Reviews by Kyle Ellis

Billy Wilder had directed some wonderful movies, Some Like it Hot, Sunset Boulevard, Sabrina, The Apartment and Witness for the Prosecution are all fantastic. Double Indemnity is up there with his very best. Wilder directs impeccably, but his direction is not the only great thing about Double Indemnity. Everything is great about it, it is a timeless classic and defines the term quintessential film noir.

The cinematography is gorgeous with no rough edges or shaky moments, instead it is all fluid and beautiful, and the costumes, sets and scenery also help. Also superb are Miklos Rozsa's wonderfully atmospheric score, the compelling story which sizzles with romance and sexual tension and the truly crackling screenplay.

The acting also is impressive. Fred MacMurray overplays slightly, but this is one of the cases when overplaying works, because he is still witty and charming as well. Barbara Stanwyck I think is sexy, her character appeals and her dialogue is so good as is her delivery of it, while Edward G.Robinson gives a superb supporting performance.

All in all, a stunning film and one of the very best of the genre. 10/10 Bethany Cox

At first I intensely disliked this series. On re-watch it is not bad as such, and certainly not as bad as I remembered, but I still don't like it very much. And just for the record, this is coming from a fan of the original series and from someone who very much liked the two Raul Julia/Anjelica Huston movies. Addams Family Reunion was however a mess, despite me being a big fan of Tim Curry.

I will get what I liked about The New Addams Family out of the way first. First and foremost, Glenn Taranto as Gomez. He is note perfect in the role and you can tell he was studying the original series as he was preparing for the role. And for fans of the original series, will love the original Gomez John Astin as Grandpa. The costume and set design are far from cheap either, the settings are meticulous with a convincing looking house, the effects are not slapdash(Thing is excellent) and the costumes are more than just fancy dress. The music is still iconic and fitting too.

However, I didn't like how the series presented the Addams Family themselves. Instead of a loving, genuinely caring family, they are more like criminals in this one. I know the Barry Sonnenfeld movies had a somewhat different representation of the family, but how they're presented here and their actions makes the Sonnenfeld movies tame in comparison. The series just wasn't funny here, the writing wasn't surreal or subtle enough, and the slapstick is rather tired and predictable.

The stories were rather uneven for me. There are some decent ones, like the first episode and the one with Fester as Santa at the mall, but others feel as though they're increasingly run out of ideas. The acting apart from Tarranto and Astin didn't impress me, Morticia tries too hard and is too expressive, Michael Roberds overdoes it embarrassingly as Fester and Pugsley is forgettable. Nicole Fugere fares better, she is much more comfortable than she is in Addams Family Reunion and she has some great deadpan delivery, however while it was more the fault of the writers, her Wednesday seemed more a pale imitation of Christina Ricci's.

Overall, I know judging from what I've said I'm going against the tide, but while it is not a complete disgrace I didn't care for it. 4/10 Bethany Cox

As someone who considers Stanley Kubrick one of the greatest directors who ever lived, 'The Killing' is not one of his very best (his masterpiece being '2001').

This said, 'The Killing' is a big step up from the still solid if flawed 'Killer's Kiss' and especially the very poor (for me his only misfire) 'Fear and Desire', which only had the camera work and use of light and shadow going for it.

My only two complaints with 'The Killing' are with the ending and the narration. The ending was rather rushed and anti-climactic, ending on too much of an abrupt note. The narration poses more of a problem, apparently it was forced into the film and the tacky execution really shows, it is annoyingly cheesy, over-explanatory and overused and the film would have fared much better without it like Kubrick intended.

However, 'The Killing' looks great, complete with brilliantly evocative camera work/cinematography, atmospheric use of light and shadow and suitably claustrophobic sets. The music score is a marked improvement over the music scores for 'Fear and Desire' and 'Killer's Kiss', it's not perfect with parts that are a bit too loud and intrusive but here it is not inappropriately jaunty, it has its haunting and tense moments without being too obvious and unlike 'Fear and Desire' it doesn't sound like a bad Bernard Hermann imitation.

Also significantly improved is the dialogue, excepting the narration. Here the script is witty and deliciously sardonic, providing some really enjoyable chemistry between the characters and actors. Kubrick directs with a masterly touch, with much more of his own style coming through (one can say that he had not found it with 'Fear and Desire', was starting to find it with 'Killer's Kiss' and found it with 'The Killing). The story is ground-breakingly non-linear but tightly paced and with some genuine suspenseful tension and moving poignancy.

