Film Reviews by TB

This film will always hold a special place in my heart. My best friend is severely physically disabled and we watch an enormous number of films together. Interestingly, he often doesn't like watching films about disability, but this is one he agreed to watch. Having him in my life I have, when viewing films involving disability, taken away/had a different reaction to these films than someone who doesn't closely know someone with those challenges. I also have some very strong opinions & disagreements with what for many in the media are unacceptable.

For example, I have absolutely no problems & actually get really annoyed when there is criticism of "able-bodied" actors playing disabled parts. If these idiots (the people criticising) had got their way, we would have had no My Left Foot, Rain Man or Theory of Everything. And these are just some of the films I could mention. Equally, I detest "stunt" casting, where someone is cast because they may have disabilities, but this is done for purely selfish or factious reasons.

And the reason I adore this film is because in no way does it fall into this trap.

Zack Gottsagen, the lead and a man with Down syndrome, is perfect. He is an extremely engaging, very funny and charismatic guy. The charm, mischief & silliness, combined with a real determination to break free from the confines of the system he lives in is pitch perfect. For example I loved that there was, in keeping with the hopeful & sweet theme of the film, no abuse or negative reason why Zak wanted to escape from his home. His dreams are bigger than the mundane activities that are scheduled for him each day. He lives, breathes and loves wrestling & wants to travel to a tournament to compete.

Another massive positive is that at times, Zak is annoying or challenging as a character. As much as this is a film of hope, it is not saccharine fake smarminess when dealing with the lead. Zak at all times feels like a real person and someone you love spending time with.

The other revelation for me was Shia LaBeouf. This is without doubt his best performance, even eclipsing that of Nymphomaniac or Fury. There is no doubt some of the personal pain channeled from his life into Tyler, a rough and ready but lost man who, whilst in the process of destroying his own life, sees how important and meaningful his life can become by supporting Zak. But again this is no schlocky redemption & "able-bodied saviour of a hapless disabled person." This film is so much more than that.

These two lost soles then become best friends and set out travelling to the aforementioned wrestling match. Along the way, they face danger but also experience many heartwarming moments. Dakota Johnson is in many ways the fifth wheel, chasing after and trying to bring Zak back home. Her chemistry with Shia and Zak in particular is also great. Whilst the character could have been slightly stronger written, this is a minor quibble.

This film lifts you up, makes you laugh and also really can make you sad. But it is perfect filmmaking. I loved it and you will too

As much as there has been massive critical plaudits and awards for this show and the performances, it was never really anything more than a disappointment for me. There were lots of characters and plot strands, plus a last-minute rug pull. But it never added up to much for me. I simply didn’t care. Over 7 episodes, various stories unfold, and the sheer volume is something which again means you don’t care about them.

Winslet does her best and there are some interesting musings on grief and coping with it. But there are other people who aren’t so lucky. Guy Pearce is wasted, James McArdle as well.

Strangely, the most random thing about this HBO series which shocked me in one way, considering the high quality of pretty much everything they produce, is how unbelievably "soapy" it was, in terms of the storylines and the events. At times, if it didn't have Winslet in it, it wouldn't have been out of place in the afternoon slot on Channel 5.

Finally, a lot of the critical praise is focused on the level of representation of women, minorities and LGBTQIA+ characters. Whilst it is all well and good, and there have been outstanding drama series which have this level of representation, if the script and story isn’t good, it doesn’t matter who is cast, it still doesn’t make good TV

After The Silence of the Lambs, excitement was at fever pitch for the sequel. And for many people, Hannibal was a real letdown. What they effectively wanted was, more than anything, a continuation of the magnificent world created by Ted Tally (the screenwriter) but even more so Jonathan Demme (the director.) And I have to be honest, I'd have loved that as well.

But, following the publication of the novel and the total change in how the characters evolved/how the story unfolds, Demme, Tally and Jodie Foster all bailed, claiming none of them could tolerate this. So, as much as this is a sequel which features the characters and certain themes from Lambs, in a very true sense, it is much more a continuation than direct follow on.

