crime

UPGRADE

Writer & Director
Leigh Whannell

(INSIDIOUS: CHAPTER 3)

Stars
Logan Marshall-Green, Melanie Vallejo, Harrison Gilbertson, Betty Gabriel, Benedict Hardie, Linda Cropper and Simon Maiden

If you’ve never seen a film belonging to the body horror genre before, then now is the time and UPGRADE is the perfect film to first experience it. A sub-genre of horror, body horror movies intentionally show graphic or psychologically disturbing violations of the human body. Though at first that may not sound like highly appealing viewing, there are several reasons why this darkly comical Australian made film that’s set in the near-future will be an absolute hit with its target crowd, is addictive viewing for a broader audience and ought to be added to your watch list now!

Set in a dark world in which technology is an even more prominent aspect of our everyday lives than it is now, Leigh Whannell’s UPGRADE stars Logan Marshall-Green (PROMETHEUS) as Grey Trace, an old-school mechanic who hasn’t quite conformed to the reliance on modern technology as his wife Asha (Melanie Vallejo from Aussie TV series, Winners & Losers) has, who’s employed by tech giant, Cobolt. A simple man, Grey prefers his vintage, self-driven automobile over the driver-less computer-driven cars mostly on the roads nowadays. When a tragic incident occurs that changes Grey’s life in an instant, his only hope of gaining some of that life back lies in the hands of STEM, an experimental and unreleased piece of technology to be implanted into his body, made by tech engineer Eron (NEED FOR SPEED’s Harrison Gilbertson).

Image result for logan marshall-green upgrade 2018 film stills

From production studio Blumhouse, who created fellow low-budget features GET OUT, WHIPLASH and PARANORMAL ACTIVITY, and impressively filmed entirely in Melbourne, Australia, UPGRADE is a late-night special that’s a sure bet to gain a cult following. To give you an even clearer understanding of what to expect, this science-fiction crime thriller with bold strokes of humour can be likened to and isn’t too dissimilar to watching an (extended) episode of Netflix series Black Mirror on the big screen! 

After a super cool intro (don’t be running late!) and a run of the mill opening act that ticks the formalities boxes off, UPGRADE gets an infectious and unyielding energy into gear that becomes a driving and unstoppable force. The film exudes a profound sense of belonging that’s largely manufactured by its pumping music score, slick visual design, stylised action choreography, and the effective use of lighting and colour throughout. This is done in similar fashion to THE NEON DEMON and SIN CITY, only not quite to the same level of absolute all-round brilliance. Visually and aurally, UPGRADE is a self-assured film that knows exactly what it wants to be and what to deliver to its primary audience. 

While indisputably excellent in those aforementioned areas of filmmaking, the begging question must be asked: does the narrative hold up just as strongly? The reception to this from audiences is bound to be mixed. While watching in real-time, an unspecified number of loose ends become visible that lessen the credibility of the plot. Though most of these holes in the script are later patched up, UPGRADE still leaves some uncertainty in the air that will irk those who possess a higher attention to detail.

Even if the narrative component of UPGRADE isn’t able to elevate the film to a level of complete excellence, the mighty atmosphere concocted and its interest-arousing plot still give it plenty of uptick.

3 ½ stars

Image result for logan marshall-green in upgrade 2018 film stills
Viewer Discretion
MA15+ (Strong science fiction themes and violence)

Trailer
UPGRADE

Moviedoc thanks Madman for the invite to the screening of this film

Review by Leigh for Moviedoc
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BEST & WORST MOVIES OF 2017 including the highlights and some low-lights

Hello everyone

Firstly, a huge thank you for every review you have read, liked, shared, commented on and even chatted to me about in person. Thanks to you and your incredible support, I had a very productive year of film watching and reviewing!

In total, I got to see and review 141 films officially released in 2017 alone, which is 15 more than I was able to see at this same time in 2016! Of these, more than 25 movies received a 4 star rating from me, so I have compiled a ‘Best 25’ list this year as well as a ‘Worst 5’.

