Operation Finale: The Harshness of a 122 minute runtime, done badly

Operation Finale is a historical drama about the hunt for and, eventual capture of infamous Nazi Adolf Eichmann by Israeli Mossad agents; based somewhat on the memoir of Peter Malkin.

The premise for this film is intriguing there aren’t that many films detailing the fallout of World War 2 or, the hunt to capture the remaining Nazi officers who fled. So this one feels unique. However, despite the novelty of the film feeling like something I hadn’t seen before, it still came across as uninspired.

Once the film gets going and, we see the agents in Argentina hunting down and, capturing Eichmann there is a fantastic sense of dread and, tension as if you know something bad is going to happen; with every second before they get on the plane feeling tense.

This is greatly helped by Kingsley’s performance as Eichmann, Kingsley perfectly captures the role flirting with both desperation and, intense malice at times. There is something about Kingsley’s performance that makes your skin crawl.

However, the rest of the cast are so bland and, forgettable, you can’t remember a single one of their names after the credits roll, dragging down the film as a whole. Oscar Issac as Peter Malkin is serviceable, but not in any way good, anyone could have played that role and captured the same lifeless performance that Issac gives and, we know he is capable of giving a good performance. On top of this, we have Nick Kroll, of Uncle Drew and Big Mouth fame, as Rafi Eitan, in this film he plays it straight; he is not the comedic relief. This serious turn from Kroll is in a word jarring: because a lot of the time his performance doesn’t match that of the other actors as he can’t quite land the serious delivery.

The most offensive thing about Operation Finale is its runtime of 122 minutes; which feels oppressively long. The main story of the film might take up about an hour and a half at most; the rest of the film consists of subplots, that I suppose are intended to develop the characters and, their motivations, but instead just drag on and on. Ultimately that is the crux of the issue with this film, it can’t make the audience care about its characters, they remain tepid and, non-substantial throughout the film.

Despite my issues with the film, I am glad it got made as it is an important film and it is nice to see these brave men and women get their moment in the light, however they deserved better than this bland cookie-cutter historical drama treatment.
2.5/5

Knives Out: It’s All About The Doughnut Hole

Knives Out is a murder mystery film, which positions itself as a fresh take on the WhoDunit genre. The plot follows a family gathering that goes off the rails when the Grandfather is found dead; was it foul play? That is what we need to find out.

Rian Johnson, of The Last Jedi and Lopper fame, writes and directs this film and, he does both well. Johnson’s signature subversion of expectation is in full effect here, however unlike in the Last Jedi where it feels out of place and almost deliberately antagonistic, in Knives Out Johnson uses this technique to enrich and enhance the mystery to great effect.

Nothing is straight forward in this film, which makes it a good mystery film, the trailers paint a very different film to the one you get. Furthermore, throughout the film, you will think the story is going one way only to have it veer off drastically in another direction. Most of the times this works really well, keeping you guessing, bringing more and more tension; however, some of these twists seem a little far fetched and seem like just an effort pad out the plot, which doesn’t help pacing.

The wider cast is not as involved as the trailer suggests them to be, with Knives Out instead really focusing on Ana de Armas’ Martha, Daniel Craig’s Benoit Blanc and to an extent Chris Evan’s as the Grandson Ransom. The rest of the cast each get their moment to shine, but other than that all have very little screen time. Knives Out is extensively a film about Martha, a character who is forced to go through a lot and do a lot, the film explores whether a change in financial standing can change a person, or if they will still be the same good person.

The master detective Blanc is Craig’s finest performance to date, he fully loses himself in the role, elevating it to an unforeseeable level. Craig goes fully manic towards the end of the film and, it is one of the best scenes I’ve seen all year; when you see it you will know which scene I mean.

Evans’ doesn’t have the biggest part, and the only reason I bring him up is that this is his first performance outside of the MCU in recent years and, it does very little for me; this does not make me think that Evans’ has any real acting talent, as his role could be played by anyone.

