Category: Sci-Fi / Fantasy

 

Summary: Ray Garrison, an elite soldier who was killed in battle, is brought back to life by an advanced technology that gives him the ability of super human strength and fast healing. With his new abilities, he goes after the man who killed his wife, or at least, who he believes killed his wife. He soon comes to learn that not everything he learns can be trusted. The true question is: Can he even trust himself?

Year: 2020

Australian Cinema Release Date: 1st March 2020

Thailand Cinema Release Date: TBA

Australian Home Entertainment Release Date: 7th April 2020

Country: United States, China

Director: Dave Wilson

Screenwriter: Jeff Wadlow, Eric Heisserer, Kevin VanHanhook (comic book), Bob Layton (comic book), Don Perlin (comic book)

Cast: Siddharth Dhananjay (Eric), Vin Diesel (Ray Garrison/Bloodshot), Eiza Gonzalez (KT), Alex Hernandez (Tibbs), Sam Heughan (Jimmy Dalton), Johannes Haukur Johannosson (Nick Baris), Toby Kebbell (Martin Axe), Lamorne Morris (Wilfred Wigans), Guy Pearce (Dr. Emil Harting), Talulah Riley (Gina Garrison)

Running Time: 109 mins

Classification: M (Australia) TBA (Thailand)

 

 

OUR BLOODSHOT REVIEWS & RATINGS:

 

Dave Griffiths’ Bloodshot Review:

Actor Vin Diesel has become a super-star off the back of the Fast & Furious, XXX and Riddick franchises but over recent years he has rarely strayed from either, perhaps preferring to sticking to what he knows best. That is what makes Bloodshot such an interesting prospect. Arguably, one of the world’s biggest action stars rarely branching out to start something new, and something that from the look of the trailer looks interesting enough to take a chance on.

Based on the popular Valiant Comics series Bloodshot the film centres on Special Forces soldier Ray Garrison (Vin Diesel – The Fast & The Furious) who after returning from a mission is kidnapped and murdered alongside his wife, Gina Garrison (Talulah Riley – Inception).

He then wakes up in the laboratory of Dr. Emil Harting (Guy Pearce – Memento) having being re-animated and turned into a super-soldier. While Harting marvels at his creation he quickly adds him to his team of super soldiers but while working with team leader Katie (Elza Gonzalez – Alita: Battle Angel) he suddenly has flashbacks and decides to seek revenge for what has happened. But what is real and what is a figment of his imagination… that is what he has to find out.

That is actually one of the joys of watching Bloodshot. The film has so many twists and turns that it is impossible to ever work out what is going to happen next. With a brilliant screenplay from Jeff Wadlow (Truth Or Dare) and Eric Heisserer (Arrival) the line between the truth and fiction and is often tested and the audience is left in the dark to what is really happening in just the same way the characters are. The result is a film that contains such a suspense element that it lifts the storyline well above what most films in the action genre can ever achieve.

When it comes to the action genre there is something uniquely intelligent about Bloodshot. The screenplay is suspenseful and thought-provoking while director Dave Wilson (Love, Death & Robots) is a smart enough director to actually keep the action to a level that actually makes the story seem more believable. The fact that Wilson is a first time director is almost unbelievable as he handles this film with the expertise of a seasoned director with the experience of Steven Spielberg. Wilson creates some pretty impressive action sequences, including a sequence in a tunnel that does more than show that he is a director with a big future ahead of him

The only side of the film that lets it down slightly is the fact that after the film delivers its big twist that turns everything on its head, which happens about halfway through the film; it feels like the film then loses its greatest source of suspense. From then on the film seems to become a simple good versus evil storyline that is purely kept interesting by the fact that by that time the audience have become invested in the characters – especially Ray and Katie.

Because of that we should thank goodness that this is one action film that has bothered to put some effort into characterisation, but that can’t be said for all the characters we find here. While the screenplay does give us a pretty good notion of who characters like Ray and Katie are it falls dangerously with the ‘villains’ who become one dimensional and very comic-book like – the kinds of characters that we have seen in films thousands of times in the past.

