Film Review: "10 Cloverfield Lane" (2016).

"Monsters comes in many forms". This is certainly true with 10 Cloverfield Lane. This science fiction thriller film and "blood relative" to the 2008 film Cloverfield. The film is the directorial debut of Dan Trachtenberg; written by Josh Campbell, Matthew Stucken and Damien Chazelle. After getting in a car accident, a woman is held in a shelter by two men, who claim the outside world is affected by a widespread chemical attack.

After the success of the first film, a sequel was often discussed by writer, Drew Goddard, and director, Matt Reeves. But they were uncertain to say when they would find the time to get together along with Abrams to develop it, as they were busy with other projects. Abrams has said that the creative team behind the original had some ideas on developing Cloverfield 2, but with the releases of Pacific Rim (2013) and Godzilla (2014) caused them to abandon them as they found the concept of Kaiju movies played out. Originating from an "ultra low budget" spec script titled The Cellar penned by John Campbell and Matt Stuecken. In 2012, Paramount Pictures bought the script and commenced further development under Bad Robot Productions, thus then reworked into a Cloverfield sequel. Damien Chazelle was brought in to rewrite Campbell and Stuecken's draft and direct the movie. Chazelle dropped out from directing when Whiplash (2015) received funding. In April 2014, it was reported production for the film was greenlit to begin in the Fall of 2014 with newcomer, Dan Trachtenberg, at the helm. With a reported budget of about $5 million was expected, in keeping with the mandate of Paramount's Insurge division of producing micro-budgeted films. In July 2014, Variety reported that John Goodman was in negotiations to star in the film. In August 2014, Mary Elizabeth Winstead was reported to have had entered negotiations to star, and in September 2014, John Gallagher, Jr. reportedly joined the cast. Principal photography on the film began in October 2014 in New Orleans and Hahnville, Louisiana. The film was shot in chronological order, primarily in one set. During production, the film was assigned the codename Valencia to keep exact details of the production a secret. Filming ended in December 2014. The film was officially announced less than two months before its release. The film had been completed without anyone knowing and the first trailer was shown during 13 Hours: The Secret Soldiers of Benghazi (2016).

The film stars Mary Elizabeth Winstead, John Goodman and John Gallagher, Jr. The cast gave solid performances that elevated the film. Goodman shines as he gives an intense and unsettling performance. Goodman turns into the nastiest saviour to reach the screen since since Kathy Bates in Misery (1990). Winstead gives a solid performance even though it can be seen as being derivative of the character of Marion Crane from Psycho (1960).

A sort of Misery crossed with The War of the Worlds, 10 Cloverfield Lane is economically paced, stylistically clever, solidly crafted and filled with palpable intense scares. A pure-blood, grade A, exhilarating sci-fi thriller.

Simon says 10 Cloverfield Lane receives:

Film Review: "Triple 9" (2016).

"The code on the street is never black and white." This is Triple 9. This action crime thriller film directed by John Hillcoat and written by Matt Cook. A crew of dirty cops are blackmailed by the Russian mob to execute a virtually impossible heist. The only way to pull it off is to manufacture a 999, police code for "officer down". Their plan is turned upside down when the unsuspecting rookie they set up to die foils the attack, triggering a breakneck, action-packed finale filled with double-crosses, greed and revenge.

In May 2012, the project was first announced with Hillcoat to direct Cook's crime drama script with Shia LaBeouf set to star. The film went through many casting changes. LaBeouf later left the project and was replaced by Charlie Hunnam. In December 2013, Hunnam also left the project and was replaced by Casey Affleck. By late May 2014, Chiwetel Ejiofor, Anthony Mackie, Aaron Paul, Clifton Collins Jr., Norman Reedus, Teresa Palmer, Michael K. Williams, Gal Gadot, Woody Harrelson, and Kate Winslet rounded out the film's cast. At the same time, principal photography commenced, and wrapped in mid early August. Filming took place in Atlanta, Georgia, and was shot on Arri Alexa XT M, Arri Alexa XT Plus, and Arri Alexa XT Studio cameras with Panavision G-Series, and Panavision Primo and G-Series in the 2.35: 1 aspect ratio. Hillcoat talking about filming schedule said that, "It’s a challenge, arranging everyone's schedules and trying to accomplish something with eight main characters. I’ve never worked on something quite like this." Initially, Nick Cave was set to score the film, however, he left the project and was replaced with Atticus Ross, Claudia Sarne, brother Leopold Ross and Bobby Krlic.

