Pacific Rim Uprising Review

The Plot

10 years after the people of earth defeated the giant monster Kaiju with their own towering Jaeger machines, the son of one of the heroes that saved the world finds himself reluctantly brought back into the fight, uniting with a new generation of Jaeger pilots to face a deadly a mysterious new threat.

The Good

John Boyega continues his meteoric rise once again in increasingly comfortable sci-fi fantasy territory. He delivers arguably his most well rounded and charismatic performance to date as roguish Jaeger pilot Jake Pentecost. Sparring well on screen with co-stars Scott Eastwood and Cailee Spaeny, Boyega is genuinely heroic in ways he largely hasn’t been in his very high profile Star Wars role. After The Last Jedi it’s particularly nice to see the young star showcase the full range of his talents as a legitimate leading man, rather than see him stranded in unnecessary subplots.

Fans familiar with the first film will welcome the return of original stars Charlie Day, Burn Gornan and Rinko Kikichi . Their presence and the film’s careful adherence to the distinctive look of Del Toro’s world helps tie the franchise together into a coherent continuation.

Those that found Del Toro’s original film to be occasionally slow moving and more preoccupied with human melodrama than non-stop monster fighting will welcome a sequel that unashamedly focuses on more frequent action. Similar critics of the most recent Godzilla reboot will be pleased to see a film which places the giant monsters and their mechanical fighting partners on full glorious display throughout. Its cartoonish fun but on the grandest scale possible, giving fans exactly what they want, a giant guilty pleasure.

While the film’s plot is at times a little predictable, this is perhaps less of an issue given the heavy focus on fun and action. Uprising is also fairly accessible to those who have yet to see the first film, but many of the subplots and character relationships may require at least a basic knowledge of the first film to fully enjoy.

The Bad

Del Toro’s Pacific Rim was beautifully crafted fun, born out of his own evident passion for the giant monster genre. By contrast this is a sequel seemingly more born out of a studio desire to repeat the modest international box office success of the first film. Del Toro’s original was a largely self-contained story that left audiences with a satisfying and seemingly definitive climax. So this sequel’s efforts to integrate new characters and plot points into the original story feel at times a little forced and distracting.

While John Boyega’s character being the son of Idris Elba’s heroic leader Stacker Pentecost may serve the narrative of this new chapter, it’s awkwardly inconsistent with the fact that he was never referenced in the first film, much of which dwelt so extensively on the relationship between Stacker and his adoptive daughter Mako.

While much of the surviving cast of the first film make a welcome on screen return, it is difficult to ignore the unexplained absence of leading man Charlie Hunnam’s character Raleigh Beckett. Director Steven S. DeKnight apparently made a conscious choice to leave his fate uncertain, keeping options open for his hopeful return in a third film. But it’s another example of a messy loose thread left by attempts to tie the two films together.

While visually the film does a fine job of matching the well-established look of Del Toro’s world,  faster paced action and less memorable monsters does at times give the film a more generic ‘Transformers’ quality. The Kaiju in the new film are far less distinctive and aside from their newfound ability to ‘combine’ (heavily showcase in all film’s promotional material) they offer little to improve on Del Toro’s eccentric creature creations.

The Ugly Truth

Pacific Rim Uprising will be a welcomed treat for fans of the original film who were left eager for more giant monster sized fun. Uprising boasts a talent young cast alongside it’s scattering of familiar faces, eagerly injecting fresh life into the potential franchise. Overall Uprising does a fine job of replicating Del Toro’s impressive visuals while adapting the franchise into something perhaps more widely appealing for generic blockbuster crowds.

Review by Russell Nelson

Killing Gunther Review

The Plot

An assassin assembles a madcap team of killers with the purpose of taking out the world’s most elusive and notorious hitman ‘Gunther’, allowing him to take his place as the world’s best killer and settle a personal score in the process. In order to ensure they have proof of their accomplishment the team force a documentary crew to follow them at all times. But things don’t quite go to plan as the cameras keep rolling.

The Good

Killing Gunther follows the well-established mockumentary template, following a team of delusional and inept killers on an increasingly disastrous series of misadventures. While much of what happens is equally predicable and silly, there’s certainly no lack of screwball enthusiasm from the cast.