Of a strong cast, yet another big improvement, standing out are Sterling Hayden, Marie Windsor and Elisha Cook Jnr, who are all excellent in roles perfectly tailored for them.

In summary, while not one of Kubrick's best (he went on to do even better, with his first masterpiece being 'Paths of Glory') it is his first "very good" film. 8/10 Bethany Cox

Just got back from seeing 'IT'. Expectations were that of great interest but also apprehension. Eight years ago, back when there was a personal unfamiliarity and ignorance of Stephen King's style and less appreciation for the book, there is the admission of saying don't bother with a re-make.

Couldn't be more wrong. This was a case where another adaptation was not only warranted but necessary. 'IT' is such a great story that deserves to be done justice and with one of the best trailers of the year this actually looked good. However, with the other King film released this year 'The Dark Tower' being such a disappointment, there was apprehension as to whether a film based on such a huge book would work.

'IT' as a book is one of King's best and one of the best of the horror genre. King's attention to detail, how he writes scenes with children and depiction of fear are unparalleled, with wonderfully drawn characters, one of the terrifying antagonists in literature and many unforgettable scenes, ones that burn long in the memory in how scary they are. The book is much more than just a horror story though, also with nostalgia, comedy, pathos and deep characterisation.

'IT' was previously adapted as a mini-series in 1990, which is remembered fondly by those who saw it as children and left them terrified but often derided by fans of the book. To me, it has a lot wrong with it with a vastly inferior second half and an anti-climactic let down of an ending with the infamously terrible effects of IT's true form. But it is nowhere near one of the worst King adaptations, it's not even the worst of the mini-series. Compared to the book it's very poor, as a standalone it's wildly uneven but has more to it than Tim Curry's unforgettably magnificent Pennywise. It has a great first half with strong performances from the child actors, some unsettling moments, a 'Stand By Me'-like nostalgia and a great music score.

This 2017 film adaptation is a big improvement and one of the best King adaptations in years. It does have changes, including the change in decade, not following the same structure, different IT encounters for some characters and another motivation for wanting to defeat IT. However, it is very loyal in spirit to the book that is apparent throughout. What makes it better are better production values, explanations and character motivations being more logical, Henry Bowers being more of a psychopath (and he is given a reason for why he came to be the way he is, when it was only implied once in passing previously), Beverly's father and the relationship between the two having more of a creep factor and even better child performances.

Not without its faults. Not all the special effects work, the fangs and the overdone Pennywise shaking look cheap. Mike is underused and underdeveloped compared to the others and the other bullies are pretty much given short shrift (Victor Criss practically anonymous).

Some people have said that 'IT' is not scary. Personally disagree, finding it one of the scariest films seen in a long time. Not many films recently made my heart jump, covering my eyes, biting nails or stifling a scream. The Niebolt Street, bathroom, George and Pennywise and photograph/slideshow scenes especially are absolutely terrifying, and there are beautifully timed jolts, real tension and eeriness and suspenseful lead-ups, aided by atmospheric intricate lighting and clever effects for IT's forms (that leper!).

With that being said, 'IT' is much more than a horror film, and is more successful in its other elements. It has comedy, and it's hilarious especially with Richie and Eddie. There is an affectionate nostalgia, reminiscent of 'Stand By Me' and 'The Goonies' and reminding one of how good King was at writing scenes with children and childhood adolescence, which the writers understood and it translates brilliantly on screen. There is pathos, like with Ben's poem and the two most heart-wrenching moments are in the frightening, heart-tugging and triumphant climax. The characters are written very well on the most part, particularly Bill, Beverly and Ben, while Pennywise is evil-incarnate.

Production values mostly are terrific, not just the lighting but also the beautifully realised Derry setting (Niebolt Street is a standout), taut editing and cinematography that's both stunning and unnerving. The effects mostly are not bad, the make-up is superb and how Pennywise is made up has a creepier effect. The music score is truly haunting, "Oranges and Lemons" has never freaked me out this much.

Andy Muschietti directs with suspense, potent realism, confidence and affection, while the writing has a great balance of hilarious comedy, touching drama and pathos, references to the time period, King and history of Derry and nostalgia. The story, even with the change of time-line and structure, is cohesive and logical, rich in suspense and emotion but it's the chemistry between the children and the sweet and surprisingly real relationship between Beverly and Ben that resonate most.

