My Ten Controversial Film Opinions of 2015

1. Kingsman: The Secret Service doesn’t deserve all its praise…

Director Matthew Vaughn has a very accomplished track record;Kick-Ass is a breath of fresh air amid the abundance of Marvel superhero flicks, X-Men: First Class is a hugely entertaining romp that serves as the franchise’s finest, and Stardust, despite being rarely mentioned, is a competent and non-formulaic addition to the fantasy genre. You can imagine my disappointment, then, at Kingsman: The Secret Service, a spy caper devoid of any heart or wit that we have come to expect of the director.

Read rest of review here.

2. Tomorrowland is one of the best films of the year…

Suffering from a poor marketing campaign, Tomorrowland represented one of Disney’s worse box-office flops. The trailers promised a world of wonder and excitement, but what we got instead was a 2-act buildup to that world – only to find out it was in ruins. Yet the wonder and excitement hadn’t diminished – Tomorrowland brought me back to my younger years, where I was caught up in the fascination of Spy Kids, or, heck, Star Wars – it’s a film that really tapped into my youthful core and I love it for that. It’s innocent, poignant, brilliantly acted (Raffey Cassidy is a revelation), expertly paced and at its centre is a strong, resonant moral message, wonderfully conveyed by Hugh Laurie’s not-quite-villain.

3. Amid an abundance of spy flicks, The Man From U.N.C.L.E reigns supreme…

2015 has been the year of spy films. Other than Kingsman, which I’ve already touched upon, there was MI5, Spectre, and The Man From UNCLE, a hugely entertaining romp helmed by the reliable Guy Ritchie. Mission Impossible 5 was enjoyable and contained some ridiculously impressive set pieces, but suffered from a third act lull. Spectre fared worse, much worse, and my sentiments can be found in my review here. The Man From UNCLE, however, held my interest all the way through, had a great script, and its soundtrack just asserted its position as this year’s best spy caper.

4. Jupiter Ascending is one of the most entertaining films of the year…

Moving from the six sprawling, genre-muddling stories of Cloud Atlas, to bees that sense royalty, planetary dynasties and wing-craving wolfmen of Jupiter Ascending, the film’s individual concepts are mind-boggling bonkers; as a whole, they combine to make a ludicrous, intense cinematic extravaganza that slightly crumbles under the weight of each idea floating around. But heck, it’s entertaining, and the Wachowski’s show real ambition.

5. Big Hero 6 is decent enough, but really shouldn’t be anywhere near its Best Animated Feature academy award…

There’s been talk of a Disney renaissance; hot off the heels of Frozen’s commercial – and critical – success, the studio released Big Hero 6, a charming flick that was met with a similarly superb response. So much so, it went on to beat the likes of The Lego Movie and The Tale of Princess Kaguya to the Best Animated Feature Oscar. The accolade was clearly indicative of the golden period Disney now finds itself in – away from the depths of the 2000s; the award was sweet, a success story, a signifier of great things to come. The award was undeserved.

Read rest of review here

6. The Martian is a step down from Ridley Scott’s ‘Exodus’…

The return of exciting, hard-sci-fi flicks has been a refreshing occurrence in the film industry. Christopher Nolan got in on the act last year with Interstellar, and Ridley Scott now has his turn with The Martian, a film much more ‘sci’ than ‘fi’. The visuals are fascinating, the dialogue beforehand irritatingly artificial, and Scott’s film continues in this manner along the film’s lengthy 142 minute runtime. The Martian is amusing and relatively enjoyable, but nothing more than that. Scott goes for ‘feel-good’, and while he succeeds in doing so, it diminishes any emotional resonance that the film could have. Exodus was a brutally entertaining epic that had something The Martian was lacking – heart.

7. Minions is one of the best animations of the year…

Cynics beware, Minions is a bundle of joy that doesn’t take itself too seriously, and you shouldn’t either. The plot is generic but irrelevant – it’s used as a vehicle to display the titular characters in all their Minion-y glory. There’s been a lot of hate thrown towards these characters recently – due to their saturation in everyday life – but that shouldn’t detract from a wonderfully written animation that’s beautiful, charming, and – crucially – hilarious.

8. Jurassic World suffers from a lack of ambition…

Breaking a myriad of box-office records, Jurassic World arrived with a bang – but perhaps it should have stayed prehistoric. From the writing, the plot, the acting – everything is mundane and average and one-note, and there’s nothing that actually stands out about the film. It’s a very safe, well-marketed film that’s evidently designed for maximum profit; the flick is harmless enough to draw masses to its screenings, but I can hardly remember any of it as I’m typing this.

9. Gosling’s Lost River is right up there with the best of the year…

Lost River, Ryan Gosling’s directorial debut, is sitting at a measly 30% on Rotten Tomatoes. Thankfully, it’s right up my street – artsy fartsy, perplexing, and stunning to look at, it’s an admirable effort that captivated me and entertained me massively. The story isn’t needlessly bloated, Ben Mendelsohn is reliably terrific, and the imagery conveyed is hauntingly beautiful.

10. Chappie is a return to form for Neil Blomkamp…

Poor Neil Blomkamp – he just can’t win. Expectations were high after his debut, District 9, and Elysium did little to satisfy that. Surely Chappie would return him to the sci-fi heights everybody hoped he would hit? I think it did – though it seems like the whole world thinks otherwise. The characters are interesting, the special effects are superb, and most importantly, the story intertwines sentimentality and action perfectly. Not as politcally-charged as Blomkamp’s prior efforts, but a lot of people don’t seem to realise that it doesn’t have to be.

-Gus Edgar

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