I hope you thoroughly enjoy reading this post. I also hope you take away a handful of films to see that you’ve never previously heard of or watched!
As always, please get in touch to share your views and best & worst movies.

I look forward to your continued support and interaction in what will be an even bigger and busier year of film watching & reviewing in 2018, where I hope to review a monthly classic and bring a review or two fresh from my attendance at film festivals!

Moviedoc 🙂

Moviedoc’s Best 25 Movies of 2017

25
WONDER
4 stars

A beautiful and meaningful story featuring a great cast that will make you cry a little but feel plenty of joy

24
PADDINGTON 2
4 stars

As sweet as marmalade itself and a sequel that’s every bit as good, if not better, than the first film. Paddington is no one-trick teddy bear!

23
THE LEGO BATMAN MOVIE
4 stars

Arguably and in my opinion, this is the best rendition of Batman, ever! Utterly hilarious at times and scores Moviedoc’s #1 spot (just!) for best family film of 2017!

22
INGRID GOES WEST 
4 stars

All at once, this is an uncomfortably funny, dreadfully saddening and downright frightening exposé of just how far a social media addiction and obsession can take a person. Highly recommended!

21
GIFTED
4 stars

A splendid drama! One of the most underrated films of 2017! If you haven’t already, it is time to unwrap this true gift of a film.

20
THE BIG SICK
4 stars

A broadly appealing and wholly accessible romantic comedy-drama that’s not only based on a true story but even stars one of the real-life subjects; stand-up comedian, actor and writer, Kumail Nanjiani

19
BABY DRIVER
4 stars

It’s been a solid year for heist movies and this is the best of them. Flawless car chase sequences and an outstanding music score drive this slick and unique heist film. Hopefully BABY DRIVER won’t lose popularity due to co-starring Kevin Spacey, for it absolutely deserves to be seen.

18
MISS SLOANE
4 stars

Enthralling! I’ve been told those who are into TV Series “House of Cards” will want to see this. Sorry for making another connection to Kevin Spacey!

17
FENCES

4 stars

Can be a challenge to watch, especially during the first half. However, Denzel Washington’s Oscar-nominated performance playing a character he’s portrayed on Broadway 114 times before and Viola Davis’s Oscar-winning acting are so stellar in a movie that becomes absolutely riveting

16
THE BEGUILED
4 stars

Beautifully filmed and impeccably acted by one of the stand-out ensemble casts of the year. An excellent film from director Sofia Coppola.

15
MOONLIGHT
4 stars

You haven’t seen a story quite like the one told in MOONLIGHT before. This is the Best Picture Winner at the 2017 Academy Awards earlier this year. Brave and heartfelt storytelling.

14
MOUNTAIN
4 stars

A majestic and breathtaking cinematic experience. The Australian-made MOUNTAIN is 2017’s best documentary feature.

13
THE SALESMAN
4 stars

This is acclaimed Iranian director Asghar Farhadi’s (THE PAST, A SEPARATION) latest feature film. An immaculately devised and strongly executed domestic drama with a gripping finale.

12
DUNKIRK
4 stars

A minimalist war film that draws maximum anxiety and exacts a claustrophobic stranglehold over its viewers from start to end thanks largely to the ever-present score by Oscar-winning film composer, Hans Zimmer

11
HOUNDS OF LOVE
4 stars

A similar breed of film to 2011’s SNOWTOWN, HOUNDS OF LOVE is an unnerving and tense dramatic thriller that showcases an outstanding music score, cinematography and acting. The best Australian film of 2017.

10
LAND OF MINE
4 stars

An Oscar-nominated foreign film taking place after WWII, which depicts a group of very young German POWs sent to Denmark to clear thousands of hidden land mines. Stomach-turning tension is guaranteed.

9
LOVING VINCENT
4½ stars

The first-ever oil painted feature film about Vincent van Gogh is never solely limited to its visual capabilities. A sublime film.

8
SILENCE
4½ stars

Martin Scorsese’s passion project and three-hour epic is a bravely written piece that is expertly penned toward the most religiously devout. A near-masterpiece.