But I loved it, partly because of these changes. So often, especially with sequels, people complain that there hasn't been enough of a change to make it interesting to keep involved with the story, or as in the case with Hannibal, it has changed TOO much.

And there are sweeping changes. The main one, and the principle reason for the departure of the people above, is the increased level of violence. Lambs was much more about tension and brief glimpses, shocks and letting your mind do the work. Here, there are some truly shocking and, in one case, almost vomit inducing scenes which some may find too much. But for me, this was simply a part of that film's different world, as well as in certain cases a source of humour.

What I also loved was the production values. This was, in 1999, a massively high budget film. And every single penny shows. Italy, particularly the opera scene, is perfection. The cinematography, locations, stunts and music masterful. And the roll call of actors incredible.

Hopkins is, as ever, outstanding. Whilst there was a bit more of the theatrical to his Lector in this film, this also fit with the tone. Plus he can turn on the sinister at the flip of a coin. And starring opposite him, Julianne Moore makes an excellent Clarice. Hopkins personally recommended her for the role and she really makes it her own. Certainly the trauma that Starling goes through in Hannibal is really gut wrenching at times, and this is perfectly acted.

My other favourite was Ray Liotta. His character Paul Krendler is a complete sleazeball, his odiousness dripping out of the screen. Liotta absolutely nails this and for me, he was an absolute highlight.

The reason though the film only gets 4 stars is because some of the scenarios are too far-fetched, even in a movie like this with its tongue firmly lodged in its cheek. It is also too long and the ending, which is different from the novel, just didn't work that well for me, especially considering the build-up is so well done.

But still a great film to watch, especially when you don't go in expecting a SOTL sequel. Take it on its own merits, enjoy it for what it is, and you'll love it.

I first saw this film in the cinemas when it was released back in 2014 and really loved it. Recently seeing that the remastered 4K version was released made me want to check it out again and I'm glad I did.

Firstly, the 4K transfer has been done brilliantly. In particular, the use of sometimes extremely subtle colour changes, combined with the higher level of detail around facial reactions is excellent. It really added something to the film to have this new depth.

Much was made in 2014 of the transformation of Dan Stevens from a chubby faced, slightly portly English actor most well known for Downtown Abbey to a stacked American-themed action star, following a well-trodden path by people such as Christian Bale and Tom Hardy. But for me this never came into play, as I've never (as of writing this review in May 2023,) seen any of Downtown at all. So in one sense it was a blank canvas.

But Stevens is extremely impressive, with a very scary ability to be able to play charming, psychopathic or innocence, sometimes all at once. He is also great in the action scenes and as a protagonist, you really are lured in by his malevolence. The brief bursts of shocking violence are also enhanced by this cocktail of character traits. As a side note, he also in 2014 was in the Liam Nesson thriller A Walk Among the Tombstones, which is far above the normal Neeson action schtick, which again features a great Stevens performance & well worth watching.

This was the first time I'd seen Maika Monroe in a film and she was also great. In a film where a lot of things happen that you don't expect, she absolutely played into this and there was plenty of rug pulling from her as well. As mentioned, this is not a conventional film in many senses and the script really played into that, whilst also at times being extremely funny as well.

Finally, on this re-release there was a welcome number of special features including extended interviews with the cast and crew. A great watch and highly recommended.

I knew nothing of the crimes of Robert Durst. The only reason I rented this was because I saw a news story about his most recent conviction which gave a brief outlay of the history of the multiple cases against him and mentioned that he was convicted in a large part due to this series and its revelations.

It is not a spoiler to write what I have just written, because from the opening moments of this documentary, as well as the blurb on the Cinema Paradiso website, it is very clear that Durst was eventually charged with murder. But the journey to that conviction was something which absolutely nobody could have predicted and in fact if you told somebody, they probably wouldn't believe.

The best thing about this documentary from my perspective, which also scotches any allegations of glorifying him and his crimes, is just how much of a takedown the programme is of Durst personally. Whilst it is very clearly shown that he was absolutely a dangerous and cunning individual, he was also unbelievably pathetic and weak. Particularly in the later episodes, his conduct is one of a sad, attention seeking loner who just cannot stop drawing attention to himself, thinking he is cleverer than everyone else around him, including his many highly motivated enemies. This is a man who is a multi-multi millionaire, who could have had anything he ever wanted, especially the help he would have clearly needed from the childhood trauma he suffered.

