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  • Yummy: Review

    Yummy: Review

    A young couple travel to a shabby Eastern European hospital for plastic surgery. The young woman wants a breast reduction. Her mother comes along for yet another face-lift. Wandering through an abandoned ward the boyfriend stumbles upon a young woman, gagged and strapped to an operating table; she is the result of an experimental rejuvenation treatment. He frees her, but does not realize he just caused the outbreak of a virus that will change doctors, patients and his mother-in-law into bloodthirsty zombies.

    The only thing that Lars Damoiseaux’s Yummy has in common with the Justin Bieber song of the same name is that they share the exact same title. Well, that, and they are both extremely weird and leave a bitter taste in the mouth. Not yummy at all.

    This film starts out fairly simple with not a whole lot of gory sequences coming at us for a little while. That being said though, the film does have some extremely questionable moments in the first ten minutes alone. Moments that are going to make a ton of viewers feel quite uncomfortable but not in the way the filmmaker’s intended. There are odd sexual references and cringe-inducing lines of dialogue right off the bat, making it hard to get invested in anything at first.

    Thankfully, as the movie progresses, it does become more entertaining to watch with plenty of bloody goodness to behold. Of course, this comes with a price though. It’s a blast to watch zombies getting killed and buckets of blood and gore being dumped all throughout the running time, but after a while, it outstays its welcome. There was a point while watching the film, about forty minutes in, where I realized that this movie doesn’t really have a story. It’s just mindless blood and guts with no substance at all.

    Those that are looking for a film with deep themes and messages about plastic surgery and the dangers of it are not going to be too pleased with this one. If you are looking for a genuinely scary and unsettling movie about plastic surgery, I highly recommend you check out Doyeon Noh’s short Human Form. It may only be twelve minutes long, but I am not exaggerating when I say it’s one of the most disturbing movies I have ever seen. That includes feature-length ones too.

    I was hoping that Yummy was going to be a similarly interesting look at plastic surgery and the horrors of it, just with a bunch of blood added into the mix. Sadly, it’s just blood. Everywhere. After a while, it is definitely not yummy, but rather, disgusting to have to finish. It has its moments of fun and amusement, but its terrible sense of humor and virtually non-existent story make this film yucky.

    Yummy offers some over-the-top bloody goodness but it doesn’t have a compelling story, nor does it delve into its interesting themes nearly enough as it should.

  • The Big Ugly: Review

    The Big Ugly: Review

    Acting as a modernization to the nitty-gritty pulp of classic westerns, The Big Ugly operates as an old-school throwback that proudly wears its genre influences. Despite its earnest approach, the film ironically lives up to its ill-fated name, offering an expired experience that never distinguishes itself from the crowded pack of actioners.

    The Big Ugly follows Neelyn (Vinnie Jones), a violent enforcer who’s spent his life loyally working for the London crime boss Harris (Malcolm McDowell). While assisting him on an oil deal with old-time friend Preston (Ron Perlman), Preston’s son Junior (Brandon Sklenar) unknowingly murders Neelyn’s girlfriend in the process. Friendships are then put to the test as Neelyn embarks on a relentless pursuit for retribution.

    The Big Ugly isn’t without some shameless pleasures. Ron Perlman and Malcolm McDowell continue to display their assured acting ability, developing a lived-in relationship despite rarely being a central focus. McDowell’s quiet presence bodes well in depicting Harris’ controlled menace, while Perlman personifies Preston’s frontiersman charm with personality and depth. Perlman is the sole actor who is able to unearth a semblance of humanity from his role, offering a resonant third act speech that packs a potent punch. I also can’t deny my satisfaction with the film’s action-oriented finale, as director Scott Wiper thankfully grounds his setpieces with a refreshing quaintness that enhances the character’s internal conflicts.

    While it may end with a proper bang, much of The Big Ugly’s runtime lingers in machismo conventions. Similar to other actioners (looking at you Force of Nature), there’s a reliance upon conventions that show their age, especially female characters utilization as mere victims of male destruction or gratification. Scott Wiper and Paul Tarantino’s screenplay never imbues its characters with proper dimension, substituting a contrived “code of honor” as the only motive behind their actions. Some actors are able to hold their own with the lackluster material (Vinnie Jones is a competent straight-laced action star), while others suffer substantially from the lack of help (Brandon Sklenar’s mustache-twirling villain never captures the magnetism of his intended purpose).

