Rate the Last Film You Watched

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Watched Takashi Shimizu's 2002 film Ju-On: The Grudge (呪怨). An interesting J-Horror classic and very creepy. There are moments that probably would be considered as jump scares when it first was released but nowadays it's an entertaining spooky experience. Great tone and concept as well.

Now I will admit that I did get lost on the narrative because it's non-linear. I didn't even realise the last segment was the same character as before because of its direction. That said, the film is overall a decent time - does it live up to the years of anticipation? Not really, but was it worth the watch? Yeah. I would say One Missed Call and Ringu are better though on the fear factor.

How I watched the film was via Arrow Video's 4K Ultra HD release and it looked pretty good for its presentation.The rest of the Ju-On titles in the box set are on Blu-ray only but that's fine. Similar to Ringu how the main film got the 4K restoration whilst the rest didn't.
 
31 Days of Halloween 2023! Day XXX:

The Changeling (1980, Peter Medak)

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George C. Scott is one my favourite actors, and his presence makes this haunted house story all the better. This is an atmospheric piece that builds throughout, and is well with the watch. 4/5
 
The New York Ripper (1982)

A weary copper, a bored housewife and an aspiring sportswoman tangle with a knife-wielding killer preying on young women in Lucio Fulci's giallo thriller that does pretty much what it says on the tin. The film has a grotty appeal in the sheer, unbridled sleaziness of its setting and it's stylishly shot, but other than that, I think you'd need a strong stomach for this one - the sustained, graphic brutality of the murders is a lot to deal with, even by today's standards. Fans of the genre will be entertained, but for anyone put off by the subject matter, this isn't bringing anything new to the table and could easily be skipped.
 
31 Days of Halloween 2023! Day XXXI:

The Exorcist (1973, William Friedkin), The Exorcist III (1990, William Peter Blatty
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The Exorcist is a horror film that remains a classic to this day, over 50 years later - not much else needs to be said. Its sequel, meanwhile, has a tougher fight for such a reputation but it’s one of my all-time favourite films and remains so with each Halloween viewing. 4.5/5, 5/5