7
WAR FOR THE PLANET OF THE APES
4½ stars

The PLANET OF THE APES film series is now officially one of my favourites, if not my absolute favourite film franchise. Combines mesmerising CGI and cinematography with a powerful and relevant story that has a strong message for humankind. I just love it!

6
MANCHESTER BY THE SEA
4½ stars

The storytelling structure, its well-studied account of key themes and the honesty of its writing and character depiction achieves MANCHESTER BY THE SEA A-grade status.

5
PERFECT STRANGERS
4½ stars

What happens when a close-knit group of friends meet for dinner and share every text message, email and phone call received with one another? You will want to find out! Italian comedy PERFECT STRANGERS features one of the most cleverly conceived and carefully-considered screenplay’s of the year.

4
GET OUT
4½ stars

Movies as genius as this are few and far between. Masterfully and studiously crafted, intelligently written and flawlessly executed, GET OUT is a broadly appealing and accessible horror film at heart that functions as a menacing mystery invite to all. If you haven’t already, please accept your invitation, pronto! You will not regret it.

3
LADY MACBETH
4½ stars

Witness one of the most conceivably written, daring and exciting character transitions seen in recent years. This fierce, fearless and electrifying film turns the period drama genre on its head in near flawless fashion and is the breakout film for its star, Florence Pugh, who is scintillating. Unmissable!

2
DOWNSIZING
5 stars

The last film to receive 5 stars from me was THE HUNT in 2013! Well, it had to take something very special to break that lengthy drought. Simply put, you have never seen a film quite like DOWNSIZING before. It is extraordinary. I admired its continual refusal to yield to any form of mainstream cinema convention, despite being a mainstream-friendly release. It also unearths one of the truest & most beautifully conceived and written characters I’ve seen in any film. Hong Chau (from acclaimed TV Series Big Little Lies) is just superb as Ngoc Lan Tran, in what is one of this year’s acting highlights. Absolutely amazing in every way imaginable.

THE BEST MOVIE OF 2017

CALL ME BY YOUR NAME 
5 Stars

It took me until February, 2018 to see this sensual and picturesque masterpiece. CALL ME BY YOUR NAME not only met my high expectations, it by far exceeded them. This slow-building drama set in northern Italy during a hot summer in 1983 is so precise and honest yet powerfully subtle in its articulation of the complex emotions and sensitive scenarios involving its characters. It takes some time for the forthcoming relationship to develop, yet does so organically and in complete avoidance of all stereotypes. By the time its extraordinarily moving and meaningful finale arrives, CALL ME BY YOUR NAME simply overwhelms. The ultimate meaning and key themes of this beautifully produced film earn an equal amount of appreciation as the stunning production, stand-out score and immaculate performances achieve.

Armie Hammer and Timothée Chalamet in Call Me by Your Name (2017)

Moviedoc’s Worst 5 Movies of 2017

5
BAYWATCH
1 ½ stars

Not even the charismatic Dwayne Johnson can save BAYWATCH from drowning in its own dump.


4
CHIPS
1 ½ stars

Unfunny. Sexist. Nasty. Avoid!


3
JIGSAW
1 star

Jigsaw may do a Jesus by way of his resurrection, however he is certainly no saviour to the eternal damnation sentenced upon the viewer in this dreadful reboot. Now, please stay dead.

2
SNATCHED
1 star

Goldie Hawn should have remained in her fifteen-year movie hibernation. Terrible movie.

THE WORST MOVIE OF 2017

T H E  M U M M Y
1 star

An unacceptable first instalment in Universal’s rather forced Dark Universe film series that seemingly exists purely to rival Marvel and the like. Yet sadly, THE MUMMY still grossed $409.1 million worldwide, which means there’ll probably be more to come. A score of just 5.5 on IMDB and 16% on Rotten Tomatoes more than justifies why this utterly dreadful reboot is the worst of the 141 movies released this year I have seen.

