Film Reviews by TB

After the fairly decent Match Point, Woody Allen remains in London/an East End setting for this movie. But all of the technique and storytelling deserts him for this piece of dreck.

Ewan McGregor and Colin Farrell are cast as brothers Ian and Terry. But aside from not looking particularly related, they don't behave in any way like brothers. The awkwardness which is on screen whenever they are together is almost palpable. Amusingly, the one way in which they are related though is their terrible accents. Even though in real life they are Scottish and Irish, they don't have particularly strong accents and have in the past done good accents for films.

But these East London accents are another level. We are talking Dick Van Dyke in Mary Poppins territory. You wonder how Allen directed this with a straight face, let alone how the studio agreed to put it out. I literally couldn't take it seriously.

But even when you get past the accents, things are still dire. Amusingly, this film was released in 2007, a year before In Bruges. In both that film and this, Colin Farrell's character has a breakdown due to horrific trauma he has endured. With In Bruges, you feel this with every fibre of your being, the pain radiating out of the screen. However, in Cassandra's Dream, it looks like he's eaten some dodgy food and got some trapped wind.

The morality tale is the standard fare, but even that is dull and boring. When an actress of the skill of Hayley Atwell can't liven up proceedings, you know you are in trouble. And as the plot gets more far fetched, you find yourself sitting back and counting not only the plot holes but the sheer stupidity. The police are shown as being utterly incompetent, to the extent that they can't even do basic investigation.

And then, the film ends, not with a bang but with a whimper. And as the credits roll, you find yourself thinking "Did that just happen? Did I just watch a group of incredible actors star in something which even Tommy Wiseau would say "This is not up to snuff."

The answer is yes, sadly.

Coming strangely enough from what was originally the Beverly Hills Cop script that Stallone was writing, this is a real mess of a film, both in its politics and narrative choices.

The LA depicted in this film is so depraved and violent, it's a wonder that anyone wanted to live there. In particular, as a friend of mine put it, "There's no other reason for crime other than evil people who do bad things and need to be killed." But there is also a ludicrous energy to the film that makes it strangely watchable.

And nowhere is that more prevalent than the relentless pursuit of Ingrid Knudsen, the lead female character. In the early parts of the film, she witnesses a massacre with the leader of the group. The group are then determined to track her down and kill her, presumably to stop her identifying them. And the way that they attempt to do this is not stealthy, but to literally turn up with machine guns and slaughter EVERYONE they can see, hoping that they'll hit her in the crossfire, thus drawing massive attention to themselves.

It's all very very silly, but it also is really nasty at points, showing itself to almost be a precursor to Rambo: Last Blood. But there is absolutely fun to be had here, especially on a Friday night watching it with mates.

I adore this film. It is funny, heartbreaking, moving and silly, sometimes all at the same time.

I remember at the time the enormous critical plaudits and almost uniform 5 star reviews. I loved it at the time and still love it now.

All of the cast are flawless and I absolutely include Kevin Spacey in that. Irrelevant of the accusations against him which have been made many years after this film, he gives an incredible and great performance. And alongside him, Annette Bening and Mena Suvari are also exceptional.

The soundtrack is a work of genius, so much so that even today it is still used in TV programmes/adverts.

And finally, the cinematography by Conrad L. Hall is beautiful and he was rightly rewarded for this stunning lensing.

This film is a masterpiece. I loved it and I hope you do as well.

If you cast your mind back to pre-2008, and mentioned Liam Neeson, most people would think of a wide range of genres & performances, whether it was Oskar Schindler, Qui-Gon Jinn or Michael Collins. Then a little film called Taken, made for practically pennies, came along & made over $220 million, turning Neeson overnight into a later-life action star. Since then, pretty much all of his films, bar one or two, have been in a very similar vein: older man who is able to unleash hell goes after baddies and cleans up, usually not getting hurt and going off smiling into the sunset.

The reason I started the review like this is because, when you press play, this is what many people expect this film to be: another production line slightly schlocky action film. And it is a wonderful surprise that the biggest rug pull is that it's the furthest thing from that, despite amusingly setting up at various times the sort of scenes where you expect Neeson to suddenly flip.