Another year, another Halloween marathon - my full list can be seen here:
  1. Ju-On: The Curse (2000, Takashi Shimizu) 3/5, Ju-On: The Curse 2 (2000, Takashi Shimizu) 2/5, Ju-On: The Grudge (2002, Takashi Shimizu) 3.5/5
  2. Ju-On: The Grudge 2 (2003, Takashi Shimizu) 3.5/5, Ju-On: Black Ghost (2009, Mari Asato) 2/5, Ju-On: White Ghost (2009, Mari Asato) 2/5
  3. Daughters of Darkness (1971, Harry Kümal) 3.5/5
  4. Flesh for Frankenstein (1973, Paul Morrissey) 3.5/5
  5. Fright Night (1985, Tom Holland) 4/5
  6. Child’s Play (1988, Tom Holland) 3.5/5, Child’s Play 2 (1990, John Lafia) 2.5/5, Child’s Play 3 (1991, Jack Bender) 3/5
  7. Bram Stoker’s Dracula (1992, Francis Ford Coppola) 4/5, Mary Shelley’s Frankenstein (1994, Kenneth Branagh) 3.5/5
  8. Ed Wood (1994, Tim Burton) 5/5, Sleepy Hollow (1999, Tim Burton) 3.5/5
  9. It Came from Outer Space (1953, Jack Arnold) 3/5
  10. The Wicker Man (1973, Robin Hardy) 4/5
  11. Ghostwatch (1992, Lesley Manning) 4/5
  12. Silent Hill (2006, Christophe Gans) 2/5
  13. Friday the 13th: The Final Chapter (1984, Joseph Zito) 3.5/5, The Abominable Dr. Phibes (1971, Robert Fuest) 3.5/5, Dr. Phibes Rises Again (1972, Robert Fuest) 3/5
  14. Psycho (1960, Alfred Hitchcock) 4.5/5, Psycho II (1983, Richard Franklin) 4/5
  15. Psycho III (1986, Anthony Perkins) 3/5, Psycho IV: The Beginning (1990, Mick Garris) 3/5
  16. The Dunwich Horror (1970, Daniel Haller) 2.5/5
  17. The Texas Chain Saw Massacre (1974, Tobe Hooper) 5/5
  18. ParaNorman (2012, Sam Fell & Chris Butler) 4/5
  19. The Lighthouse (2019, Robert Eggers) 4.5/5
  20. The Hell of the Living Dead (1980, Bruno Mattei) 3/5, Zombi Holocaust (1980, Mario Girolami) 3/5, Burial Ground (1981, Andrea Bianchi) 3.5/5
  21. Hellraiser (1987, Clive Barker) 3.5/5, Hellraiser II: Hellbound (1988, Tony Randel) 4/5, Hellraiser IIII: Hell On Earth (1992, Anthony Hickox) 2.5/5, Hellraiser IV: Bloodline (1996, Kevin Yagher) 3/5
  22. Christine (1983, John Carpenter) 3.5/5, Pet Sematary (1989, Mary Lambert) 3.5/5
  23. Rosemary’s Baby (1968, Roman Polanski) 4/5
  24. Martin (1977, George A. Romero) 4/5
  25. Suicide Club (2001, Sion Sono) 3.5/5
  26. Crimes of the Future (2022, David Cronenberg) 4/5
  27. Halloween (1978, John Carpenter) 4.5/5, Halloween II (1981, Rick Rosenthal) 3.5/5, Halloween III: Season of the Witch (1982, Tommy Lee Wallace) 4/5
  28. Halloween 4: The Return of Michael Myers (1988, Dwight H. Little) 3/5 Halloween 5: The Revenge of Michael Myers (1989, Dominique Othenin-Girard) 2.5/5, Halloween: The Curse of Michael Myers (Producer’s Cut) (1995, Joe Chappelle) 4/5
  29. Halloween H2O: 20 Years Later (1998, Steve Miner) 3.5/5, Halloween Resurrection (2002, Rick Rosenthal) 1.5/5
  30. The Changeling (1980, Peter Medak) 4/5
  31. The Exorcist (1973, William Friedkin) 4.5/5, The Exorcist III (1990, William Peter Blatty) 5/5

Happy Halloween to all of those reading the thread!
 
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Happy Halloween everyone.

I watched the next exciting installment in the new new timeline that replaces the old new timeline which replaced the old old timeline of this long running series.

The good: I really like the concept. This movie takes place immediately after the previous with the whole town of Haddonfield deciding to band together to take down Michael Myers once and for all. The killer becomes the victim and the shoe is on the other foot. Well that's what I thought it was going to be but nah.

The bad: In execution Michael Myers is only really in it for a few bits, most of the movie is watching them chase a shadow while the main character talks to her old friends from a hospital bed.

The ugly: This movie mostly p*ssed me off when the mob murdered an innocent man in a case of mistaken identity, they beat down the police and the characters who were trying to protect him but they killed him. They never got punished for it but they were really sorry guys, seriously very sorry :rolleyes:

Well actually they did get hit by a truck of Karma from Micheal Myers eventually who is apparently killer Batman now and that was the second major issue I had. When he was on screen Michael's antics really were not believable.


This is a movie where the concept was better than the execution. I will say 4/10 as it's a below average slasher flick, but still has some moments and is worth a checkout on Netflix.
 
Spoilerific review of The Sopranos

Sopranos

I think I watched big chunks of this show throughout my teenage years. Of course Sopranos was just in the air, in the culture, references to it were everywhere at the time. But I hadn't really watched any of it in order and had forgotten most of what I'd seen before this recent watch through all of it. I wasn't sure what to expect. Would it still hold up well in 2023, and how would it compare to other more recent big crime dramas?

