In an ugly, grey and corrupted world, Wonder Woman impresses Owen Hughes to be one of the best comic book movies we’re likely to get this year. Read his full review below.
“Y’all jokers must be crazy.”
February. Awards month. This second diary entry starts with a list of Oscar nominated films I would love to get through before the awards ceremony on the last Sunday of the month. Try as I might, I don’t have the time nor energy to travel up and down the country to obscure little picturehouses to watch three hour French films about the government’s war on Brussels sprouts (I don’t know what any of these films are about. Call that an educated guess) so that pipe dream was never going to be doable.
Maybe that’s a tick list for next year. One challenge at a time. Maybe next year will be the year I watch every single nominated film. For now, it’s all about these 365 films I have to watch. So…
The first week felt pretty busy when it came to films. More blind luck than organisation, the month started by knocking another film of the blu-ray pile of shame; The Martian‘s extended cut burned through our evening on day one. I honestly forgot how good that film was.
The three year old’s journey through the MCU continued with Iron Man 2 on the same night we bought foreign film Oscar nom A Man Called Ove. The Saturday of the Failed Critics Pubcast gave me train time for a first watch of 1984’s Bad Taste and a repeat visit to Luc Besson’s Lucy. A family trip for the excellent Lego Batman Movie, followed by the pretty rubbish Gold was how that Sunday started. Rounded it off with the traditional yearly watch of Any Given Sunday.
Early February ended a bit of a mixed bag. The hopefully final but surprisingly fun Resident Evil movie was certainly better than the first Schumacher Batman that I somehow ended up watching. But with the last films of the week being the great Hidden Figures and the sublime Gone Baby Gone, things were looking up.
In my misguided attempt to watch all the Oscar nominated films, I forced myself through a couple of horrendous films to start week two. Michael Bay’s Stars and Stripes masturbatory fantasy that is 13 Hours may be one of the worst things I’ve ever seen. Followed by the promising, but overall sleep inducing Passengers felt like the worst way to continue this challenge. Luckily, the newly released “Definitive Directors Cut” of Heat was enough to cleanse the palette.
The next few days was a mix of first watches and old favourites. John Wick and Training Day filling the quota of films we’d seen before; while new films were covered by The Girl With All The Gifts and Fences. All superb choices, if I do say so myself. The bizarre documentary Beware the Slenderman was our Saturday night viewing this week. Four films on the Sunday filled in my numbers nicely, I finished off the weekend with the beautiful, boner inducing “Black and Chrome” cut of Mad Max: Fury Road.
Luckily, work was quiet as this week carried on. An empty office and a stack of paperwork meant iTunes films to pass the time. A couple of films at work, the original Jungle Book with the kid when I got home and I ended the week with an early contender for film of the year, John Wick: Chapter 2.
More films at work mean that by the time we are watching Leon that evening – another from the Pile of Shame – I’ve added three more to the list. Revisiting last year’s War on Everyone, along with an impromptu Paranorman watch and rewatching Antoine Fuqua’s Shooter meant my list had a diverse selection being added.
Excellent espionage thriller/comic book film Captain America: The Winter Soldier and The Founder clocked in at numbers 98 and 99 on my spreadsheet. Leaving space for something special for the next milestone. Film 100 was the first watch of this year, the seventeenth since the film came out almost a year ago to the day. Film 100 was the one, the only, Deadpool.
A couple of animated films, that included the surreal but fun A Cat in Paris brought up the rear for the most part this week. I also managed to get my sticky hands on a review screener for the latest film from one of my favourite directors to end this week. If you ever get the chance, you should definitely watch James Cullen Bressack’s Bethany.
The month begins to come to a close. The original cut of Mad Max: Fury Road kicks things off (yes, a different cut is a different film. My challenge, my rules). Peter Berg’s Patriots Day and Gore Verbinski’s A Cure For Wellness meant the week had an up and down middle section. You can hear me wax lyrical about both on the Oscar fallout podcast. This week also saw us dig into one of the worst films we have ever seen; Nude Nuns with Big Guns is just as award worthy as you think it is.
Loads of films with the kid this week, too. On request, we saw three, THREE, Teenage Mutant Ninja Turtles movies. The two recent ones and the original 1990 version. Creepy, rapey Michelangelo aside, they ain’t the worst movies in the world. And she loved them, that’s all that matters. It’s the same reason I sat through the Angry Birds Movie again! Luckily, she didn’t watch our final one of that weekend, we watched the dug in to The Greasy Strangler. Just… wow.
