The Krays: Dead Man Walking (2018) EXCLUSIVE Review

The Krays: Dead Man Walking (2018) EXCLUSIVE Review

All Things Film Blog The Blogs

Most films about the notorious twins cover their rise and fall, The Krays: Dead Man Walking solely focuses on a 12 day period in December 1966 in relation to the escape from Dartmoor prison of Frank “The Mad Axeman” Mitchell, a giant of a man with great physical strength and an even shorter fuse.

Once holed up in a dingy London flat, Mitchell (Josh Myers) starts to exhibit the kind of behaviour that saw him sentenced in the first place. Unable to trust or control him, the twins decide that they will give Mitchell a present in the form of a club hostess called Lisa (Eastender’s Rita Simon’s) to keep him “busy”. As Mitchell’s behaviour intensifies, the twins are left with only one bloody decision.

The latest in the Kray’s cannon of films is refreshing in that it solely focuses on just one event in the twin’s life with everything else on the periphery; the audience glimpses the breakdown of Reggie’s marriage to Francis, Lord Boothby’s “friendship” with Ronnie and the dogged detective Nipper Read (played by Leslie Grantham in his last role) while never shying away from the maniacal Mitchell and his penchant for violence. Marc Pickering and Nathan John Carter who play Reggie and Ronnie respectively portray the twins well, Carter, who has been in 2 recent Kray films in supporting roles has now found himself propelled into the shoes of Ronnie and relishes every second.

The film is lean at just 75 minutes but never outstays it’s welcome and leaves you wanting more. For me the only thing that lets the film down is the inclusion of a miscast Darren Day in a throwaway role.  Day just doesn’t manage to convince, even with limited screen time.

But minor quibble aside like the twins themselves, this smart, gritty, violent and stylish thriller never outstays its welcome and leaves a lasting impression.  Smart, gritty and stylish… The Krays: Dead Man Walking is a vicious and visceral treat

Reviewed by Matt Duddy

The Krays: Dead Man Walking is released on DVD, BluRay and VOD on the xxxxx 2018

Click HERE for related content 

Phil’s Best & Worst 2018 Films.. So Far! 4th Edition (31st August 2018)

Phil’s Best & Worst 2018 Films.. So Far! 4th Edition (31st August 2018)

All Things Film Blog Other Cr*p Year In Review

So this is my semi-regularly updated of the BEST and WORST of the films from 2018 (2018 Films), as well as the best films I missed from last year and the Phil’s Quick Capsule Review Sharknado Award.

All in my very humble opinion…

 

BEST Films Of 2018… So Far:

  1. Coco
  2. Mission Impossible: Fallout
  3. I, Tonya
  4. Lady Bird
  5. A Quiet Place

Honourable Mentions: RevengeMollys Game,  Three Billboards Outside Ebbing Missouri, You Were Never Really Here, The Festival, Calibre, Avengers: Infinity War, Game Night, Black Panther, Ready Player One, 12 Strong, The Post, The Meg, Deadpool 2, Love Simon, Andre The Giant

 

WORST Films Of 2018… So Far

  1. The Cloverfield Paradox
  2. Annihilation
  3. A Wrinkle In Time
  4. Red Sparrow
  5. Deep Rising 2

Dis-Honourable Mentions: The Commuter, Renegades, Peter Rabbit, Ocean’s 8, Death Wish, Hellraiser: Judgement, Day Of The Dead : Bloodline, Godzilla: Planet Of The Monsters Part 1, Extinction, Jurassic World: Fallen Kingdom, Patient Zero, Tremors: A Cold Day In Hell, All The Money In The World, Skyscraper

 

 

The 2018 Sharknado Award for Films So Good (!) They Cant Be Rated:  

The Last Sharknado: It’s About Time

 


The 2018 Films I just couldn’t Finish…

TBC

Great Films Of 2017 That I saw In 2018:

The Disaster Artist, The Babysitter, Mayhem, Icarus, The Greatest Showman, The Big Sick, LA 92

 

 

 

 

 

For related content Click Here

 

Blog: The Billion Dollar Movie Car Club (Highest Grossing Movie Cars!)

Blog: The Billion Dollar Movie Car Club (Highest Grossing Movie Cars!)