My only strong negative of the film is that there is a scene where all the characters gather together and discuss politics, this scene serves to show where on the political spectrum each character falls. To me there was no need for this scene as it felt preachy, it took me out of the film and felt like I was having headlines read to me; plus as someone who is not from the USA, I have very little interest or, care in American Political matters and, this scene left a sour taste in my mouth.

Overall 90% of this film is good if it wasn’t for some poorly written weak characters and, some needlessly forced politics, then I would give it full marks, but alas I can’t change what it is.

4.5/5

Reviewed by Luke

The Good Liar: Magneto In Retirement

The Good Liar is a crime thriller, based on the book of the same name. The plot sees Roy Courtnay, played by Ian McKellen, a con man, start a relationship with Betty McLeish, played by Helen Mirren; all as a ploy to rob her blind.

Two things before we get into the review, firstly there will be spoilers here, to talk about this film and give my thoughts I need to discuss the twist. Secondly, I haven’t read the book the film adapts.

Straight from the off you know that there is more to Helen Mirren’s character then there appears to be, she is clearly not the clueless old women we are supposed to believe she is. So when it turns out that she was playing Roy all along, literally no one the audience will be surprised.
However, though the twist is obvious, the incredibly dark context behind it isn’t. The reason why Betty turns on Roy is because he isn’t actually Roy Courtnay at all, and Betty McLeish isn’t who she claims to be either. Roy swapped identities with a British soldier during the final days of World War 2 after said soldier was killed hunting down a Nazi war criminal. Roy’s real name is Hans Taub, a German man who had raped Betty, really name Lili, shortly before the war. The whole events of the film had been a setup to pay back Hans/Roy for the sins of his past.

The twist works incredibly well in this context because it is so shocking and dark. The film up until this point had been relatively light and, so this twist greatly shifts the tone and ramps up the tension for the final stretch of the film. Russel Tovey’s Steven does this masterfully, Steven is the grandson of Mirren’s character and, we learn from the beginning that he is mistrustful of Roy. Then when he shows up on their Germany trip and takes them to an abandoned house, you know something is about to happen and, you’re gripped with suspense.

Mirren and McKellen both do fantastic jobs, they really masterfully lead this film showing why they’re both industry giants. McKellen especially is fantastic as he can go from a likeable old man to a harden bloodthirsty criminal in a split second, in what can only be described as a masterclass.

The Good Liar is a fantastic mystery film with a marvellous sense of suspense. Both of its leads are electric, and it’s nice to see elder actors headlining films. If you’re looking for a mystery that will keep you guessing right up till the end then look no further than this. The obviousness that Mirren’s character isn’t all shes meant to be, does somewhat ruin the surprise, so I can’t give this film top marks.

3.5/5

Reviewed by Luke

In the Tall Grass: Getting Lost in the Weeds

In the Tall Grass is a supernatural horror film based on the work of Stephen King and his son Joe Hill. The plot follows a brother and sister who get lost in a field of tall grass and go missing. Then the boyfriend of the sister shows up to try and find out what is going on.

If the plot sounds uninspired, that’s because it is, it takes elements from a lot of other science fiction and, horror films and blends them into something that didn’t need to be made. King’s work is currently in demand, with all of his novels and novellas getting the big-screen treatment. However, as the saying goes, “they were too busy thinking about it they could they never thought about if they should”. This film proves that and then some.

In the Tall Grass seems like something that could work well as a 20-minute short film, but there isn’t enough material to stretch it to feature-length. As such we get long drawn out sequences of the characters in the tall grass just roaming around, not doing much of anything, these are supposed to be tense, but they feel like padding.

When watching the film, you can’t help but compare it to other films that have similar concepts, but that have used them in much better ways. An example of this is the idea of time loops, which is a third act twist. In the Tall Grass uses this Science Fiction staple in the laziest possible way, with everything from Groundhog Day to Happy Death Day using it better.

Most tragically of all is while watching this film I kept being reminded of King’s infinitely better film The Children of the Corn; which I would say plays heavy influence here. The issue with this is you can’t help but, think how much better that film is than this; it is not a favourable comparison.

