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Sam Levinson's 'Assassination Nation' is an interesting beast. It contains themes and attributes from a multiplicity of genres, but ultimately asserts itself as an exploitation film, using modern fears about data protection and amping it up to eleven. The narrative is fairly straightforward, a series of events resulting in a one man (or, four women) vs. the world scenario. Whilst this story is tried and tested, the characters and direction help this film stand out. Each of the four protagonists are written with such a legitimacy rarely seen in similar films, teenage girls talking as teenagers would, rather than how an older writer perceives them to be, grounding them in reality, a base that is definitely required in contrast with the absurd plot. All the actresses give stellar performances, and their chemistry becomes the lifeblood of the film. On the flipside is Levinson's directorial eye, which proves unique and unabashedly in-your-face, with fragmented party sequences, a technically mind-boggling long take, and an elasticity within the camerawork that is somewhat unrivalled by anything in recent years. Whilst some films of this ilk build tension through dialogue or within the score, Levinson's visuals prepare you for the madness to come. There were certain aspects of the film which will cause it to become dated rather quickly, its references to Twitter and Instagram preventing it from becoming something timeless, however, for what its worth, its message is extremely contemporary for the here-and-now, whilst Levinson's directorial eye will help preserve its lifespan as a likely cult favourite. The term 'cult film' has many facets. As a result, many people will actively dislike this film. At times it is overly gratuitous or even nasty, with the majority of its protagonists unlikable, but intentionally so. If, like myself, you enjoyed it, then these will be no bother, however, if you reject any of these features, it is likely you may give up on 'Assassination Nation' before its conclusion. From my perspective, there were few places where the film faltered. The pacing could become a little slow in the second act, with the set-up completed, it felt more a precursor to the third, rather than a continued progression, and the eventual outbursts of violence, whilst cathartic, could have been pushed yet further, Levinson's camerawork largely straying away, rather than embracing, besides from a particularly gnarly shovel scene, to which there was audible applause from the audience. Furthermore, the frequent inclusion of social media-centric iconography and soundbites grew wearing at times. Besides this, Levinson's film is a brilliantly executed exploitation film, with a unique visual and narrative direction. Like many similar films, some will hate it, however, those who don't, are likely to love it instead. 'Assassination Nation' is here to tell its story, and to be honest, it doesn't really care what you think.

'The Front Runner' is a film that, despite its heavy political background, is more focused on the personal story of its titular character, Gary Hart. Reitman's film both benefits and suffers for this, depending on the type of audience member you are. Should you be expecting a dense political drama, evolving from a campaign and policy focused narrative into more of a personal crisis, you may be disappointed. The political background is present, but irrelevant in the overarching narrative, instead revealing itself to purely be a character-driven drama. 'The Front Runner' is not about the difficulties of running for president, but more about how the media can tarnish one's livelihood, and their treatment to Hart, whilst arguably justified, appears alarmingly savage when compared to Trump's America and the conspiracies plaguing his presidency. As a result, the film is surprisingly relevant today, but more down to coincidence than planned. Despite this, Jackman's performance may be a standout in his career, serving as the lifeblood of this story - his peak dramatic moments are unmatched throughout the film. This performance may well create a contender come awards season, as he skillfully fluctuates from a good-natured family man, to a paranoid mess, and everything in-between. Furthermore, the film's reluctance to take a side regarding the prevalent issues it discusses is bolstered by Jackman creating a character that is not good or bad, neither morally grey, forming someone who is undoubtable real. As a result, when Jackman is at his best, 'The Front Runner' achieves dizzying heights, serving as a relentlessly compelling character piece, however, upon his absence, which serves as a large portion of the film, it can become overly slow and laborious, leaving the audience striving for his return. Furthermore, the conclusion appears anti-climactic which, unavoidable as it may be considering this is a true story, nonetheless ends with a squeak rather than a shout. The narrative aside, the film is technically well-constructed, opening with a gorgeous long-take that establishes the time and setting with efficiency, an illusion that holds up throughout. Even the use of title-cards establishing locations are reminiscent of films made in the late-80's and early 90's, this attention to detail reminiscent of a director who cares for the source material. Reitman is, by this point, an experienced director, and his confidence is visible here, however, it feels as though the stellar direction and performances deserve more than this generic, somewhat unfulfilling narrative can provide.

