Reviews by Kyle Ellis

David Cronenberg's films are technically very well made and while his films are very disturbing a good deal of his films also have either a dark or subtle wit, poignant emotion or even both. He is for me one of the most interesting and unlike any other out there directors, despite being known for body horror and originating it his films are much more than that. All these are the reasons for my admiration and appreciation for him.

Will be honest in saying that 'Videodrome' is not quite one of my favourites of his, do much prefer the likes of 'Dead Ringers' and 'The Fly' and find that they are more accessible as films. It is still a very intriguing film that hits hard on the disturbance factor. Something of a transition film, with all the distinctive Cronenberg touches and themes but now exploring more ambitious concepts, on top of being one of his most disturbing 'Videodrome' is also one of his most personal and most complex.

'Videodrome's' weak links really are the story and pace in the latter stages. The story starts off very interesting and much of the film is unsettling in atmosphere, but in the latter stages it does start to unravel and the more it does the less sense it makes and more muddled it gets until the viewer is completely lost.

As the story unravels, the pace does too, meandering until it becomes exhausting when things get on the over-the-top side.

However, as always with Cronenberg, 'Videodrome' is a very accomplished looking film. It boasts some of the most startling imagery of any Cronenberg film (in a way that is both disturbing and also oddly beautiful), Cronenberg again showing his visual mastery even if the techniques became even more refined in his later work, as can be seen with 'The Fly' and 'Dead Ringers'. Howard Shore's, a Cronenberg regular, score is deeply haunting while also with a degree of emotion, not just going for full on horror but also the emotional core.

Script may not have as much dark wit or poignancy as other Cronenberg films, but it probes the mind at least and flows well. Much of the film is truly unnerving and makes one think twice about the future of media, the tension there frequently. Cronenberg directs with a typically adept touch. The characters carry 'Videodrome', Max is a sleazeball and is a meaty one at that. The acting is very good, with the driving force being James Woods giving a lead performance of true ferocity.

Overall, good if not one of my favourites of Cronenberg. 7/10

Have a lot of admiration for Alfonso Cuaron as a director. Also really like to love almost all of his films (having been mixed on 'Great Expectations'), though 'Gravity' is one of those more appreciate than love divisive films that also boasted some of the best cinematography and direction of that year. Of his previous films am especially fond of 'Children of Men' and 'A Little Princess' (the film that introduced me to his work and is a personal favourite) in their own way for different reasons.

Was really excited in seeing 'Roma', with talks of it being one of the highlights of 2018, one of Cuaron's best films and trusted friends saying how emotional it was and especially praising the cinematography, direction and sound mixing. Nothing was going to stop me from seeing 'Roma' with the praise being as high as that, despite the (from personal opinion) rather condescending detractors being quite vocal, including making ignorant and off-base paid reviews allegations that says more about themselves than it says those they're criticising. After seeing 'Roma', and this is a genuine opinion here, am going to join those praising the film. Praise that 'Roma' deserves every ounce of and more. One of my favourite films of 2018 definitely, and it has been a variable year so that is saying quite a bit, and quite possibly Cuaron's best film.

'Roma', being a semi-autobiographical film, is Cuaron at his most personal, both the writing and the direction. One of the main reasons why 'Roma' did such a lot for me was the emotion, with such brutal thought-provoking realism and poignant, without being over-sentimental, pathos it was the film that connected with me the most emotionally. It also was him at his most thought-provoking and there was no sugar-coating, in fact what was also admirable was the not holding anything back pulls no punches approach. It depicted real life situations and struggles and in a way that was relatable and hard not to get nostalgic or moved over.

The pacing has been criticised for being slow, it is deliberate but personally was caught up in the emotion and the compelling realism of the very personal story-telling to care. Plus since when has a film being slow ever always being a bad thing? It only is a problem when there's no reason to be and with the subject to me it came over that the deliberate pace for 'Roma' was not an accidental choice. Sure, finding its rhythm is not immediate but it is very rewarding when stuck with (rather than stopping watching after a ridiculously short period of time and then bragging about doing it). The script is sincere and thoughtful, not written or delivered heavy-handedly.

Now we get onto what is especially great about 'Roma'. It is a visually stunning film, have not seen cinematography this amazing, varied or clever in a long time and it complements the evocative setting and the strikingly effortless and atmospheric lighting so brilliantly one is truly immersed. Another major star is Cuaron's direction, showing a visual master of his craft and a person clearly passionate and in love with the story he's telling. Both wholly deserving of major awards attention. Same with the sound-mixing which has all three of the qualities that the cinematography has been described has, so appropriate to the mood and enhances it in a way that few other films this year have done so well. As well as the astonishing and very moving breakthrough lead performance from Yalitza Aparicio, as the most compellingly real and rootable character in a film full of them and strong performances.

In conclusion, absolutely loved it. 10/10 Bethany Cox

From the talented Martin Scorsesse comes an admittedly ambitious but compelling and visually stirring biopic on legendary rebel billionaire Howard Hughes. Although it is nearly three hours, I don't think the film dragged that much and I was gripped for the whole duration. My problem is to do with the secondary characters though. The Aviator is one of those films where a lot of detail goes into making the protagonist and a few more key characters convincing and relateable, but the secondary characters aren't given as much attention as well. This is not the first film to have this problem though, Kinsey which was still very good had it too, as did Chaplin. Back on target, actors like Willem Dafoe and Ian Holm are not given that much to do, they do fine with what they have, but their characters have the sense of appearing there one minute and disappearing the next. Another problem was that occasionally the drama was lacking, the story was well constructed and paced, and the themes here are very ambitious, but other than well staged plane scenes parts of the more dramatic parts felt somewhat lukewarm.