Well I think it's easily one of greatest shows of all time. First of all, it's just such great, eminently watchable TV. It's funny, really funny. A show about dark and serious themes, it can be poignant and affecting, but very rarely not a pleasure to watch. It doesn't feel the need to always take itself seriously in order to still be a serious thing with emotional and intellectual weight. As accomplished as shows like Gomorrah or Top Boy are for example, I'm not sure I laughed, or even smiled for that matter, once while watching them. And that's fine, but The Sopranos willingness to often be deliberately ridiculous, humorous, random and strange, captures so much more of the richness of real life. As does it's full embrace of the creative cinematic possibilities of its medium, playfully or subtly telling us things through the camera work and the amazing soundtrack, allowing the audience to figure things out for ourselves. And sometimes simply having fun with its ideas. It helps it achieve a certain reality that more self consciously gritty realistic shows don't usually find.

In fact the show is incredibly rooted and steeped in cinema and TV, in constant dialogue with it, I'm not sure there's even an episode that doesn't at some point have a scene or multiple scenes showing what a character is watching and their reaction to it. All the crew's un-self-aware love of Godfather and Scorsese films, Tony's ideal of manhood as Gary Cooper, or Chris's dream of being a Hollywood scriptwriter (and his mafioso-horror flick which reflects the ugly image of Tony back to himself). The show is interested in the role of film in shaping us and is conscious of its own role. Weren't even the Krays supposed to be totally obsessed with the original Scar Face film, after all.

Of course it's only one of the many things the show is interested in. It has a sort of scattergun approach, characters will pop up out of nowhere, others who were minor will suddenly become important, characters who were important will be offed with little fanfare, it will take detours that seemingly go nowhere (or not where most viewers would imagine at least), and many scenes that don't further the story at all but simply add to the colour and our understanding of the characters. I really cherished this about it, it's same meandering form I love in my favourite literature too. There are big and small story arcs, but things mostly feel like they just flow on naturally, it's all about the character interactions and relationships, the plot itself is less important.

And the show does an amazing job of writing characters who are somehow likeable, charming, and funny, exaggerated yet complex and believable. But ultimately they're not sympathetic nor romantic.The show acknowledges how upbringings can screw us up, how culture and society play their part in making monsters of some men, but ultimately the wiseguys in The Sopranos all chose the path they're on or are too weak to get off of it. When Christopher or Vito catch glimpses of different possibilities for life, the chance to put love of another over their own self interest, they fall at the first hurdle when faced with the idea of a normal boring life. I watched most of the show somehow rooting for Tony, hoping that, as he's more self aware than the others, maybe through his therapy some breakthrough would occur and he might find some peace and redemption in the end. But there's no redemption.

The final season drives home the brutal truth that Tony never even had a thought of changing, therapy was self indulgence, a way of feeling like he's a victim while discounting all his actual victims, he only ever saw people for what they do for him and no one is too close to him to be safe if they become inconvenient. He's a crappy husband and father, and would surely have even Carmella clipped if she ever flipped. And despite the incredible and tense final scene, there's no sense that anything necessarily changes, the rest of the episode feels like just another episode, Tony's life just carrying on as usual like a miserable ball of chaos until he eventually does end up dead or in jail. I know there's a long essay somewhere on the internet convinced that Tony died in the final scene, but obviously in reality it is somewhat ambiguous and I think it's more powerful that way rather than a cliched death or arrest even though they obviously loom. The when is irrelevant. But Melfi has given up on him now and won't see him again, and neither will we.
/SPOILER]
 
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Pieces (1982)

A fairly standard campus slasher movie, now notorious for its awkward dubbing, oft-nonsensical plot and general absurdity. With the right audience, particularly after a couple of drinks, I think this would be a riot, but watching it alone, I didn’t quite know how to take it a lot of the time. The first half in particular is pretty rote, it’s largely just a series of kills with little to invest us in the main characters (even if the apparent chemistry between the student hero and an older lady cop is an intriguingly unusual dynamic). I did get a few laughs towards the end though, even I don’t think it’s one I’d greatly recommend.
 