Still with me? Good! Now we go to some highlights and low-lights of 2017

The acting stand-outs of 2017

Timothée Chalamet in CALL ME BY YOUR NAME
Hong Chau – DOWNSIZING
Florence Pugh – LADY MACBETH
Danielle MacDonald – PATTI CAKE$
James Franco – THE DISASTER ARTIST
Emma Booth and Stephen Curry – HOUNDS OF LOVE
Naomie Harris – MOONLIGHT
Denzel Washington and Viola Davis – FENCES
Aubrey Plaza – INGRID GOES WEST
Teresa Palmer – BERLIN SYNDROME
Barry Keoghan – THE KILLING OF A SACRED DEER
Sonia Braga – AQUARIUS
Oscar Isaac – SUBURBICON
Hugh Grant – PADDINGTON 2
John Lithgow and Salma Hayek – BEATRIZ AT DINNER
Nicole Kidman – THE KILLING OF A SACRED DEER & THE BEGUILED
Dev Patel and Sunny Pawar – LION
Pierre Niney and Paula Beer – FRANTZ
Brian Cox – CHURCHILL
Jessica Rothe – HAPPY DEATH DAY
Tiffany Haddish – GIRLS TRIP
Sally Hawkins – MAUDIE
Hugo Weaving – JASPER JONES

Films to add to your watch list not in my Best 25 from 2017

PATRIOT’S DAY
LIFE
BATTLE OF THE SEXES
THEIR FINEST
A MONSTER CALLS
COLOSSAL
LION
COLLATERAL BEAUTY
SUBURBICON
THE BOSS BABY
BERLIN SYNDROME
LOGAN
THE DISASTER ARTIST (But watch clips from YouTube of THE ROOM first, if you haven’t already seen it!)

Most over-rated and/or most disappointing films from 2017

KINGSMAN: THE GOLDEN CIRCLE
JACKIE
MURDER ON THE ORIENT EXPRESS
VICTORIA & ABDUL
THINGS TO COME
THE SNOWMAN
A CURE FOR WELLNESS
GOD’S OWN COUNTRY
LOVING
A SILENT VOICE
ALONE IN BERLIN
TRESPASS AGAINST US
GOLD
THE FLORIDA PROJECT

The highlights in films from 2017

Hong Chau’s character in DOWNSIZING
The uniquely hand-painted visual experience in LOVING VINCENT
The extreme slo-mo’s in HOUNDS OF LOVE
The development of the relationship and the first intimate scene between Elio and Oliver in CALL ME BY YOUR NAME
The atmosphere and the battle sequences staged in DUNKIRK
The real footage of a tightrope walk between two mountain peaks in MOUNTAIN
The final dinner table scene in THE BEGUILED
The car chase sequences and the music score in BABY DRIVER
A reaction from a particular water monster in THE LEGO BATMAN MOVIE
The birthday party sequence & guest arrivals in TONI ERDMANN
The visual and aural experience in GHOST IN THE SHELL
The dialogue and its delivery from Tiffany Haddish in GIRLS TRIP
The final action sequence on the ice in Iceland in THE FATE OF THE FURIOUS

Best horror film

GET OUT
(A clear stand-out, however if that’s not scary enough for you, then try out IT COMES AT NIGHT, HAPPY DEATH DAY and IT. None of these films managed to scare me though!)

Best crying film
A MONSTER CALLS
(Even though its title suggests this belongs in the above category! Not the first time director J.A. Bayona has claimed this spot at the end of the year. THE IMPOSSIBLE was his previous movie)

Best lol film

PERFECT STRANGERS
(However, if you want something more mainstream, then try THE DISASTER ARTIST and GIRLS TRIP)

Best love story or romantic film

CALL ME BY YOUR NAME

Most unique/strange films

THE KILLING OF A SACRED DEER
MOTHER!

Highest Grossing Film – Worldwide

BEAUTY AND THE BEAST
($1.26 Billion)

Highest Grossing Film – In Australia

BEAUTY AND THE BEAST 
($36.3 Million)

Compiled by Moviedoc
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JIGSAW

Directors
Michael Spierig, Peter Spierig
(PREDESTINATION, DAYBREAKERS)

Stars
Matt Passmore, Hannah Emily Anderson, Brittany Allen, Mandela Van Peebles, Paul Braunstein, Laura Vandervoort, Callum Keith Rennie and Tobin Bell

Like puzzles? Then have a crack at making these mismatched pieces fit together.

