Category: REVIEWS

Here is where you would find our film reviews on BRWC.  We look at on trailers, shorts, indies and mainstream.  We love movies!

  • Maze Runner: The Death Cure – The BRWC Review

    Maze Runner: The Death Cure – The BRWC Review

    This feels a little late to the party. I thought that we’d finally stopped with the young adult novel adaptations (or YANA, apparently) for now. Although to be fair, Maze Runner: The Death Cure, does have its reasons for being late. What with the main star in critical condition after an onset accident. Thankfully he’s made a full recovery and has brought us the last in the Maze Runner trilogy. The Maze Runner was not a film I got into; it had good action, was well acted and directed, but the story, characters and effects were just so bad and unengaging. The Scorch Trials was a little better; the action was better, so was the acting, directing and story, but the characters were still weak, and it was just so boring to watch. Now there’s a third one – so, yeah…

    After their friend is kidnapped, Thomas and co try to save him from the last remaining city on Earth. The problem is that this city is run by WCKD (stupidly pronounced as Wicked, can’t get more forced than that) – the company that aims to torture and kill them to harvest the cure for a zombie-like virus that is killing off mankind. Aiming to gain help from the traitor, Theresa, Thomas comes up with a plan to save his friends from WCKD once and for all. But the deeper he goes, the more he has to ask – should he sacrifice many, for the sake of a few?

    Thankfully, this is not a book split into two parts. They have one book to follow and are going to do it in one. So, unless they plan on making those prequel books to this series, they’re not going to make any more of these films. Which, I’ll admit is a bit of a shame, because The Death Cure is the first film in the Maze Runner series I’ve gotten into. Surprise, surprise, the action, acting and directing are still very good. This is easily the most visually interesting of the films. It comes off less like a Hunger Games knock-off and more like a Neill Blomkamp film. It’s gritty and dirty but has some nice sci-fi locations and set-pieces to spice things up every now and again. But, the story isn’t that bad, and I finally cared about the characters. They’re still blank slates, but I could relate to them finally.

    Dylan O’Brian is really good at playing as Thomas. I hated this character in the other two, but here I do follow him and relate to his struggles and predicaments. O’Brian completely sells the emotional moments the character has, as well as the action scenes. I’d like to see him in more action films later on – he may have a talent there. The other kids, including Thomas Brodie-Sangster do very well too. Brodie-Sangster in particular stands out and delivers a great deal of humanity to his role. We also get an amusing performance by Giancarlo Esposito as a rugged rogue with a heart of gold. And an even more amusing performance from Aiden Gillen as the over-the-top bad-guy with really bizarre priorities.

    Wes Ball does well in directing the series once again. It’s not often a director does an entire series, so I applaud him for that. He also demonstrates that his eye for action is so keen that he should be given the script for the next James Bond film. It’s very thrilling action, with some real edge-of-the-seat moments. Even the more emotional moments are done well. Once scene in particular hits you in the tear ducts. Although, Ball does have a weird fascination with Jurassic Park. That’s my favourite film, so I find it weird when someone tries to mimic scenes from it in films like this. This led to a moment in the film I lovingly called “Littlefinger in the kitchen”.

    But, don’t go thinking that I’m singing this film’s praises. The truth is, it’s still not very good. It’s way too long for a start. Clocking in at over two and a half hours. It doesn’t help that the ending is as swiftly delivered as that of The Return of the King. It’s not well written either, causing the pacing to suffer even further and tonally clashing at more than one point. The Death Cure also has a severe lack of scale. The action is big, but the story has no weight to it. The urgency is told to us, but not sold. It feels like if Thomas or WCKD screw up with their plans then they can just try again tomorrow. But, it mostly just suffers from a lack of originality. I mentioned the Jurassic Park reference, but there’s so much more. The WCKD logo is ripped from Aliens. The city is like that of Blade Runner. The zombie infection is handled the same way as The Walking Dead. Even the plot feels too familiar, from countless sci-fi films. Nothing is done new enough to justify this, making the film feel far too predictable.

    I enjoyed The Death Cure. It’s the first of the series I have enjoyed. Despite this, it does have its colossal flaws. It just depends on what you want. If you’re just after a fun little action film, with some cool visuals, great action and some genuine emotional moments, then I think you’ll enjoy it. If you like the other two then you’ll definitely enjoy it. Otherwise, just give it a pass. I expected a subpar action film – I got an on par action film with some stand out moments and a hilarious villain performance. So, yes, I’m happy. It also made me feel like giving the books a try finally, so I’ll give it that too.

  • Review: Loveless

    Review: Loveless

    Zhenya (Maryana Spivak) and Boris (Aleksey Rozin)are going through a vicious divorce marked by resentment, frustration and recriminations. Already embarking on new lives, each with a new partner, they are impatient to start again, to turn the page – even if it means threatening to abandon their 12-year-old son Alyosha. Until, after witnessing one of their fights, Alyosha disappears…

    It really is the children who suffer most in a divorce. More-so when the parents are reprehensible, self-absorbed couple I’ve seen on film in a considerable time. As with the Safdie Brothers’ Good Time, I spent the entirety of Loveless severely disliking the protagonists, yet I was completely enthralled by their journey. The bleak monotony of their arcs is engrossing and repulsive in equal measure as Boris and Zhenya’s selfishness, resentment and agonies seep into every scene. Each character has a way to distance or detach themselves from the present. Faces glued to social media or with car radios cranked incredibly loud, these repugnant parents manoeuvre through their shared loss with a subconscious self-preservation that frustrates, yet seems completely plausible.

