2017 Releases (UK) - Films Watched and To Watch

8.7 (8.7)

Logan is everything you hoped for and more: pure gore, a fulfilling story which provides hope for the future, and a fitting send-off for Hugh Jackman's Wolverine.

The R rating provides the film with that extra vicious push, with some extreme action that you'll feel hurt, not to mention a few funny moments along the way. The action and surprising moments will leave you I'm sure, much like me, with your mouth unable to close in pure awe. The action is extreme - you'll feel it. And the ending, without mentioning spoilers - it left the entire cinema in a collectively subdued silence. In total disbelief, and shock, at what they had just witnessed unfold.

The definitive end of a chapter which should have setup the next with X23 at the forefront. A phenomenal, sacrificial send-off in a bid to save mutant kind. Shame the studio didn't get the message.

PR 8.8 | HP 4 | HR 9.5 | OV 4 | FV 2017 | LV 2022

8.5 (8.6)

Daring, exciting and bold enough to go where no Star Wars has gone before, The Last Jedi may be the best of the entire saga. Rian Johnson's vision of Wars led to an extremely entertaining film which totally subverted expectations, and every fan-theory, in a somehow positive manner. What makes it so special is that it has been crafted in such a way to generate raw, untamed awe at the events as they were unfolding, and a new hope that they can build from it. I was a Star Wars fan before, but since viewing The Last Jedi - I can't get it out of my head.

7.6 (8.7)

Shockingly real and told in a multiple-timeline fashion only Nolan could, 'Dunkirk' feels more like a depiction of how the day unfolded as opposed to the kind of film you're used to with a three act trajectory. Phenomenally put together and indistinguishable from reality - while impressive - it feels less like a film and more like a documentary on the realities of war.

Don't get me wrong, it shows the prowess and versatility of Nolan, cementing him (as if he wasn't already) as one cinemas top filmmakers. And it is a masterpiece in an artistic sense...but not the war epic it should've bheen. It is the kind of film built to win awards which results in an evident lack of tension despite pure down to earth terror, as it instead focuses on creating impressive, 'real' aesthetics.

Most disappointingly though, Nolan's usual trademark of hopping around various timeline's wound up more confusing than not as the film progressed, though everything did become clear eventually - it's usage just felt muddled and unnecessary.

8.4 (8.4)

Garfield and Gibson combine to make a memorable cinematic experience, worthy of Academy Awards.

8.0 (8.5)

Although the titular usage of 'War' misleads expectations of this film, it delves much deeper into the harsh realities of battle - and the losses that accompany it through the eyes of a leader. A mesmerising conclusion to the trilogy.

6.3 (7.7)

7.8 (8.3)

An excellent origin story which establishes Diana Prince as the God of Love wonderfully well. Its WW2 setting is vaguely reminiscent of 'The First Avenger' and is handled similarly, with reversed roles between our hero and their love interest - which creates an compelling dynamic. Chris Pine in particular shines as the voice of reason to our often zany titular character (who is perfectly acted by Gal Gadot) as she navigates her way to Ares.

It's one of those almost films that works well to establish our hero's humanity and guiding principles, proving grief as a powerful motivator, though it doesn't break much new ground in a storytelling sense. Little niggles in the writing - most notably with regard to the Amazonians surprising inability to defend their island and their lack of seeking progression in their understanding of man, detract from its potential. Ares himself was an inspired surprise, and his battle with Diana, and subsequent moulding of her powers, was one of the highlights of the film.

'Wonder Woman' is certainly the most cohesive film in the DCEU thus far that somehow retains the pretty badass demeanour of its counterparts, making up (and then some) for its somewhat trivial downfalls.

PR 7.7 | HP - | HR 7.8 | OV 2 | FV 2018 | LV 2021

7.2 (7.6)

7.7 (8.0)

7.5 (7.4)

Amping up the horror, 'Covenant' gives a franchise best look at its titular beasts - though the story can feel like a high budget imitation of its iconic predecessor at times. That said, similar to 'Prometheus' it is a quieter 'Alien' film which strives for larger meaning of creators undone by their own invention (a warning in our pursuit of AI). Though frustrating at first watch, Dr Shaw's offscreen demise makes for a brilliant reveal as David becomes the engineer of the terror to come (though I still don't quite get his motive). It's ending leaves a brilliantly sour after taste - seeming obvious at first but leaving you hanging just long enough to doubt.

