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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Beauty and the Beast (2017)

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Live-Action remakes seem to be the core of Disney’s nostalgia fuelled campaign, enabling those childhood favourites to have a serious makeover and to favour, to an extent, human leads rather than solely exploring animation. A campaign that began with ‘Alice In Wonderland’ has seen a number of Disney classics graduate from animation to CGI worlds by taking advantage of the huge advancements in technology, as seen in ‘The Jungle Book’, with ‘The Lion King’, ‘Dumbo’ and ‘Aladdin’ next on the list.

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Logan (2017)

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“Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dyling of the light” Dylan Thomas.

One actor playing one character for seventeen years, appearing in nine films which include three trilogies, all within the comic book genre. For Hollywood, that’s a mighty impressive record. It’s been an extraordinarily rare opportunity to watch a character develop over such a longevity, particularly in a franchise that broke the mould for the superhero genre. To be part of both a collaborative effort in the X-Men films and experience the intensive scrutiny and focus of a spin-off trilogy, is something quite unheard of.
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Baby Driver (2017)

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Reboots, sequels, prequels, franchises, remakes. These five terms have come to dominate and loiter around the film experience of late. Whether it’s exploring the high seas with yet another failed ‘Pirates of The Caribbean film’, or watching Tom Cruise and his bouncy hair run around some exotic land in a failed and unnecessary franchise reboot, there seems to be no end in sight. As evidenced by last week’s trailer release for the upcoming ‘Jumanji’ reboot that no one asked for. Most of these films have created an atmosphere of repetition, sluggishness and stifling boredom, because for every thrilling ‘John Wick: Chapter 2’, we are then exposed to yet another moronic Transformers film that again, very few asked for.
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Moonlight (2016)

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Identity and acceptance are two themes that course through this film, one which explores the life of a gay black man living in the rough area of Miami, exploring the black community and the many difficulties they face. Moonlight is an incredibly rich intellgent story and essential viewing owing to its exploration of many themes such as homosexuality and drug culture. The film is further bolstered by both the incredible number of positive responses and the many awards it has accumulated. Now, I won’t speculate on numbers regarding who has seen this film and who hasn’t, nor am I going to condemn you for having missed this experience in cinemas, but the film is out now on DVD, so you know, hint hint.
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John Wick: Chapter 2 (2017)

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There is an abundance of action films lead by leading male protagonists. Many of whom nowadays can be seen either clad in spandex, performing death-defying spectacles involving aeroplanes and extremely tall buildings, or driving very fast cars over submarines. Though I do have a personal preference for those spandex clad heroes (Yes, I know how that reads). There is one male action character whose antics in his first film caught my attention and though he does drive an impress muscle car and wear a fantastic array of suits, it’s not James Bond.
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T2 Trainspotting (2017)

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Trainspotting first graced our cinemas in 1996, however, it took me another 20 years to finally watch the cult classic. Ridiculous I know as a prior film student, but it took a fantastic film marathon at a friend’s house for me to finally sit down watch it. Trainspotting is arguably one of the most powerful representations of the drug culture, unique owing to not only its refusal to be set in a glamorised format but also because of its unconventional manner, such as the film’s poster. Trainspotting explores a profoundly dark and seedy narrative, with scenes made from the stuff of nightmares, but with what I can only imagine to be realistic scenarios when things inevitably go wrong.
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