The result of that also sees up and down performances by the main actors as well. The biggest loser here is Guy Pearce whose talents seem to be completely wasted as he plays a characterless villain who would have been more at home in a video game. On the flipside my biggest fear going into this film was that I would not be able to not see Vin Diesel as Dom Toretto or Xander Cage. Luckily though, the characterisation that the screenplay allows for Ray the film does actually allow Vin Diesel the opportunity to test his acting chops while also delivering so awesome action sequences. He is also well supported by Eiza Gonzelez who grouped with her performances in Baby Driver and Alita: Battle Angel is showing Hollywood why she is one of the biggest stars on the rise.

There are some things that sadly let down Bloodshot but there is more than enough to make this the perfect film to sat down and watch when you just don’t want to think. So engrossing is the storyline that it does feel like you are watching a television pilot that wants to draw you more into its universe. At the end of the day Bloodshot is well worth watching if you are looking for a good action film to lose yourself in.

 

 

 

Kyle McGrath’s Bloodshot Review:

 

 

 

 

Average Subculture Rating:

 

 

IMDB Rating: 

Bloodshot (2020) on IMDb

Other Subculture Entertainment Bloodshot Reviews:

Our Bloodshot review that appeared in ‘The Phuket News’ can be read at this link – https://www.thephuketnews.com/vin-diesel-runs-deep-in-bloodshot-75674.php

This review by David Griffiths also appeared on www.lilithia.net

Has any other actor been impacted as much by the Corona virus pandemic as Vin Diesel? I can rack my brain but can’t think of any. First Diesel had his latest instalment of the Fast & Furious franchise pushed back by twelve months and then his beer of choice took a massive hit because of the Corona name. But both those things really pale into insignificance when you consider what happened to Diesel’s latest release Bloodshot – the unfortunate film due to open the week cinemas closed.

I have a lot of respect for Diesel as an actor. Not because he is one of those actors who has the acting skills to play dramatic roles in between his action juggernauts, but because he is a man who becomes so passionate about a project that he invests not only his money but also his heart and soul into it to make it happen. With Riddick Diesel bought the franchise to make sure it continued and now he is also one of the main producers of the epic Fast & Furious saga so he could keep some creative control over what happens to the characters that he loves so dearly.

It is the same with Bloodshot. A hardened comic book fan himself Diesel was more than aware of the Bloodshot series of comics created by Valiant Comics. Drawn to the series as a fan Diesel then melted my heart by declaring one of the reasons he got behind the film was because his son declared “Daddy, you are Bloodshot” when he was considering playing the role.

I’ll admit I was bought as soon as I heard about this film. One of my favourite action stars in a comic book film that was rumoured to have a pretty gruesome dark side. Then Covid-19 hit and Bloodshot became one of the biggest cinematic causalities of the fallout. With no media screenings on offer I saw the film in a general session on its opening night and there was only myself and one other guy in the cinema – another tragic soul who was willing to risk the impending plague in order to get a Diesel fix.

Now Bloodshot gets a second life in the cinemas and I can only pray that this time it gets a bigger audience because this is one of action film that I have to admit not only worked for me, but impressed me enough that I would love to see the film become a franchise… as long as they can fix up some of the issues I’ll list below.

For those who haven’t read the comics Diesel plays Ray Garrison a soldier who while celebrating his latest successful mission is kidnapped alongside his wife Gina (Talulah Riley – Inception). He then suffers the heart-breaking trauma of watching her murdered in front of him and when he wakes learns that he was also murdered but has been re-animated as a super-solider in a program run by inventive scientist Dr. Emil Harting (Guy Pearce – Memento).

And that is where I will leave the synopsis for Bloodshot because to say anything else would be going into spoiler territory and this is a film that you can’t have spoilt for you. I think the reason that Bloodshot worked so well for me is because I knew nothing about where the story was going to go. As a result I sat there like a kid in a candy store as every twist and turn played out in front of me. Spectacular action aside what impressed me the most about Bloodshot was the suspenseful storyline with twists that I definitely didn’t see coming.

Having said that though there is a major flaw with this film. While Diesel is Bloodshot to a tee Guy Pearce is horribly miscast as Harting. Actually, maybe that is a little unfair because to be honest I am not sure whether he was miscast or whether Pearce could have done something with the character had it had been written as more than just a walking cliché.