Finally, after weeks of joking around about how ridiculous it is that we could live in a world where Suicide Squad won an academy award, it actually happened. So a rewatch of the film I loved that everyone else despised; the Oscar winning Suicide Squad. Then, as I write this, I’m in my seat at the local IMAX waiting for the premiere of Logan to begin. And thanks to Fox’s brilliant marketing ploy to show it at 10.23pm, it still counts as a February film. And much like last month, the second I turn this in, it’s onto writing the review.
This is getting tiring. But at this point, I’ve done more than half of the number I totalled last year. That can’t be bad.
Two months in the bag. Only ten to go.
Films seen this month: 54
Current count, as of 28th of February: 114 of 365.
“These timelines are so confusing.”
2016 has been a real arse of a year, hasn’t it? With only a few days until this awful, awful year is behind us, I thought I would take a few words – OK, a lot of words – to share with you not only my challenge of the last twelve months, but my 365 day long journey towards failure.
I’ve been writing regularly for Failed Critics for more than a year now; closer to two, in fact. Between forcing Owen to constantly edit my pointless rants into something readable (sometimes two or three times a week) and being lucky enough to be invited to appear on the podcast every few weeks, I’m always watching something. But I got to the end of last year and thought that, considering what was becoming start a large part of my life, I wasn’t watching nearly enough. So I set myself simple enough challenge…
A film a day throughout 2016. That’s at least 365 unique films by the time we hit New Year’s Day 2017. They didn’t need to be brand new films, although of course some would have to be, but the list just needed to have 365 films on it.
Sadly, I failed. Miserably.
I started so well too. All those award season films we didn’t get until the new year and all those blu-rays I got for Christmas padded my numbers out nicely early on. With me making a real effort to watch everything in time for the Oscars podcasts in February, everything was looking peachy. The start of my year was looking great.
An early guest spot on fellow Failed Critic Tony Black’s Pick-a-Flick podcast in time for The Hateful Eight meant I banged through three Quentin Tarantino films in one night as preparation, not only filling in my spreadsheet super quick, but giving me the chance to have a night off. Similar super-fast binges followed for specials on South Korean cinema, Shane Black’s filmography and Batman Vs. Superman. It was all going so well.
Then, Deadpool happened.
Within our little echo chamber of people, there are a couple of things I’ve become a bit notorious for this year. The second of these was my explosion of hate and abuse that was my Absolutely Fabulous: The Movie review. A few hundred words of such utter contempt for a film that saw some of the worst things I’ve ever written put to paper for all to see. Everyone seemed to love it.
But the first was the fact that in its short theatrical run, I managed to see Deadpool ten times in the various cinemas local to me that, even with various Unlimited cards to my name, I still paid to see several times. It became the first movie this year that I pre-ordered on American iTunes to ensure I could watch it again as soon as possible, as well as buying a lovely looking steelbook blu-ray when it came out in the U.K.
As of right now, 2016 has seen me watch The Merc with the Mouth an insane sixteen times. But as great as that is, it had a pretty detrimental effect on my list of watched films. Filling out numbers with multiple viewings is great – more on that in a bit – but I wanted a unique film every day; and it was starting to look like it’d be a tough one to pull off now.
Months pass and, while I’m certain I’m going to fall short, I’m kept pretty busy. Between watching entire series’ within franchises before their latest instalments come out (*cough* The Purge: Election Year *cough*) and enjoying Suicide Squad enough to fit in multiple screenings, my numbers aren’t looking too bad. This might even be doable. Especially by the time August came around.
Baby’s first FrightFest!
I’m a long time horror fan. It’s usually my genre of choice and going to Fright Fest has been a dream of mine for years. This writing nonsense was the perfect (extra) excuse to spend a couple of hundred quid and get my arse to London. Sadly, work commitments (namely: hating my job), meant that my trip was kind of gimped and I could only manage three of the five days. But I saw some amazing stuff, including Rob Zombie’s latest gorefest, 31. It broke into my top ten instantly and is another film that I’ve paid to watch at least three times since I first saw it – including a trip to the hallowed grounds of the Prince Charles Cinema to see it on the big screen again.
Three days of non-stop horror added something like twenty films to my list in a short space of time. A welcome boost to my spreadsheet. The introduction of “Netflix of Horror” service Shudder to the UK certainly didn’t hurt either.
One of the reasons I set myself this challenge was because there was so much stuff taking up film watching time that I wanted to make space for more. But I also wanted to share it with the family. Obviously, my three year old can’t be watching Ringu, Suburra or Pet Sematary – all films that are on the list – but there’s a huge amount of children’s films that we can watch together. I could kill two birds with one stone; I can show Nikita a variety of films, avoiding the dross that is kid’s TV, and pad out my numbers during the day.