This is the first internationally produced feature film to be directed by two rising stars in the movie making business – German-born Australians and identical twin brothers, Michael and Peter Spierig. This film by the Spierig Brothers is an attempt to reboot the dead and buried SAW movie franchise. Speaking of dead and buried, the titular villain of this film did indeed die in SAW III, ten years ago.

In what is very much a new puzzle with the same old pieces applied, JIGSAW begins by connecting its opening police chase sequence to a group of five strangers who awake to discover they are being held captive in horrifying conditions. The quintet soon learn that their mysterious kidnapper wants to play sadistic games of torture and isn’t willing to yield unless they begin spilling the beans behind their secret that has upset the moral compass of their captor and landed them in this helpless position. As the game gruesomely unfolds, a working group of police, detectives and medical experts analyse clues and evidence found that leads them to one key suspect – the deceased killer known as Jigsaw.

Jigsaw may do a Jesus by way of his resurrection, however he is certainly no saviour to the eternal damnation sentenced upon the viewer in this dreadful reboot.

Scary, but not in any manner that horror-enthusiasts seek, JIGSAW‘s scriptwriters have made the alarming mistake of believing that their unoriginal, unintelligent and assumptive screenplay has the ability to surprise, and then some. With the exception of one particular twist that you may not see coming, purely due to blinding you with its stupidity, every single character and plot development is extremely predictable and often equally lame. The once creatively and disturbingly conceived games being played on the victims, then played on the mind of us as its viewers as per the original SAW movie, remains a win of the past. Whether intentional to conceal explanations that the writers know don’t make much sense or whether just due to poor sound mixing, the music and sound effects regularly overpower the films dialogue. All of those desirable features that draw horror fans to a movie such as this are rarely sighted. Furthermore, there are no genuine scares or seat-adjusting jumps, no thrills or chills and very little fun, if any at all. Had some thought and care been attributed to just some of the irksome characters that reside in JIGSAW, then you might be reading a slightly less negative review. Nevertheless, woeful characters and performances from an ensemble cast that mostly appear to have been randomly assembled from several seasons of America’s Next Top Model display a grade of acting that’s as bad as you’ll see on the big screen this year.

Well, hopefully not see. Avoid.

1 star

Viewer Discretion 
MA15+ (Strong themes and strong horror violence)

Trailer
JIGSAW

Moviedoc thanks Studiocanal and Asha Holmes Publicity for the invite to the screening of this film

Review by Moviedoc
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LOVING VINCENT

Directors / Dorota Kobiela and Hugh Welchman (THE FLYING MACHINE and feature film debut, respectively)
Stars/ Douglas Booth, Jerome Flynn, Saoirse Ronan, Helen McCrory, Eleanor Tomlinson and Chris O’Dowd

Almost every review of LOVING VINCENT you’ll read will begin by informing you that this is the first-ever oil painted feature film to be produced. This beautiful and befitting testament to the troubled yet supremely talented artist, Vincent van Gogh, was always going to be a unique film experience. Now, it is also certified brilliant.

Taking place one year after the death of van Gogh, Armand Roulin (Booth), the young son of a postman, is tasked by his father (O’Dowd) to personally deliver a letter to Theo van Gogh, brother of Vincent. Once Armand arrives in a small town outside of Paris, he begins to speak with several of the locals who share conflicting stories of their involvement and views of the famed artist. As Armand continues to learn about the truncated life and fascinating background of Vincent van Gogh, his curiosity to discover the truth behind the artist’s mysterious death deepens.

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Using the same technique as Vincent van Gogh himself, over 100 artists have contributed to the 65,000 frames of oil painting on canvas that have been captured in the final cut of this film. To say that LOVING VINCENT is worthy of our appreciation, as we sit down and absorb what must have been a most time-consuming and extremely meticulous method of movie making, is a gross understatement. It is deserving of utmost praise. First shot as a live-action film with actors then hand-painted over frame-by-frame in oils, LOVING VINCENT is striking to view with its dazzling paint job of a vast array of characters performed on-screen by a recognisable and predominantly UK cast.