The Coen Brothers have a catalogue spanning multiple genres and time periods, the vast majority of which considered landmarks in the cinematic landscape of the 1990's and 2000's. With the release of the enjoyable yet troubled 'Hail, Ceaser', however, they hit a speedbump. Whilst this anthology film is definitely a step above their 2016 effort, it shares many of the pitfalls which, for all its credit, remain as noticeable as ever. Being an anthology film, each segment is isolated in it's own narrative, with no overarching plot or recurring characters, granting a certain creative freedom, but also significantly weakening lesser sections which, when not completely immersing the audience, appear more an unnecessary dampener than a valid contribution to this jamboree. The titular section, 'The Ballad of Buster Scruggs', opens the picture, presenting a jovial incarnation of the Wild West complete with musical numbers, a metatheatrical performance from the infallible Tim Blake Nelson, and a surrealist edge absent from the remaining episodes. This proves more of a fantastical approach, with creative action sequences and a charming lead. Whilst it features the most Coenesque feel, it serves more as a breezy opener, than the real meat of the piece - a welcome introduction back to the Coen-dictated West. The shortest sequence is the James Franco starring 'Near Algodones', which serves as the action-packed counterpart to the aforementioned fantasy-musical of Buster Scruggs. The comedic moments here are pitch-perfect, with engrossing sequences to boot, however, our time with these characters is all too brief to make it anything more. Following close suit is by far the weakest portion of the film, Liam Neeson's 'Meal Ticket'. Here, the Brothers take an almost non-dialogic approach, instead utilising visual storytelling to comprehensive, oft-comedic, but ultimately repetitive effect. There's little to say of the narrative, featuring recurring Coen quirk, but little more. The final three portions are the strongest additions to this anthology, each gaining a longer runtime and for good reason. The characters appear far more engrossing and the tone more serious, which is no bad thing. 'All Gold Canyon' is gorgeously shot, providing a vastly different colour pallet and an expose on the harsher sides to living in the West, with Tom Waits perhaps proving the best addition to the cast. 'The Gal Who Got Rattled' likely shares the most with Westerns of old, blending character-centred drama with beautifully executed and tense action sequences, and featuring a warm turn from Bill Heck. Finally, 'The Mortal Remains' proves the most ambitious and starkly unique segment, crafting an almost Beckettian atmosphere with infinite metaphorical value and an assortment of expertly acted characters that finely blend a concoction of tension and side-splitting humour. It stands out like a sore thumb from its predecessors, but may be the freshest addition to the anthology, ending the film on a melancholic yet intriguing note. 'The Ballad of Buster Scruggs' accurately portrays the Coen's love for the Western genre, allowing them to create a series of vignettes exploring areas of the genre that otherwise remained untouched. Blending a musical, an action film, black comedy, drama, epic and existential think-piece together in an incoherent yet delightful feature, this may not be a whole they are remembered for, but certainly features parts that will remain evergreen in their catalogue. If only the opening three segments were stronger, this could have been a standout. Furthermore, they incite excitement for the Coen's to develop another serious feature, a la 'No Country for Old Men', as it affirms that this is where they excel.

'Slice' is not an easy film to define, and has remained an enigma leading up to its release. Having been on the A24 slate for years, this Chance the Rapper vehicle was finally released on home video only. The lack of a theatrical run may ring alarm bells for many, however, this was likely more due to the very specific audience the film accommodates, rather than the quality of the film itself. 'Slice' is, at its core, a modern B-movie, however, unlike other recent additions to this peculiar sub-genre like 'Brawl in Cell Block 99', it lacks overall direction, both tonally, and within the narrative itself. The primary issue with 'Slice' is its personality crisis, sometimes satirising similar films of yester-year, sometimes attempting to imitate them. As a result, the film is tonally muddled, juggling hit-or-miss comedy and gratuitous yet ridiculous prosthetics with a plot lacking a main protagonist, resulting in a directionless and offbeat, yet entertaining film. Zazie Beetz and Chance the Rapper bring their characters to life with charismatic performances, both crafting characters that at once appear iconic. It is a great shame, therefore, that they are criminally underused and replaced by blander characters that lack motivation and purely exist to drive the plot. Whilst these aforementioned protagonists elevate the film significantly, injecting pace and humour, their absence only emphasises a plot that is grinding to a halt, supported by weaker characters that would otherwise be characteurs in films of a similar pedigree. This is a bold first feature for director Austin Vesely, who may mature into a heavyweight genre filmmaker, however, his moment may take some time to actually come. 'Slice' could have very well been a modern B-movie that finds enjoyment in mocking its influences with its effortlessly cool cast of characters and surreal narrative, however, its confusion over what it wants to be, and misguided tonal direction, prevent it from becoming anything more than a trashy yet enjoyable B-movie. 'Slice' is silly fun that will find cult audiences, even if that collective be a slim one.

The genre the Mission: Impossible films occupy has always been contested between the likes of James Bond, Jason Bourne and Kingsman, however, 'Mission: Impossible - Fallout' concludes an excellent trilogy of spy films that began worth Brad Bird's 'Ghost Protocol', furthermore, it proves the strongest instalment in the series thus far. Regardless of your thoughts on Tom Cruise, his unquenchable charisma and devotion to these films is impossible to ignore, with the multiplicity of action sequences being as pulse-pounding as they are technically impressive, heavily influenced by frequent collaborator Christopher McQuarrie. This combination results in a film brimming with excellent action, whether it be beautifully choreographed first-fights, one-take halo jumps or inconceivable in-camera helicopter chases. The imagination required to create these sequences is only surpassed by the technical audacity and skill required to actually pull them off. Besides from these action sequences, Rob Hardy's lens helps make it a visually stunning film, building on the visceral nature of these aforementioned segments, resulting in the most beautiful spy film since 'Skyfall'. The plot proves an intriguing progression for the series, continuing the narrative threads set up in 'Rogue Nation', culminating in the development of several character arcs that ultimately prove more emotionally fulfilling than anything we've previously seen in the franchise. Furthermore, the progression of the story is complex, but avoids becoming convoluted, allowing for equal parts immersion and enjoyment, as opposed to potential confusion which all too oft becomes the downfall of similar films. Besides this, the performances featured here further enforce that strength of the film as a whole, with newcomer Henry Cavill proving an intimidating, brutally intriguing counter to Cruise's protagonist. These two are bolstered by a stellar supporting cast, another feather in the already polished cap of 'Fallout', despite the number of background characters coming dangerously close to causing befuddlement in the audience. Christopher McQuarrie and Tom Cruise have, in this film, made one of the strongest American action films in recent memory, forging a visually stunning and technically fantastic film. It is emblematic of their talents that the sixth film in the 'Mission: Impossible' franchise is not only a competent addition, but the best thus far.

'American Animals' is, formally, a difficult film to describe. It retains the structure of the heist films that came before it, even referencing them from time to time, cementing it as a disciple of those pioneers. Where the film stands out, however, is in the way it tells its story, in a non-linear fashion that seamlessly blends between the reality and fiction of this true-crime narrative. Whereas documentaries often use dramatisations to help visually realise their subject matter, here, these dramatisations take centre stage, supported by the painfully real inflections of those who were actually involved in this 2004 heist. This conflux, use to provide commentary, as well as irregular but welcome flair within the recreated narrative, help to differentiate 'American Animals' from other films of its pedigree. Furthermore, these aforementioned recreations feature standout performances from the likes of Evan Peters and Barry Keoghan, further distancing Layton's film from the somewhat shabby predecessors that deploy similar techniques. On a technical level, the film is fairly regular, lacking inspiration with its cinematography which arguably helps ground the events which it portrays. The score nicely compliments the action on-screen, effectively building upon the tension set up by the visuals. The film can, however, drag in places, particularly during the first act, whereupon it hits familiar story beats that could have been addressed quicker, the time taken with the set-up juxtaposing the otherwise revolutionary approach the film takes to the heist formula. Otherwise, the third act is nothing short of thrilling, with the conclusion proving a melancholic reminder of the reality of these events, and the impact they can carry, with its audacity to allow the audience to decipher the difference between what is true and false. 'American Animals' is a heist film through and through, but differentiates itself from others through the methods by which its tells its story and provides connections between the characters and audience. Whilst the pacing can prove problematic at times, persistence ultimately proves rewarding. Should Layton continue to adopt this unique approach to other genres, he may become a standout in years to come.

The Predator franchise has seen a tumultous journey to Black's newest instalment, with the original retaining its reputation as the best. Besides this, only Robert Rodriguez's 'Predators' is considered to be of a similar quality. Wheres these films were originally considered action-horror films, Black's new interpretation, whilst vastly different, proves a worthy addition, and hopeful defibrillator, to this otherwise dead franchise. Many have commented on the shortcomings of 'The Predator', claiming its comedic tone to be a bastardisation of what the original stood for. Whilst this may be a valid comment for die-hard fans of the original, one must remember that this is a 2018 Predator film. Gone are the days of 80's machismo and campy over-the-top action. We live in a cinematic landscape where every other film is injected with off-the-cuff humour, whether it be appropriate or not, inspired by the success of the MCU. In this case, it works. The R-rating allows for savagely funny comedy, aided by the inclusion of Keegan Michale Key and Thomas Jane, to match the brutality of the on-screen violence, which lacks the unconventionality Black previously deployed in 'The Nice Guys' and 'Iron Man 3', but reverts to its roots with indulgent, crowd-pleasing gore. The characters retain the series trope of being overtly shallow, but plainly serve as reminders that this series has never accommodated depth, simply prey for its titular star, which shines here above all iterations since the original. The narrative is laid thin, once again a servant to the graphic panache of its main antagonist, with the ending proving an unusual and seemingly rushed conclusion. Furthermore, the score, heavily reminiscent of the originals, contributes a level of nostalgia, which, alongside the reinvigorated visuals and tone, cements this as a Predator film for modern audiences, taking the action-heavy, mindless focus of the original and thrusting it into the 21st century. 'The Predator' is a ridiculously enjoyable action film that proves a direct descendant of the original, borrowing its shallow characters and plot to highlight the grandeur of the creature that made the series such a pop-culture staple. Black understands the advantages and allure of the property, and unapologetically utilises them to create his modern Predator film.

'Jurassic World: Fallen Kingdom' is, much like the Indoraptor it features, a confused mash-up of differing components, some good, some bad, that ultimately result in an inconsistent film, containing moments of both excellence, and inane stupidity. As a sequel to 2015's 'Jurassic World', this originally had a chance to further the series in a new creative direction which, with the literal destruction of Isla Nublar around which the film is based, promises a new interpretation of the aged franchise. J.A. Bayona, therefore, proves both the films saving grace, as well as main provocateur of audience frustration. As an experienced horror director, his influence is apparent here. There are genuine moments of tension masterfully interwoven into an otherwise bombastic action blockbuster, these Gothic horror elements undoubtedly proving the highlight, only undercut by their scarcity and appearance late in the third act. They only provoke one to think how much better it could've been if these moments were cultivated and expanded, rather than suppressed by the generic formulae employed in the creation of countless other films of its kind. The action here is generally stellar, strengthened by the aforementioned directorial capabilities of Bayona. Despite this, the narrative remains formulaic, and resembles the same as the films that came before. Pratt remains a charismatic leading man, with Bryce Dallas Howard receiving a more well-rounded character, growing significantly from the first film. Besides these, the other human characters, particularly those intended for comic relief, make the film often insufferable, their irritating intersections proving more migrane-inducing at best, and dampeners to otherwise stellar sequences at worst. The antagonist is once again weak, and a re-hash of the one featured in 'Jurassic World', with the same transparent motivations. Besides these narrative aspects, the film is technically fine, with a conventional script and consistent cinematography helping to build this post-apocalyptic island world, as well as the Gothic splendour of a country mansion, with the creatiion of these digital dinosaurs appearing more realistic and grandoise than ever - their best screen incarnation yet, helping the audience gain an emotional connection with these prehistoric beasts, even stronger than the ones they feel toward the human characters. 'Jurassic World: Fallen Kingdom' is a frustrating conflux of groundbreaking directorial vision choked by the irepressable constrains to a multi-billion dollar franchise, preventing a potentially groundbreaking instalment from coming to fruition.

I should begin this review by stating that I am far from an MCU fanboy, and find many of the series' instalments adequate, but far from stellar. This is a feeling I largely held until the original 'Guardians of the Galaxy' arrived - a fun, fresh and funny addition to this cinematic universe, with a genuinely likable cast. In short, it was, by far, one of my favourite films in the franchise at the time.

Before sitting down to watch 'Volume 2', I was excited, yet sceptical. Whilst early reviews were positive, they all assured me that it was not as good as the first, and in some places a retreat of its predecessor. Having seen it, I am inclined to agree, but more of the same is far from a complaint.

Firstly, to focus on the plot. It achieves many staples of a good sequel. It expands on the universe (a lot!), develops the characters, and improves upon its predecessor (which is the case here, in places). I was worried, judging from the trailers, that the film may be trying to show more than it had time for, but fortunately, this was not the case. Instead, it introduces us to new races and organisations in the universe, making it seem like a much larger place that appeared in the original. The characters are well- developed here, and the relationships between them are clear and concise, however, the majority of time was allocated to Chris Pratt's Star-Lord, and whilst the rest of the cast did have decent screen time, it is clear that they were not the priority here, despite the all-round stellar performances.

Secondly, the soundtrack returns and is as glorious as ever. The use of music felt more frequent that in the previous film, and could prove a little unnecessary at times, but overall, the song choice was impeccable, and in some cases had a real relevance to the events unfolding on screen. The inclusions of Cat Steven's 'Father and Son', as well as Fleetwood Mac's 'The Chain', were very welcome.

The humour was another standout of the first film, and delivers here in droves. It often hits, but the frequency and unresting presence of jokes can ruin the more sentimental or serious moments in the film - causing a wavering tone that isn't quite sure which way to turn. Despite this, I can say that in my opinion, this was the most emotionally impactful film in the MCU to date, due to investment in the characters and how likable they are.

In conclusion, this film was a satisfying follow-up to the original, and I would struggle to determine which of the two is superior. The characters are as engaging as ever, the set pieces are glorious (despite a heavy reliance on CGI, rendered beautifully). The soundtrack is possibly better than the first (perhaps a little overused, but quality nevertheless), and the humour is largely on-point, but can be very in your face and ruin emotionally significant moments. All in all, this is worth a watch, and I will definitely be coming back to it once it is released on home video.