Klaus

A film that goes on top of your tree.

Last year, around this time, I gave my quick thoughts on this film in the cartoons thread, this was not long before I came up with the idea of writing a tome every time I wanted to give my opinion on various films in this thread, in any case, I watched this again and it’s still really good.

In a time where cynical corporate guff gets shovelled to the front page of seemingly every platform, it’s refreshing to see a film that is made with actual love and care and that does not talk down to it’s audience, I mean it in the best possible way when I say that this feels like a film from another age.

First off, the visuals are fantastic, with a mix of traditional animation and almost 3D like lighting, with that said, this would mean nothing if the film wasn’t good, so it’s a good thing that it is.

A great thing about the film is that it gives a grounded look at how Christmas could have come about, all your favourite Christmas plot points are presented in a way that is not powered by magic, instead they are given a logical enough reason, a couple of them do require suspension of disbelief but overall, it’s a genius way to subvert the Christmas tropes, also the film mostly keeps a mature enough tone, none of the overly hyperactive presentation of most modern animated films, this one lets the scenes speak for themselves at whatever opportunity it gets.

There’s also a strong message here that is neither preachy nor toothless about the value of selflessness and also how tradition built on vitriol can be damaging to not only the people passing down said tradition but also everything and everyone around them, the latter message is portrayed through the feud between the two clans in ways that is often exaggerated just enough to be entertaining without without getting overly goofy, just like the good old days when films were on average so much better than they tend to be today.

The characters are fantastic as well, Jesper for instance really matures as a character over the course of the film in his quest to deliver 6000 letters with the original goal of getting his old life back, he gradually realises the value of selflessness alongside Klaus, a retired woodworker who originally lets the toys he built over the years gather dust for reasons I won’t spoil before being convinced by Jesper to deliver them to those who could actually use them, making him into the Santa we all know, albeit with one extra helper.

The music is phenomenal with Invisible being my personal favourite, the other music is great as well but that one is easily the most memorable,

Now I have said many glowing things about this film but there is one significant issue, the liar revealed trope is here and it is handled incredibly poorly, Jespar’s reason for getting all those letters sent is to get his old life of luxury back after his dad kicks him out, as a result of his “lie” he ends up turning the dumpster fire town into a thriving winter wonderland, saving Klaus from his reclusiveness, bringing joy to a town that was previously ruled by hatred, as well as doing a whole bunch of other amazing and beneficial things but as soon as it is revealed that he had his own reasons for all the amazing things he did, Klaus and almost everyone else just treat him like dirt even though Jesper himself has learned the value of selflessness by that point, the only people who actually recognise that Jesper’s withholding of the truth had a positive effect is Jesper’s dad and Margu, everyone else just can’t accept that he had a reason for his good deeds, it’s such a ridiculous reason to treat the guy who literally saved the whole town like he was the most evil man on the planet, the worst part is how Klaus even insinuates that he doesn’t care if Jesper falls off the sleigh and dies, like geez, all he did was have a motive for all the good he did and even abandoned his ulterior motive by that point anyway, it’s thanks to this stupidity that I cannot give this a perfect score, it sticks out like a sore thumb in a film where any other problem is a nitpick, I’ll say that if you must do the liar revealed trope then learn from The Road to El Dorado, it’s literally the only film I’ve seen that handles it right.

Overall I wish that the liar revealed plotline wasn’t handled so badly because otherwise I would have given this the perfect 10, regardless the film is still excellent, the subversions of Christmas tropes are nothing short of genius and the universal theme makes this one that quite possibly anyone can appreciate, I said it last year and I’ll say it again.

Score: 9/10 an exceptional Christmas film.
 