This backfired horribly. Instead of getting a ton of extra films on my list, I ended up watching thirteen films 83 times. EIGHTY THREE! This included sixteen views of Big Hero 6. We watched Zootropolis eight times, all of them at the cinema; and one ‘movies for juniors’ trip to see Kubo and the Two Strings, not at all influenced by the bollocking I took from Callum Petch for having not watched it yet. (Excellent little film, by the way). But, you know, she’s also squeezed in multiple watches of Jon Favreau’s The Jungle Book and the much hated Ghostbusters reboot, so I’m not going to complain too hard, even if the little git did ruin my numbers!
Of course it’s all well and good me blaming everyone else for me failing this ridiculous challenge. Once October rolled around, I had no one but myself to blame. It turned out that convincing Failed Critics head honcho Owen to give up his feed to me and my mate to chat bollocks about video games once a fortnight was the easy part to starting the Character Unlock podcast. Losing a night to record and a night (sometimes two) to editing eats away at your valuable film watching time. More than that, if you wanna talk about games, it helps if you’ve played them first! There goes more hours that could have been spent with my hands down my pants watching films. Damn, whatever was I thinking?
And that brings us to today. Where I’m sitting in the house on my own watching Scuzz TV and writing this instead of adding more films to my list. It’s no wonder I failed at this challenge this year. Hitting a little over half of the intended 365 unique films, I managed a measly 213. Once I tallied up the films I’d watched multiple times, whether it be with the little one or because I was weirdly obsessed with Ryan Reynolds’ spandex covered arse, my total is a slightly more respectable 344. Still not good enough, but I’m getting there.
So what does 2017 hold? Well, I’m looking to try the same challenge again once January kicks in, but I’ll be happy if I can beat this year’s numbers. I’ll be leaving Letterboxd aside and sticking to my Numbers spreadsheet and hoping for the best. With several long running franchises getting sequels this year, I’ll be binging through collections like Alien, Saw and The Fast and the Furious early on. I have every intention of hitting FrightFest stronger this year and getting to a few shows at the London Film Festival after having to skip it this year.
This time around though, I’m dragging you lot along with me. To try and force me to keep better track of what I’m doing, and hopefully to embarrass me enough to actually work at it, I’ll be putting together a monthly article covering the best and worst of what I’ve seen that month and hopefully start a bit of a running tally. I might not make it to 365, but I’m damn sure going to have fun trying. See you in January.
Wearing skimpy clothes and carrying a baseball bat with a miserable face carved into it with a compass, Steve “Har-leaky Quim” Norman is not about to let your perception of his sexual promiscuity define him as he wanders in to lead this week’s podcast, all about DC’s latest entry to their extended movie universe: it’s David Ayer’s rogues-done-good ensemble actioner, Suicide Squad.
Taking pot-shots at the film with his uber-cool Nerf missile launcher strapped to his bogey-covered sleeve, Andrew “Deadsnot” Brooker lends a slightly-crusty hand on this week’s episode. As does Owen “The Inch-and-less” Hughes, possessed by the spirit of a stroppy old misanthropic witch, but you probably can’t tell that there’s anything different about him compared with any previous podcast appearance in fairness.
Suicide Squad gets a once over from the ragtag bunch of misfits spoiler-free, before a post-credits review that delves more deeply into some of the finer points of the plot, should you wish to listen to us prattle on even longer.
We also preview Hunter Johnson’s upcoming indie-horror 2 Jennifer – the sequel to James Cullen Bressack’s 2013 indie thriller To Jennifer – shot entirely on an iPhone, as well as Steve’s rewatch of iconic American TV series Homeland, plus a first watch of this year’s folk-horror The Witch. The Asylum doesn’t escape criticism on the pod either after releasing yet another entry in the unbelievably popular franchise, Sharknado 4: The 4th Awakens.
“That is a whole lot of pretty. And a whole lot of crazy.”
As I write this, it’s 3am on Suicide Squad release day. I’m absolutely exhausted and I’m in desperate need of sleep. The problem is, I’m fresh back from the midnight screening of my most anticipated movie of 2016 and I’m all hyped up on the pure adrenaline rush that I just saw.
I promise, I’ll try to be as coherent as possible.
The Skwad‘s story is a dead simple one. Seven or eight criminals, all varying degrees of nasty-bastard or crazy-nutbag have been brought together by the powers that be to form Task Force X: a literal suicide squad that the government can throw in at the deep end with complete deniability if something goes wrong.