Matthew Scudder is a washed-up, ex alcoholic cop who quit the force after a traumatic confrontation and becomes a private investigator. So far, so every cliché you could imagine. But the genius of the film is that Scudder doesn't use guns or brawn, he actively dislikes and avoids it, preferring to talk people down, but always with the threat that he could neutralise them if they attacked him (cleverly using the viewer's pre-knowledge of Neeson's back catalogue to make this completely believable.) There are also scenes where Scudder is attacked and doesn't fight back, showing a vulnerability which keeps you hooked. And as the film uses this type of storytelling, you care much more about what happens & really invest in the story.

The other great thing this film has in spades is the fantastic cast. Dan Stevens, after starring in The Guest, brings the same lethal charm & gravitas to his role as the destroyed husband of one of the previous victims. The pain he shows along with the hurt & vengeance fills the screen. Another fantastic set of performances come from Adam David Thompson and (before he was well-known) David Harbour as the two kidnappers. Harbour in particular is an absolute monster, totally unhinged & deriving the kind of sick gratification from his crimes that makes your skin crawl. And finally, Brian "Astro" Bradley as Scudder's sidekick TJ, a streetwise kid who despite being homeless, wants a better life for himself and manages to pull off the trick of being played exactly right: not too needy, annoying or distracting of the main narrative. The film even finds time to flesh out his own backstory.

One of the other things about this film which I loved was just how dark it was. The violence, whilst sparse, was at times really unpleasant and shocking. But it was never gratuitous, adding to the overall extreme unease and threat running through the film.

But it was also good that in the final scenes, action fans are also given their payoff. But the film has really earned this and the ending is perfectly realised and written.

Out of all of Neeson's recent work, this is by far the best thing he has done. A perfect meld of thriller, action but also welcomingly the chance for someone who has always been an outstanding actor to actually be able to show the incredible talent he has. The only sadness is that, unlike a lot of his other films, this one did not make megabucks at the box office, so sadly we won't get the chance to revisit this world again and that is a true loss.

Think of the sort of cast you would kill for to star in your film. Actors who had incredible presence, charisma and star power, who can and have delivered masterful performances in the past. Then add into the mix a daring, provocative and actually really potentially intriguing premise. Then finally a decent budget to be able to realise this...

Now throw all those ingredients together in no logical way, squandering that massive potential and making a movie so bland, boring and forgettable it almost deserves some kind of award from the Razzies.

And that in a nutshell is Deception.

I sat through this film waiting for it to start. Waiting for something, anything to happen. Not even Ewan could make this film in any way good. His character, a straight-edged loser who get sucked into a sinister underworld of sex clubs, is a blank cypher. Not even the sex is good or interestingly shot. And Hugh Jackman as the antagonist is just laughable. After seeing the incredible presence he can bring to the screen in films like Prisoners and as Wolverine, here he is about as threatening as a Playdough hammer.

This is such a waste of so many good elements, a black mark on the CV's of all involved. Avoid.

One of the greats.

The decision to shoot in black and white was inspired.

The performances and script amazing.

And the horror of what must never be forgotten shown unflinchingly and honestly.

3 hours of beautiful, staggering and stunning viewing

This is where, for many film lovers, I am about to committ heresy.

I had heard so so much about ET, all of it completely and utterly in awe of its achievements as a film but also as a piece of history. I had first encountered ET as a theme park ride in the US over 20 years ago, but obviously as I hadn't seen the film, not a lot of it meant anything to me. Finally, and especially after seeing it had been remastered, I rented it.

But from the beginning, I couldn't get on board with it and it definitely wasn't the movie I was expecting. For starters, the tone as it went on just jarred with me. It was very sweet to start with and the chemistry between ET and the kids was wonderful, but there was always something lurking in the background, kind of like a feeling it not working.

But then once the adults get involved and the whole house is taken over by the government/ET is then imprisoned and tested on, it just totally lost me. There was in many ways a mean streak that ran through it, particularly in reference to how ET is treated in front of the children. The medical staff are also portrayed very unsympathetically in certain ways.

Please don't get me wrong, I respect the puppetry and love how the film is shot (this is Spielberg after all,) but the tone of this just really didn't sit well with me. Far from being a film which was a sweet and welcoming tale, with danger faced, it was a morality tale which had far more nasty/off-putting elements than warm ones. And that's absolutely fine, I don't like films which are full of land of milk and honey saccharine sweetness. But this just doesn't work for me.

I know how much this film means to so many people, but as much as there were moving moment, for me it just didn't work

This film is perfection.