Andrew Jarecki's interviews, as well as his candid thoughts outside of them, are also fascinating as well. This is a man who, as he gets more evidence and is clearly going to give what he has to the police, becomes torn with the fact that he has spent a large amount of time with Durst and whilst not considering him a friend by any means, talks about a sense of loyalty. This clear showing of the multi-layers of the case/documentary really takes it in unexpected and welcome ways, whilst in no way showing Durst as anything other than a deranged monster who deserved to be rotting in a prison cell.

When you watch this film, you have to remember that, if it had not been a success, Jodie Foster was going to quit acting. There would have been no Silence of the Lambs, no Brave One and no Panic Room. What an unbelievable loss that would have been. I cannot decide between this and Silence of the Lambs as to which is her best performance. 

But as much as Foster was the central draw, not for a second can Kelly McGillis be sidelined. As a rape survivor herself, this story became a personal passion project for her, a chance to produce something that victims would be able to associate with. As producer and actor, her burning anger at the injustice done to Foster’s Sarah Tobias is seared into every frame. 

The story of Tobias, a fiercely independent, free-spirited woman who in the opening shots we see running for her life from a bar, is completely captivating. Written off by the justice system and onlookers as “not a credible witness,”  “Asking for it” and “Putting on a sex show,” she refuses to be silenced and teams up with McGillis’s attorney after a whitewash and sham deal to let off the actual rapists, going after the men who encouraged and didn’t stop the assault. 

The character building of Tobias is perfection, making you challenge your views and feelings towards her. And nowhere is this more prominent than the horrific rape scene. This was the first time this sort of scene was shown uncut on film. And its impact is devastating. You find yourself almost screaming at the screen, wanting someone, anyone to step in and stop this genocidal behaviour. But no one does. And that is what this film does best. It takes an issue which so many people see written in newspapers and puts it front and centre.

This film is a masterpiece. And Jodie Foster as its lead elevates it into the pantheon of greatest performances ever

This is a film that pulls no punches. It is a beautifully shot, stunningly acted nightmare.

This is a film which poses the question "What if you were successful, had escaped your traumatic early life and had everything you wanted, but also were addicted to sex/sexual activity? And in today's world of internet pornography & easy hook-ups, you could have everything you could possibly want?" That question is answered in the most traumatic & searing way imaginable.

As with other films that deal with sex, the vast majority of the media attention was on the nudity & sex scenes. But this film is so much more than that. It is a difficult but compelling watch, full of long shots, acting without words, poignant pauses.

Michael Fassbender is phenomenal, a complete revelation. This is and probably will always be for me his best performance. Totally vulnerable, exposed and open. A character who literally is actively running towards his own destruction.

Carey Mulligan is also great, although I have to be honest and say that Sissy for me was in many ways a very annoying character. But she and her brother's shared trauma was powerful and a critical element of the story.

But there is for me one massive problem with this movie which prevents it getting 5 stars. Only in one scene, in a casual passing comment, is there any reference towards the dangers of what Brandon's behaviour could lead to. In this film world, there is no thought or mention of STI's, diseases or HIV/AIDS. And for a film who's themes are so focused on destruction & danger, for this to barely be mentioned is a real glaring omission.

But as a piece of work, it is incredible. I did love it and encourage you to watch it. You probably will only be able to watch it once and also won't want to have sex for a month afterwards though...

Tim Roth has always been an exceptional actor, so when stepping behind the camera, you expect something great. When an actor with his filmography decides to direct, you know it'll be something memorable. What I didn't expect was for him to tackle a subject like this so unflinchingly, honestly and brilliantly. And it is a film which Ray Winstone has repeatedly referenced as a career highlight for him.

The War Zone introduces us to a family who have just moved to rural Devon from London. It is almost always raining outside and the alienation of being in a new place is very much present in the narrative. But there is also a constant, menacing presence which lurks in every frame: a terrible secret and continual abuse within the family.

I don't want to describe too much more, simply because the less you know, the more you'll get out of the film. But, like other films which I love which deal with difficult subject matter, absolutely no punches are pulled. The cast are totally committed, taking us down into the depths of hell which the events of this film drag us down into. Whilst everyone is exceptional, Lara Belmont is breathtaking. Her role, as the daughter Jessie, would be a role which even someone like Isabelle Huppert might shy away from. The raw vulnerability is so great, at times you can barely look at the screen. But her strength and warmth keep you hooked and unable to take your eyes off the screen.

Roth's direction and Seamus McGarvey's cinematography are incredible. Staggeringly, this to date remains the only film Roth has directed. Hopefully soon we will be treated to his talent and brilliance again.

Back in 2005, when Daniel Craig was cast as James Bond, there was near mutiny from some parts of the fandom. Then Casino Royale was released, which still today for me is in the top 5 Bond films, silencing all the doubters. The reinvention of Bond was complete, the phrase "Nobody does it better" finally having meaning & heft again.

But unfortunately the tenure of Craig's Bond has been a real mishmash. Casino Royale was followed by Quantum of Solace, which was made during the writer's strike & significantly suffered as a result, with even Craig himself criticising & to a certain extent disowning it.

Then along came Skyfall, which was another masterpiece and showed again just how incredible these films can be when everything is right. Spectre was another misfire, although I will admit when I re-watched it in preparation for this, it has aged considerably better than I remember. So with Craig's final film, would it be the case of going out on a high, to top off his excellent portrayal of Bond?

In a word, no. Not in any way.

No Time To Die (NTTD) is by a country mile the worst of Craig's Bond films. It is an unbelievably bloated & long film (almost 3 hours,) stuffed with multiple plot threads, characters who you don't care about & scenarios which stretch every measure of credibility. It has the building blocks of something which could be good, but then just nose-dives into stupid & illogical scenarios. Whilst there are many points I could mention, here are the main ones:

For the third time in 5 films, Bond quits/leaves MI6, before being coaxed back into the service/being forced to come back. Is there no other story angle that the writers were able to come up with?

Madeline is now presented as Bond's undying love, the woman he would do anything for. The filmmakers are obviously counting on you not remembering that in the final act of Spectre, he left her without a second thought & then had to come back to rescue her. Hardly the building blocks for total committal.

Rami Malek is totally wasted. Whilst there was some logic to the first part of his actions, he then just becomes some creepy bad guy who plots evil things with no motive.

Nomi, played by Lashana Lynch, is unbelievably annoying. In the current world, where there needs to be quotas & equal representation in every way, the Bond films have never needed to follow that path. A casual look through the back catalogue of the casts showed that the films have always had fantastic representation ever since they started in 1962. But someone somewhere decided that one of the main Bond girls had to incessantly talk about how she is "the new thing" & Bond is "left behind," as well as repeatedly bringing up that she has been given the 007 codename. It was mildly annoying the first time; by the 10th mention, you are sick of hearing about it. Michelle Yeoh/Wai-Lin never needed to repeatedly say that she was the female equivalent of Bond, she just was...

The technology/MacGuffin is absolutely stupid & illogical. And the way it leads upto the much talked-about finale just compounds everything.

This is a film which I actually detest. I hate it because although there are some great moments, (it looks stunning, perfect theme song, amazing stunts/opening,) it is a total misfire. A movie which could have left Craig as one of the best actors to have played the role, to really show everyone after the previous misfires, how incredible his tenure of Bond had been. But, like Roger with View to a Kill and Pierce with Die Another Day, his tenure has finished with a whimper & a dud.

This film cannot hold a candle to Casino Royale & Skyfall. And I say that as an enormous & committed fan of not only Bond but Craig, never having been swept up with the bile that greeted him when he was cast.

I look forward to the new actor cast and hope, genuinely hope, that things will get better. Because, at its best, nobody ever does it better than Bond

Thank goodness for Jodie Foster. What could have been a film riddled with clichés and staleness is a revelatory look at how a woman deals with grief, loss and fear, becoming the very thing that plagues her thoughts.

The direction and script, whilst many say is simply an updated Death Wish, really delves deep into the horror of the loss which comes as the result of a sickening act of violence. And the rebirth of someone who before had never even given that level of fear a second thought.

And yes, Foster is totally believable as the gentle, slight radio host who, after a savage attack that maims her and kills her fiancé, becomes an avenging angel, walking the streets and dealing out brutal justice. This is no Meg Ryan in Courage Under Fire miscasting. Not for one second was Foster anything less than committed and in the moment.

Whilst this is undoubtedly Foster's film, by no stretch does this mean that Terrance Howard is relegated to irrelevance. His cop, so jaded from the repeat encounters every shift with the hell, murder and sadistic underbelly of New York, still fights for what is right and trying to make a tiny spark of difference in a world of indifference. His presence, combined with the power of Foster, is flawless.

The music is the other thing which I absolutely loved. Dario Marianelli has crafted a thing of beauty, perfect gentle strings turning into horror and terror. His soundtrack is the beating heart of this film, comforting and guiding us through Erica's journey.

This film also needs to be applauded for not giving us easy answers. The world we live in is far too complicated for a one-size-fits-all solution. It is to the movie and script's credit that we are also never sure quite what Erica's metamorphosis will mean going forward. Yes, she is motivated by revenge, but there is also the very real possibility of the change being something that she cannot live without.

The only thing that stops this from getting 5 stars is simply that some of the elements are a bit too much. There are SO MANY SCUMBAGS in this film, coupled with the fact that despite it being shot in New York, we aren't treated to much of the beautiful part of the city. And that lightness and levity was really needed at certain times. Yes, I can appreciate that this is a film about love and loss and hurt, but having some gentleness wouldn't have gone amiss.

But these are minor niggles. This is an incredible film, made with love and a passion to tell a difficult story as well as possible in a new and fresh way. It is a difficult watch, but worth it. And for once with these types of films, the ending isn't screwed up.

This still to this day remains the only film I have even come close to walking out of from the cinema. The only reason I didn't was because I'd spent most of my pocket money on the ticket...

I love the Max Payne games. Everything about them is amazing, from the voice acting by James McCaffrey to the music and the repeated references to clichés and their impact on his life, Max is a multifaceted and fascinating protagonist. The games also welcomingly had very strong female characters in them as well, especially Mona Sax, who was effectively the female version of Max with a life similarly filled with pain and hurt.

I mention clichés and Max's hatred and amusement of them. It is difficult to predict, if Max was a real person, what his reaction to this film would be.

Having watched the trailer, which still to this day is one of the best film trailers I've ever seen, I was pumped and looking forward to it. Then it started...

It has to be said, for me Mark Wahlberg was actually inspired casting. He is a very strong presence, can really do action scenes well and also looks a lot like Max. All of this deserts him in this film. His performance isn't even a performance, it is a trudge through a terrible movie where nothing works.

But Wahlberg cannot be blamed for the failure of this film. That lies squarely at the door of the director John Moore and the script writers. How this film managed to get greenlit and made, let alone why the cast agreed to do it, is beyond me. Nothing works, you don't care about anything and for a game which is primarily intensely action oriented, there are two scenes which could be charitably called "action."

The biggest elephant in the room is the obvious fact that Max Payne is effectively a different version of the Matrix/bullet time. So the film makers were trying everything to not to be accused of copying that film/action. But, you cannot have Max Payne without that in it. And there is now a film series which actually uses that type of action shooting to great effect: The Equalizer series. If the film makers hadn't had that fear, this film might have at least had some passable action to distract from the total failure of the story.

I honestly can't think of one good thing to say about this film. I did mention the trailer earlier and how great that was. Save yourself 90 minutes of your life you'll never get back, watch the trailer instead and rent a decent Wahlberg action film like Lone Survivor or Deepwater Horizon.

I went to see this with some friends at the local cinema after my best mate, who is a huge Edgar Wright fan, wanted to watch it. The reviews were stellar and it had an amazing cast. The lights dimmed and the film started.

2 minutes later, I absolutely hated it and wanted it to be over. But I had to sit through this because I was with friends.

This film riled me for so many reasons. The main one being that we are expected to accept on face value that the protagonist, who is involved in multiple heists, associating with many dangerous criminals and will in some way be on the police's radar, REPEATEDLY draws attention to himself by literally doing everything possible to be noticed.

In the opening robbery, he literally sits in a car, plays music on his iPod, shouts and sings into silence, as well as honking the horn and flashing his lights, all while the bank is robbed right outside where the car is parked. If I was a criminal, after seeing this I'd have put 2 rounds in his head and gone ballistic at whoever it was who hired him. But in this film world where some things are taken totally seriously, strangely there isn't a problem here.

And the rest of the film just continues in that vein. I would cross the road rather than be in the same street with this band of idiots. The only person I remember who even was slightly engaging was Kevin Spacey's character, but that was only because he was slightly less annoying than the others.

But the moment where the idiosyncrasies just collapsed into stupidity & actually made me say "For God's sake!" was in the last third. The main character is being chased by 2 gang members. They have machine guns. They are shooting indiscriminately at people trying to kill him. He jumps into a car to escape... and then because the radio station isn't playing music he likes, he spends nearly 30 seconds TUNING the radio with bullets flying all around him, before he finds something he likes and drives off.

This film is rubbish. Annoying, charmless and stupid. Yes, the stunts might be incredible and pushing the boundaries, yes it may have a good soundtrack. But I honestly don't know how it has got the critical and audience love that it has, nor the huge box office haul. I know there were certainly a lot of people in the cinema as we walked out who loved it.

But this is a film that stole 2 hours of my life that I'm never getting back. If you want a film with amazing driving stunts, incredible soundtrack, great performances and flawless cinematography, rent Drive.

I so wish Roger hadn't agreed to star in this film. This is literally the "one last job that goes wrong" scenario, but a million times worse.

This is a film with all the usual components in place, (stunts, locations, beautiful women, crazy megalomaniac,) but nothing works, at all, in any way.

Christopher Walken, who you'd expect would ham it up perfectly, just doesn't fit and is in the wrong film. The story is risible, stupid and so far-fetched I think the cast themselves can't believe what they have been asked to take part in.

So much has been directed at Roger that I almost don't want to add to it. He is and always will be my favourite Bond. He still has the glint in his eye, the ridiculous smile of "This is great fun, come and enjoy it with me." But he is just too old. He should have stepped back after For Your Eyes Only, or definitely after Octopussy. It's a shame, but for me, he just shouldn't have been in it. Even he admitted as much later on: "I was only about 400 years too old for the part!"

There is however one saving "grace," and that is Grace Jones. She is absolutely brilliant. In the stale film she's in, she electrifies every scene. Although she was apparently a nightmare to work with, on screen you just can't get enough of her.

I so wish this was a film the calibre of The Spy Who Loved Me, for Roger to be given the send off he deserved. But it is what it is. Watch it, then immediately put on the TSWLM or Live and Let Die to remind yourself of how good the best actor to ever play Bond was.

After the huge success of the John Wick films, there was always going to be the case of where to go next. The idea of an older assassin being forced to come out of retirement despite not wanting to is one of the oldest cinematic scenarios.

There is some genius behind the casting of Bob Odenkirk. After roles such as Saul Goodman in Breaking Bad, this was totally against-type and could have worked really well. And one of the only positives in this film is that Odenkirk is good in the role. It is clear he has spent a lot of time and worked really hard with the stunts to make everything seem believable.

But that's pretty much where the good stuff ends. Despite the pedigree of talent behind the camera, the whole film felt disjointed, slow and, worst of all, boring. The action scenes didn't sit well within the film and the final showdown was just a damn squib. Hutch's backstory was just the latest in cliché 101 characters.

A sequel has been announced, but not something which I'll be clamouring to see, which is a shame considering what this film could have been.

A very good and immersive documentary charting Colin Sutton's investigation which eventually brought Levi Bellfield to justice for his disgusting and despicable crimes against women.

The case is fully fleshed out, with plenty of detailed looks at what went wrong. The only complaint I have with the programme is that there is constant distracting music playing whilst Sutton is being interviewed, which does ruin a part of it.

But overall, a great companion piece to the Manhunt ITV series.