Godzilla Minus One
This was better than I could have hoped. Usually I feel that even my favourite Godzilla movies have at least one thing that could have been better, like how Akira Takarada's character in the 1954 original is less interesting than everyone around him, or the way the pacing in Shin Godzilla grinds to a halt after the mid-point. I can't think of a single thing that would have made Minus One a significantly better movie. It's a masterpiece.

In many ways Minus One is the antithesis of Shin Godzilla. Shin operates on an intellectual level, dissecting Japanese bureaucracy and presenting its characters with an ever-changing enemy that keeps evolving beyond their ability to counter it. Minus One aims for the heart instead of the head, and is the most emotionally resonant movie since the raw and personal original. This is the only Godzilla movie that made me cry. Watching people try to rebuild their lives in the burnt-out ruins of Japan is powerful enough, with 'failed' kamikaze pilot Shikishima's guilt anchoring it in the injustice of the time as he struggles to come to terms with having survived when so many didn't. Godzilla's appearance is then like the final insult that tears them apart again. The human drama is so powerful that those scenes could easily have made a compelling period piece even without the addition of the kaiju element.

When Godzilla does appear, the eerie music and his sheer ferocity and destructiveness sell the horror of the rampage in a way few others have managed. I usually long for more scenes of city destruction in kaiju movies, but the main city attack scene is so intense I'm not sure I could have stood the tension if it had gone on longer. Most kaiju movies revel in the destruction of buildings while keeping people at a sanitised distance, but Minus One focuses unflinchingly on the terror of the people caught in the middle. Seeing this at the cinema makes it clear how much is lost when I'm often only able to watch kaiju movies on a TV.

The eventual plan to deal with Godzilla was inventive, taking advantage of the limited resources available to turn nature against him in classic kaiju movie fashion. That it was left to civilians to spearhead the counterattack when the hollowed out Japanese military couldn't muster the will or materiel to resist Godzilla made it all the more powerful.

I can see why Toho have pushed to give this a wider international release than Japanese Godzilla movies have seen in decades. Minus One will undoubtedly go down as one of the classics of the genre.

Minor notes:
The depiction of Godzilla's heat ray stands among the most memorable in the franchise, improving on the ratcheting build-up of Legendary Godzilla and exceeding the raw destructive power of Shin.

The use of Ifukube's Godzilla theme wasn't surprising, but the specific versions picked were: Mothra vs Godzilla was an unusual pick for the city rampage, while King Kong vs Godzilla worked surprisingly well for the climax.

It's interesting to see that Japanese movies are now able to go toe-to-toe with Hollywood on the quality and spectacle of CG effects. Shin managed it in places, but the effects there were inconsistent. Minus One's effects are polished from start to finish.
 
The use of Ifukube's Godzilla theme wasn't surprising, but the specific versions picked were: Mothra vs Godzilla was an unusual pick for the city rampage, while King Kong vs Godzilla worked surprisingly well for the climax.

Everytime Akira Ikufube is mentioned I think of that scene in Little Prince and the Eight-Headed Dragon where he says goodbye to his mother and feel like I'm gonna start bawling all over again 😭❤️
 
Walking Tall - a 2004 film with Dwayne Johnson and Johnny Knoxville.

I've a soft spot for action heroes like The Rock, Arnie, Stallone etc even when the stories are so-so.

In this case though, the story was relatively grounded and had some intense action.

6.5/10.
 
I watched Godzilla last night and that was definitely one of the best movies I’ve seen in ages. It was also my first Godzilla film. My feelings are certainly aligned with Dai’s a few comments above.
I wrote a full review and posted it in my thread in the “creative arena” part of the forum.
 
My spoiler free thoughts correlated, spoiler tagged still for people that haven't seen it yet and want to go in blind as I have raised some of the themes explored.