    All would be forgiven if The Big Ugly was infused with a semblance of originality. Unfortunately, Wiper’s direction lacks a much-needed creative spark, flatly developing visuals that never breathe life into the action at hand. I appreciate the director’s dedication to creating an authentic Appalachian landscape (the general concept was based around his family history), yet his stylistic identity relies upon an overused soundtrack to infuse some sort of pulse into the material. Its clear Wiper desperately wants this to be a swaggering noir in the vein of a Guy Ritchie or Martin McDonagh film, but his effort never reaches those lofty aspirations.

    Wasting a promising set-up, The Big Ugly never rises to the heights of its genre counterparts.

  • Argos Edition: Bits & Pieces

    Argos Edition: Bits & Pieces

    The ComicCon@Home panel featuring writer/director Josh Boone, the stars of “The New Mutants,” including: Maisie Williams, Anya Taylor-Joy, Charlie Heaton, Alice Braga, Blu Hunt and Henry Zaga and graphic artist Bill Sienkiewicz, is now available. Included in the 30-minute panel, moderated by Ira Madison III, is an exclusive look at the opening sequence of the original horror thriller. Also available today are character Twitter emojis, fan-inspired posters and a special poster designed by Sienkiewicz, the celebrated artist who began illustrating the New Mutants graphic novels in 1984. Be sure to check everything out, and please feel free to share with your readers.

    STAGE MOTHER sees conservative, Texas church-choir director Maybelline (Jacki Weaver, SILVER LININGS PLAYBOOK, ANIMAL KINGDOM) inheriting her recently deceased son’s drag club, and surprising her closed-minded husband, and everyone else she knows, by moving alone to San Francisco to save the club from bankruptcy.

    Picturehouse Entertainment is thrilled to announce the release of BABYTEETH, coming to cinemas from 14th August 2020. This follows the news that Picturehouse and Cineworld cinemas will reopen from 31 July, subject to final confirmation, following their closure in March due to the Coronavirus pandemic.

    Seventeen-year-old Henry Page (Austin Abrams) has never been in love. He fancies himself a romantic, but the kind of once-in-a-lifetime love he’s been hoping for just hasn’t happened yet. Then, on the first day of senior year, he meets transfer student Grace Town (Lili Reinhart) and it seems all that is about to change. When Grace and Henry are chosen to co-edit the school paper, he is immediately drawn to the mysterious newcomer. As he learns the heartbreaking secret that has changed her life, he finds himself falling in love with her — or at least the person he thinks she is.

    Claire (Lena Olin) lives a domestic life in the Hamptons as the wife of celebrated artist Richard Smythson (Bruce Dern). Once a promising painter herself, Claire now lives in the shadow of her husband’s illustrious career. While preparing work for his final show, Richard’s moods become increasingly erratic, and he is diagnosed with dementia. As his memory and behavior deteriorate, she shields his condition from the art community while trying to reconnect him with his estranged daughter and grandson from a previous marriage. Challenged by the loss of her world as she knew it, Claire must now decide whether to stand with Richard on the sidelines or step into the spotlight herself.

    Lionsgate UK will release hope-filled film The Secret: Dare to Dream on Premium Video on Demand from Friday, 7th August. The feel-good romantic drama starring Katie Holmes, Josh Lucas, and Jerry O’Connell explores hope and gratitude in one’s darkest days, and reminds us that it’s never too late to believe again.

    The story follows a group of addicts who attend therapy to avoid being sent to prison, while a TV journalist goes undercover and joins the group to try and expose this as a scam. However, all of their lives are thrown into chaos by the beginning of an alien invasion.

    After waking up convinced that she is going to die tomorrow, Amy’s (Kate Lyn Sheil, You’re Next) carefully mended life begins to unravel. Following a visit from her initially pragmatic friend Jane (Jane Adams, Eternal Sunshine of the Spotless Mind), it becomes clear that Amy’s delusions of certain death have become contagious to those around her. Amy and her friends’ lives begin to spiral out of control in a tantalising descent into madness.

    From Emmy-winning producer See-Saw, hit series THE NEW LEGENDS OF MONKEY returns on August 7 and sees fallen God, Monkey, and his band of fellow misfits, Tripitaka, Sandy and Pigsy back for more adventures, continuing their search for the sacred scrolls they need in order to overcome the chaos of demon rule in their kingdom. 

  • Archive: Review

    Archive: Review

    High-concept science fiction films have taken a backseat to the spectacle of bombastic blockbusters. Thankfully, there’s still been a fair share of gems that have captured the genre’s weighty, throwback appeal. Efforts like Ex Machina and Her have used their inventive settings to offer deft commentaries on our relationship with technology, while also flexing the strength of the genre’s minimalistic origins. The latest iteration of the subgenre Archive offers another satisfying low-key experience despite an inability to reinvent its framework.