The film stars an ensemble cast that includes Affleck, Ejiofor, Mackie, Paul, Collins Jr., Reedus, Palmer, Williams, Gadot, Harrelson, and Winslet. The cast, while impressive, does little with what they have. Audiences will have to settle for simplistically evil performances by Winslet (as a ruthless Jewish-Russian Mafia boss), and a large quotient of gut-wrenching violence. However, when Ejiofor, Mackie, Paul, Collins Jr., and Reedus are allowed to do the heavy lifting, the film is a kind of fun period piece. But every time Affleck takes center stage, it feels more like someone playing dress up.

Grim, bloody, and utterly flawed, Triple 9 doesn't quite achieve the epic status it strains for, but it's too beautifully filmed and powerfully acted to dismiss. With a dynamite cast, and an acclaimed Aussie director, you assume a new classic. What you get is an ambitious try. Certainly has its moments, yet lacks the tension of a real classic. The center of narrative gravity is hard to locate; for whom are we rooting, and does anything really ripple outward from this nasty local fight? Essentially, the film is basically a tale of Badass Vs. Badass, with some additional Badasses thrown in for good measure. The film wants to be something larger than life, but it's too joyless to be a tall tale and too self-satisfied for tragedy.

Simon says Triple 9 receives:

Also, see my review for Lawless.

Film Review: "Mahana" (2016).

From the director of Once Were Warriors and the author of The Whale Rider comes Mahana. This New Zealand drama film directed by Lee Tamahori, adapted by John Collee, and based on the novel Bulibasha: King of the Gypsies by Witi Ihimaera. Set in 1960s East Coast of New Zealand, two Maori sheep-shearing families, the Mahanas and the Poatas, are longstanding enemies and commercial rivals. 14-year-old Simeon Mahana, the youngest son of the youngest son is in conflict with his traditionalist grandfather, Tamihana. As Simeon unravels the truth behind the longstanding family vendetta he risks not just his own future prospects but the cohesion of the entire tight-knit society.

The film was funded by several parties including the New Zealand Film Commission, New Zealand On Air, Māori Television, Entertainment One, Wild Bunch, and several private equity investors. In addition, it was the first New Zealand film to be funded through the Snowball Effect equity crowdfunding platform. While the source novel Bulibasha: King of the Gypsies is set in New Zealand's Gisborne District, principal photography for the film took place in the countryside outside of Auckland, the country's largest city.

The film stars Temuera Morrison, Akuhata Keefe, Nancy Brunning, Jim Moriarty, Regan Taylor, Maria Walker, Sienna MacKinlay, Tuhiwhakauraoterangi Wallace-Ihakara, Kyra McRae, Eds Eramiha, Ngahuia Piripi, Yvonne Porter, and Te Kohe Tuhaka. The uniformly powerful performances, especially Morrison and Keefe, gave the tale unexpected power and depth. The cast, all of them of Maori descent, are wonderful to look at. They also deliver authoritative yet sympathetic performances that get at the roots, or rootlessness, of their characters. Keefe, who plays Simeon, had never acted before, and neither have a couple of the other key players. But under the careful direction of Tamahori, they all do credible and forceful work.