That is the strange thing about this film. Bloodshot and KT (Eiza Gonzalez Alita: Battle Angeli) are brilliantly written and as a result Diesel and Gonzalez shine. Sadly though most other characters are either under-written or are so one-dimensional that the audience has very little interest in them.

As an action film Bloodshot does overcome its flaws with an unpredictable storyline and two leads I felt led the way. Now I simply can’t wait to see if the franchise develops or whether the pandemic has put a dismal finale to it all.

Trailer:

 

One of the films that was most impacted by the Covid-19 closure of cinemas worldwide has been the new action thriller Bloodshot. The film was expected to be one of the biggest earners at the box office in 2020 but when the cinemas closed only days after it opened its earning were severely impacted to the point that the film didn’t even make back its budget.

It is a shame really as the well-plotted action flick starred cult hero Vin Diesel alongside star-on-the-rise Elza Gonzalez. Bloodshot though wasn’t just a film made for what it could potentially earn at the box office, this is a film that came about because of the passion of the team behind it – a passion that seemed to stem from its producer and leaning man Vin Diesel. The passionate gamer and comic book fan is a symbol of passion as he talks about a role that he seemed to be born to play.

“Bloodshot is the central character of the Valiant Comic universe,” he explains as he sits forward in his chair with the excitement of a child talking about Christmas. “He is a character who was formerly a soldier that is enhanced through technology and he is manipulated to become a corporate assassin. The idea though was to honour the spirit of Valiant comic books and Valiant were renegades in their day. They were developing super-heroes who were flawed in a more relatable way. So the idea of making a Bloodshot movie, and this sounds really crazy, but we were trying to create a different spin on the superhero narrative and we really wanted to attack these themes like post-traumatic stress disorder and we wanted to imagine how that plays with our concept of a superhero.”

“I went to see Dave Wilson and I took my son who was eight years old at the time,” explains Diesel as he talks about why he took on the role in the first place. “After Dave had shown us the whole project my son turned to me and said ‘Daddy you are Bloodshot.’”

As a film Bloodshot goes a lot deeper than most action films. Sure it would have been easy for director Dave Wilson to have just let the film become another epic beat-em-up with explosions galore, but here he takes the audience deeper into the world of a character who is extremely scarred from the events that he perceives has happened in his life… including the murder of his wife right in front of him.

The fact that Diesel gets to play with those emotions as he creates the character of Bloodshot means that the character itself ends up very different to many of the super-hero that these days grace our cinema screens. “What makes Bloodshot unique and different to other super-heroes is that there is always that questions of whether or not he is even a super-hero,” explains Diesel as he delves deeper into the character he portrays. “That is what is really compelling here, because he is not waking up and wanting to save the world; his agenda is not to save the planet. When you really get into the story you realise that his aim is to try and stop the insanity that is being induced on him. He is fighting for clarity, and that makes him a really unique kind of protagonist.  That is what makes this so unique because it is not your really traditional super-hero movie. I think that was really the intent… in fact I know that was the intent as we started to delve into the Valiant cinematic universe.”

With one of the world’s biggest action heroes in the lead role and a film that has been designed to take its audience on an emotional journey rather than just shock and awe them with spectacular visuals Diesel says he can promise all his fans out there that they are in for something really special. “This is a movie that plays to a wider audience because it deals with real issues,” says Diesel nodding as he thinks about the question. “The idea of the forgotten soldier is something that we are all invested in, but I think it is so dynamic and I think it is a clever movie. I remember Guy Pierce saying at one of our cast rehearsals that he was glad that he had done Momento before he had done this movie because this movie was such a mind twist and to be honest I don’t get to make a lot of movies that have that kind of mind twist like a film like Momento has, so I think people will really enjoy the movie.”

As a film Bloodshot really does live up to the expectations that Diesel has for it so if you are a fan of good quality action that has the ability to take its audience on an emotional journey than this is one film that certainly won’t disappoint.

 

Bloodshot is available on various streaming platforms right now.

 

Summary: The peaceful town of Centerville finds itself battling a zombie horde as the dead start rising from their graves.

