now, the level of production values for a children's TV series was amazing, hence why it is so good.

A brilliant and scary watch, with many memorable moments. Definitely rewatch if you remember this as a kid.

I was addicted to this series when I was younger. As someone who had certain teachers I detested, I was very easily able to identify with the group of kids battling against their evil headmaster.

Great acting from everyone, but especially Hardiman. Also, when looking back at it now, the level of production values for a children's TV series was amazing, hence why it is so good.

A brilliant and scary watch, with many memorable moments. Definitely rewatch if you remember this as a kid.

Following Ryan Dunn's tragic death, for many years Jackass vanished, despite huge fan clamouring for it to come back. Now, after a significant hiatus, the gang are back with some new blood as well, as well as one notable absence.

Sadly, following the death of his best friend, Bam Margera has had many significant addiction issues, which ultimately resulted in his firing from the film. Allegedly he does make an appearance in one of the stunts in the background, but this is blink-and-you'll-miss-it, so much so that I did. I didn't remember seeing him anywhere. I do genuinely hope that he can recover and sort out his personal problems, as he was always one of the funny guys in the group.

Knoxville is always great company and it is a pleasure to be with him as he sets up all manner of horrors for both himself and his fellow friends to endure. It's a bit samey, but still enjoyable.

We all remember our first loves and the pain that we felt when our hearts were broken. Everything happens in a dream: you think your life is set and then it fails and, in many ways, you never truly get over it. Then, if you are also experimenting with your sexuality, this adds another layer of hurt and upset. This is what Blue Is The Warmest Colour (BITWC) captures nearly flawlessly, with two stunning performances from Léa Seydoux & Adèle Exarchopoulos.

The film begins with Adéle in college, trying to fit in, fall in love whilst also wrestling with her burgeoning sexuality. After making a pass with a friend which then is used against her and becoming a victim of homophobic bullying, she one night walks into a lesbian bar and meets Emma, who she had briefly seen when walking in the street. The chemistry is immediate, and they fall passionately in love.

One of the best things about BITWC is how it shows this young love: we spend wonderful moments seeing them hang out, discuss their love of art, first kisses and then the passionate intimacy they have with each other. As is a running theme with my reviews, I refuse to buy into/join the hysteria about the level of sexuality shown in this film, which is done absolutely and completely unapologetically. The three beautifully filmed sex scenes are there to show the passion they have for each other and also add to the emotional sledgehammer of not only how their love progresses but also when the relationship breaks down.

And it gives me no real pleasure to criticise what for me is the worst part of this film: it is far, far too long. I mentioned above that it was wonderful to spend time getting to know Adéle and Emma, and this pays dividends. But then the film does something unforgivable, considering how wonderful it has been up to that point: there is one scene, set at a dinner party which takes up nearly half an hour of the narrative, where various characters just sit and talk to each other. It doesn’t advance the story, nothing major happens and it feels like the film literally slams on the brakes.

Then by the time the film moves on, so much momentum has been lost it can never truly be regained. But that isn’t to say there aren’t some staggeringly moving and upsetting moments, especially the meet-up in the coffee shop, which hit me like a sledgehammer.

Léa Seydoux & Adèle Exarchopoulos, as the two leads, are wonderful. Although Seydoux is exceptional, to me this film belongs to Exarchopoulos. From the opening moments, you cannot take your eyes off her. In the course of 3 hours, she shows us Adéle going from anxious and naïve, to open and free, then finally broken and bereft. To see those big brown eyes with tears pouring from them breaks your heart.

Credit must also be given to Abdellatif Kechiche. He masterfully directs this film and it would not be what it is without him. I will not shy away from also saying that the reports of unacceptable behaviour regarding working conditions should absolutely not have happened, but that I do not want this to detract from the finished product. For the interests of balance, Kechiche has felt the full force of this and extremely large amounts of negative press have been directed at him.

Despite the problems with length, this is still wonderful, passionate filmmaking. It is a wonderful and human story of love and heartbreak, so absolutely put this on your rental list.