All Things Film Blog The Blogs

They’ve starred in some of the highest grossing movies of all time, now Hollywood’s biggest four wheeled stars have been named for the very first time.  New research by motoring experts LeaseCar.uk has revealed a handful of motors who qualify for an exclusive Billion Dollar Movie Car Club – vehicles which played a significant role in a billion-dollar movie or movie franchise.

Surprisingly many of Hollywood’s most iconic car movies failed to qualify for the club as only those grossing a billion or more at the box office were deemed worthy of inclusion.  The nine cars which made the cut can be considered the highest earning movie motors of all time – and there are some surprises amongst them.  Researchers carefully calculated exactly how much screen time each car received and worked this out as a percentage of the movie’s run time.  This figure was then used to calculate the exact revenue the cars could have been considered to ‘earn’ at the box office – creating a definitive list of the highest grossing cars in Hollywood history.

 

Billion Dollar Movie Car Club: motors and box office takings for their time on screen

 

  1. Jurassic Park Jeep: $200,940,000
  2. Fast & Furious 7, Dodge Charger: $189,000,000
  3. Back to the Future (Pts 1,2,3) Delorean: $148,393,100
  4. Transformers: Age of Extinction, Chevrolet Camaro, $67,100,000
  5. Harry Potter, Ford Anglia: $44,829,000
  6. Skyfall, Aston Martin: $37,400,000
  7. Titanic, 1912 Renault Coupe: $27,300,000
  8. Star Wars, Luke’s Landspeeder: $26,363,600
  9. Batman v Superman, Batmobile: $24,416,000

 

The focus on box office takings meant some of the best-known car movies didn’t get a look in. The Italian Job, for example, took only $10m in 1969 and its remake managed $176m in 2003 – far below the threshold required for the Billion Dollar Movie Car Club.

 

Surprisingly the research revealed that the biggest car movie star of all time is the humble Jeep from the Jurassic Park movie franchise.  Perhaps most famous for the T-Rex attack scene in the very first Jurassic Park movie starring Jeff Goldblum, a combination of serious screen time and sky high box office takings took the Jeep to the top of the chart when it came to cash generated while on screen. It fought off stiff competition from more iconic car stars such as the Dodge Charger from The Fast and the Furious franchise, the Delorean from Back to the Future and James Bond’s Aston Martin.

 

The Jeep played an important role in many of the Jurassic Park movies and was on screen for a lengthy 24mins and 26 seconds, or 19.7%, of the film which kicked off the franchise. The franchise has grossed a massive $4.1 billion to date with the first movie alone generating $1.02billion. With the Jeep on screen for 19.7% of the movie researchers attributed a massive $200,940,000 to it making it the highest earning car movie star of all time.

 

The only other car to give the Jurassic Park Jeep a serious run for its money is the Dodge Charger from the Fast and the Furious franchise.  The Fast and Furious series has become perhaps the best-known car movie franchise in the world with global box office of $5.1billion. The Dodge, or rather a succession of them, is driven by character Dominic Toretto, played by actor Vin Diesel.  Researchers focused on Fast & Furious 7, a smash which took $1.5billion at the cinema. The Dodge was on screen for a lengthy 17min and 38 seconds, or 12.6% of the movie’s total run time, which meant the car alone ‘earned’ an impressive $189,000,000.

 

Harry Potter is the biggest movie franchise of all time with global box office takings of $8.5billion. The most famous car in the Harry Potter movies is the flying Ford Anglia which plays a key plot role in Harry Potter and the Chamber of Secrets, which took an impressive $879m at the cinema.  The flying Ford Anglia was on screen for 8mins 55 seconds, or 5.1% of the movie, which was the second instalment of JK Rowling’s Potter series. Researchers calculated the car’s appearance was worth $44,829,000 dollars – 5.1% of the box office takings.

 

Star Wars, the second highest growing movie franchise of all time with takings of $7.5billion, is better known for spaceships than land vehicles but Luke Skywalker’s Landspeeder from original movie A New Hope was included in the research. Luke’s main ride on his home planet Tatooine, the Landspeeder is on screen for a total of 4mins and 17 seconds or 3.4% of the movie, making it responsible for $26,363,600 of the film’s total box office figure of $775.4m.