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The extent of its guarantee to mesmerise is never solely limited to its visual capabilities. An utterly engrossing storyline prods and probes into the possible and probable contributors that may have caused the ultimate and untimely death of Vincent van Gogh. The clearly articulated screenplay, which questions the doubt that is exposed behind potentially false claims, holds every statement accountable to the truth. As its lead character searches for honesty, the writing offers precise education of biographical events with grounded reasoning in its examinations. Minimal but sufficient background concerning Vincent’s childhood and family members is shared and forms a critical part of comprehending the mystery behind his psychological imbalance and final decline. Furthermore, LOVING VINCENT emphatically closes all trains of thought it justifiably opens. A sublime film.

4 ½ stars

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Viewer Discretion/ M (Mature Themes)

Trailer / LOVING VINCENT

Moviedoc thanks Madman for the invite to the screening of this film.

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SUBURBICON

Director / George Clooney (THE MONUMENTS MEN, GOOD NIGHT AND GOOD LUCK)
Stars/ Matt Damon, Julianne Moore, Noah Jupe, Glenn Fleshler, Alex Hassell and Oscar Isaac

Having previously appeared in four films written by Joel and Ethan Coen (THE BIG LEBOWSKI, NO COUNTRY FOR OLD MEN), this is George Clooney’s first time to direct a Coen Brothers script. And if there is just one guarantee that can be made by SUBURBICON, as per most Coen Brothers films, any initial assumptions from its audience regarding the trajectory of the storyline are deliberately destined to be wrong!

The synopsis in this darkened comedy will play much to your advantage if you keep any prior knowledge of it to a minimum. All that’s necessary for you to know at this point is that SUBURBICON nests itself in the 1950’s where a newer, yet settled town by the same name is home to many happy middle-class white American families. The peaceful and idyllic existence of the locals begins to crumble when Suburbicon’s first coloured family move to the neighbourhood which coincides with a violent home invasion at the residence of the Lodge family (played by Matt Damon, Julianne Moore and young rising star Noah Jupe). 


Even before the cataclysmic events occur, it is obvious that things are not as rosy as they appear from the outset in the town of Suburbicon. For only a brief, yet still a concerning duration of time quite early into SUBURBICON, the same is observed of the film. Before its irresistibly bewitching spell is cast over audiences, SUBURBICON has to surmount a noticeable mismatch between its music score, its objective tone and the flat execution of the scenes these aspects fulfil. Enough of that though – let’s get to the good stuff!

Fortunately, a devilish revelation that permanently changes the course of this film for the better is soon unveiled and suddenly slots every facet of filmmaking in their suitable place. For instance, the profound music score by legendary composer Alexandre Desplat, the trademark craftiness in writing from the Coen Brothers and some cunning directing work from George Clooney are now giving this Wisteria Lane-like hood injections of hysteria! Another stylish member to add to SUBURBICON’s rising population is an outstanding set and location design that goes to great lengths at emphasising very particular details that embed it in the era it’s set.

Though there does remain a flaw or two to still be spotted, some against-type casting and the delicious performances are more than enough to distract from any deficiencies. Especially Oscar Isaac – he completely steals the show in a minor but crucial part.

3 ½ stars

Viewer Discretion/ MA15+ (Strong themes and violence)

Trailer / SUBURBICON

Moviedoc thanks Roadshow Films for the invite to the screening of this film.

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THE SNOWMAN

Director / Tomas Alfredson (TINKER TAILOR SOLDIER SPY, LET THE RIGHT ONE IN)
Stars/ Michael Fassbender, Rebecca Ferguson, Charlotte Gainsbourg, J.K. Simmons, Jonas Karlsson and James D’Arcy

Best known globally for the excellent adaptation of his crime thriller novel HEADHUNTERS, Norwegian author Jo Nesbø’s THE SNOWMAN is the seventh novel from his Harry Hole detective book series and the first English-language movie adaptation of his writing works. Despite featuring a multicultural cast and being both set and shot in the Norwegian capital, a true sense of belonging to its homeland is the sacrificial giving for the prospective gain of a larger taking at the box office.