One couldn't ask for better performances. The children are uniformly wonderful, especially a vulnerable Sophia Lillis, a hilarious Finn Wolfhard and a relatable Jeremy Ray Taylor. Jaeden Lieberher handles Bill's dramatic arc very touchingly while Jack Dylan Grazer is very funny. Mike and Stan are well cast. As for Pennywise, it is a very difficult feat filling the iconic Tim Curry's giant clown shoes, but Bill Skarsgard does so superbly, providing a different interpretation that never feels like a copy and has just as much chilling menace, nightmarish air and dark twisted amusement. Curry's laugh is creepier, but Skarsgard's is closer to that described in the book.

All in all, brilliant and if the second film with the adults happens please have the same writer, director and Skarsgard on board, and use this as a model rather than the mini-series' second half with better cast adults and a far better ending. 9/10 Bethany Cox

Ranking 'X Men: Apocalypse' alongside the other X Men films, it's for me third weakest. Better than 'Last Stand' and 'Origins' (though even they had merits), but not in the same ball park as 'X Men 2', 'First Class' and especially 'Days of Future Past' (also preferred the solid if yet-to-find-its-feet-feel first film) and only just slightly under 'The Wolverine.'

There is a lot to like about 'X Men: Apocalypse'. It looks great, being very slickly filmed and photographed, production design being grittily atmospheric yet audacious, smoothly edited and with effective costumes and make-up. The special effects are of extremely good quality too, the much applauded big Quicksilver scene being particularly note worthy, and there is not an overload or underuse of them. John Ottman makes a welcome return to the series and his score is one of the more memorable and fitting (with that for 'Days of Future Past' getting first prize for the most) of the series since 'X Men 2'. The script provokes thought and doesn't make the mistake of rambling, while the action is dynamically choreographed, thrilling and emotionally charged on the whole.

For effective scenes, highlights do have to be a suspenseful and very arresting opening sequence and particularly Quicksilver's super speed life-saving scene, which is one of the series' most jaw-dropping. The story starts off really well and is very diverting with anything with Magneto. There are some terrific performances here, James McAvoy and Michael Fassbender (whose character writing is the meatiest here) especially apply here and they make keep the story on point and from completely derailing. Sophie Turner shows off Jean Grey's conflicts and flaws very effectively and touchingly, while Evan Peters steals every scene as Quicksilver, Nicholas Hoult continues to be fine as Beast and Hugh Jackman makes a ferociously charismatic cameo.

Was mixed on Oscar Isaac (heavily made-up and unrecognisable) and Bryan Singer's direction. Actually Isaac's performance as villain Apocalypse himself is pretty decent and effectively menacing, but it's the clichéd and underwritten way in which Apocalypse is written that prevents Isaac from doing anything that special with the character that stops me from feeling more. People have said that Apocalypse here is more Ivan Ooze-clone than the character of the comic book, and it's easy to see why they would think that, this said Isaac does do a good enough job with what he had. Singer is at home in the style and the action, but when it comes to making the characters and story completely interesting and giving depth to them he isn't quite as confident as he was before, competent and stylistically classy but a bit bland.

'X Men: Apocalypse' suffers from being rather too overcrowded, with a fair bit going on and with lots of characters but effectiveness of executions varies wildly. Some good characterisation and great scenes, but a lack of constant dread and urgency and too many characters given short shrift, though nowhere near as badly as in 'Last Stand' and 'Origins'. The pacing is diverting at first but starts to drag once the plot gets more rambling and more bogged down by content. 'X Men: Apocalypse' includes comic relief and romance and they don't come off well, the comic relief is very goofy and at odds tonally with everything else and the romance is completely under-developed.

Jennifer Lawrence clearly looks bored too in a complete waste of Mystique, and Olivia Munn is underused and basically just eye-candy in a role that has little depth to her if at all.