To start off with, I will outright call this movie art on the same level as Shin-godzilla for me. Hard to say which one I prefer but they are both in my top 3 along side Godzilla 1954. Absolutely no scene was wasted in telling the story and nothing was lacking in the execution. The acting was phenominal and I really felt bad for the main character living with the worst case of survivors guilt I have probably ever seen. And we do sympathise with him, we see what he goes through and how others treat him harshly, and his struggles to put his ghosts behind him.

I have heard it said that this film doesn't have any political undertones but I disagree, I think there is quite a bit of silent political commentary underlying this film as well. It's not often thought about in the west but the idea of being a Kamikaze pilot really is scary, you are literally being ordered to kill yourself. If it was me I would also say no without hesitation too, screw the emprah I'm out. Though this concept was prevelant in Japans history it kind of goes without being said, but at the same time shines a light on this all through out the movie.

Another point I think is prevelant is that for me, this also feels like a reimagining of Godzilla 1954. The themes are actually very similar in that it's about post war trauma, except while 1954 was about the atomic bomb, this instead explores ptsd living in post war Japan from a soldiers point of view.

Godzilla himself feels like an amalgamation of different versions we have seen before. To give a poor analogy if this was Dragonball Z then he is the Perfect Cell version of the Godzillas. He has a sort of mix Showa/Heisei design, Millenium's raw power, Shin Godzilla's invulnerabilty (without his evolution powers) and a dash of Legendary Godzilla's fun beam sequence. It's completely OP but the movie deals with it in an imaginative way.

If I had any problem with this film it's that it has retroactively ruined any hype I had for Godzilla x Kong since there is no way it can live up to this one. There is a little bit of a sequal baiting at the end so we will see what they have in store for this new iteration of Godzilla.
 
Pig
At the start it almost seems to be setting itself up as a sort of more artsy version of a Liam Neeson Taken kind of thing, instead the daughter is a pig. But it's the opposite of that, a strange, delicate and beautiful film about love and loss. Cage is brilliant.

Hanging Garden
This was a really strange film but I thought it was also brilliant. Very hard to sum up neatly or categorize, this is a part of its brilliance, it's not a film to try to pick apart or untangle. A Japanese domestic drama that is more tense and unnerving than most outright horror films, it's really very funny too. The swaying camera work is so discomforting, and yet there's some really lovely looking scenes also. Capturing how ungrounded and unhinged our obsessions can make us it puts you in the lead character's head incredibly effectively, where her internal world will suddenly bleed through (and it can be very bloody indeed!) into the scene . It describes the difficulty of living in a family, but also the hope found within one even if it's imperfect. Fantastic stuff.
 
Sing 2

Barely avoids breaking any glass.

When I rate films in this thread, I sometimes think I may be a bit too generous with my scores, there is a reason however in that I usually tend to stick to reviewing films that I enjoy, as I can’t form my thoughts properly if I’m nodding off mid film, so perhaps this film is the perfect oddity as it’s not exactly a good film but I still kind of like it anyway, it is perhaps my guilty pleasure Illumination film.

First off, visually it looks great, it’s clear that technology has advanced so much that Illumination’s somewhat reduced budget, compared to other AAA animation studios, doesn’t downgrade their films in this area, shame they don’t spend that tiny bit more on fixing the script.

The soundtrack is fine, as someone who grew up in the 2000s/2010s I can enjoy certain pop songs (although a lot of them are trash) luckily the film usually picks ones that are catchy enough, often relegating the rubbish to be buzzed out by Mr Crystal though not all of the songs in that scene were bad, I did find the one with the flamingos to be catchy.

The singing has every bit the potential to get on my wick but surprisingly I didn’t find it cringeworthy, at worst it was a bit groan worthy but it’s not too bad probably because the songs picked tend to be some of the better tracks of modern pop music, at least in the mainstream anyway, one thing I will say though is that it doesn’t seem like any effort was made to cover the songs, I could be mistaken but when the characters start singing, it seems as if their voice changes, they try to cover this up by picking songs that sound like the character’s voice but the discrepancy still shows.