The very first feature film to bring Harry Hole (played by Michael Fassbender) to the big screen, THE SNOWMAN has detective Hole investigating the disappearance of a local woman where the only clue comes in the form of an ominous looking snowman that has the woman’s scarf wrapped around its neck. Harry, along with his new recruit, Katrine Bratt (Rebecca Ferguson), must follow several leads to uncover the abductors identity before it is too late.

Inspired by, and sitting in the same chilling ground as THE GIRL WITH THE DRAGON TATTOO trilogy, this crime drama/thriller ought to be just as tantalising to watch as the Swedish film trilogy. Instead, THE SNOWMAN self-defrosts right before our eyes as it melts into one of the most disappointing movies of 2017.

Beginning its frosty reception is a sluggish opening half that presents a scattershot build-up to the story’s most compelling piece – its mysterious disappearance. By way of character over-population who each selfishly need their own little sub-plot in an attempt to add further names to the suspects list, THE SNOWMAN only intermittently arouses the momentum required to truly draw viewers in. The second half of this no-thrills thriller does eventually shift its full focus to the case at hand, yet surprisingly THE SNOWMAN continues its thawing. The tedious curiosity placed onto viewer’s laps turns to total letdown once THE SNOWMAN reveals who its abductor is and what their motive was. It’s an easy-way-out type of conclusion that may be possible, but is thoughtless and will also prove a handful of characters and sub-plotting do nothing more than add padding to the languid screenplay and clunky directing.

A weighty film with an impact felt as softly as a snowflake.

2 stars

Viewer Discretion/ MA15+ (Strong Themes and violence)

Trailer / THE SNOWMAN

Moviedoc thanks Universal Pictures for the invite to the screening of this film.

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GOOD TIME

Directors / Benny and Josh Safdie (HEAVEN KNOWS WHAT)
Stars/ Robert Pattinson, Benny Safdie, Necro, Taliah Webster, Jennifer Jason Leigh and Barkhad Abdi

At the conclusion of its final credits during a screening at this year’s Cannes Film Festival, GOOD TIME was the recipient of a six minute standing ovation where it was also selected to compete for the prestigious Palme d’Or.

In New York, two brothers, Connie and Nick Nikas, attempt to rob a bank that does not go according to plan and results in Nick (co-director and co-editor Benny Safdie) being taken to a Riker’s Island holding cell. Desperate to free his mentally challenged brother, Connie (Robert Pattinson) turns to extreme measures, including his older girlfriend Corey (Jennifer Jason Leigh) and a bored teenage girl, Crystal (Taliah Webster), to obtain the bail bond required for his brother’s release.

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An outstanding score, a career-best performance from Robert Pattinson and extremely well thought-out writing ensure that GOOD TIME is more than worth your dime.

An independent American crime drama, GOOD TIME admirably allocates ample time to its lesser details and characters, enriching them on its way to becoming a cut above its mainstream counterparts. Aside from the Nikas brothers, all other characters are only briefly seen. However, with all small part players being written with characterisation that’s as colourful as the film’s neon design, they won’t be only briefly remembered. We see many movies belonging to this genre that either omit, skip or conveniently contrive connecting points to pull off their heist and reach the finish line. Not GOOD TIME. This film earns further positive recognition in just that area. A heist scene that is as riddled with tension as any other you’ll see, a timely twist and a more than satisfying conclusion are all ideal examples to give of the astute writing and execution of this immersive film.  Audiences are constantly left in the dark as to what the next turn in this tale could be and where this will lead to.

GOOD TIME is necessary to see in cinemas, purely to gain the full experience of the award-winning electronic score by Daniel Lopatin, best known under the recording alias Oneohtrix Point Never. It truly is a stand-out.

3 ½ stars

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Viewer Discretion/ MA15+ (Strong violence, coarse language, drug use and sex scene)

Trailer / GOOD TIME

Moviedoc thanks Potential Films for the link to watch and review this film.

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