Writer, director and leading man Taram Killam clearly has passion for the project. His performance as chain smoking hitman Blake lurches violently between cool guy swagger and pathetic, with fairly amusing consequence. The film is populated by a fairly familiar host of villainous assassins with an eager cast doing their best to work frequent laughs out of their murderous misfortunes.

If you enjoyed John Cusack and Dan Aykroyd’s 90’s hitman caper Grosse Pointe Blank then it’s a fairly good indicator that you’ll enjoy the silly macabre tone of Killing Gunther. It’s easy to see how Killam’s emotionally fragile smartly dressed hitman, pining over his ex-girlfriend while doing battle with rival killers may well have been directly inspired by Cusack’s memorable performance.

Arnold Schwarzenegger is the kind of iconic big screen star that can elevate any film instantly into something far more entertaining and fun than it really has any right to be. While his recent work has veered in more serious and subtle directions since his return to acting, fans will welcome seeing him cut loose in a bonkers comedy role for a change. Whether he’s butchering country and western music or shamelessly parading famous one liners and silly outfits,  he’s clearly having plenty of fun. Even if it is mostly at his own expense.

The Bad

Arnold Schwarzenegger fans may feel disappointed that while the action megastar does play the titular ‘Gunther’, his actual presence on screen is limited to such an extent that it almost amounts to just an ‘extended cameo’. In addition to being noticeably brief it’s also arguably one of Schwarzenegger’s most unashamedly silly performances, quite a feat in a career that has included playing a pregnant man. While some will enjoy this performance as self-aware comedy gold others might make the case it’s just authentically awful. Either way it’s certainly not the triumphant action hero return many fans are forlornly yearning for.

Aside from Schwarzenegger’s odd turn the film goes through the motions of a fairly generic mockumentary. By now audiences may be a little overly familiar with the predictable punchlines and the film never rises to the high standards of memorable cult classics like Spinal Tap or Drop Dead Gorgeous. The film lacks the quotable genius and quirky originality of those films, even if it does have more splashes of action mayhem.

The Ugly Truth

Killing Gunther should appeal to fans of screwball black comedy and dedicated Arnie addicts. Schwarzenegger’s unashamedly self-deprecating turn and healthy bursts of black comedy keep this cinematic oddity watchable. An undeniably acquired taste with an evidently modest budget, Killing Gunther is the epitome of quirky cult filmmaking.

Review by Russell Nelson

BAFTA Games Awards 2018 Nominations

Peter Rabbit Review

The Plot

Peter Rabbit and his family of mischievous bunnies are determined to reclaim their vegetable patch from the evil McGregor family. But just when their daring tricks seem to have finally won their land back for good, a new McGregor arrives to spoil their fun.

The Good

Beatrix Potter’s animal creations are timeless childhood favourites that have spanned generations. Despite utilising the latest CGI effects this big screen adventure perfectly captures all of the whimsical beauty of Potter’s ironically illustrated tales. Perfectly clad in tiny jackets, pinafore aprons and dresses the animal inhabitants of Potter’s tales have retained every inch of their famous charm. The film’s bucolic English countryside setting likewise provides a perfect backdrop for a world quintessentially British and timeless.

James Corden continues his unstoppable meteoric rise by providing a sensationally well matched performance as titular hero Peter Rabbit. The actor turned talk show host manages to imbue Peter with just the right mix of naughty recklessness and genuine heart. Surrounding his star turn is a simply amazing supporting cast, with each familiar beloved character brought to life with note perfect vocal performances.

Special praise in particular goes to the all-star trio of Margot Robbie, Elizabeth Debicki and Daisy Ridley as the bickering bunny siblings Flopsy, Mopsy and Cotton-Tail. It’s hard to imagine anything more relentlessly amusing and charming than this winning combination. Margot Robbie deserves special praise for doubling up with narrator duties in a flawless English accent. Daisy Ridley also goes a long way to proving her comic timing and establishing a character range wider than ‘too perfect’ Jedi heroes.