Year: 2019

Australian Cinema Release Date: 26th September 2019

Thailand Cinema Release Date: TBA

Australian DVD Release Date: 11th March 2020

Country: United States, Swden

Director: Jim Jarmusch

Screenwriter: Jim Jarmusch

Cast: Eszter Balint (Fern), Steve Buscemi (Farmer Frank Miller), Austin Butler (Jack), Rosal Colon (Lily), Maya Delmont (Stella), Adam Driver (Officer Ronnie Peterson), Larry Fessendon (Danny Perkins), Danny Glover (Hank Thompson), Selena Gomez (Zoe), Caleb Landry Jones (Bobby Wiggins), Carol Kane (Mallory O’Brien), Bill Murray (Chief Cliff Robertson), Rosie Perez (Posie Juarez), RZA (Dean), Luka Sabbat (Zack), Chloe Sevigny (Officer Mindy Morrison), Tilda Swinton (Zelda Winston), Tom Waits (Hermit Bob), Taliyah Whitaker (Olivia), Jahi Di’Allo Winston (Geronimo)

Running Time: 104 mins

Classification: MA15+ (Australia) TBC (Thailand)

 

 

OUR THE DEAD DON’T DIE REVIEWS & RATINGS:

 

Dave Griffiths’ The Dead Don’t Die Review:

Some directors are just an acquired taste. Think of filmmakers like Gaspar Noe or Terrence Malick. They are directors that you will normally find that cinema-lovers are left in awe of or go to the opposite and can’t stand their work. Another director that should be added to that list is Jim Jarmusch. For me films like Only Lovers Left Alive and Paterson are absolutely sensational films that need to be savoured as you watch them. At the same time though I can perfectly understand why someone wouldn’t enjoy the more alternative aspect.

Now comes Jarmusch next little beauty – The Dead Don’t Die which sees the talented director bring his own sense of humour to the zombie genre in a way that makes this a truly memorable film. So many supposed comedies this year have failed to impress me at all so it was a welcome relief to see The Dead Don’t Die and find myself laughing all the way through it.

Set in the small peaceful town of Centerville the film centres around three Police Officers who bring law and order to the town. Chief Cliff Robertson (Bill Murray – Ghostbusters, Lost In Translation), Officer Ronnie Peterson (Adam Driver – Star Wars: The Last Jedi, Inside Llewyn Davis) and Officer Mindy Morrison (Chloe Sevigny – Boys Don’t Cry, Big Love) do what they can to bring law and order to the town but when the dead start rising even they aren’t completely sure what is the best avenue to follow.

Plot wise The Dead Don’t Die is probably one of the most simplistic films you will see this year. For most of the film the plot follows the traditional zombie trope storylines that we have come to know and love over the years. What makes the film so special though is the interesting characters that Jarmusch has created to inhabit the town. Interesting characters such as Farmer Frank Miller (Steve Buscemi – Fargo, Reservior Dogs) and Zelda Winston (Tilda Swinton – Snowpiercer, Suspiria) keep the audience guessing throughout the film. Countless times you find yourself whether Zelda’s sword-fighting skills are going to be what ends up saving the town or whether someone likes Hermit Bob (Tom Waits – Seven Psychopaths, Down By Law) knows more about the events than they are letting on.

Also making the film stand-out from other zombie comedies is the unique Jarmusch humour and dialogue that is delivered by the characters here. At times the dry wit humour and language used by the characters brings back memories of legendary television shows like Northern Exposure… and that is a welcome relief in a time when it feels sometimes that some screenwriters have forgotten how to create good dialogue.

The take it or leave it aspect of this being a Jim Jarmusch film will most likely come into play for most people when he takes this film into the weird territory of breaking down the line between the characters and the actors. Early on when Adam Driver refers to a song playing on the radio as ‘the theme music’ you realise that Jarmusch breaks down the third wall and here the actors know they are ‘characters’ in a movie. That might be a little confronting and a little weird for those that are not used to alternative film-making but once you get a handle of it it is something that adds to the creativity and uniqueness of the film.

The resulting nature of the film does allow its stars to shine. Bill Murray and Adam Driver seem to enjoy the deadpan style of their character’s interactions. The pair seem to share an amazing on-screen partnership that only enhances the film. Jarmsuch’s star-pulling power also sees the likes of RZA (The Man With The Iron Fists, American Gangster) and Selena Gomez (Spring Breakers, Hotel Transylvania)  play smaller roles in the film while the inclusion of screen veterans like Danny Glover (Lethal Weapon, 2012) also add to the films atmosphere. Jarmusch also doesn’t waste his plethora of stars giving them all memorable moments while also brilliantly giving small nods to their past roles throughout the film.

