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Happenings

Film Fight 2018: April

Another fairly busy month, with 10 films in the fight.

Proud Mary

#FF18 Proud Mary is fine. Yes, the plot is cliched and the dialogue gets a bit cheesy towards the end. There’s not much here you haven’t seen before, and the budget is showing.

But, it’s still fine. Some of the action works well. The acting is decent. It’s okay.
— Gary Fleming (@garyfleming) April 3, 2018

A Quiet Place

#FF18 A Quiet Place is an exceptional horror film, that builds its world with little exposition. As the scenario unfolds and tension builds, we are always painfully aware of the stakes, all done in near silence.

The sound design is subtle. The camera work is clear. Very good.
— Gary Fleming (@garyfleming) April 5, 2018

Do You Trust This Computer?

#FF18 Do You Trust This Computer? poses some big questions but is too shallow to really tackle them.

Documentaries of this style (fast-cut talking heads that never dig deep into an issue) are not my thing. I’d prefer my focus and depth. Fine starter, but not much more.
— Gary Fleming (@garyfleming) April 8, 2018

Ghost Stories

#FF18 Ghost Stories does an excellent job of building up some tense horror, full of good jump scares. Of the three main stories, Paul Whitehouse’s section is a stand-out.

That said, the framing device fails to deliver more than a cliched ending. Good, but slips in the last act.
— Gary Fleming (@garyfleming) April 12, 2018

6 Balloons

#FF18 6 Balloons is a good movie about dealing with someone you love who has an addiction.

Difficult to watch at times, but compelling. Great acting and dialogue. The final moments are a little much, but that’s a relatively small nit to pick. Good.
— Gary Fleming (@garyfleming) April 12, 2018

Roxanne Roxanne

#FF18 Roxanne Roxanne is a dramatised biopic about the life of Roxanne Shante. It’s a difficult watch due to some of the content, but the performances and direction are excellent.

I don’t want to say much more about it. Just see it. Very good.
— Gary Fleming (@garyfleming) April 15, 2018

Isle of Dogs

#FF18 Isle of Dogs is everything you’d expect from a Wes Anderson animated film: quirky but deadpan characters, in a weird situation, with his sense of humour shining through the myriad of geometrically arranged shots.

I enjoyed this (less than Fantastic Mr. Fox). Good.
— Gary Fleming (@garyfleming) April 15, 2018

Thoroughbreds

#FF18 Thoroughbreds has something going on. It’s hard to describe why it’s so fascinating. The performances and writing are solid. Some of the longer shots are really well done. Weirdly, though, there are a few bits where the focus is off.

A little slow at the end, but good.
— Gary Fleming (@garyfleming) April 17, 2018

Sun Dogs

#FF18 Sun Dogs doesn’t land it. The characters, setting, and tone don’t cohere into something worthwhile. It looks and feels cheap, with barely fleshed out characters acting to the script, rather than any kind of inner agency.

It’s not awful, but it’s not very good.
— Gary Fleming (@garyfleming) April 17, 2018

Come Sunday

#FF18 Come Sunday has strong performances, as the leads have various crises of faith. Chiwetel Ejiofor is particularly great as the conflicted pastor at the heart of the story.

It looks interesting enough, and works reasonably as a story. Okay.
— Gary Fleming (@garyfleming) April 28, 2018

The April Winner

Despite some strong choices this month, the winnner was easy for me: A Quiet Place is so well-executed on every front that nothing else was going to do it.

Film Fight 2018: March

Okay, this is probably the biggest Film Fight to date, with a huge 14 films!

I, Tonya

#FF18 I, Tonya is an interesting biopic: the conflicting stories of the involved parties are used to frame the story in a way that works. The main performances are all very good, but the direction really stood out to me: kinetic, assured, full of subtle hooks. Very good.
— Gary Fleming (@garyfleming) March 4, 2018

Ravenous

#FF18 Ravenous is a French-Canadian zombie film that builds up some tense and brutal moments, littered with some lighter touches.

It’s gorey in places, but also a bit weird. The zombies here are… different. One of the best in the genre in a while. Worth seeing.
— Gary Fleming (@garyfleming) March 4, 2018

Red Sparrow

#FF18 Red Sparrow is a surprisingly decent spy thriller. It’s got some creepy characters and brutal moments, but shows the remarkably unsexy side of this kind of espionage.

