Lets Go Sussex’s film critic, Robert Chandler, reviews Ryan Reynolds latest movie FREE GUY. Will this mash-up of THE TRUMAN SHOW, THEY LIVE, and TRON be bigger than the sum of its parts? Read Robert’s review to find out!
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Let’s Go Sussex Film Critic, Robert Chandler reviews Leos Carax’s ANNETTE. A wild and surreal cinematic ride that has divided audiences. It’s Robert’s film of the year, but he says be prepared to hate it.
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Let’s Go Sussex Film Critic, Robert Chandler has a license to review the latest Bond movie. Will he be bored of Bond or shaken and stirred? Read his review to find out.
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Let’s Go Sussex’s Film Critic Robert Chandler reviews two crazy aircraft movies - SHADOW IN THE CLOUD & BLOOD RED SKY
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I liked Netflix's FEAR STREET: 1994, the first of a trilogy of Fear St films. The second is set in 1978; the third in 1666. Gradually the origin of a witch monster and the evil that lurks beneath the town named Shadyside is revealed through the three films.
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Nothing in THE TOMORROW WAR is original, yet I love alien bug-hunt movies and this I felt was almost good enough. If I ignore the story-slips and daft behaviour of its characters, none of whom would have survived the situations in which they found themselves.
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IN THE HEIGHTS is a joyful and exuberant trip, a musical that feels of-the-moment and much needed, not least because it’s a celebration of community and of being outside.
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After the disappointment of THE FALCON AND THE WINTER SOLDIER, which had the habit of running away from all the things that were good about itself in favour of following a small-minded, dull story about generation terrorists, LOKI landed yesterday on Disney+ and hit all the right notes!
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CRUELLA is terrific. A touch overwrought, but nonetheless a visually ravishing and aurally exciting origin story for one of Disney's great villains.
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THE MITCHELLS VS THE MACHINES is dazzling and fully-loaded, and carves out its own style, building on the animation techniques developed on SPIDER-VERSE, adding hand-drawn illustrations (provided by daughter Katie) to embellish frames and feelings.
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HONEST THIEF has a reasonable premise (a successful bank robber decides to turn himself in when he meets a woman he falls in love with), which it then unpacks and explores in all the right ways...but without any subtext or depth, or even feeling for character. What is left is all surface.
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WITHOUT REMORSE plays like it was written by a fourteen year old raised on Call Of Duty. Except it was written by Taylor Sheridan, who only a while back wrote the surprising SICARIO and the beautiful, character-led, HELL OR HIGH WATER.
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Writer Andy Siara and Director Max Barbakow have fashioned a gem. PALM SPRINGS is a metaphysical enquiry into love, fate, and the nature of happiness, disguised as a light comedy! The film stars Adam Samberg, Cristin Milioti and JK Simmons as three characters trapped in a loop that winds around a wedding day event held in Palm Springs.
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Netflix’s LOVE AND MONSTERS is good fun and amiable, but derivative. At times it strains too much to sit alongside ZOMBIELAND, often at the expense of its own identity. But, still, it’s a good watch and Dylan O’Brien plays the part of the reluctant hero well. It’s good to see him back after his serious accident on the MAZE RUNNER film.
GODZILLA VS KONG represents the diminishing returns of the misguided “monsterverse”. A series of films made by mediocre fanboy directors and executives who think fan-service is the way to go. Well, it isn’t.
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THE FLIGHT ATTENDANT is funny and self-regarding; ironic, fast-moving and beautiful. Like its protagonist.
A crime-thriller with split screens and a self-aware score. A must-see.
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Well, it was definitely a lot better than the mess of the Whedonised release. Zack Snyder's JUSTICE LEAGUE needs half-a-working-day to watch, but it's worth it. It's certainly flawed, but what's there is at least consistent and sure of itself. Snyder knows how to frame and a compose a shot, and add surface lustre to the telling of a hero's tale. The trouble is he has a habit of doing it at the expense of nuance and humanity.
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Aaron Sorkin's THE TRIAL OF THE CHICAGO 7 is the third film in fifteen years telling the story of the defendants brought up before the US court following their part in the anti-war protests at the 1968 Democratic convention in Chicago. The trial has become a signpost event, marking a time when the establishment was crumbling and new "liberal" views were taking hold.
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I loved I CARE A LOT.
Blend Nicolas Winding Refn’s DRIVE with the Wachowskis’ BOUND and you’ll be approaching the aesthetics and thriller dynamics of CARE. I mean this description to sound like a lot of fun, because that’s what I CARE A LOT is.
I liked GREENLAND, Gerard Butler’s end-of-the-world, extinction-level-threat, asteroid movie, directed by Ric Roman Waugh.
The premise isn’t fresh, but it keeps its feet on the ground and amps up its tension with a fine sense of balance and plausibility as it follows a family of three and their journey amid the chaos to find each other after being separated (no surprises there) and then get to a point where they have a chance of surviving the impact.