 

James Bond’s Aston Martin DB5 is another contender for the most iconic movie car of all time but it is far behind the Jurassic Jeep and the Fast & Furious Dodge in terms of movie earnings. The Bond franchise has certainly done the business at cinemas with global box office of $7.07 making it the third highest grossing movie franchise behind Harry Potter and Star Wars. Researchers from motoring experts LeaseCar.uk focused on the car’s appearance in Skyfall – a stand-alone billion-dollar movie with takings of $1.1billion. The car shared the screen with Daniel Craig for 4mins 50 seconds or 3.4% of the movie run time, meaning it ‘earned’ $37,400,000 of the takings.

 

Another favourite movie car, the time travelling Delorean from the Back to the Future movies, managed to clinch third place on the list of highest grossing cars.  Researchers found that while the entire franchise took $1billion in total, the car really was the star with significant screen time – just under 15% across all three instalments – to earn a box office total of $148,393,000.

 

Other cars included in the billion-dollar club included the 1912 Renault Type CB Coupe de Ville from the movie Titanic. Despite not being part of a franchise the movie alone took a whopping $2.1billion at the box office. The car was on screen for 2mins 30 seconds, or 1.3% of the run time, earning a still impressive £27,300,000.  The Transformers movies have earned $4.3billion in total. The Age of Extinction instalment made $1.1billion alone. Researchers focused on ‘Bumblebee’ a Chevrolet Camaro, which was on screen for 10mins and 5 seconds or 6.1% of the film, meaning it was responsible for $67,100,000 of the take.   The Batman movies have taken a total of $4.6billion with Batman vs Superman taking $872m. The iconic Batmobile was on screen for 2.8% of the movie giving its appearance a value of $24,416,000.

 

A spokesman for motoring experts LeaseCar.uk, who completed the study, said: “Cars have played an important part in Hollywood since the days of silent movies. Some vehicles have become almost as famous as the characters and the actors who drive them.

 

“Everyone associates James Bond and Daniel Craig with the Aston Martin and you can’t think about Michael J Fox or Marty McFly without thinking about the Delorean.”  said LeaseCar “Other movies have put cars at the centre of the action and the Fast and the Furious franchise has become popular with petrolheads around the world.

 

“For our study though we wanted to find out once and for all which cars were the biggest stars of all time when it comes to Hollywood blockbusters. We decided to focus both on box office takings and on screen time and crunched the numbers to reach a definitive list. The results might surprise some people. Few would have predicted the Jeep from Jurassic Park was the biggest car movie star of all time but the numbers tell their own story. If there was an Oscar for Highest Grossing Car the Jurassic Jeep would win it hands down. Best Supporting Car would go to the Dodge from Fast and Furious. ”

They continue “Our personal favourite is the Delorean from Back to the Future but you have to add all three movies up to qualify for the Billion Dollar Movie Car Club. Maybe the time travelling car could get an Oscar in Lifetime Achievement category?”

 

Blog: Jeff Imada – Stunt Legend (Interview)

Blog: Jeff Imada – Stunt Legend (Interview)

All Things Film Blog The Blogs

Question for you…. what do TANGO & CASH, IN HER SHOES & TREMORS all have in common? Well apart from the fact they all feature in my DVD collection (Let me assure you ‘In Her Shoes’ is more down to my fiancé than me!) they also, and more relevantly, feature stunts or fight coordination by Jeff Imada. And whilst Imada may not be a name you instantly recognise, you have certainly seen his work.

Let me quantify that statement. A friend of mine in the States was recently sat watching TV. Uninspired by the latest reality TV show he starts channel hopping. First channel he switches onto – ‘Big Trouble In Little China’, featuring a quick appearance of stunt man, actor and fight coordinator Jeff Imada. Turns over the channel to a Master Card advert which happens to once again feature Jeff Imada. Turns over again Heroes. There he is again – Jeff Imada. Another channel. 24. Jeff Imada. And that was just one advert break. But then again when your resume includes over 150 films and TV shows chances are most days at least something that Imada worked on will be screening.

Jeff Imada was born and raised in Inglewood, California, USA, where he began studying martial arts at the age of fifteen. While in college studying medicine, he started working as a movie “extra” which lead him through to stunt work and eventually some years later fight and stunt coordination. Today Imada is a member of highly regarded US stunt team Stunts Unlimited and one of the most respected men in the industry.