Slow, measured, and assured, the plot plays out in a satisfying way, but doesn’t quite surprise. Good.
— Gary Fleming (@garyfleming) March 4, 2018

Game Night

#FF18 Game Night is a decent enough comedy, with enough big laughs to hold it after a somewhat quite start.

The cast is solid, but Jesse Plemons steals the show. Worth mentioning the neat (faked) one-shot in the middle too. Watchable.
— Gary Fleming (@garyfleming) March 8, 2018

You Were Never Really Here

#FF18 You Were Never Really Here is simultaneously repulsive and compelling; drawing us in with this story about trauma, whilst pushing us away with the results.

The score and audio mix is as disorientating as the choppy editing, reflecting the lead performance. Very good.
— Gary Fleming (@garyfleming) March 12, 2018

The Outsider

#FF18 The Outsider is cold, beautiful, but brutal.

Leto’s performance is too reserved to be affecting. There’s really nothing new here, plot-wise, but what we get is affecting through it’s precise cutting (not just a metaphor).

Okay, but not outstanding.
— Gary Fleming (@garyfleming) March 13, 2018

Mom and Dad

#FF18 Mom and Dad was remarkably dull given the absurd and extreme premise. It doesn’t seem interesting in following through.

There are moments of over-the-top silliness, but these are mired too many badly acted flashbacks. Avoid.
— Gary Fleming (@garyfleming) March 17, 2018

Annihilation

#FF18 Annilhilation has mysteries at its core but its the exploration thereof, rather than the answers, that provide the enjoyment.

It’s a little weird, very pretty, and well put together. Less accessible than Garland’s last film, but enjoyable nevertheless. Watch.
— Gary Fleming (@garyfleming) March 17, 2018

Pacific Rim: Uprising

#FF18 Pacific Rim: Uprising, Boyega aside, has some one-note performances, expositional dialogue, and plot holes aplenty.

The fights are still fun, and there was one bit I didn’t see coming (rare for me, these days). It’s dumb. Not as good as the original. Passable.
— Gary Fleming (@garyfleming) March 24, 2018

Ready Player One

#FF18 Ready Player One tries to use nostalgia and frantic things happening, instead of any real plot or character development.

An awful opening hour due to lengthy exposition, a flabby runtime, and one-note villains. It has fun moments but is mostly empty. Skip.
— Gary Fleming (@garyfleming) March 29, 2018

Game Over, Man!

#FF18 Game Over, Man! is part gross-out comedy, part dumb action comedy. It takes too long to get passed some tiresome stoner-humour, but once it does the blend of action and comedy works surprisingly well.

Far from a classic, decent entertainment when you want something light.
— Gary Fleming (@garyfleming) March 31, 2018

First Match

#FF18 First Match is the story of a girl who decides to take up wrestling to try and reconnect with her father.

It’s a masterclass in telling a story without exposition. Relationships are often conveyed in glances and camera moves.

Subtle, sad, powerful, hard. Very good film.
— Gary Fleming (@garyfleming) March 31, 2018

Blockers

#FF18 Blockers is, at best, a so-so comedy. The premise and continuation thereof is not so much farcical as flimsy. The kids do a decent job but the adults, who have all done much better, fail to deliver pretty much any laughs here.

Hollow, dull, and done before. Skip this.
— Gary Fleming (@garyfleming) March 31, 2018

Happy Anniversary

#FF18 Happy Anniversary is a pretty decent indie romcom. There are moments where the perceived slights are a little cliche but, on the whole, it works as a light-hearted relationship critique; with just enough chemistry to work.

Not perfect, but works well in the short runtime.
— Gary Fleming (@garyfleming) March 31, 2018

The March Winner

Despite a couple of clunkers, there’s a tonne of great films here, so it’s hard to pick a winner. First Match was really close to winning, but I think I, Tonya edges it for the excellent direction, odd framing (that works), and fantastic lead performances.

Film Fight 2018: February

Another huge month, with 9 films!

Phantom Thread

#FF18 Phantom Thread matches a powerhouse Daniel Day-Lewis performance with an equally great counterpart in Vicky Krieps.

A tangled muse-antagonist relationship brings forward a number of interesting analogies in the visuals, storytelling, and art design. Genuinely brilliant.
— Gary Fleming (@garyfleming) February 7, 2018

A Futile And Stupid Gesture

#FF18 A Futile And Stupid Gesture is the true-enough story of Doug Kenney. Well cast, neatly directed, and fun, we’re drawn into the weird world built around Kenny to end up writing Animal House.

