The Death of Stalin (2017)

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This film, which you will hopefully have gathered from the title, is about Joseph Stalin’s death in 1953, where he died shortly after suffering a heart attack. ‘The Death of Stalin’ briefly depicts the last few days of Stalin’s life, before further exploring the effect this had on his cabinet, which is to say, total, hilarious, chaos. Continue reading

The Fate of the Furious (2017)

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The film opens in Cuba, an abundance of beautiful landscapes and low angled shots of girls dancing in skirts so short as to make them redundant. A race is about to start between Dom Toretto (Vin Diesel) and a local racer. Dom, ever the family man, is racing to help his cousin who just lost a bet, because if there is one thing that has been made crystal clear throughout the series, it’s that nothing is more important than family, and perhaps a Corona or two. Continue reading

Wonder Woman (2017)

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Wonder Woman marks the first female solo film since DC and Marvel began this journey of creating cinematic universes, because despite Marvel’s impressive 16 films since 2008, we have yet to see a female protagonist star in her own film, or indeed a solo female origin story, though god knows we have plenty of male stories to choose from. Surprisingly, it is DC who has taken the first step forward for equality, by not only producing an origin story for a female character, but with director Patty Jenkins at its helm. A comment on the sad state of the current gender political climate that a female director is still somewhat unusual, and though the number of well-known women directors is growing, progress is painfully slow. Continue reading

King Arthur: Legend of The Sword (2017)

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I’ve never read a single King Arthur story, nor do I recall ever watching a King Arthur film, though I am aware of the more famous elements of those stories such as The Roundtable, the Lady of the Lake, Merlin, and Excalibur. That is quite literally Continue reading

Alien: Covenant (2017)

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Once more we shall send only our most competent, highly trained, and qualified astronauts to venture into space for the good of humanity. Or failing that we instead send the crew from Alien: Covenant, a film that heavily relies on ‘Alien: The Greatest Hits’, whilst being dominated by performances from Michael Fassbender and Katherine Waterston. Complete with unintentionally comedic moments, flute lesson anyone?
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Guardians of the Galaxy Vol.2 (2017)

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The freaking Guardians of the Galaxy have returned to our screens, complete with bright technicolor characters and landscapes, and with a new soundtrack to complement their numerous slow-motion strides. This time around Peter is discovered by his father Ego, while the rest of the team reaffirm their value to one other with a new addition to the group called Mantis.
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Ghost in the Shell (2017)

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Though this film has been out for some time, there is a great deal to unpack and analyse within this live adaptation. So, to fully understand why I find this film problematic, I will be discussing and therefore revealing key plot points.

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Life (2017)

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Space has always seemed to me an ideal location for a horror film. Not only are you confined to a restricted area, with only the tools on board at your disposal, but the alien entity that is slowly picking off the humans one by one can come in any shape or size the director wishes. Continue reading

Get Out (2017)

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Hype can be a dangerous thing, influencing one’s perception of a film before having even sat down to watch it. Whether it’s the latest big blockbuster film that brings two iconic comic book icons onto the screen, one culminating in a highly anticipated encounter, but which is ultimately decided by a shared connection to the name ‘Martha’. Or on the other end of the spectrum the indie film, such as Moonlight, which once may have passed by the public unnoticed, but owing to the internet and word of mouth became an Oscar success. Convincing you of its worth by the grape vine and hype, as I suspect many have yet to watch it.
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Dunkirk (2017)

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“It is only those who have neither fired a shot nor heard the shrieks and groans of the wounded who cry aloud for blood, more vengeance, more desolation. War is hell.” William T. Sherman

William T. Sherman was an American soldier and author during the 19th century, and though ‘Dunkirk’ is a thoroughly British war film, the words ‘War is Hell’ cemented themselves in my mind throughout my experience of Christopher Nolan’s new war film. For this is, a totally immersive experience, one shot on Imax cameras, and from the perspective of 3 different narratives all connected to one of the most horrendous moments in British history.
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