In the past 25 years alone he has worked along side directors as John Carpenter, David Fincher, The Coen Brothers and Tony Scott and choreographed, worked with or appeared alongside Mel Gibson, Brad Pitt, Matt Damon, Brandon Lee, Nicolas Cage, Steven Seagal Clint Eastwood, Stallone, Eddie Murphy… the list goes on. And on.

Impact: When was the defining moment where you diced you wanted to do this for a living… when DO you say I want to throw myself off high buildings for a living?

Imada: Ever since I tripped off that building as a kid… (laughs) I‘ve always loved athletic, things that involved movement, being physical. I started my life studying medical, science and heading into a career in that field through high school and college. But when I was in college and getting closer to graduating a friend off mine sort of got me involved in the movie industry one summer. I got to watch a lot of the stunt guys doing their thing and I though it looked pretty cool to do. I had an interest in the acting which steamed from back to junior and high school doing the stage aspects and on top of that my father and grandfather were photographers so without knowing it I was kind of influenced from the start to get involved in the industry.

Impact: Did you have any specific inspirations growing up?

Imada: Bruce Lee Obviously. But also I grew up with John Wayne movies and in another respect Fred Astaire & Gene Kelly because it’s all movement, movement in a very accomplished manor. I really enjoyed watching those films. A lot of the old Hong Kong movies as well – the Samurai films, Yojimbo, Seventh Samurai were all an influence to me. All of these different films and different styles have been synthesised into bringing out what you see on in my work on the big screen today. I wanted to dig a bit further into Imada’s background. After all he didn’t start his career looking towards movies. After all whilst at t El Camino College and UCLA, he majored in pre-med and minored in music. Neither of which says stunt man or fight coordinator.

Impact: How does your background inform your work?
Imada: I have a music background and so I incorporate music, rhythms & timing in what I do. It’s all utilised for my action pieces. Keeping true with the characters and making sure whatever they do as the character is key. I need to know that I’m not creating something that won’t take the audience out of the experience. Its really important… Any type of action that the characters are doing is, to me, is another way of doing dialogue. So if you want to stray true to the characters, goes hand in hand with verbal dialogue.

Imada nails in for sure. After all how many times have we laughed at Steven Seagal who, with his very grounded fighting style, occasionally ends up jumping off walls and performing kicks men half his age would struggle with. Imada continues…


Imada: There was actually a project with Steven that I was called me about. But this time they wanted Steven to do some wire work. Knowing Steven I asked them ‘Does Steven know that?’.” Imada laughs remembering back to the conversation, “Talking to them some more I wanted to know in what manor the wire work was going to be used. Was it to enhance something or is it to deify gravity because I don’t know if the audience is going to accept that otherwise! And on top of that I don’t even know if Steven WANTED to do that. I understand that the studio thinks it’s cool to do all of that stuff because it’s the trend and all but certain people are known for certain ways of fighting so to take it into a different context when it’s not a fantasy type film… you have to watch that line of believability!

Impact: What’s you take on the advent of Wire Work in US and mainstream films?
Imada: Don’t get me wrong I can appreciate the Matrix style wire work and special effects but in the right place. For a while the audience was burnt out with this technique– movies, TV it was everywhere… It’s funny but before Matrix I was trying to convince people to do use wire work in scenes and they’d look at me and say “Wires? What? What are you talking about…”. After The Matrix comes out everyone’s asking me” Can you do any of that wire stuff!” There’s an interesting story I was told from Woo Ping from the filming of the movie Sand Pebbles. Loren Janes (legendary stunt and action performer) went to over to Asia to work on the film and, according to Woo Ping, it was HIM that introduced wire stuff and the mini trampoline to them!!! Before Sand Pebbles the Chinese never did that. He showed them a little wire set up with piano wire and also mini tramps… so it’s interesting that all the Hong Kong acrobatics and wire stuff came from him, from that movie. It was the first time they ever did it. He took that to the Hong Kong, which in turn created an industry and only now has come back full circle…

On the subject of Seagal, it wasn’t long before we ended up off topic again as I recalled a conversation with Cage Rage and Pride Fight Commentator Stephen Quadros who once told me a great story about Seagal and how, on meeting people for the first time, has a special trick where he likes to sneakily kick you in the groin. Knowing that Imada and Segal have a history together I just had to pose the question on the validity of the story. 
Imada: Yeah that’s kind of true (Imada shares a sly laugh before continuing) Stevens a funny character… I’ve known him a long time and he’s pretty funny that way. When guys work with him for the first time I tell them when ever your meeting Steven as a stunt guy you need to work out. They always look at me as if to say “Really?” and I just say work out, trust me on this because maybe he’s horsing around but if you put your guard down he’ll nail you and when he does you’ll know it!