What Jim Jamusch has created here is a smart horror-comedy that deserves all the accolades that the film has been garnishing. The film is smart enough to be different that previous zombie horror-comedies like Zombieland and Shaun Of The Dead and has that unique Jamusch stamp on it which will mean it is a film that will be adored by those who love his unique style of filmmaking.

 

 

 

 

Average Subculture Rating:

 

 

IMDB Rating:  The Dead Don't Die (2019) on IMDb

 

Other Subculture Entertainment The Dead Don’t Die Reviews:

Nil.

 

Trailer:

 

Summary: A group of online friends travel to a Pop Culture convention to try and buy a rare comic they believe can warn them of an upcoming pandemic.

Year: 2020

Australian Cinema Release Date: TBA

Thailand Cinema Release Date: TBA

Australian Home Entertainment Release Date: TBA

Country: United States

Director: Toby Haynes

Screenwriter: Ryan Enright, Gillian Flynn

Regular Cast: Deson Borges (Wilson Wilson), Dan Byrd (Ian), John Cusack (Dr. Kevin Christie), Christopher Denham (Arby), Sasha Lane (Jessica Hyde), Ashleigh LaThrop (Becky), Jessica Rothe (Samantha), Javon ‘Wanna’ Walton (Grant), Rainn Wilson (Michael Stearns)

Guest Cast: Josh Bywater (Carson), Rammel Chan (Starweaver/Josh Chandler), Jose Antonio Garcia (Donald Resnick), Jenna Heffernan (Jenny), Dustin Ingram (Tallman), Farrah Mackenzie (Alice),  Jeanine Serralles (Colleen), Cory Michael Smith (Thomas Christie), Michael B Woods (Rod)

Running Time: 50 mins

Classification: TBC (Australia) TBC (Thailand)

 

OUR THE UTOPIA REVIEWS & RATINGS:

 

Dave Griffiths’ Utopia Review:

They say that art mirrors life and that has never been more true than when it comes to the brand new Amazon Prime series Utopia. The pilot gives us an early glimpse that a new pandemic is about to spread across the globe, yes it could be plucked straight from our headlines at the moment, but what separates Utopia from the hundreds of other pandemic or post-apocalyptic television shows or movies out there is the fact that here the prediction of the pandemic may have already surfaced in a graphic novel of all places.

Utopia centres around a group of four ‘friends’ who have all met online after they realised a pattern in a strange graphic novel titled Dystopia. When an ultra rare copy of its sequel, titled Utopia, is put up for auction by a naive couple at a convention named FringeCon the four friends – Wilson Wilson (Desmin Borges – Living With Yourself), Ian (Dan Byrd – Easy A), Becky (Ashleigh LaThrop – Fifty Shades Freed) and Samantha (Jessica Rothe – Happy Death Day) – all travel to the convention with the intention to buy Utopia so they can explore their theory that the comics predict the world’s pandemics.

But they are not the only people after Utopia after a rich art collector wins the auction suddenly a young boy called Grant (Javon Walton – Euphoria) breaks into the penthouse to steal it while at the same time two assassins – Arby (Christopher Denham – Argo) and Michael Stearns (Rainn Wilson – The Office) – also pay a visit to the penthouse to retrieve the valuable item.

The best way to approach the Utopia remake is to have never seen the original British series. From the pilot episode you can tell that this is a series that is going to have many twists and turns throughout – so not knowing what is going to happen next is going to be key. Especially with the cliffhanger of the pilot which sees a character turn up that may just hint that everything in the graphic novels is based on real life.

Tone wise Utopia feels like a nineties show such as Buffy but with some edge. As soon as Samantha drops the ‘c’ word you know that the show is going to go into adult territory, the head shots that the assassins deliver as they hunt their victims later on only enhance that theory. Having said that though there is a deep intelligence to the show. The theory that the graphic novels can predict what pandemics are to come gives the show a real suspense element that you feel is only going to get expanded even further and a brief news report we hear hints that a pandemic is just starting as well.