    Amidst the dour miseries are the occasional glimpse of dry, dark humour. Without it, Loveless would descend into another exercise in misery porn. Mikhail Krichman’s cinematography is impressive. He grounds Moscow in a naturalistic gloom that skilfully evades the stylised cinematic veil in which many modern thrillers are adorned. As the winter draws in we are met with weather warnings on the television, the first glimpse of snowfall out of the windows and a profound sense of loss. The greatest trick Loveless pulls is to make the audience care for the plight of Alyosha. As search parties scour the landscape I found my eyes scanning the edges of the screen, trying to make out shadows in the dark and desperately hoping he’d safe.

    Remarkably well paced, Loveless is laced with elements of Fincher with a touch of Tomas Alfredson’s Let The Right One In. Less of a whodunnit, more of a whydunnit, the relentlessly oppressive hopelessness will not be for everyone. But as an exercise in loss, pain and heartbreak, Loveless is an absolute marvel.

    Loveless is released on February 9th

  • Short Film Review: Goodnight

    Short Film Review: Goodnight

    Goodnight is the latest short film from Scottish filmmaker Cole Thompson Lynch.

     “GOODNIGHT explores the power of visualisation and what ignites that drive inside all of us to make our dreams a reality” Cole Thompson Lynch

    This short explores the mixing of dreams and reality and how they can affect each other as well as the passing of time. While the film is visually and conceptually avant-garde we do follow one narrative thread throughout the piece which has some resolution at the end; often hard to achieve in short-form.

    Visually the film has a bold and individual style (cinematography from Mondo Love) that plays with colour and light. TV static is a device that is used to great effect. There was a slight lynchian vibe to the look and feel of film all underlined by a clear vision.

    A great electro-ambient score from Graeme Gray compliments this perfectly and evolved naturally along with the narrative. I would have have liked to hear more ambient sounds mixed in to further play on the idea of dreams vs. reality as with no dialogue it is mostly score that we hear throughout.

    https://youtube.com/watch?v=PdgHhxpOaaY

    4/5 An avant-garde yet engaging short exploring the concept of dreams in a very watchable and fun way. Highly recommended.

  • Review: Mountain

    Review: Mountain

    This documentary experience from BAFTA-nominated director Jennifer Peedom (Sherpa) explores our fascination with mountains. A stirring score is provided by the Australian Chamber Orchestra, while Willem Dafoe delivers a lyrical narration.

    The film starts with immersive and poetic grace, featuring some stunning aerial photography of striking mountain vistas from around the world. There’s also some fascinating footage from the explorers of the early 1900s, whose pioneering spirit sparked a passion that would drive people to risk their lives in pursuit of the ultimate thrill.

    Beyond their breath-taking beauty, mountains are framed as representations of humanity’s dreams and desires – monuments to our potential.

    Yet, around the halfway point of its short 70-minute run time, the film begins to lose its way amidst the mist and snowdrifts. Despite some vague allusions to the spiritual connections many peoples around the world have with the mountains they inhabit, there’s no real insight or exploration of their relationship with them. Instead, we’re treated to a twenty-minute montage of people skiing, cycling, jumping and falling off the side of various mountains, which is basically Red Bull-sponsored YouTube content glossed over with classical music.

    While clearly intended as more of a mood piece, the film’s lack of narrative drive, character connection or creative innovation leaves it meandering somewhat aimlessly around some attractive images, making for a disappointingly shallow experience.

    Mountain is available now on Blu-ray, DVD and digital download through Dogwoof.

  • Short Film Review: Bricks

    Short Film Review: Bricks

    “When a wealthy stockbroker hires a rough builder to renovate the wine cellar underneath his country house, the two men fall out with chilling consequences.”

    Bricks is inspired by ‘The Cask of Amontillado” by Edgar Allan Poe, and writers Neville Pierce & Jamie Russell have coupled Poe’s tale with a class-war narrative. Made in 2015, the pair make a chilling statement about the politics of our time. With the pointed tagline “We’re all in this together”, and the fact that walls seem to be an abiding theme these days.

    Award winning short Bricks (Melies d’Argent, Abertoir Film Festival) contains a fiendishly good performance from Blake Ritson – “Drowned Sloane” in Guy Ritchie’s unexceptional gangster caper Rocknrolla (2008). Paired with another Ritchie chum Jason Flemyng: Lock, Stock and Two Smoking Barrels (1998); The Curious Case of Benjamin Button (2008) whose gruff brickie is disadvantaged by heavy-handed characterisation (the mispronunciation of ‘Rioja’ is too cringeworthy).

    The tension, palpable from the word go, is heightened by the original score from David Julyan (Memento, The Prestige). Bricks is a must-watch for admirer’s of Roald Dahl’s sinister short stories: Someone Like You (1953).