Impact: Obviously you seem to have an excellent relationship with John Carpenter, you’ve worked on a quiet a few of his films, what is it about him that keeps you coming back for more?
Imada: He keeps asking me back! Which is nice… I appreciate that! John’s a great guy and I’ve been very fortunate to work with him. I’m a fan as well… in college I remember watching previews of The Thing thinking wow that looks like a cool film. I thought I’d love to meet him one day… so years later meeting John, working with him on Big Trouble In Little China and to play a part in the film was awesome.

Like Imada I have always been a massive fan of Carpenter. Big Trouble In Little China is one of my favourite Carpenter fans. That and They Live. In fact the fight between Keith David and Roddy Piper in They Live is, for me, by far one of the greatest Man-o on Man-o fights I have ever seen. Just so happens that the man who choreographed this was sat right in front of me.

Impact: You choreographed the infamous fight in They Live, which for sure is my favourite fight scene of all time…
Imada: I love that fight. You know that the version you see now has at least another 50 seconds cut from it. At least. Roddy and Keith did a great job. I been fortunate that since Big Trouble John has asked me to coordinate ever one of his project’s but to be involved in They Live was especially great because he called me up and said “Hey Young Man, I’ve got a script for you”, (Laughing) John always calls me young man even though we’re not THAT far apart. He started talking about the old John Wayne films with the big long fights, he wanted to recreate that with two big guys going toe to toe… So I take a look at the script and there was something about the glasses being thrown down and then the page says “The Fight begins”. I turn the page it says “The Fight Continues”. I flip the page again “The Fight Still Continues”. After a few pages it says “The Fight concludes”! John looked at me and says “You know what to do so cerate it for me!” and that was it. “Show me what you got”.

Impact: Did Carpenter want anything specific in the scene?

Imada: He only asked me to include three things, three wrestling moves. A suplex, a closeline and a side walk slam. Other than that I had free reign. So it was a great opportunity to create an amazing scene where two big guys fight for six minutes straight. John allowed me to add the character moments, moments about the glasses, their friendship… to create the whole scene.

Impact: What was Carpenter’s reaction when he saw what you put together?
Imada: John liked what I did, the highs and the lows of the character, the extra dialogue I threw in, the character moments so it made it more believable so at the end when Keith finally puts on the glasses you really buy it.

Impact: How long did you have to film the fight?
Imada: Not long. Two, two and half days. We had blocked it out and rehearsed it at John’s house in his backyard! The actors did everything themselves. With Roddy we had to tone him down a little because he’s used to doing fights BIG for a live audience so we had to bring him in a bit so it wasn’t so unbelievable. We shot the fight in a parking lot. But the whole place was padded. Which people don’t realise. So if the actors fell down or into something they had a soft landing that wasn’t on concrete. Just made to look like it! It was very subtle so no one has ever picked up on it!

Impact: So was ‘They Live’ the first time a director had turned around to you and said “Here’s five minutes of screen time… fill it”?
Imada: Yeah mostly. Possibly this happened a little more when I was doing TV work but it’s a very different time wise. For me They Live was great because, at the end of the day, I create violence for a living. I often kid the guys saying “ all we do is make violence for a living” We not there to help were always there to hurt! I never get called to chorograph a romantic love scene!

Another interesting fact about Jeff Imada is that he, along with such industry luminaries such as Vic Armstrong, Glenn Wilder and David Ellis, serves on the Blue Ribbon committee for the ‘stunt OSCARS’ The Taurus Awards. The Taurus Awards were set as primarily to honour the movie industry’s unsung heroes – the world’s best stunt professionals. Something the OSCAR’S so far have failed to do.

Impact: What are your thoughts on the academies failure to recognise stunt and action performers?