The key to the show working though are the characters and whether they are interesting to the audience, luckily Utopia seems to have that problem well and truly solved. Wilson Wilson seems to be one of the most interesting characters to have surfaced on television for awhile, while the other three friends also could easily carry the show. After the pilot the relationship between Ian and Becky is not so much ‘will they’ but instead ‘what will they do now’ while the great acting that we know Jessica Rothe is capable of also means we are very curious to see what happens with Samantha next.

Keeping the acting in mind the casting of Rainn Wilson in such a sinister role is also a stroke of genius. We are so used to seeing his comedy side that his cold-heartedness here is a bit of surprise and there still seems to be a lot of room to further expand his character as well.

There is little doubt that once you start watching Utopia that you will continue to watch. There are just too many questions that are left after the pilot for you not to want. Questions around who the hell Grant is, what the four friends will do next and even whether or not the assassins will go after them are more than enough to keep you watching. And then there is of course the big mystery – who the hell is Jessica Hyde and is she real? Yes television fans I think our answer to iZombie has finally landed.

 

 

 

 

 

Summary: A tribe of cats called the Jellicles must decide yearly which one will ascend to the Heaviside Layer and come back to a new Jellicle life.

Year: 2019

Australian Cinema Release Date: 26th December 2019

Thailand Cinema Release Date: 3rd January 2019

Australian DVD Release Date: TBA

Country: United States, United Kingdom

Director: Tom Hooper

Screenwriter: Les Hall, Tom Hooper, T.S. Eliot (poetry), Andrew Lloyd Webber (musical)

Cast: Jaih Betote (Coricopat), Larry Bourgeois (Socrates), Jonadette Carpio (Syllabub), Danny Collins (Mungojerrie), James Corden (Bustopher Jones), Laurie Davidson (Mr. Mistoffelees), Judi Dench (Old Deuteronomy), Jason Derulo (Rum Rum Tugger), Idris Elba (Macavity), Robbie Fairchild (Mukustrap), Francesca Hayward (Victoria), Jennifer Hudson (Grizabella), Melissa Madden-Gray (Griddlebone), Ian McKellan (Gus The Theatre Cat), Steven McRam (Shimbleshanks the Railway Cat), Naoimh Morgan (Rumpleteazer), Daniela Norman (Demeter), Bluey Robinson (Alonzo), Freya Rowley (Jellylorum), Ida Saki (Electra), Zizi Strallen (Tantomile), Taylor Swift (Bombalurina), Mette Towley (Cassandra), Eric Underwood (Admetus), Rebel Wilson (Jennyanydots), Ray Winstone (Growltiger)

Running Time: 110 mins

Classification: G (Australia) TBC (Thailand)

 

 

OUR CATS REVIEWS & RATINGS:

 

Dave Griffiths’ Cats Review:

When you look back of 2019 and think of what films made the biggest impact in cinema there were perhaps none quite talked about the way Cats was. When the trailer dropped for director Tom Hooper’s (Les Miserables, The King’s Speech) version of the Andrew Lloyd Webber musical it made the nightly news for all the wrong reasons. For some Hooper’s cats looked strange, not-quite-human not-quite-cat, but others  (like myself) found themselves erring on the side caution wondering or not if this was going to turn out to be some kind of visual spectacular.

To be honest Cats sits somewhere in the middle. While it is not the musical masterpiece that Hooper created with Les Miserables it is also not as terrible as some would have you think. Perhaps the best way to approach Cats is to think you are about to enter a cinema to watch a theatre musical being projected onto the big screen because this feels much more like a concert than it does a cinematic experience.

Originally based on a collection of poems from T.S. Eliot Cats is told through the eyes of Victoria (Francesca Hayward The Sun Is God, Extra) a young cat who finds herself dumped in a London alleyway one night. She soon finds herself making friends with a magical cat called Mr. Mistoffelees (Laurie Davidson – Will, The Good Liar) who soon introduces her to the world of the Jellicle Cats.

On the night she arrives she finds that the Jellicles are eagerly awaiting the arrival of one of their oldest members – their matriarch Old Deuteronomy (Judi Dench – Skyfall, Shakespeare In Love) who on this night every year choices which Jellicle will live the life they have always dreamed of. But not everything runs smoothly as the villainous Macavity (Idris Elba – The Losers, Star Trek Beyond) plans on eliminating all of his competition.