Tamahori's direction is consistently sharp and the film showcases two immensely powerful performances by Morrison and Keefe. The silent raging energy of this New Zealand film looms around you, and hits you like a smack in the face. The barren lives of members of a Maori family are rigorously exposed in this rugged and painful picture, based on Ihimaera's novel. The Maori milieu, however, is something we haven't seen before, and the images stay with you. The film is filled with memorable images, solid acting and a keen sense of place and character, but without even realizing it, Tamahori has also told a story about sub-cultures far from his own home. It is a painful and very effective tale about the destructive power of bitter rivalry between families in general that easily transcends its New Zealand origin. Works, to some degree, on three levels: the visceral, the emotional, and the intellectual, and it is the amalgamation of these that makes this a memorable film. It is powerful and chilling, and directed by Tamahori with such narrative momentum that we are swept along in the enveloping tragedy of the family's life. Everything about this powerful, poignant film makes it a must-see experience, if you have the patience for it.

Simon says Mahana receives:

Also, see my review for The Devil's Double.

Film Review: "The Boy and the Beast" ("バケモノの子") (2015).

"An unlikely relationship between boy and beast!?" This is The Boy and the Beast (バケモノの子). This Japanese animated action-adventure fantasy film written and directed by Mamoru Hosoda. When Kyuta, a young orphan living on the streets of Shibuya, stumbles into a fantastic world of beasts, he's taken in by Kumatetsu, a gruff, rough-around-the-edges warrior beast who's been searching for the perfect apprentice. Despite their constant bickering, Kyuta and Kumatetsu begin training together and slowly form a bond as surrogate father and son. But when a deep darkness threatens to throw the human and beast worlds into chaos, the strong bond between this unlikely family will be put to ultimate test-a final showdown that will only be won if the two can finally work together using all of their combined strength and courage.

The film features the voice talents of Kōji Yakusho, Aoi Miyazaki, Shōta Sometani, Suzu Hirose, Kazuhiro Yamaji, Mamoru Miyano, Kappei Yamaguchi, Keishi Nagatsuka, Kumiko Asō, Haru Kuroki, Sumire Morohoshi, Momoka Ōno, Masahiko Tsugawa, Lily Franky and Yo Oizumi. Thanks the to the voice cast, the film towers over all the Hollywood animated films about beasts like Mount Everest over an ants' nest. It is Japanese animation at one of its finest.

Judging from his last four films, I count Hosoda as one of the true hopes of quality anime in the future. Because he dared to make The Boy and the Beast a film which is, first and foremost, for children! The Miyazaki influence on Hosoda's own work seems obvious, from his cute-but-realistic style to his concern with pressing social issues and the messy emotions of actual human beings. The film has a magnificent understated eye for detail, from the grain of wood on doors to the lovingly captured forest scenes, that help lift the movie above regular animation fare. With a bittersweet atmosphere and beautiful imagery - both of the detailed and delicate variety - the film proves a finessed, fantastical offering grounded in human emotion and experience. It is an exceptionally beautiful film, with the lingering glory and magisterial quality that recalls Miyazaki's greatest work. Silence abounds; the wordless sequences are stunning. There are a few schmaltzy, sloppy-sappy moments, but the attention to Romantic-poetry detail is sublime. Rarely has maternity, or maturity, been shown with such poetic force on-screen. A stunningly beautiful, unabashedly sentimental, and surprisingly complex story that works as both a coming-of-age film and a study of a young boy. An imaginative Japanese animation film about a resilient young orphan who stumbles upon a world of beasts. An engaging and visually arresting Japanese anime that carefully tackles an original storyline with confident sophistication. On the basis of this elegiac family saga, Studio Ghibli should really think about hiring Hosoda. Rather an odd story, told in a one-of-a-kind style that feels equal parts sentimental, somber and strange. This is expert visual storytelling, dwelling on the emotion of particular moments with powerful and occasionally devastating effect.

Simon says The Boy and the Beast (バケモノの子) receives:

Series Review: "Agent Carter" (2015-16).

"Sometimes the best man for the job... is a woman" in Agent Carter. This television series created by Christopher Markus & Stephen McFeely, based on the Marvel Comics character and produced by ABC Studios and Marvel Television. It is set in the Marvel Cinematic Universe (MCU) and shares continuity with the franchise's films and other television series. It follows the 2011 film Captain America: The First Avenger and the 2013 Marvel One-Shot short film of Agent Carter. Set in 1946, and peace has dealt Agent Carter a blow as she finds herself marginalized when the men return home from aboard. Working for the covert SSR, Peggy finds herself doing administrative work when she would rather be out in the field taking down the bad guys. She is also trying to navigate life as a single woman, in the wake of losing the love of her life, Captain America. When old acquaintance Howard Stark finds himself framed for unleashing his deadliest weapons he contacts Peggy to track down those responsible and clear his name.