The film’s ‘human’ stars Domhnall Gleeson and Rose Byrne are both on magnificent form as the occasionally mean spirited Thomas McGregor and the Bunny family’s faithful friend Bea. Gleeson does a great job of adapting the high strung Mr McGregor into a nasty villain and a romantic hero as the story requires. Rose Byrne likewise effortlessly bubbles throughout with the kind of sweet natured charisma only truly found in the very best children’s stores.

As is seemingly standard for modern revivals of beloved children’s characters, this new version of Peter Rabbit incorporates a soundtrack of instantly familiar pop songs. While this might initially seem like a potentially jarring juxtaposition with Potter’s well defined world, in truth it actually works out wonderfully. Each song used is thankfully well chosen and integrated into the film in surprisingly effective ways.

Director and co-writer Will Gluck combines each well-chosen element of his cast, soundtrack and animation with a script that captures the true spirit of Peter Rabbit. The film manages to fuse every aspect of Potter’s iconic heroes with an irrepressibly funny and sincere script. Packed with genuinely amusing slapstick comedy, memorable one liners and gentle moral lessons this is a rare gift of a film.

The Bad

Judged within the context of a children’s film there is simply no flaw worth mentioning. This adaptation of Peter Rabbit simply could not be any better.

The Ugly Truth

A truly magnificent combination of modern animation, brilliant voice acting and joyously fun writing breathe new life into Beatrix Potter’s utterly beloved characters. Peter Rabbit is a perfect piece of cinema magic that will leave children and adults alike equally delighted.

Review by Russell Nelson

Good Girl Review Trafalgar Studios

The Plot

Titular hero GG aka ‘Good Girl’ narrates her own life story from early childhood, through painfully awkward adolescence and into even more uncertain adulthood.

The Good

Set against an expertly chosen backdrop of 1990s pop culture references and catchy pop tunes this sensational one woman show deservedly graduates to the West End, having emphatically dazzled audiences at Edinburgh Fringe and the Vault festivals.

Writer and star Naomi Sheldon breathes captivating life into every moment of a brisk 60 minute run time. Lurching expertly from joyous explorations to painful disappointments she makes GG the kind of sincere nuanced heroine that is so tragically rare on stage or screen. Sheldon’s performance is overflowing with an abundance of comedic charm. In particular her flare for instantly transforming herself physically and vocally into a wide range of characters, allows this one woman show to explore a rich expansive world.

Sheldon convincingly portrays both GG and her loyal gang of fellow Sheffield schoolgirls in a journey that spans decades and the entire emotional spectrum. Her unflinchingly candid observations and instantly recognisable caricatures connect instantly and powerfully with audiences. Her vividly descriptive narration and richly imaginative performance combines to leave audiences in frequent fits of laughter. This rich reservoir of bold comedic charm allows Sheldon to succeed in handling complex issues of identity, gender and sexuality with an effortless grace and precision.

It’s impossible to ignore just how timely and urgently relevant this show feels, set against a backdrop of seemingly unstoppable social self-examination and recriminations. Perhaps the biggest compliment possible is that Good Girl transcends the current white noise of increasingly hysterical tabloid headlines to speak directly to women and men with equal passion and grace. This show has a urgent and sincere voice of its own, rather than just being an angry kneejerk reaction to current Hollywood drama.

Sheldon and her semi-autobiographical heroine GG are brave and fragile in the most utterly compelling ways. Standing alone on a small circular stage with no props beside raw imagination and sensational comic timing, Sheldon is simultaneously commanding and exposed. Similarly the distinctive twang of northern accents of the various characters she inhabits lends both gentle and harsh qualities to some of the plays most crucial moments.

Naomi Sheldon is clearly destined for great things and deserves every success that will assuredly come her way in due time. For now it’s essential not to miss the chance to spend an hour inside the warm welcoming wit of her intimate adventure.

The Bad

The only minor flaw in Naomi Sheldon’s otherwise perfect piece of stage magic is that it may at times be too daringly honest and perceptive for more emotionally repressed audiences.

The Ugly Truth

Good Girl is a truly essential piece of live theatre magic that perfectly captures the poignant pleasures and pains of adolescence. Naomi Sheldon is an astonishingly adept new voice as both a writer and performer. You MUST watch this while you can. Do not miss the chance to experience this vivid storytelling masterclass in a fittingly intimate space.

Review by Russell Nelson