wellthatswhatithinkanyway
Joined Nov 2000
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Ratings1.9K
wellthatswhatithinkanyway's rating
Reviews2.2K
wellthatswhatithinkanyway's rating
STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful
Decades after the 'rage virus' decimated most of Britain, a group of survivors have huddled together in an attempt to carve a future, existing in a tiny community of their own off the mainland, separated by a causeway affected by tide. Jamie (Aaron Taylor-Johnson), takes his teenage son, Spike (Alfie Williams) on an expedition to the mainland, where he displays an aptitude for slaying the infected. But Spike's ailing mother, Isla (Jodie Comer) ends up taking him on a journey that will test him to the very limits.
In a time where long dormant franchises are resurrected out of nowhere in an apparent desperate cash-grab, Danny Boyle has brought his iconic zombie flick 28 Days Later... back into the spotlight with this direct follow up film, after 2007's 28 Weeks Later... handled by a different director (and not as well received.) Distributors have obviously got confidence on getting a box office return, and so far all looks good in that regard, unsurprising for a homegrown effort, but is it as artistically affecting?
The most striking feature of the film has already been featured in the trailer, in the form of the haunting 'Boots' tune, a dark poem about a descent into madness regarding World War One, which is interspersed with some stock footage from that conflict, to unsettling effect. What's not so affecting is the story, lacking the claustrophobic emptiness of the original film, and just ambling along with a standard loss of innocence/boy to man plot line.
The gore factor seems to have been toned down as well, hence the 15 certificate, or maybe we live in more permissive times. Overall, a worthwhile but ultimately forgettable addition to the franchise. ***
Decades after the 'rage virus' decimated most of Britain, a group of survivors have huddled together in an attempt to carve a future, existing in a tiny community of their own off the mainland, separated by a causeway affected by tide. Jamie (Aaron Taylor-Johnson), takes his teenage son, Spike (Alfie Williams) on an expedition to the mainland, where he displays an aptitude for slaying the infected. But Spike's ailing mother, Isla (Jodie Comer) ends up taking him on a journey that will test him to the very limits.
In a time where long dormant franchises are resurrected out of nowhere in an apparent desperate cash-grab, Danny Boyle has brought his iconic zombie flick 28 Days Later... back into the spotlight with this direct follow up film, after 2007's 28 Weeks Later... handled by a different director (and not as well received.) Distributors have obviously got confidence on getting a box office return, and so far all looks good in that regard, unsurprising for a homegrown effort, but is it as artistically affecting?
The most striking feature of the film has already been featured in the trailer, in the form of the haunting 'Boots' tune, a dark poem about a descent into madness regarding World War One, which is interspersed with some stock footage from that conflict, to unsettling effect. What's not so affecting is the story, lacking the claustrophobic emptiness of the original film, and just ambling along with a standard loss of innocence/boy to man plot line.
The gore factor seems to have been toned down as well, hence the 15 certificate, or maybe we live in more permissive times. Overall, a worthwhile but ultimately forgettable addition to the franchise. ***
STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful
A group of passengers board a luxury cruise liner, celebrating weddings, engagements and various other events, only for the ship to lose all power, and the revellers found themselves stranded in the middle of the ocean. Among the many problems the situation posed, was the toilets stopping working, leading to people having to poop into special bags, before the corridors get flooded with mess when the toilets blocked up.
This Netflix documentary, taken from the 'Trainwreck' series, certainly has a catchy title that appealed to someone who has ventured into adulthood with a facile sense of humour, maintained from youth, although it documents an event I don't have any memory of, an oddity given it attracted so much attention American news behemoth CNN got involved with reporting the story. It's an interesting story, in all ways.
It could never be accused of indulgence, running in at just under an hour, and so focusing on the nuts and bolts of the story, rather than delving too heavily into any deep human drama. Ultimately, nothing tragic or especially traumatic happened, and so the light hearted tone is in-fitting with the material. With people getting used to peeing and messing in front of each other, we even learn of a married couple getting randy with each other in front of other passengers, which could surely be excused as another bodily function that needed to be expelled??!