Surprisingly the plot of Cats does work on the big screen. It is extremely light on though and at times the film feels like an extra couple of songs have been added to pad it out to feature film length. Despite what many felt from when that first trailer surfaced you do also find yourself as an audience member connecting with the cats on screen. Each has their own persona and whether you want to admit to it or not you do find yourself barracking for a cat to win Old Deuteronmy’s approval.

The film’s biggest weakness though is the way it is put together. The stories and scenes are almost presented the way they would be if you were reading through the original collection of short stories. A certain cat will perform and point out their strengths and weaknesses and then they are spirited away by Macavity before they can have their time with Old Deuteronomy. The sequences though where Macavity and his right-hand cat Growltiger (Ray Winstone – The Departed, Beowulf) are keeping the other cats captive are more like you would expect from a pantomime though and never become as menacing as they perhaps should have been.

While the sequences of watching the Jellicles perform does at times seem magical there is none of the wow factor here that we got with other musicals like Les Miserables and Moulin Rouge. Les Miserables worked on the big screen because it was believable while Moulin Rouge was way over the top which suited the theatre world that it was set in. Cats has the disadvantage of not being believable and it feels like perhaps it would have worked a little better if Hooper had followed in the footsteps of Baz Luhrmann and made this film go more into the fantasy realm as well.

What does work for Cats though is the casting. Judi Dench and Sir Ian McKellan (Gods And Monster, Lord Of The Rings) steal the show as they expertly lead their younger cast. James Corden (Trolls, Peter Rabbit) brings in just the right amount of comic relief while playing Bustopher Jones but it is Jennifer Hudson (Dream Girls, The Secret Life Of Bees) who shines the brightest with her amazing vocals in the role of Grizabella. The ballet skills of Francesca Hayward also allows her to gracefully float across the screen as she leads the audience through this strange new world.

Cats may not leave its audience in awe the way Les Miserables did but it does have its own special charm. The best way to approach the movie is to go into the cinema knowing you will be about to watch a theatre production rather than a big blockbuster film.

 

 

Average Subculture Rating:

 

 

IMDB Rating: 
Cats (2019) on IMDb

 

Other Subculture Entertainment Cats Reviews:

Our Cats review that appeared in ‘The Phuket News’ can be read at this link – https://www.thephuketnews.com/cats-gives-us-reason-to-paws-74164.php

 

Trailer:

 

Summary: When Cecilia’s abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see.

Year: 2020

Australian Cinema Release Date: 27th February 2020

Thailand Cinema Release Date: 13th March 2020

Australian DVD Release Date: TBA

Country: Australia, United States, Canada, United Kingdom

Director: Leigh Whannell

Screenwriter: Leigh Whannell

Cast: Michael Dorman (Tom Griffin), Harriet Dyer (Emily Kass), Amali Golden (Annie), Benedict Hardie (Marc), Aldis Hodge (James Lanier), Oliver Jackson-Cohen (Adrian Griffin), Nick Kici (Taylor), Renee Lim (Doctor Lee), Elisabeth Moss (Cecilia Kass), Storm Reid (Sydney Lanier), Sam Smith (Detective Reckley)

Running Time: 124 mins

Classification: MA15+ (Australia) 18 (Thailand)

 

 

OUR THE INVISIBLE MAN REVIEWS & RATINGS:

 

Dave Griffiths’ The Invisible Man Review:

There has been a lot of commentary recently about the ‘new breed’ of horror films. The term has been given to films like Midsumma and Hereditary, films that supposedly show that the ‘new breed’ of horror filmmakers who are now ‘woke’ and incorporate social issues into the horror that their characters face.

To say that is a new form of filmmaking though is probably a little bit of a misconception as you could possibly argue that horror filmmakers were doing that a long time before it became a Hollywood trend. Early horror films regularly used the ‘horror’ to point out so-called anti-social behaviour. Remember all those slashers where the babysitter got killed because she fooled around with her boyfriend rather than watching the kids? Yep, that was filmmakers making a social commentary about promiscuous teens. Then there were films like Saw and Hostel that graphically look at the impact of greed and lust on society.