With regards to whether or not the songs fit the scene or not, it varies wildly, some of them seem to fit the scene ok enough while on the other hand, we have Soy Yo playing during an escape sequence, like, what does this have to do with the team literally running for their lives?

The script here is where the issues really start to glare, admittedly it is a step up from most Illumination films so I’ll start with what works, the plotline with Clay Calloway having to come to terms with the death of his wife and how him struggling to do so left him reclusive, the way this is done is surprisingly mature by Illumination’s standards, also Johnny gets a pretty neat plotline about how he is made to study under the “world’s greatest choreographer” only for said choreographer’s methods to be too intense to actually work without learning the basics first, furthermore Rosita’s difficulty with her sudden fear of heights gets a really good conclusion in the finale, though it would have been better from a character development perspective if it was an issue that plagued her all her life rather than just popping up out of the blue.

The bad plot points though, they are bad, Porsha gets the worst of them, it starts off ok with her being given the lead role in the show by her nepotistic dad Mr Crystal even though she can’t act to save her life, eventually though, Buster Moon asks if she can swap roles with Rosita only for her to accuse Buster of sacking her, from a plot perspective I can get why she acted the way she did, her being a billionaire’s daughter and all, but where it gets really stupid is when she gets over getting recast simply because Mrs Crawly said for her to, also, without any explanation, she now hates her father because……… he’s evil? honestly it probably only needed one scene to justify this complete flip of Porsha’s morals but it’s not there, also it’s really dumb that Buster Moon manages to get the show to play at Mr Crystal’s theatre without permission, like I get how he got his own team to join in but how on earth did he convince all the other cast members?
Also it has to be said that Buster Moon repeats the exact same mistake as he made in the first film, lying his way to the top, although the series keeps rewarding his endless porkies so I guess he has a reason to keep making them.


Luckily the climax is probably the best bit, it’s clear at least that creatively, this is a massive step up over how the first film’s finale took part in a broken down theatre, here however it is far more exciting, the best thing is how it concludes three of the plotlines in a way that actually works, it also helps that it’s visually great, I’d say that the finale is the only excellent Illumination scene not reserved by Despicable Me 1, in fact I think that it’s this scene that is why I still like the film enough to rewatch in spite of it’s flaws.

Overall I do like this film when it is actually good but it’s issues are so glaring that I struggle to say that it’s all that good, overall I guess I can call it good? with a question mark, Mario Movie notwithstanding (I haven’t seen it yet) this is the second best Illumination film, but that is not saying much overall.

6/10
 
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Teenage Mutant Ninja Turtles: Mutant Mayhem
This was fairly decent. The art style is unique; it's CG, but looks like claymation mixed with concept art sketches. The main things holding it back were some lame gross-out humour and that this is yet another reboot of the continuity. How many different TMNT continuities have there been at this point? I can think of at least seven, not even including the comics. Consequently the first act ends up retreading some very well-worn territory and takes a while to get to anything new. It does pick up as it goes along though.
 
Despicable Me… the first and only good one.

A true antihero that defies Illumination’s norms of bad.

Last year I came up with the idea of rating my favourite films from 3 different western animation studios, this year however won’t go the same way as the well of animation studios in which I have a favourite for has dried up, Sony have a handful of greats but I can’t quite decide a winner from them and Aardman seemingly have no bad films but none of them blew me away either, their films range from 6 to 8 out of 10 and their best ones are very similar in quality to each other (Arthur Christmas possibly notwithstanding as I was saving watching it for literally tonight) however there is one animation studio that I have a favourite for, if only because it’s the only truly good film they made, Illumination are generally not very good at making good quality movies, they are driven by cash over creativity and they found out all too soon that lacking the latter doesn’t stop you from making boatloads of the former; however the first film they made is unique in that it was made with some actual care and effort that is very rare in their other films.