In July 2013, a potential Agent Carter series was initially brought up by Louis D'Esposito, after a screening of his Agent Carter One-Shot at San Diego Comic-Con. By September, Marvel Television was developing a series inspired by the short film and was in search of a writer for the series. In January 2014, ABC Entertainment Group president Paul Lee confirmed that the show was in development, and revealed that Hayley Atwell would reprise her role and Tara Butters, Michele Fazekas and Chris Dingess would serve as showrunners. In March, Markus & McFeely stated that they envisioned the series, which had not yet been greenlit, as a limited series of approximately thirteen episodes. Additionally, Markus and McFeely stated that the series would be set in 1946 initially, occurring in the middle of the timeline established in the One-Shot. By April, there were indications that the series would be ordered straight to series, bypassing a pilot order, and would air between the late 2014 and early 2015 portions of Agents of S.H.I.E.L.D., if that series got a second season renewal. In early May, ABC officially ordered the series for eight episodes. In early May 2015, the series was renewed for a second season. Despite a positive critical response, viewership fell, in mid May 2016, ABC canceled the series.

The series stars Atwell, James D'Arcy, Chad Michael Murray, Enver Gjokaj, Shea Whigham, Dominic Cooper, Lyndsy Fonseca, Ralph Brown and Kurtwood Smith. Atwell is a star. She's endlessly charismatic, a credible action star, and capably shoulders the sometimes overwrought drama thrust upon her. What sets this show apart is Peggy Carter, whose dedication to duty combined with her strong sense of humanity creates a complex character that is both empowered and likable.

The show will not surprise you. But if you don't want or need to be surprised, it's a pretty well-paced, gorgeously shot and fast-moving show. Even if the show has elements of shows you've seen before, it helps that the show's star has real charisma and presence.

Simon says Agent Carter receives:

Also, see my review for Captain America: The First Avenger.

Film Review: "Gods of Egypt" (2016).

"The battle for eternity begins." This is Gods of Egypt. This fantasy action-adventure film directed by Alex Proyas, and written by Matt Sazama and Burk Sharpless. This film is based on the Egyptian myth "The Contendings of Horus and Set", in which Set and Horus battled for the rule of Egypt. Mortal hero Bek teams with the god Horus in an alliance against Set, the merciless god of darkness, who has usurped Egypt's throne, plunging the once peaceful and prosperous empire into chaos and conflict.

The script by Matt Sazama and Burk Sharpless was acquired by Summit Entertainment in 2012. In May, Proyas was chosen by Summit to rewrite the script and direct the film. Marking the director’s first feature in seven years since Knowing (2009). Proyas cited the following films as influences: The Guns of Navarone (1961), Lawrence of Arabia (1962), The Man Who Would Be King (1975), Raiders of the Lost Ark (1981), and Sergio Leone's Western films. By the start of 2014, Proyas rounded out the cast with Nikolaj Coster-Waldau, Brenton Thwaites, Chadwick Boseman, Élodie Yung, Courtney Eaton, Rufus Sewell, Gerard Butler and Geoffrey Rush. The film received controversy for its casting of predominantly Caucasian actors. With most critics accusing the production of "Hollywood whitewashing". In response, Lionsgate and Proyas apologized for the ehtnically-inaccurate casting. Originally scheduled to be shot in the Sahara Desert, production ultimately took place in Australia with a budget of $140 million. Due to international pre-sales and Australian tax incentives, the production’s budget was only around $10 million, and Lionsgate/Summit were able to recoup most of the budget. Released in February 2016, the film was ultimately a critical and commercial failure. Receiving a 16% rotten score on Rotten Tomatoes, and making $31.2 million in its opening weekend run. In response to the reviews, director Proyas posted to Facebook calling critics "diseased vultures pecking at the bones of a dying carcass", who were "trying to peck to the rhythm of the consensus. I applaud any film-goer who values their own opinion enough to not base it on what the pack-mentality says is good or bad."