8.0 (8.1)

I didn't think we needed another Spider-Man film - but Holland's take on the character is refreshing. A well-manufactured story shows the day-to-day impacts of superhero activity, much like 'Civil War', as Keaton's Vulture is portrayed with an incredibly understandable and down-to-earth backstory.

6.4 (8.2)

Full of ridiculous slow-mo's - it may have worked 15 years ago but it's not the modern superhero extravaganza comparable to its 'Avengers' rival. The CGI is fractionally as good as its MCU counterpart, so much so that despite good voice work from Ciaran Hinds, Steppenwolf just feels too fake - more so when you compare him to Brolin's Thanos. His lack of empathy inducing scenes reduces the impact of his journey to conquer drastically to the point that you know he is one and done. Maybe some better DCEU plot threading would have improved its chances at success.

It all just feels too rushed in its massively edited down runtime. Because of this, there is no tension by the final battle; which is not helped by often awkward cheesy dialogue and the dull characterisation of Affleck's Batman throughout.

That's not to say its all bad. It does get some things right like the introduction of its new characters to the DCEU (especially Flash), some well constructed scenes between Diana and Bruce and some excellent teases about where the story will go.

It's not terrible - just disappointing for what it could have been. The post-credit sequence is the best part of the film - bring on the 'Legion of Doom.'

7.9 (8.6)

8.3 (8.0)

Better than the original, with a fresh, modern take on a franchise you didn't realise you needed another instalment of.

8.6 (8.0)

Funnier than most superhero films combined, its an absolutely blast. 'Ragnarok' provides an intriguing, exciting take on a story-line which you would expect to evoke more terror than humour, breathing new life into Thor's character - in the oddest, most cosmically jarring way possible.

7.4 (7.7)

'Vol. 2' retains the fun feel and fantastic score set by its predecessor, but the story isn't as strong, making for a somewhat disappointing sequel.

8.2 (7.8)

8.4 (7.9)

(8.4)

8.0 (8.0)

A musical for all. Going in with little expectation for a film that was being adored by the critics, I almost turned it off during the first few minutes of the film where I couldn't comprehend the stupidity of a sing-along during a traffic-jam. But I continued, and I'm glad I did. Once you get by that initial awfulness, La La Land more than makes up for its opening sequence, where we graciously fall for these characters - and the difficulties of their lives.

6.3 (7.8)

7.6 (7.4)

6.2 (7.9)

6.1 (7.9)

8.0 (8.0)

What is more important - ethics or success? This ruthless account of the McDonald's story is a both shocking and accomplished biography that will help you learn something new, and question the route there. What happens when a man comes along with a vision larger than that of its original founders? This is the incredible true story of how the McDonald's you and I know, came to be.

7.5 (7.3)

7.5 (7.5)

A fitting revival for the Saw franchise, which was as exciting and twisted as the first few. Substituting some of the brutality in place of story-based sequences, Jigsaw succeeds in building a story with signature, yet improved, twists and turns that keep you guessing till the end. While Jigsaw's set pieces may not be as extravagant as we've come to expect, given the quality of the last few films - maybe that's a good thing.

7.1 (8.2)

6.7 (8.1)

7.5 (8.2)

8.0 (8.2)

7.7 (8.1)

7.5 (8.1)

8.0 (7.6)

The critics got it wrong here, 'Showman' transports you as any good film should, drowning out all the pressures of your life, and eliminating your worries.

(7.4)

6.6 (7.8)

(7.6)

7.3 (7.7)

(7.5)

(8.0)

(8.0)

(7.6)

(7.1)

(8.1)

7.2 (7.7)

6.8 (7.7)

Underwhelming overall, but with a great twist. You'll enjoy much more if you're a Shyamalan fan.

McAvoy conveys Kevin's split personality excellently, as the transitions from one to another are nothing less than fantastic. Though there is a shameful realisation that some of Kevin's personalities become laughable instead of terrifying at points.

I felt Anya Taylor-Joy's acting really brought her trauma to life, in an awfully realistic fashion. No tears and sobbing - but instead - silence and contemplation.

If you're looking for a scare go elsewhere, this film acts more as a thriller than anything really terrifying as the realism fades when we are introduced to our villain. With that said, it still makes for a worthwhile watch.