Imada: It’s interesting when you look at the awards. They acknowledge every other department – hair, make up, CGI, technology advancements, shorts but they don’t acknowledge the stunt people, stunt coordinators or the action people and yet it’s an integral part of a lot of these movies. It’s been brought up with the head of the academy and it’s been passed to me , second hand so I’m not sure if it’s absolutely true or not but its been told to me that in conversation the guy said “you guys are not and will not ever be considered for the academy awards”. But everyone else is acknowledged so why not us?

Impact: Was this something you have tried to rectify with your involvement with the Taurus awards?
Imada: Its important to acknowledge people for their accomplishments but the concern is you also don’t want people to take undue risks to get that accomplishment or award. To do it to a high level is great and to be acknowledged for that even better. A second unit director is given a whole unit to shoot and direct, we are involved with the actors… creating scenes that fit in with the characters, hand in hand with telling the story in a physical manor. Your creating something ever time your on set. With the actors. The camera angles. Now it has been said to me that there is an argument to say that we are just management, that we don’t do anything thing creative so why should you be acknowledged. Well if that’s the case why do these same guys ask us how to do this or that or ask us what we should do here or what the character would do or how they would react?

Impact: Do you think this will change?

Imada: I do. In the past we were the silent minority, hired to make the actors look good. Very much in the background/ They didn’t want to acknowledge it was us, the stunt men, because they could say it was all them and the actor would look better because of it but the transition is happening now and the actors are starting to acknowledge the stunt people more, our impact, importance and how we enhance what they do.
Imada has seen the industry change dramatically from when he started back in the early eighties. From the heights and boom of the cheaply made Cannon films of the 80’s through to wire heavy work of the The Matrix and the advent and proliferation of CGI. Most recently the industry has gone full circle, turning back to the more realistic hardcore action of 80’s Hong Kong.

Impact: Ong Bak has taken the action industry in a dramatically different direction., making things more real again. What’s your take on this most recent evolution?
Imada: 
When that film first came I remember watching it think “wow, that’s refreshing!”. Its back to reality based physicality of movement which is what inspired me in the first place… that combination between Bruce Lee and Jackie Chan. Jaa has an intensity, an acrobatic ability and not having wires involved makes you really appreciate us as a human species and what we can accomplish. It’s just awesome! I met Tony, he’s a really nice, humble guy…

 

And with that my time was very much up. Jeff Imada turned out to be truly one of the easiest and most enjoyable people I have ever interviewed. With a wealth of knowledge gained from his experiences both in front and behind the camera, his twenty plus years working in the industry and over 150 credits to his name I could have spent a whole day with him and still not scratch the surface of his illustrious career. What start started as a press interview, quickly turned into a conversation about films not unlike those I would have with friends I have known for years… although I guess the real difference being that none of them have worked on ‘They Live’!

For more on the Taurus Awards check out www.taurusworldstuntawards.com

Interview by: Phil Hobden

Originally published in Impact Magazine 

Ross And Phil Talk Movies – New Logo/Feed Issues.  (Updated – 12th July)

Ross And Phil Talk Movies – New Logo/Feed Issues. (Updated – 12th July)

All Things Film Blog The Blogs

Check out our new logo!  Yup Ross And Phil Talk Movies has been updated with a brand new logo.  We’ve also updated our feed and whilst it’s showing on SOME Pod-catchers on others it’s not.  So stick with us whilst we get the small tech issues fixed.

We ARE showing on Apple/iTunes/Apple Podcast App so that’s a start and of course you can listen direct on the website.  We expect this all to be sorted in the next few days!

NORMAL SERVICE IS RESUMED ON ALL Platforms! 

Any issues email: podcast@philhobden.co.uk

 

—- Current Status —-

Working: Apple Podcasts, Stitcher, TuneIn, PocketCasts, Overcast, RSS, Spreaker, PlayerFM, RadioPublic
Not Listed: Spotify, Google Podcast/Google Play

 

New Feed: http://podcastkeeper.com/cdn/feeds/8718783395700773.xml

The Massive Movie Calendar 2018

The Massive Movie Calendar 2018

All Things Film Blog The Blogs

With movie streaming becoming such a ubiquitous form of entertainment and 80% of the UK population watching a movie at home at least once a month or more, we might feel stuck for inspiration when it comes to choosing the perfect movie.