When I first watched this I wasn’t expecting much and that low expectation led to me not realising just what makes it work until the bit where Gru destroys the game at the carnival as punishment for it being rigged, earning Agnes the plush unicorn she wanted, it was this moment when I realised that the film is actually good and I was doing myself a disservice by expecting the worst from it.

The story here is actually well written, NANI!!!! a film from the harbingers of the screaming yellow pills, having a good story…??? I was not expecting this from the film but here it is (something we cannot expect from other Illumination titles unfortunately) the story of how Gru adopts the three girls originally with the intention to use them as part of his plan, only to form a fatherly bond with them over the course of the film that makes him question his own villainy, all while he still has the goal of stealing none other than the moon, holds up to a high level Dreamworks or Pixar film, in fact the film feels like a hybrid of the two studio’s styles.

The film has actual setup and payoff at play as well as emotional scenes that are not forced or clumsily implemented, one golden example is how we see flashbacks to a young Gru trying to impress his mother only for her to belittle him at every opportunity, even when he builds an actual working rocket, later on Gru is constantly asked to read a bedtime story to the girls and eventually gives in to the pressure and does so, a line near the end of the book has the mother of the three little kittens in the book saying that she loves them with all her heart, without any additional words, only Gru’s facial expressions we can see how he makes the comparison with his own mother who was dismissive and standoffish, this scene is genius because it is well set up and respects the viewer’s intelligence in a way that feels like what we would expect in a top end Pixar movie, not Illumination.

Another thing this film has that I haven’t noticed in any other Illumination movie are little details, one I noticed was the Gru Ray player that plays the music during the final scene, were this joke rubbed in your face it could be pretty irksome but it is kept as a little detail and therefore is actually funny.

My favourite scene of all though has to be the moon heist itself, it may be the only Illumination scene to actually give me goosebumps, the camera work and soundtrack here gives the scene a sense of scale that is phenomenal, if not for an unsolicited and tonally inconsistent werewolf clip dropped in the middle of it then this may have been a perfect scene.

But of course, this is still a Despicable Me film and therefore it comes bundled with the minions, perhaps the most irksome inventions of the 2010s yet here, even they are not too bad and even contribute to the story in a meaningful way, the scene where they all pitch in to fund the rocket is easily the best these guys have gotten.

Although I have a lot of good things to say about this film, even here there are a fair number of detractors, the humour can be funny at times but other times it resorts to rather infantile jokes such as Nefario’s interpretation of a dart gun, the minions may be at their best here but they are still pretty annoying at times, the karaoke scene at the supermarket, for instance, is the sign of much darker times ahead for them, also you may like or hate Vector but I found him to be irritating and I didn’t find his jokes funny at all, your mileage may vary here but I feel that the only thing the second film did better than the first was the villain… the actual villain that is.

Overall the film is easily Illumination’s best, predominantly because the difference in quality between their first and second best films is huge, if it weren’t for some infantile jokes and the minions being minions during some scenes, I would have rated this even higher but I still think it’s worthy of an.

8/10
 
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Spider-Man: Across the Spider-verse
Like the latest TMNT, this is another movie that presents a very painterly style of CG, though in this case that's just one of numerous art styles it flits between. It's a solid sequel to one of the best Spider-Man movies, or rather half a sequel since it's the opening of a two-parter. I'm not convinced that this story needed two movies, though I can't judge that completely until the other half is released at some unknown date.

The characters and art are the highlights. It's an effective chunk of a story, though it's frustrating that it doesn't have anything approaching a self-contained structure. The pacing manages to be simultaneously frantic and bloated. The first act drags on too long, as does the lead-in to the cliffhanger ending. Action scenes feel drawn out too. While they're full of cameos and inventive choreography, there's often a lack of dramatic ebb and flow to them, resulting in some just being an exhausting parade of fwipping and quipping.

If the second half sticks the landing then I imagine my opinion of this one will soften, but at the moment it suffers from failing to resolve any of its narrative threads.
 
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