Every single actor is incredible. In a crowded field, for me this is De Niro's best performance. A portrayal of pain, grief, suffering and trying to push through whilst your world is crumbling around you. But that is not to minimise the work of the other actors. From Christopher Walken & Meryl Streep in their first major film performances, through to John Cazale, who was desperately sick & dying but was determined to be a part of and finish the film, not for one moment were they anything less than perfect.

The script, direction, locations and staging are incredible. For me, the remastering in 4K has transformed the film, but especially the outside/hunting scenes. The original DVD/Blu-ray version was in many ways washed out with regards to colour, but this has been completely rectified now.

Finally, as much as I have given this 5 stars, the main point which I will always talk about is the Russian Roulette sequence. It is for me the best piece of film direction and acting ever, full stop. Nothing I have seen since is comparable. The scenes of these men held at gunpoint, playing for their lives whilst their captors make bets on their survival is horrifying. And that's what the Deer Hunter does best: it makes you feel every second what the characters feel and the pain they have, whether mentally or physically.

So in other words, the reason that cinema was created in the first place

I remember the first time I saw this film. I was with a close friend in Brighton in one of the tiny screening rooms. I had read the 5-star Empire review earlier in the day, picked up the phone and said “Mate, we have to go and watch this film.” The lights dimmed and the film started. 2 hours later we staggered out into the street, with grins so wide our faces almost split open and an energy that I’ve had after watching only a few select action films.

This stripped-down masterpiece is incredible. It takes the simplest of stories, makes you care about every character and leaves you breathless at the stunts they achieve.

Every actor is brilliant, the editing perfect and the ending incredible.

Rent this film, invite over some friends and have one of the most incredible nights of entertainment imaginable

When the first Blade came out (and there still to me isn't proper recognition of just how influential this film was in terms of the Marvel film universe,) it was an incredible film, brilliantly conceived and is still my favourite out of the first 2.

Then Blade 2 came along and Del Toro took the characters and universe off in a different but just as brilliant direction. When it came to the third film, everything looked to be slotting into place: David S Goyer again had written the script, Del Toro was back on directing duties and the stage was set...

But in the words of Moby "Then it fell apart, fell apart."

The main problem seems to have been the considerable behind the scenes issues. Del Toro left the project, ostensibly (and it was reported) that he was given the green light to direct Hellboy, but I suspect that the script and other creative decisions out of his control played a larger part. After he had left, the script writer for the whole series, David S Goyer was given the chance to direct. This was not a good idea... Plus the way the film plays out is like it was also directed by the studio bosses as well, due to some of the creative choices. And in a sign of what he could clearly see coming down the road, Snipes eventually refused to speak to Goyer, communicating instead via post-it notes and probably frantically talking to his lawyer to see if he could bail out of the project.

This film is terrible. Terrible, embarrassing, schlocky, boring and a total dud. I remember watching it in the cinema with my close friend who had introduced me to the Blade universe and once it finished, we both just sat dumbfounded, staggered that this film had even been released. Much of the established facts from the previous films are discarded. There is lots of action but none of it means very much. And someone thought it would be a good idea to cast a wrestler as Dracula...

There's not too much else I want to say apart from how sad I was that this magnificent film series ended the way it did and how it did. I do hope that the reboot with Mahershala Ali can recapture that magic, although at the moment that is stuck in its own considerable problems as well

The roll call of actors brought me here. Kerry Fox always chooses bold work and Ben Whishaw is also excellent in what I've seen him in.

But this film just doesn't work, as much as I'd like it to and wanted it to as a small film production. It is unbelievably slow, the idea isn't that strong and there wasn't much to keep me watching, so much so that I switched off after 40 minutes.

There were a couple of intriguing scenes, hence 2 stars, but sadly not worthy of the talents of those involved.

PT Anderson's latest film is a throwback to his favoured stomping ground, the American San Fernando Valley where he grew up. This is a very big change from his last film, the upright and stiff period piece Phantom Thread.

But this time, rather than the multiple plot threads of Magnolia, this focuses on one couple and their adventures falling in and out of love.

Cooper Hoffman is a really good lead, and it is all the more impressive that this was also his first film. There are many elements of his late father Phillip's talent on show, plus the chemistry he has with Alana Haim is wonderful. The list of supporting characters is also great.

I do have to be honest though and say that, as much as I enjoyed it, there were some plot lines and characters that I didn't get. Sean Penn's appearance as a composite of famous actor William Holden was lost of me, as was Bradley Cooper as Jon Peters. But it didn't matter, as watching them interact with each other was enjoyable.