To help movie fans everywhere, Carphone Warehouse has created the Massive Movie Calendar, an interactive tool which provides a film suggestion for every day of the year.

With each movie suggestion linked in some way to a particular day of the year, the calendar offers inspiration with a selection of 365 handpicked movies including action-thrillers, romantic dramas, classics, breakthrough global cinema, sci-fi and more.

Check out the link Here:  The Massive Movie Calendar

Sicario: Day of the Soldado (2018) – Review Round Up

Sicario: Day of the Soldado (2018) – Review Round Up

All Things Film Blog The Blogs

Want to know what the critics think of the latest hot releases but don’t want to have to search for them?  Well look no further as we round up the reviews from 5 of the most influential sources for the latest BIG RELEASE movie.  This time out: Sicario: Day of the Soldado

 


“Sicario: Day of the Soldado is a dark, gritty, and well-acted action drama … that already feels dated.”- 7.2

 

“Digs in its dramatic claws from the outset and keeps the tension high and dramatic twists coming in ways that should spark a solid commercial life. ” 

 

 

“Thrillingly paced, ravishingly shot and eerily topical, Sicario 2 retains much of its predecessor’s dark charm despite its shuffled creative personnel. ” – 4/5

 

 

“Tense, tough, and shockingly ruthless at times… ”

 


“Sicario 2 isn’t a subtle movie, but it’s certainly an absorbing one. ” -4/5

 

 

Overall Critics Say

 

 

 

 

 

Full credit to original sources.  Links to websites provided.

 

Click here for related links

Phil’s Best & Worst of 2018.. So Far! 3rd Edition (22nd June 2018)

Phil’s Best & Worst of 2018.. So Far! 3rd Edition (22nd June 2018)

All Things Film Blog Other Cr*p Year In Review

So this is my semi-regularly updated of the BEST and WORST of 2018’s movies, as well as the best films I missed from last year and the Phil’s Quick Capsule Review Sharknado Award.

All in my very humble opinion…

 

BEST Films Of 2018… So Far:

  1. Coco
  2. I, Tonya
  3. Lady Bird
  4. Mollys Game
  5. Avengers: Infinity War

 

Honourable Mentions:  Game Night, Three Billboards Outside Ebbing, Missouri, The Post, Black Panther, Ready Player One, 12 Strong, Deadpool 2, Solo: A Star Wars Story, Andre The Giant

 

WORST Films Of 2018… So Far

  1. The Cloverfield Paradox
  2. Deep Rising 2
  3. The Commuter
  4. Day Of The Dead : Bloodline
  5. Annihilation

Dis-Honourable Mentions:  Renegades, Peter Rabbit, Death Wish, Hellraiser: Judgement, Godzilla: Planet Of The Monsters Part 1, Jurassic World: Fallen Kingdom, Tremors: A Cold Day In Hell, All The Money In The World

 

 

The 2017 Sharknado Award for Films So Good (!) They Cant Be Rated:  

TBC

 


The 2018 Films I just couldn’t Finish…

TBC

Great Films Of 2017 That I saw In 2018:

The Disaster Artist, The Babysitter, Mayhem, Icarus, The Greatest Showman, The Big Sick

 

 

Incredibles 2 (2018)- Review Round Up

Incredibles 2 (2018)- Review Round Up

All Things Film Blog The Blogs

Want to know what the critics think of the latest hot releases but don’t want to have to search for them?  Well look no further as we round up the reviews from 5 of the most influential sources for the latest BIG RELEASE movie.  This time out: Incredibles 2

 


“Brad Bird’s strong script and direction elevates Incredibles 2 to new heights.”- 9.2

 

 

“…there’s plenty of crackling entertainment value here for viewers from 5 to 95. ” 

 

 

 

“Brad Bird’s sequel to his superhero-family Pixar classic doesn’t build on the first film so much as dutifully replay it. It’s fun, but far from incredible.”

 


” Incredibles 2 is stuffed to the seams with gorgeous animation, often bursting out of the frame in its nostalgia for the heyday of Hanna-Barbera cartoons and general ‘60s pop art. ” -4/5

 

 

Overall Critics Say

 

 

 

 

 

Full credit to original sources.  Links to websites provided.

 

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