The pacing is uneven, and some jokes fall flat, but it’s a decent near-biocomedy.
— Gary Fleming (@garyfleming) February 7, 2018

The Cloverfield Paradox

#FF18 The Cloverfield Paradox is a mixed bag. There are moments where it reminds me of Event Horizon, but that’s undercut by some ropey effects, odd tonal moments, and the lack of coherent threats in the plot.

Too much rushing from place to place. Not enough structure.

Meh.
— Gary Fleming (@garyfleming) February 12, 2018

Black Panther

#FF18 Black Panther is the most interesting, straight-action Marvel film in a while. Lots of new characters get fleshed out, with only a slight drag in the middle.

The action has a great kinetic feel, motivated well by the plot. Worth seeing.
— Gary Fleming (@garyfleming) February 16, 2018

When We First Met

#FF18 When We First Met is, at best, a so-so comedy with a time-travel element.

It’s competently shot and structured, but the moral sits between a sigh and being icky.

Probably avoid.
— Gary Fleming (@garyfleming) February 18, 2018

Irreplaceable You

#FF18 Irreplaceable You isn’t shallow but it’s not particularly deep either. Dealing with a substantial subject, but in a lighter style.

Gugu Mbatha Raw is excellent, and it’s great to see Christopher Walken not phone in a role. Decent, but not essential.
— Gary Fleming (@garyfleming) February 24, 2018

Mute

#FF18 Mute is Duncan Jones’ sequel to Moon. For a cyber noir thriller, it deals with the power of relationships in ways most films don’t.

Stunningly shot, but a little loose in the middle. Rudd goes a bit broad, but is a great menace. The cast do well. Worth seeing.
— Gary Fleming (@garyfleming) February 24, 2018

Lady Bird

#FF18 Lady Bird is not as funny as the trailer implied, but it still works well as a light-hearted coming of age.

Saoirse Ronan and Laurie Metcalf nail their familial dynamic, and Gerwig has a promising career behind the camera. Feels genuine.
— Gary Fleming (@garyfleming) February 24, 2018

The Shape Of Water

#FF18 The Shape Of Water has a magical, fairytale quality, despite the 50s setting. The lighting and music set the mood well; colourful, yet dark.

The performances are top-notch, with Sally Hawkins being particularly charming, while carrying much of the weight. Exceptional.
— Gary Fleming (@garyfleming) February 26, 2018

The February Winner

This is a tough one. The performances in Lady Bird and Phantom Thread are excellent and they’re strong films in their own right, but I think I’m going to give this to The Shape of Water. It has an unusual, magical quality that stuck with me for a fair while afterwards.

Film Fight 2018: January

As if to justify my decision to move from long posts to longer Twitter reviews, there are nine films for the first month of the year.

Jupiter’s Moon

#FF18 Jupiter’s Moon uses the refugee crisis in Europe as the backdrop for a supernatural thriller.

Beautifully shot, but slow paced and too long. Some of the ideas around faith seem ham-fisted, and the supernatural element, while great visually, doesn’t go anywhere.

Okay.
— Gary Fleming (@garyfleming) January 7, 2018

Molly’s Game

#FF18 Molly’s Game has solid lead performances (Jessica Chastain, Idris Elba) in the true story of a high-stakes, illegal poker game.

Aaron Sorkin writes and first-time directs, so the dialogue is snappy but the rest could use a little work.

Good, but could be a little shorter.
— Gary Fleming (@garyfleming) January 7, 2018

The Polka King

#FF18 The Polka King lacks structured narrative. It’s expositional at times, and skips passed big changes at others. It lacks suspense, thrill, anything.

Some good lines, and serviceable visuals, but ultimately it’s dull. Netflix’s most tedious original film to date.
— Gary Fleming (@garyfleming) January 13, 2018

Three Billboards Outside Ebbing, Missouri

#FF18 Three Billboards Outside Ebbing, Missouri has great performances, as well as touching, brutal, and funny moments. Even when characters do crazy stuff, it feels like part of a coherent story.

Exceptional storytelling and film-making. Must-see.
— Gary Fleming (@garyfleming) January 14, 2018

Darkest Hour

#FF18 Darkest Hour is slow and subdued, trying to show global catastrophe through a personal crisis. It mostly succeeds, in large part due to Gary Oldman’s strong performance.