This is a short, succinct exploration of the worst nightmare of everyone involved, that somehow changed into an eventful, colourful experience that they were at least happy to appear in a documentary about (and presumably get paid for.) ***
A group of passengers board a luxury cruise liner, celebrating weddings, engagements and various other events, only for the ship to lose all power, and the revellers found themselves stranded in the middle of the ocean. Among the many problems the situation posed, was the toilets stopping working, leading to people having to poop into special bags, before the corridors get flooded with mess when the toilets blocked up.
This Netflix documentary, taken from the 'Trainwreck' series, certainly has a catchy title that appealed to someone who has ventured into adulthood with a facile sense of humour, maintained from youth, although it documents an event I don't have any memory of, an oddity given it attracted so much attention American news behemoth CNN got involved with reporting the story. It's an interesting story, in all ways.
It could never be accused of indulgence, running in at just under an hour, and so focusing on the nuts and bolts of the story, rather than delving too heavily into any deep human drama. Ultimately, nothing tragic or especially traumatic happened, and so the light hearted tone is in-fitting with the material. With people getting used to peeing and messing in front of each other, we even learn of a married couple getting randy with each other in front of other passengers, which could surely be excused as another bodily function that needed to be expelled??!
This is a short, succinct exploration of the worst nightmare of everyone involved, that somehow changed into an eventful, colourful experience that they were at least happy to appear in a documentary about (and presumably get paid for.) ***
STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful
A group of Federal Agents are brutally gunned down in a seemingly planned attack, including Commanding Agent King (J. K. Simmons.) Desperate to get to the bottom of the matter, his partner, Agent Medina (Cynthia Aidai-Robinson) enlists the services of Christian Wolff (Ben Affleck), a reclusive, autistic killer, but he needs help of his own, in the shape of his zany, unhinged brother, Braxton (Jon Bernthal.)
The Accountant was an action thriller from 2016, featuring the unlikely pitching of an autistic hitman. As it was, the film could best be described as forgettable, and the off-kilter story is never explored with as much gusto as it could have been. But, this sequel has now arrived, nearly ten years later, in what one could only be described as a terrible lack of ideas. And the lack of inspiration is duly felt.
Affleck returns in the lead, and delivers a distinctively flat, monotone delivery that could be taken as an offensive caricature of an autistic person, throwing up the debate about whether it should be an autistic actor playing an autistic role. Here, though, he is made to share the billing with co star Bernthal, whose appearance feels ambiguous as to whether he's there for comic relief, some forced human drama or something else. But the worst thing is an incoherent, threadbare plot that is tough to endure in a near two hour runtime.
A few amusing comical interludes aren't enough to distract from what is an artistically pointless endeavour, and one can only hope these Accountant offerings don't morph into something like Denzel Washington's Equalizer movies. **
A group of Federal Agents are brutally gunned down in a seemingly planned attack, including Commanding Agent King (J. K. Simmons.) Desperate to get to the bottom of the matter, his partner, Agent Medina (Cynthia Aidai-Robinson) enlists the services of Christian Wolff (Ben Affleck), a reclusive, autistic killer, but he needs help of his own, in the shape of his zany, unhinged brother, Braxton (Jon Bernthal.)
The Accountant was an action thriller from 2016, featuring the unlikely pitching of an autistic hitman. As it was, the film could best be described as forgettable, and the off-kilter story is never explored with as much gusto as it could have been. But, this sequel has now arrived, nearly ten years later, in what one could only be described as a terrible lack of ideas. And the lack of inspiration is duly felt.
Affleck returns in the lead, and delivers a distinctively flat, monotone delivery that could be taken as an offensive caricature of an autistic person, throwing up the debate about whether it should be an autistic actor playing an autistic role. Here, though, he is made to share the billing with co star Bernthal, whose appearance feels ambiguous as to whether he's there for comic relief, some forced human drama or something else. But the worst thing is an incoherent, threadbare plot that is tough to endure in a near two hour runtime.
A few amusing comical interludes aren't enough to distract from what is an artistically pointless endeavour, and one can only hope these Accountant offerings don't morph into something like Denzel Washington's Equalizer movies. **