In conclusion, uneven but still decent. 6/10 Bethany Cox

I had seen Akira a number of times a few years back, and watching it again just two days I can't tell you how enthralled I was watching it. The animation is beautiful and very detailed with a wide range of colours that are extraordinary to watch, and the score was phenomenal, it stirred many emotions inside of me. Just like the storytelling that was thrilling, shocking and heart-breaking did, likewise with the use of sound, the silence was even more haunting and intense than those scenes with sound, the excellent dialogue, characters that are developed so well(for a character-driven film you'd expect that, the main characters' conflict is especially well done) that you do root for them and a message that I highly appreciate and don't feel it's over-didactic. All in all, amazing, a real landmark for not only anime but also animation in general. 10/10 Bethany Cox

The show is one of the finest examples of anime there is, so when I heard that there was a movie I thought to myself that this could go either way. Thankfully Cowboy Bebop: The Movie went the way I hoped it would, which was that being a movie that complimented the show well and succeeded on its own merits, both of which Cowboy Bebop: The Movie does brilliantly. The animation is both ethereal and haunting, with the character designs and faces expressive. The music is emotionally complex and fits the mood of the film perfectly, when there's action it's rousing, when there is an emotional moment it is poignant and when there is an intensely dark moment it is haunting. The dialogue is very thought-provoking with some nice humour, true to the style of the show actually, while the story has a lot of layers and my attention never wavered. The characters are still the characters we know and love and written just as well. Of course the show had more time to develop its stories and characters, but the movie does more than credibly in both these areas. The voice work is similarly impressive. Overall, I recommend it without hesitation. 10/10 Bethany Cox

For those who are looking for a 100% faithful adaptation of Roald Dahl's book, I think they will be disappointed. Lacking the dark edge of Dahl's book and of his writing in general, Fantastic Mr Fox is not so good as an adaptation, however on its own terms it is wonderful. It is an endearing and hugely enjoyable film.

One thing that stood out was how the film looked. Instead of the CGI rendered effects, Wes Anderson opts for a more old-fashioned stop-motion effect. This decision worked, because the visual look is outstanding, not just in the beautifully detailed backgrounds and sets but in how the characters move as well and the small details such as the armchair in his writing hut.

I like Alexandre Desplat's music quite a bit. His score for Fantastic Mr Fox is no exception, it is quirky yet still has the minimalist style that makes Desplat stand out. The story is sometimes slow in the pace but because of the humour and how it looked, I never found the film boring, besides the story itself is so good. The writing is great, the humour is more adult but a vast majority of it is very funny with the odd touching moment too.

The characters add a lot. Mr Fox is one of my favourite titular characters in a book and the film did little to change that, and while some are slightly underused they serve their purpose well. The voice work is fantastic. I wasn't sure about George Clooney, but he does do a bravura job, and Meryl Streep is quite touching. Michael Gambon is sterling, as is Bill Murray as Badger.

In conclusion, hugely enjoyable and one of my personal favourites of 2009. 9/10 Bethany Cox

The NeverEnding Story is one of my all time favourite movies, it is just so magical. The music is brilliant, and the story is a magical, simple and effective one. The scenery, sets and costumes were visually a feast to the eyes, just gorgeous to look at, and if it didn't get any awards for best art direction, then that is a massive shame, because it was so beautiful to watch. Falcor was a fantastic character, a very warm and loving character, that you just have to love. I have to admit though, Gmork is very scary. The acting is fantastic, Barret Oliver very spirited as Bastian, and Noah Hathaway born to play Atreyu. And Tami Stromach as the Childlike Empress has a small but wholly relevant role in the film. This film is practically perfect in every way and has a wonderful message, don't miss it! The second film's okay, but the third one is god awful and should be in the bottom 100. 10/10 for this though. Bethany Cox

I very much enjoy and appreciate anime, and Ghost in the Shell is no exception. In fact Ghost in the Shell is not just one of the finest anime films not to have Studio Ghibli's name on it, but also ever. The animation is breathtaking to watch, ethereal, fluid and very detailed. The score is one of all-time favourites, I love music(especially film music, classical and opera) and from the enchanting melodies and vocals Ghost in the Shell is no exception, really drawing you in. The script is one that really makes you think, it's a very ambitious and thoughtful one with its scientific and philosophical elements. The story is unique and compelling right from the start to the end, the characters engage and the voice work(more in the subbed rather than dubbed version) is very dynamic. I can understand why some may be underwhelmed by the ending, first time I saw Ghost in the Shell I was, but now I don't have a problem with it, and even if I did it would not stop me from loving this film any less than I do. Overall, amazing, one of the best of its kind. 10/10 Bethany Cox