Some neat shots, but the spectacle here is more in the little moments.

Very good.
— Gary Fleming (@garyfleming) January 16, 2018

The Post

#FF18 The Post is somewhat mixed: it focusses on the issues, rather than the characters. It uses obvious techniques very well to create tension. It’s fantastically shot, but undermined by some cheesy music choices.

Streep (mainly) and Odenkirk are the hearts of this film. Decent
— Gary Fleming (@garyfleming) January 20, 2018

The Open House

#FF18 The Open House is a decent horror film. It ratchets up tension over a long period, with just enough release over time.

Not a classic, and there are some dialogue issues, but fun.
— Gary Fleming (@garyfleming) January 28, 2018

Downsizing

#FF18 Downsizing uses an interesting premise, a world where people can be miniaturised, to deliver and important message.

It fails, however, to tell a compelling story with interesting characters. And at 2 hours 15, it’s far too long. Kinda boring.
— Gary Fleming (@garyfleming) January 28, 2018

The Man From Earth: Holocene

#FF18 The Man From Earth: Holocene makes frequent references to the original, but fails to live up to the premise. Things happen, but it’s not really about anything.

Bad acting (the lead excepted), terrible dialogue, poor characterisation, and cheap visuals don’t help. Avoid.
— Gary Fleming (@garyfleming) January 31, 2018

The January Winner

There were lots of interesting films and good options for January, but I think the winner is Three Billboards Outside Ebbing, Missouri. The world here is that of a film, but everything fits the template so well that it doesn’t matter.

Film Fight 2018: History and Future

I’ve been writing about the films I’ve seen for almost 15 years. The first review was on January 28th, 2003, covering the fairly terrible Jackie Chan movie, The Tuxedo. That was about a fortnight after I started this blog.

I’ve had a Cineworld Unlimited card for almost as long, from around February 2003. It was originally a UGC Unlimited card, but let’s not quibble on the details. Since then I’ve tried to watch at least a film a week in the cinema and have done a pretty decent job of keeping that up.

Two years later, in January 2005, I said I’d stop writing film reviews, at least in part because I was struggling to keep up with writing a few paragraphs on each film. That’s how the first Film Fight was born: a new format to lighten the load a little.

The idea was to write a single paragraph for each film released in a month, and write about all of the films in one post. I can’t remember why, but I decided to pick a “best” film each month and then, from those monthly winners, a best film of the year. Now, this contest aspect has never been something I’ve taken too seriously. There are good and bad films, but mostly films are contextual. I’m not going to love the best drama of the year if I’m in the mood for comedy.

Anyway, in 2009 I decided to tweet about the films too. Within a few days of seeing them, I’d tweet a short 140 character review, and then put a link to that tweet at the end of the monthly Film Fight. That seemed like a good idea.

Jump forward 9 years, and the format hasn’t changed much. It’s still a single paragraph, with a link to a tweet, in a silly knockout competition format once per month.

Well, that’s not quite correct: for the last few years, I’ve struggled to keep up with even the monthly schedule. My time is going into other things (family, tech community, writing talks, other interests etc). With Netflix also putting out far more original movies, the problem is worsening.

(As an aside, the Netflix originals being included meant someone asked me what was eligible for Film Fight. My rule of thumb has always been it has to be the first realistic chance I’d have to see a film. For a cinema release, that’s from the day of release to it disappearing from cinemas. Re-releases don’t count. If I made it to a special advanced screening or preview, that’d be allowed in, but if I didn’t make it the film wouldn’t be excluded at it’s main release. For non-cinematic releases (Netflix, straight to video, or VOD), my rule of thumb has been a month since its original release.)

Given I’m not keeping up with the reviews, it’s time for another change. So what am I going to do? Given Twitter have increased the length of tweets to 280 characters, I’m going to embrace that. Where needed, the Twitter reviews will no longer stick to the 140ish characters as before, and will take up the full space available. The monthly posts will then just be an amalgamation of those longer tweets, with a monthly winner picked at the end. That’s much easier to keep up with, I hope.

Finally, I might start doing something I’ve considered over the years: longer one-off pieces on films that I think warrant it, where the tweet doesn’t feel like enough. We’ll see.

So, that is what’s ahead for Film Fight. Onwards…

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