What’s more, the acting is abysmal being so bad that I can’t remember a single character name or, motivation. They’re incredibly one-note and generic being little more than dull, fleshy characters who run around aimlessly and scream at things to remind us they’re scary. How this film managed to sign Patrick Wilson, of The Conjuring fame, onboard is anyone’s guess; this film is a blemish on his otherwise pretty stellar filmography.

Finally and perhaps worst of all, the film isn’t scary. When you watch a Stephen King film, you expect a certain standard of creepiness and scares; King has written some of the most chilling novels of the 20th and 21st century, but that doesn’t show here. The real terror of In the Tall Grass is just how boring, dull and repetitive it is; that is enough to keep anyone up for weeks.

Further proving the low standards Netflix has when it comes to green-lighting projects, In the Tall Grass is a bargain bin horror/ thriller, along the same lines as Sharknado or, other trash; though In the Tall Grass is somehow worse than these films. Another Netflix film to avoid.

1/5
Reviewed by Luke

Doctor Sleep: The Sequel King and Kubrick Wanted!

Doctor Sleep is a supernatural horror film, based on the Stephen King book of the same name. Doctor Sleep follows on from the events of Stanley Kubrick’s 1980 film the Shining and follows an adult Danny Torrence, (Ewan McGregor), who has been scared and broken after the events at the Overlook Hotel; the ghosts still haunt Danny, both literally and figuratively, and he has all but, stopped using his ‘Shine’.

The Plot follows Danny as he tries to come to terms with what happened to him and move past it, it does to a degree until follower Shiner Abra Stone, (Kyleigh Curran), bursts into his life. Abra is the target of a group of beings who feed off the souls of shiners, with her powers drawing them ever closer.

First thing first I loved his film, and I will get to that, but I want to talk about the one negative that bothered me about the film. Said negative is the de-aged characters, through the film, there are several flashbacks to the events of The Shining, but the original cast don’t reprise their roles. This change in actors did distract me and take me out of those scenes; with them being more than a bit jarring.

That said everything else about the film is a triumph, Doctor Sleep manages to be a sequel not only to the Stanley Kubrick film but also to Stephen King’s The Shining. Both of these version of the story are very different, with some people liking one more than the other. However, Doctor Sleep manages to do both versions justice and be a worthy follow up.

Furthermore, it’s nice to see how the events of The Shining affected Danny, and see how he has lived with his abilities since then. McGregor does a great job showing us this, as we can see just how damaged he is, but he is still sympathetic and believable as the hero. It’s nice to see him take on a mentorship role to Abra, just like Dick Holloran to him.

Carrying on from that one of the best things that Doctor Sleep does is build the world of The Shining, it highlights what the shine is and what it can do, and how different people have a variety of shine based abilities and use them for varying odds and ends. Danny’s shine was always the most interesting part of the original narrative and, I’m glad to see it explored in more detail here.

Finally, the best part of the film is Rebecca Ferguson’s villain, Rose. Rose is the leader of True Knot, the evil group hunting down Abra. Ferguson plays this evil manic pixie girl to perfection, easily being one of the best and most memorable antagonists of 2019. She is a scene stealer.

Overall, Doctor Sleep is a worthy follow up to one of the all-time horror greats, which is no mean feat. The narrative fits perfectly into the ending of The Shining and makes it feel like required viewing, which if you like horror films, Ewan McGregor, or Rebecca Ferguson it is.

4.5/5
Reviewed by Luke

Terminator Dark Fate: A Dark Day Indeed

*Spoilers

Terminator Dark Fate is the latest film in the Terminator series. Taking place in a world where Sky-Net was defeated, but the future threat still lingers in the form of Legion, the new evil machines.

To get the thing I hated the most about this film off my chest first, before I get into the review, the first ten minutes of this film kills off John Conner. Conner has been a staple of the franchise since Terminator 2 and is a favourite fan character. The death is such a massive slap in the face, as it makes all the previous film redundant and removes a beloved character simply to drive the plot forward; if they were going to handle it like this, they might as well have killed him off-screen.

We get a new hero in the form of Dani Ramos, (Natalia Reyes), who is everything John Conner was, which makes the need to kill him off seem even more needless. Dani, for the most part, is bland and inoffensive, she doesn’t induce any form of reaction good or, bad she’s just there. She is out shadowed by nearly every other member of the cast. Furthermore, and this isn’t a problem unique to this film, it baffles me to see these characters beat up villains twice their size and weight; it is as though no thought has been put into it at all.

The returning cast of Arnold Schwarzenegger and Linda Hamilton, as the T-800 and Sarah Conner respectively, are the best part of the film; despite only being brought back to encourage fan nostalgia. It is nice to see where Sarah Conner is mentally in a world after Judgement day. With Schwarzenegger being the life and soul of the film, much like he was in Genesis; proving that ultimately these are his films. The ending tries to send his character off on a high note but, ends up feeling more than a little inspired by the end of T2

The new protector Grace, (Mackenzie Davis), is also great. Her backstory is well done, and she provides an insight into what life in this post-apocalyptical world is like. Her character greatly upstages Ramos, which is a shame as they’re so tied together. I genuinely believe Grace would have been a better protagonist.

Overall this film has its moments, but nothing can make up for the decision to kill John Conner. Dark Fate is a nice if unnecessary epilogue to the series, it should not start a new trilogy if anything it should end it. It’s not the worst film in the series, but also far far away from the high point. Depending on his involvement in this, Dark Fate makes me actively worried about James Cameron’s Avatar sequels; if this is the sort of film, he releases these days.

Not worth watching at the cinema unless you’re a huge Terminator fan, wait for it to come out on streaming if you must see it. It is a dark day in the series, but not the darkest possible Fate for it.

2/5

Reviewed by Luke

The Day Shall Come: Behold Your Messiah Is Here

The Day Shall Come is a dark comedy thriller, written and directed by Chris Morris, of Four Lions fame. The plot follows Moses Al Shabaz, (Marchant Davis), as a preacher who hates the way society does things and voices idea of rising against the Government. Throughout the film, we are shown that Moses thinks he is on a divine mission and believes that God is on his side; though everyone else thinks he’s delusional. The events of the film begin when Moses community centre is closed, and his landlord asks for radioactive materials to keep it open. Meanwhile, the FBI is looking for new targets, people they can lock up for terror charges, and they set their sights on Moses thinking him unstable.

The beauty of a Chris Morris script is that even though Moses and his crew do things that would make anyone else the villain in the narrative, like buying guns off Isis, here we see it twisted. Moses and his friends think they’re getting one over on both sides and it’s all one big trick. Because of this, we still root for Moses throughout, because, in his own manic way, he is incredibly likeable.

On the flip side of this Morris criticises the processes of the FBI showing how they would go to any length to arrest someone for terrorism so that they can get a promotion; even literally giving them a nuke. The FBI character we follow is Kendra Glack, (Anna Kendrick), who unlike her superiors starts to see throughout the film just how ridiculous the whole process is.

If you have seen Four Lions or, any of Chris Morris’ other work you know that he likes to cover important real-world topics and draw out the absurdity in them. Taking narratives that would otherwise be very dark and heavy and making surreal comedy gold.

Davis does a fantastic job making Moses likeable and sympathetic despite being a terrible person; we can see his good intentions. He is equally as terrific delivering serious dialogue as he is having a conversation with his horse; that he thinks can talk.

Kendrick, on the other hand, plays the same character she always does, you can picture in your head what I mean, but she is still likeable all the same; if a little bland. A lot of her FBI colleagues outshines her, particularly her boss Andy Mudd, (Denis O’ Hare), who gets all the best lines and steal the last third of the film.

Overall this isn’t a film for everyone. Some may not like its subject matter. Some might not like its breed of comedy. However, if this film appeals to you, then it is a blast of surreal comedy at its finest and the stuff of indie filmmaking legend. You won’t see anything else like this I can guarantee you that.

4/5

Reviewed by Luke

Official Secrets: What Is the Price of the Truth?

Official Secrets is a docudrama film, based around the life of whistle-blower Katherine Gunn, (Keira Knightly). The plot follows Katherine as she leaks secret government documents in an effort to stop the invasion of Iraq, and the after-effects following that decision.

Official secrets makes you question a lot of things, your ability to see right and wrong, your love of country, the very nature of whether all truths should be made public knowledge. The answers it gives aren’t good; they’re if anything troubling. This film shows that sometimes you need to take a stand and do what you think is right even if it puts you and your loved ones in danger; even if it makes you a traitor to your country.

The film and Knightly’s performance do a great job of investing you in Gunn’s journey; you root for her in this seemingly hopeless situation. There is even one incredibly well-crafted sequence that uses the tension of unannounced deportation so masterfully you can’t tear your eyes away.

What’s more, the film acts as a commentary on the state of the modern world, where governments can no longer be trusted and actively hold back the truth from the public, whether for good or, ill reasons. This film is significant as it shows how one person can stand up to a seemingly colossal institution and come out on top in the end.

Knightly’s performance isn’t the only excellent bit of acting on display in Official Secrets, as it also features a who’s who of famous British actors. Everyone from Matt Smith, of The Crown and Doctor Who fame, to Rhys Ifans and Ralph Fiennes bring something to the table; adding to the talent on hand. The performances of all four of these actors are great, but Smith and Ifans are the ones who stood out to me. Smith’s Martin Bright brings some levity to what is otherwise a very dark film, and he is also very likeable and a well-deserving secondary protagonist. Ifans’ Ed Vulliamy steals the scenes he is in, bringing a presence and charm that is hard to forget.

Overall the film is very timely and relevant, with the likes of Julian Assange and Edward Snowden, sometimes other lesser-known whistle-blowers slip through the cracks. So it is essential to watch this film and realise what Gunn sacrificed for us all, she stood up and tried to stop something she thought was wrong, and that is commendable and something we all should do in this modern world.

This is an important film made all the stronger by an engaging narrative and superb acting throughout. Very much a must-see.

4/5
Review by Luke

Ps. Remember,” The only thing necessary for the triumph of evil is for good men to do nothing”.

The Shining: Kubrick’s Horror Classic

With the release of Doctor Sleep soon upon us, I thought I would rewatch and review the film that started it all the Shining. The Kubrick version, not the straight to TV version that King prefers.

The Shining is a psychological horror film released in 1980, based on the Stephen King book of the same name. The plot follows Jack Torrance, (Jack Nicholson), as he becomes the caretaker of the infamous Overlook Hotel, moving his family to the hotel for its off-season. The hotel is of course not what it appears to be, and soon all sorts of horrific happenings begin, with Jack and his son Danny at the centre of it.

The Shining is directed by one of the all-time great Film Auteurs Stanley Kubrick, and his fingerprints are all over this film, both stylistically and thematically. Kubrick’s direction help to tie together the human threat with the supernatural elements, creating a delightfully ambiguous narrative.

The horror of this film comes more from a sense of building mystery rather than, the much more prevalent these days, jump scares. I think this adds to the fear-inducing nature of the film, as nothing is presented out-rightly to you, so you have to use your imagination to piece together the blanks and figure out the truth; this allows the film to be far scarier than one that just shows you the monster.

What’s more the performances from the entire cast are electric, Jack Nicholson is wonderfully deranged from the off, but sinks further and further into madness as the film progress. That may perhaps be the one criticism I have of this film, Nicholson’s performance was manic from the beginning, rather than starting out standardly and then getting increasingly more menacing. This makes his endgame performance when he has fully devolved look less impressive.

Danny Lloyd as Danny Torrance is also amazing, being both sympathetic and creepy simultaneously, from the start of the film Danny’s conversations with his little finger are distressing, more so when he starts to lose time. To the credit of Lloyd, he manages to do all of this while still being likeable and a character you want to see survive. To be a child-star and be able to do both of these things is something that deserves praise.

Shelly Duvall, who plays Wendy Torrance, Jack’s Wife and Danny’s Mother is best of all. As she perfectly captures the fear being in a situation like that would create in her performance. We see this real sense of desperation on her behalf to try and save Danny in the film act of the film. As well as to try and help and later stop her husband. Kubrick’s actions towards Duvall have been well documented elsewhere as such I won’t go into them here today. Instead, I try and look past them when I watch the film.

My final point is that this film deviates from the book in several significant ways, such as questioning whether the supernatural elements of the story are real. Contrastingly, in the source material, they most certainly were. This adds a new layer to book readers who may think they know where the narrative is heading. In the same breath, it might annoy them. It’s just something worth noting.

Overall the Shining is still a chilling horror classic and one that still holds up almost 40 years later. A must watch for all fans of horror, and I hope Doctor Sleep can live up to the standards set by this film.

5/5
Reviewed by Luke

Slasher Horror: The Genre That Refuses To Die

A ‘Slasher’ film for those of you who don’t know is a type of horror film usually focusing on a group of people, in most cases teens, who are hunted down one by and one and killed. Sometimes this can be done with the standard escaped lunatic trope, Halloween the original, or sometimes the killer can have more of a supernatural bend, like Freddy from the Nightmare on Elm Street series.

The Slasher sub-genre has been around in one form or another for decades, stretching all the way back to the 1960 release of Alfred Hitchcock’s Psycho. The film’s villain, Norman Bates, is the first example we see of what would become the horror staple slasher. Following on from this we had the release of Black Christmas, which is getting a 2019 remake, and the Texas Chainsaw Massacre, both released in 1974; this kicked the sub-genre off, and proved that these sort of films was where the horror was heading.

The film that would go on to solidify the identity of what a Slasher film can and can’t be, as well as bring about the trope of the ‘Final Girl’, was John Carpenters Halloween; this is seen as the first of the modern slashers and would become the template for what other horror movies and franchises would do down the line.

The 80s were the prime time for Slasher horror, with the release of Friday the 13th at the end of the 70s going into the 80s as well as more from the Halloween franchise, and a little film called Nightmare on Elm Street. All of these films put their spin on the slasher formula, with the 1980s release of Child’s Play being the most novel making the evil slasher a doll. However, franchise fatigue was beginning to set in.

Over the 1980s the market had become saturated with Slasher horror and audiences were starting to get sick of it. The big franchises had become more and more silly, as a way to try and keep the concept new and exciting; here’s looking at you Friday the 13th. As such, when the 1990s rolled around, a film was released which exposed as well as poked fun at all of the sub-genres rules and tropes; this film was Wes Craven’s Scream.

Scream was released to massive applause and praise, with it almost being a parody, but still remaining scary, and most importantly innovative. The release of Scream helped to breath new life into the Slasher genre, but this was only short-lived. With more schlocky slasher films like Wrong Turn and Hatchet being made in this brief window, but all of this was not enough to save the genre; as we reached the end of the 90s, the Slasher horror was on its way out. Another contributing factor in this decline was the late 90s release of The Blair Witch Project, which pushed horror cinema in a completely different direction, found footage.

Throughout the 2000s the big Slasher franchises continued to release films, whether reboots or, sequels no one asked for and a lot of them came out to minimal fanfare and even fewer ticket sales. All hope for Slasher movies coming back to the forefront of horror cinema seemed lost. Then the news was announced that Danny McBride, know for his comedy roles, wanted to write a new entry for the Halloween series, this film would ignore all the terrible sequels that followed the original; when the movie came out it was met with praise at every turn and made a large amount of money for the studio; naturally two sequels to this film were announced thereafter. Now at the time of writing there is talk of a new Friday the 13th film as well as a Nightmare on Elm Street film, and though there still are terrible Slasher movie sequels being released, 2019’s Child’s Play and the Leatherface origin story, the Slasher genre still has one last gasp in its lungs and, one last scare to give.