However the film does start to run out of steam towards the end, as well as taking the characters off in different directions for a while which then slows down the film. But these are not major issues as it does start to pick up speed again towards the end.

The look and feel of the film, as well as the music choices are exceptional, as you would expect from PT Anderson.

Pop this on and have a great trip down memory lane (if you remember that far back,) or for those who don't, a sweet story set in a long hot summer

This is a really mixed bag of a film. But it does have one massive, massive positive which makes it all the more frustrating that the film as a whole wasn't better: the staff of the hotel, where the terrorists eventually fled to and held, slaughtering many of them in the process, are put front and center of the story. Repeatedly, their bravery, heroism, cunning and care is shown. They saved countless people from certain death and it is absolutely right and welcome that this is seen.

In that sense, it is in many ways not a Hollywood film at all. The actors are also very good as well. Armie Hammer and Dev Patel were great, as well as some of the smaller bit parts.

There is also a welcome focus on how many of the terrorists were scared young men who were indoctrinated and given huge promises of greatness, but who also came from unbelievable poverty and destitution. In one moment, a couple of them marvel at the fact that in this hotel, there are proper toilets, not just somewhere they have to squat to relieve themselves. But they are also shown as vicious and dangerous, murderous thugs.

Unfortunately, as much as the tension and attack are brilliantly staged, a good part of the film is just not that well made. Once the initial attack has been set-up, the film loses momentum, flitting back & fourth, almost unsure of what it wants to do. As a result, there is a real sense towards the end of wondering what the film is trying to achieve.

And the fact that this genre of film has in the last few years basically been dominated by the outstanding work of Paul Greengrass (most notably with Captain Phillips,) also means that this film is in many ways trying to occupy the same ground without copying.

But I still would recommend watching this. It is in parts harrowing, plus there is also a welcome segment once the main story finishes, of showing the real staff who were there and how they dealt moving forward after this atrocity.

Spike Lee is an interesting filmmaker. My favourite film of his that I have seen is still and always will be Blackklansman. But I did see this film first and my opinion on it hasn't changed since I first watched it: this is a film which really, really thinks its clever and loves itself.

This film will repeatedly, in a not-so-subtle way, reference how clever it is, winking at the audience. And after a while, I did get sick of that. As much as yes, there are some clever moments, having that put front and center again and again get very wearing after a while.

But there is much to like. The cast is great, especially Clive Owen. Even though Denzel Washington is the main protagonist, Owen dominates their encounters, either over the phone or face to face. Jodie Foster tries her best with what she is given, but sadly doesn't ever really break out of the manipulating lawyer cliché. The other really good actor is Chiwetel Ejiofor. His sidekick cop at times even outshines Denzel, and he does wonders with the thin, thankless role written for him.

In many ways, the script is the worst part of this film. Despite an interesting premise, much is squandered on smarmy narrative choices. But it still has some great moments and will keep you guessing in many ways until the end. A solid Friday night film in other words

I had heard a lot about this film, mainly the controversy around it, which always to me is a red flag, in the sense that it wasn't actually going to be that controversial.

And I actually want to deal with and scotch that matter before I continue: this is a film which is based on a true story. The director Lukas Dhont worked extensively and extremely closely with the individual who it is about. And this trans-woman has repeatedly and passionately defended the film, saying that it is absolutely accurate & clear in its portrayal of what she went through. To me, that is what matters. There are now many many more films about trans experiences out there, so if this is not something that a particular individual likes or agrees with, there is plenty of choice.

The film itself is so effective at communicating how horrific the experience of the main character's gender dysphoria feels. We as the audience repeatedly are shown the horror and discomfort Lara feels in the body she was born in. It is also welcome in this film that her parents actually are written like proper parents would act: concerned, frustrated and at times exasperated and lost at what to do.

The journey of Lara progressing through not only her treatment but also trying to become a ballet dancer are extremely well shot and written. There is joy followed by heartache, as well as triumphs that make you cheer. Polster is a professional dancer in real life, and this pays dividends to being able to fully realise that element of the story.

But Polster's acting is also outstanding. The film would have failed totally without him and the fact that this is his first performance is all the more staggering.

The main thing that stops this from getting 5 stars is the ending. Unfortunately, a lot of the sterling work done by everyone gets in some ways derailed by the final shots. But this is a small price to pay for the journey taken.

Heartbreaking, painful and ultimately an unbelievably powerful portrait of transition