7.1 (7.8)

Props to it for sticking to an original vision and riding with it. The execution isn't flawless (it could've truly been Top 250 material if it had been), and it can certainly be slow in points. It teases the philosophical implications and throws some jarring perspectives into the mix - you just wish they would have followed through on it more thoroughly and scientifically. The ending was fantastic at bringing together the prior story though, the only truly flawless aspect of a film that was destined for much more. A script that Nolan would have been perfect for.

(8.0)

7.4 (7.7)

(8.0)

7.3 (7.0)

8.0 (8.0)

Genuinely tense and scary, you'll be a train wreck watching this one - even if the ending is a bit of a let down.

6.7 (7.5)

Nothing. Nothing comes at night. WELL. Unless you interpret this monster as coming through dreams (who knows how you're infected in this case); then it certainly does come at night. Despite excellent cinematography and an earned tense atmosphere throughout it never amounts to anything, just an anti-climatic, interpret-it-yourself end.

5.4 (7.7)

7.2 (6.6)

(7.8)

7.5 (7.7)

There is an Oscar-worthy film in here...somewhere. On the cutting floor room most likely. McConaughey leads with a phenomenal performance but it isn't enough to make this incredible true story the masterpiece it had the potential to become.

(7.7)

(7.5)

5.3 (7.1)

Very formulaic, end-of-the-world drama which never tries to be anything more than average. Butler's talent is wasted alongside a mediocre cast, and a shoddy story.

8.0 (7.2)

An immersive experience that will confuse and shock you. Perhaps not for mainstream audiences, I'd certainly recommend you do a bit of research afterwards so you'll understand it.

(7.8)

7.0 (7.4)

The perfect Monday night film. The Foreigner isn't Oscar material, but that isn't to say its a bad film. Though it is initially repetitive and takes a while to get going, for a good 30 minutes near the end you'll be absolutely glued to the screen. Jackie Chan is still as entertaining as ever, you'll be shocked at some the stunts he performed for this film given his age. While the rushed ending lets down the better second half of the film, you'll be pleasantly surprised by this one.

5.8 (8.0)

A star-studded slow burn of absolutely mind numbing proportions. Unbalanced - like it assumed everyone knew the ending already so didn't bother adding any intrigue or surprise to the outcome. It's a dragged out re-enactment of a story that deserves so much better. Branagh makes gives a committed but unintentionally parody performance of Poirot.

6.5 (7.0)

It has the makings of a good film - it just doesn't quite make it and falls into general horror trope territory - though its structure does make for an interesting take.

(7.2)

8.0 (7.7)

A surprisingly terrifying adaptation. It will get in your head and remain there weeks after - particularly its grotesque moments.

6.0 (7.8)

(7.5)

7.8 (7.7)

(7.8)

(7.2)

(7.7)

7.4

An ambitious follow up which eclipses the original in scope and excitement by amping up the weird.

(7.6)

(6.8)

(7.2)

(7.7)

(7.5)

(7.6)

(7.8)

(6.2)

7.5 (7.7)

(7.1)

(7.5)

(7.3)

(7.0)

(7.4)

(7.6)

(7.6)

(7.3)

(6.8)

(7.2)

(7.5)

(7.6)

(7.3)

(7.6)

(6.2)

(7.1)

(7.0)

(6.8)

(7.1)

6.8 (6.2)

Probably a bit better than it should have been - the concept is phenomenal, but by only focusing on the bad side of the invention it is restricted from becoming what should have been a pure science fiction flick. Although the twists and turns towards its end are satisfying, I can't help but feel they missed the boat on exploring the potential of the science more.

(7.7)

(7.3)

(7.5)

(7.2)

(7.6)

7.0 (6.6)

Better constructed than you'd expect - it feels much similar to other single set masterpieces such as Locke and Buried - though it never quite reaches the heights of those two.

(7.1)

(7.8)

(7.7)

(7.7)

(6.1)

7.0 (6.3)

More to it than you'd think on first look. It doesn't quite land the final product but its actually quite an entertaining film.

7.2 (6.8)

(7.0)

(6.6)

7.2

Certainly memorable, though just a little less than required to be truly mesmerising. It's a great sci-fi premise and builds an exciting universe - I'd love to see this in the hands of an experienced director and cast to see how much further they could escalate it.

7.0

A solid revisit of the Titanic which gave me a whole new appreciation for the film.