Complaints aside, this is still a very good film. First of all, it is amazing to look at, the scenery is gorgeous and the costumes are sumptuous. The music is also a delight, beautiful and poignant, dramatic and haunting in others. I loved the small clips of Bach's Toccata and Fugue in D minor, orchestrated here and it works(it was originally written for organ you see), and Tchaikovsky's 5th and 6th Symphonies, the latter of which has a final movement that is so heart-rending as it always reminds me of death, don't ask why though. The Aviator is brilliantly directed by Scorcesse, and the script does have moments of meaningful power. And the acting is pretty exceptional. Leonardo DiCaprio gives one of his better post-Titanic performances here, he proves he is more than a person that is all looks no talent, for he really is brilliant as Howard Hughes. Cate Blanchett is wonderful as well as Katherine Hepburn, and Kate Beckinsale surprised me. Like DiCaprio, she too proves that she is more than a pretty face by giving a really good account of herself as Ava Gardner while looking absolutely amazing in the process. In a smaller role, Alec Baldwin was also enjoyable.

Overall, not absolutely outstanding, but The Aviator is a very striking, ambitious and compelling biopic. 8/10 Bethany Cox

What can I say? A Streetcar Named Desire is a superb film, elevated especially by superb writing and performances. The film does look beautiful, the photography is very skillful especially. Alex North's music is nice and authentic, while the story is always gripping and the direction very good. As I have said already, the script and the acting drive A Streetcar Named Desire. Like with Cat on a Hot Tin Roof, the homosexual references are cut/not as prevalent, but I still cannot deny that the script was superb, dark, witty and tense. The acting is excellent too. Karl Malden is indeed great, but Marlon Brando gives one of his finest performances ever as the brutal Stanley, while Vivian Leigh also excels in a difficult role as Blanche and the pair while together sizzle with sexual tension. All in all, brilliant. 10/10 Bethany Cox

As with many of my most anticipated films of the year, 'I, Tonya' had a promising trailer that made me want to see it and an interesting cast, the accolades (wins and nominations) and generally positive word of mouth were just as encouraging. Not to mention that it was based on a fascinating true-life person, Tonya Harding, with an equally fascinating and infamous story.

'I, Tonya' was entertaining and well done with a lot of great qualities, but somehow it felt uneven to me and like something was missing. Can totally see what people see in it, due to absolutely agreeing with what has been singled out as especially good, but it could have done more with such a great subject to work from and does fall short of being one of my favourites of the year.

Starting with the faults, the CGI for the ice skating sequences (which were otherwise very well choreographed and both witty and graceful) was both not necessary and distracting, as well as not being particularly good.

There should have been much more focus on the Nancy Kerrigan story, that is what made Harding infamous and it was a shame that nowhere near the amount of attention that went into Harding's rise and struggles went into this aspect, which featured nowhere near enough and was under-explored. Likewise with Kerrigan herself.

Also found the montage of Harding's abuse by her mother rather crass. Childhood abuse is a very serious and hard-hitting subject, to see it for my tastes trivialised and not taken seriously (instead played for laughs) won't bear well with sufferers and even non-sufferers like me will find it an ill-judged touch.

However, 'I, Tonya' elsewhere is handled very well. Particularly good is a sensational Allison Janney on pretty terrifying form, with her Oscar Win being one of this year's most deserving in a rare of few questionable wins, was rooting for between her and Laurie Metcalf. That is in my opinion, though there were a few that weren't my personal picks for the category, for example 'Lady Bird' being my pick for Best Original Screenplay.

Margot Robbie taking on Harding was a risk and it pays off mostly in a brave and credible performance that is her best to date (though not in the same league as Frances McDormand and Sally Hawkins). She may not look like Harding, is too old for her and could have brought out her vulnerability more (which would have happened if the film was consistently bolder showing the full horrors of the abuse, some times it was harrowing, other times it was too safe), but she is very successful at portraying her as a flawed and troubled human being with a lot of talent who made numerous mistakes but brings enough pathos to make her worth rooting for.

Rest of the cast are just as good, Sebastian Stan has never been better to me and the same goes for gentle and elegant Julianne Nicholson. Paul Walter Hauser entertains hugely as well. The direction is solid enough.

Visually, apart from the CGI, 'I, Tonya' looks great. It's beautifully shot and cleverly edited, while the music is energetic and whimsical and the ice skating choreography graceful. The script is sharp, acerbic and irreverent, with plenty of blackly funny moments. The story has its faults but is gripping and fast-paced with a lot of entertainment value, relatable themes, moments of tender poignancy and some unflinching ones. Was with the film for much of its length, which is why it was so frustrating that the Nancy Kerrigan story wasn't focused on enough. The documentary elements are an acquired taste and not for those looking for accuracy, but they were generally entertaining and clever if not as illuminating as they could have been.

Overall, entertaining and well done if uneven. 7/10 Bethany Cox