    Set in 2038, Archive follows George (Theo James) a scientist working in an isolated base trying to create a new AI prototype. After crafting a few successful robots, George secretly sets his eyes on creating a human equivalent, one that would replicate his deceased wife Jules (Stacy Martin).

    After working alongside Duncan Jones in the 2009 sleeper hit Moon, writer/director Gavin Rothery offers an impressive debut with his first feature. His proficiency in visual effects significantly elevates his low-budget resources, creating a cerebral, lived-in world that features a plethora of inventive design concepts (I love the blocky practical look of the J1 and J2 robots). Working alongside Director of Photography Laurie Rose, the two craft a visual style that is equally steady and sterile, patiently allowing the camera to sit while creating an uneasy atmosphere from the start. Rothery deserves a lot of credit for exploring fresh technical avenues in science-fiction storytelling, especially through the inter splicing of mechanical specs and searing lights to display the life infused into these uninhabited machines.

    Archive soundly breathes humanity into its sentient subjects. Stacy Martin offers emotionally vulnerable work as Jules, as well as robots J2 and J3. J2 steals every scene they are in, with Martin shedding the character’s cold veneer to display a sincere sadness as a creation of George that is getting put to the wayside in favor of a newer model. The character’s arc is a sound reflection of our disposable attitudes towards technology, as our society always searches for fractional improvement to already satisfactory devices. Theo James adeptly plays off his robotic creations with ease, while unearthing a sense of danger as a mad scientist with an unhealthy dedication to his craft.

    Archive is as solid as they come, but the film ultimately does little to distinguish itself from its peers. Aside from a last-minute plot twist that leaves a potent sting, Rothery’s screenplay largely rests on the conventions of human/AI works, lacking the emotionality or thematic bite to leave a lingering impact. It’s your typical “man vs. god” battle that exists in every film of this elk, leaving me wishing Rothery did more to personify a distinctive experience aside from the well-colored visual components.

    If viewers can stomach a lingering sense of familiarity, Archive offers a sturdy, slow-burn science fiction throwback.

  • Trolls World Tour Holds On To Official Film Chart Number 1

    Trolls World Tour Holds On To Official Film Chart Number 1

    Trolls World Tour holds on to Number 1 for a second week, as it continues to lead on digital downloads only. The film – with a cast full of musical icons including Justin Timberlake, Ozzy Osbourne, Mary J. Blige, Kelly Clarkson, Anderson Paak & J Balvin – leads a frozen Top 3 ahead of some resurgences from previous Official Film Chart favourites.

    Frozen 2 (2) and Sonic the Hedgehog (3) also hold strong to their previous week’s positions, as 1917 leaps four spots to Number 4, and Dolittle rises 2 to Number 5. Joker starring Joaquin Phoenix hangs on at Number 6.

    Three big moves up the chart now, as Jumanji: The Next Level flies nine places to Number 7, Knives Out rises seven to 8, and Bad Boys for Life is up five spots to Number 9.

    Finally, Harley Quinn’s DC spin-off Birds of Prey tumbles five places to round off the countdown at Number 10.

    Only one entry on this week’s Official Film Chart Top 10 has not topped the chart at some point – Comedy-drama Knives Out, which peaked at Number 3 back in April during Frozen 2’s reign.

    Knives Out’s stellar cast includes Daniel Craig, Chris Evans and Jamie Lee Curtis; in the film, Detective Benoit Blanc (Craig) investigates the death of an elderly renowned crime novelist, as he deals with the writer’s dysfunctional family and devoted staff in order to uncover the truth.

    This week’s Official Film Chart features a sneak peek at DC’s animated supervillain adventure, Deathstroke: Knights & Dragons, available to Download & Keep from August 4. Originally released episodically as a web series, the home entertainment release combines all episodes into a full-length feature.

    The Official Film Chart Top 10 – 29th July 2020

    LWPosTitleLabel
    11TROLLS WORLD TOURDREAMWORKS ANIMATION
    22FROZEN 2WALT DISNEY
    33SONIC THE HEDGEHOGPARAMOUNT
    841917ENTERTAINMENT ONE
    75DOLITTLEUNIVERSAL PICTURES
    66JOKERWARNER HOME VIDEO
    167JUMANJI: THE NEXT LEVELSONY PICTURES HE
    158KNIVES OUTLIONSGATE
    149BAD BOYS FOR LIFESONY PICTURES HE
    510BIRDS OF PREYWARNER HOME VIDEO

    © Official Charts Company 2020

    VIEW THE FULL TOP 40 – https://www.officialcharts.com/charts/film-chart/