On the flip side there were also films like I Spit On Your Gave. Released in 1978 the controversial film showed what happened when a woman decides to get bloody revenge on a group of men that sexually assaulted her. Then in 2014 came James Cullen Bressack’s Pernicious which showed the dire consequences of what happens after three young backpackers disrespect Thai culture while visiting the country.

Most of the films I have just mentioned were pretty hard-hitting, but nothing will prepare you for the psychological horror of Leigh Whannell’s The Invisible Man. A lo of people will probably write this off as another remake of the famous 1930s film which of course was based on a novel by H.G. Wells. Nothing could be further from the truth though as Whannell takes the basic character of an invisible man and turns it into a menacing villain looking to further torture a woman who has just left him to escape an abusive relationship.

When it comes to the horror genre Whannell is one of the modern day godfathers. As a writer he created the paranormal worlds of franchises like Saw and Insidious, while as he director he also gave us the criminally under-rated Upgrade. With The Invisible Man he introduces us to Cecilia Kass (Elisabeth Moss – The Handmaid’s Tale) a woman trapped in a severely abusive relationship with a psychopathic scientist named Adrian Griffin (Oliver Jackson-Cohen).

With the help of her sister Emily (Harriet Dyer – Love Child) and her good friend Detective James Lanier (Aldis Hodge – Straight Outta Compton) Cecilia manages to escape the prison that is Adrian’s home. But as she goes into hiding she suddenly finds herself stalked by an entity that she can’t see – an entity that she believes is Adrian. The torture then begins as the ‘invisible man’ sets out to separate her from those she loves and hurt anyone that he feels stands in his way.

What Whannell has done here is take the invisible man character and deliver it to the audience in a way that no filmmaker has ever done before. We thought Hollow Man was spine-cilling but that is child’s play compared to what Whannell does here. The terror that Cecilia is put through by her tormentor mirrors what domestic abuse sufferers go through every day of their lives. The fear of not being able to leave their own home, having family members and friends not believe what is happening to them and of course the awkward legal meetings that they must endure should they chose to report their tormentor. Here those moments are brought to the screen as circumstances force Cecilia and Emily to meet with Adrian’s lawyer – his own brother Tom (Michael Dorman – Daybreakersi).

Whannell allows this film to hit its audience with the subtleness of a sledgehammer. His unique directional style allows the audience to always know where the invisible horror is and as a result they find themselves just as on edge as Cecilia is. As a filmmaker Whannell knows not to bother frightening his audience with jump scares and lame horror sequences instead he will reveal what to the naked eye looks like an empty frame on the screen only to then suddenly have a knife appear and you know that the ‘horror’ is present. It is easy to see that Whannell is a well-versed film fan and he strives to deliver the kinds of movies that he as a viewer would be impressed with as well. What he is created here is psychologically terrifying movie that even Alfred Hitchcock would have been proud of.

As is the tradition of Blumhouse produced horror films The Invisible Man allows for some lesser known actors and actresses to shine. Moss shakes off her ‘television actress’ tag with an amazing performance that should deservedly gain some Oscar talk when it comes to the next lot of nominations. As an actress she has to deliver everything from serious dramatic moments talking about her trauma through to fight sequences against a villain she can’t see… that is some pretty physically demanding work right there.

She is also well supported by the dangerously under-rated Michael Dorman who has previously shown his brilliance in films like the chilling Acolytes and vampire flick Daybreakers. Here Dorman plays the menacing lawyer Tom remarkably well and hopefully this gives him more of a profile in Hollywood.

The Invisible Man is a chillingly brilliant horror film that again shows why Leigh Whannell needs to be considered one of the best filmmakers currently going around. The psychological nature of the film takes the horror genre to a whole new level and shows why the term ‘modern day re-telling’ need not always mean a film that is going to be groan-worthy. If you are a serious film lover than please do not write of The Invisible Man as just another popcorn horror film as this is one of the best films that you are likely to see in 2020.

 

 

 

 

Kyle McGraths’ The Invisible Man Review

 

Average Subculture Rating:

 

 

IMDB Rating: 
Jojo Rabbit (2019) on IMDb

 

Other Subculture Entertainment The Invisible Man Reviews:

Our The Invisible Man review that appeared in ‘The Phuket News’ can be read at this link – https://www.thephuketnews.com/invisible-man-stands-out-from-the-crowd-75271.php

 

Trailer: