Baywatch

As comedic crime drama beach spoofs go, this one is just as ridiculous as is to be expected.

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A lifeguards work is never over, especially when you’re an LA County lifeguard, who’s roles apparently encompass the most unlikely of tasks such as undercover crime investigations; just another day at the beach for these guards.

Though David Hasselhoff and Pamela Anderson have had their characters upgraded in the form of Dwayne ‘The Rock’ Johnson and Zac Efron, the basic premise is the same; everyone is astonishingly good looking and the beach crimes are as unrealistic as ever.

Despite an absolutely abysmal string of comedic slow-motion running scenes and face-palm worthy jokes, this film still manages to bring a smile to the faces of its begrudging audience.

The basic plot may be no different to its 1990s crime series counterpart and the special effects may have you cringing in your seats, but there is definitely something lovable about the sheer scale of this films ridiculousness.

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King Arthur: Legend of the Sword

A classic tale is turned into an epic adventure as Guy Ritchie sprinkles it with a little magic.

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Though born into royalty, Arthur is brought up in poverty following his parents demise at the hands of his uncle, which leaves him unknowingly carrying greatness upon his shoulders.

Guy Ritchie does what he does best, casting his unique style into the direction of this film; as the plot builds, so does the speed of the action, exhilarating with such vigour, you leave the cinema feeling slightly windswept. But to counteract this feeling of excitement, Ritchie slows down scenes to highlight his classic slow-motion angles, creating stand-out moments at the heart of the action.

The soundtrack, too, is unnervingly accurate, keeping the audiences’ emotions in check throughout the action and into the emotion; as if you’d expect anything but brilliance from the director behind the Sherlock Holmes films.

Though having to withstand David Beckham’s attempt at ‘acting’ for  potentially the longest three minutes of our lives, the rest of the cast exceeds all expectations, showing of their numerous talents and living up to their household names.

Unlocked

CIA films never get old, but they do, apparently, get longer.

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London is in a terror crisis, and it’s up to CIA agent, Alice Racine, to save the day. But as is the case with so many crime thrillers, such matters are never made easy.

In a plot twist that’s sure to make even Donald Trump double take, conspiracy theories get a whole new meaning as central intelligence gets a little less, well, intelligent.

With a cast that boasts the likes of Michael Douglas and Orlando Bloom, you can only hope for good things, but, alas, that’s about as good as this film gets; safe to say these two will be having harsh words with their management teams.

Despite the best efforts of the script-writers, this film just cannot get it’s feet off the ground, with each anti-climatic scene following the next, it’s a wonder there were so many cinema goers left in their seat by the time the end-credits rolled.

 

Their Finest

Authenticity, optimism and a dog; what else could you possibly need for a wartime film?

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A married woman and screenwriter find themselves thrown together in a 1940 war-tired Britain as they are commissioned with the dubious task of creating a film worthy of American style propaganda.

Gemma Arterton and Sam Claflin take on the lead roles in this period drama, both of whom manage to fill their roles with heroic integrity and lighthearted humour. Whilst Bill Nighy claims a supporting role; a position which he fills with effortless talent and his ever-so-unique orchestra of hand movements.

The styling and costumes of both set and stars is conveyed with staggering ease, propelling the audience into 1940’s London with an instant glance.

The Direction too is nothing short of magnificent, but nothing else would be expected from Lone Scherfig, the director of similarly natured films such as An Education (2009) and The Riot Club (2014).

Though the story does have relentlessly unpleasant twists, the plot remains humble to its era and clearly everyone involved in the production has ensured the sincerity of the war remained an integral element.

Table 19

No wedding is complete without a little drama, and this wedding is no exception.

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There’s always that one table at a wedding that is crammed full of weirdos who have been invited out pity, and that is the very subject of this film. Table 19, as you may have guessed by now, is that such table.

From a married couple in turmoil to a teenage boy who’s trying to bag himself a girlfriend, this table has it all.

Though the plot has a great concept behind it, it never seems to reach its full potential, which is no more helped by the often sloppy acting, which is only marginally saved by Anna Kendrick taking centre stage. 

A film that’s entire focus is narrowed to a single table within the wider environment of a wedding is a difficult task and, unfortunately, one that I cannot say was successfully achieved within this attempt, which at most could be described as an experimental defeat.

Going In Style

When someone steals your pension fund, there’s only one thing to do; steal it back. 

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Michael Caine, Morgan Freeman and Alan Arkin star in this Zack Braff led production, which takes the hilarity of an elderly led heist job and sprinkles it with a heartbreaking backstory which is bound to bring a tear to the eye of even the most manly of men. 

With such legendary acting talent, you’d be hard pushed to find a fault with the execution of the characters, who seem to bring natural wonder to even the dullest of scenes. 

The plot is a particularly strong concept that truly connects the audience to its subject, using everyone’s worst nightmare; losing your pension. But rather than taking the drama route, the script redirects to find the comic relief in such a devastating circumstance, allowing old friendships to become a crime partnership. 

With brief appearances from the likes of Christopher Lloyd, it’s safe to say the casting team absolutely nailed the auditions. Rather than shying away from the older actors, this film embraces them in all their glory and allows the audience to share the magic of age in the pursuit of happiness.

Free Fire

Comedy, guns and violence; what more could you want?

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In an abandoned factory where an arms deal goes down, two gangs meet to discuss the technicalities, but when shots are fired, all hell breaks loose as each member fights for their survival.

What is so remarkable about this film is it’s simplicity; the whole film remains in one setting, a setting which barely alters and yet remains the base throughout. Similarly, the characters commit to each of their roles without hesitation and with tremendous authority.

Though the film is nothing but a shoot-out, it still manages to entice interest despite its basic concept, perhaps due to the depth of characters and the comedy that provides room for the mostly fast-paced environment.

It is a film that goes nowhere, but has everyone hooked from the offset.