The film stars Nikolaj Coster-Waldau, Brenton Thwaites, Chadwick Boseman, Élodie Yung, Courtney Eaton, Rufus Sewell, Gerard Butler and Geoffrey Rush. There is only one word to describe the performances given by a capable but wasted cast: disappointing. Just... disappointing. Almost all of the cast in this film were just as ethnically accurate as Snookie and Tara Reid after they went on a tanning spree.

While sporadically stirring, and suitably epic in its ambitions, Gods of Egypt can't quite live up to being a film in general. It is a terrible film. It is a badly acted and badly written action-adventure flick that takes what should be an exhilarating and epic story and drains it of all life and all dramatic interest. In response to Mr. Proyas' statement: Yes, Mr. Proyas, critics are "diseased vultures" who "peck at the bones of dying carcass". But that's only because your film was dying upon arrival.

Simon says Gods of Egypt receives:

Film Review: "Hail, Caesar!" (2016).

"Lights. Camera. Abduction." This is Hail, Caesar! This comedy film written, produced, edited, and directed by the Coen Brothers. The film centres on Eddie Mannix, a fixer for Capitol Pictures in Hollywood, deals with a pregnant starlet, gossip columnists and a kidnapped movie star even as he considers an attractive job offer, all in a single day.

In 1999, during filming of O Brother, Where Art Thou? (2000), the Coens fist mentioned the idea to George Clooney. But the project remained dormant until December 2013, in which the Coens mentioned that it would be their next film after Inside Llewyn Davis. In May 2014, the Coens reconfirmed the film's development. The film would examine the transitional time for the film industry. The studio system was breaking down, and a Supreme Court ruling had forced studios to divest their movie theaters. Television, then still in its early years, threatened to pull away audiences. The Cold War and the Red Scare were both underway. Hollywood responded by creating escapist fare: westerns, highly choreographed dance and aquatic spectacles, and Roman epics with massive casts. Costume designer Mary Zophres began work twelve weeks ahead of shooting, researching period wardrobe from the late 1940s on the assumption that most people routinely wear clothes purchased over the past few years. She designed for a working film studio of the early 1950s, plus six genre films, each of which featured a major actor working on the set for about a week. Photos from the MGM library and the Academy of Motion Pictures and Sciences showed that film crews dressed more formally than today—no shorts or sneakers. Zophres produced about 15 boards of preliminary sketches, including "sculptural Technicolor gowns" for the ballroom drama that were inspired by the work of Charles James. The film ultimately required more than 2,500 costumes, including 170 Roman extras, 120 Israelites and about 45 slaves. About 500 of the costumes were custom-made. Toward the end of the shoot, the scope of the project overtook the budget, and Zophres completed some of the sewing herself. By early November, Josh Brolin, George Clooney, Ralph Fiennes, Scarlett Johansson, Frances McDormand, Tilda Swinton, Channing Tatum, Alden Ehrenreich, Jonah Hill, Alison Pill, Wayne Knight, Christopher Lambert, Clancy Brown, Robert Picardo, Dolph Lundgren, and Michael Gambon were cast. At the same time, principal photography commenced, and took place in Los Angeles, California. It was shot on 35mm film in both the 1.37: 1 and 1.85: 1 aspect ratios.

Terrific performances were given by the cast. Brolin gave a solid performance as a fixer. Clooney hammed it up, in a good way, as the hammy actor. Fiennes was commanding as the director. Johansson and Ehrenreich were comical as the actress.swimmer and singing cowboy. Finally, Tatum pulled as a singer in addition to being an actor and dancer.

Twisty and unsettling, the Coen brothers' satirical tale of a 1950s Hollywood fixer is packed with their trademark sense of humour and terrific performances from its cast.

Simon says Hail, Caesar! receives:

Also, see my review for Inside Llewyn Davis.