And wouldn’t you know it? Just as they’ve wrapped up the back stories, along comes a shifty looking supernatural thing that means to destroy humanity and rule the world. Fitted with explosive low-jacks and threatened with imminent death, the squad are airlifted into Midway City. Their mission: traverse the ruined streets to rescue and evacuate a high value target, and take out the apocalyptic threat in the heart of the city.
Adding to their woes is world-famous psychopath and world creepy laugh champion, The Joker (Jared Leto). Caring little for the squad’s mission, the crazed maniac just wants to be on the same side of the prison walls as his sweetheart and Task Force X member Harley Quinn (Margot Robbie). As such, he is inserting himself into the squad’s lives whether they want him their or not. It’s all fun and games if you’re a bad guy.
This is still early on in DC’s extended cinematic universe, but my biggest fear going in was that I’m not a comic book reader. I had the same issues when we started getting invested more in the MCU and I had no more than a passing acquaintance with some of these characters. It’s the same with DC. Outside of Batman, The Joker and the many and varied Batman villains from the films, the only knowledge I have of a lot of these characters comes from playing the Arkham video games and DC’s TV universe.
So when poor reviews (the only time I’ll mention those) poured in this week and director David Ayer – a real long-time favourite of mine – came out and gave the infuriating “I made it for the fans” quote, I was concerned that I was gonna be left out in the cold, not knowing what the hell was going on nor who anyone was.
Luckily, this wasn’t the case at all. In the opening minutes, we are introduced to the ragtag group of criminals in a way that you might expect from an Expendables movie or Borderlands video game. Each member of the team gets their own little over the top vignette to give us a look at who they are and why they’re here. And man, what an impressive cast we get.
A quick rundown I reckon, but you don’t need much more. Impressively, the film gives you everything you need and you came here for a review, not a bullet-pointed list.
Will Smith’s Deadshot is the most prominent character. The man that never misses is a killer-for-hire, but is easily manipulated into doing as he’s told by the powers that be; and man does that make Mr Smith mad! Margot Robbie’s Harley Quinn and Jared Leto’s Joker are the King and Queen of Gotham City. With one of the pair of psychos in prison and the other trying to free them from the government’s clutches, their story (and their chemistry) is, as expected, a highlight of the film.
Theirs isn’t the only exploited relationship here. Joel Kinnaman’s Rick Flag is a decorated special forces colonel who is dragged in as Task Force X’s on-the-ground leader. Whether or not he agrees with them, he always follows his orders. In no small part because of his relationship with Dr June Moone. Cara Delavingne plays the good doctor, whose body is inhabited by the eons old Enchantress; a character deserving of her own horror movie she’s so spooky. Jay Hernandez gets to sink his teeth into Diablo, a pyrokinetic former gang member haunted by the deaths that he’s caused. Adewale Akinnuoye-Agbaje’s reptilian Killer Croc is the muscle of the group. A sewer dwelling monster that seems almost unstoppable, Croc is a product of the way he’s been treated because of how he looks (absolutely NOT a political statement, I’m sure). Jai Courtney is almost unrecognisable as thief and killer Captain Boomerang; and Karen Fukuhara brings up the rear as Kitana, a deadly martial artist with a soul stealing sword and close friend of Rick Flag. Like I said, ragtag!
Running the show though, is Viola Davis’ Amanda Waller. A ruthless, heartless woman who can manipulate anyone to to what she wants. Compared to this vicious bitch, Task Force X are a Boy Scout troop.
This massive ensemble can lead to problems, especially for a film this early on in a universe that we are expected to invest in. Everyone has a backstory and only a small percentage of the cinema going audience are going to know it before the opening titles roll. It means you have to get me, a film lover but a comic book virgin, invested in your characters without sacrificing too much screen time or turning your film into a PowerPoint presentation. Thankfully, I think Ayer (who was also on writing duties for our anti-heroes) gets the balance just right. Mixing in an occasional flashback with a little dialogue-driven exposition during the lulls in action to make sure that by the time the credits roll, we are all caught up and more or less on an even footing with the comic book lovers that came with you to see the film.
That’s not to say the film doesn’t have problems. In fact, I’m almost – ALMOST – feeling a little forgiving of Batman Vs. Superman: Dawn of Justice after watching Suicide Squad. The film has many of the same problems as its predecessor and I’m starting to think that a large part of it is studio interference and not just director incompetence. I mean, Bats Vs. Supes definitely suffers from having a rubbish director and, in my humble and slightly David Ayer fanboy opinion, the Squad doesn’t have that issue. But the film has been edited down into a bit of a mess. It’s not unwatchable, not by any stretch of the imagination, but there are very obviously bits missing and evidence of chopping and changing that messes with the film’s pace a little.
Luckily, a competent writer and director has led the charge for this film and he’s clearly taken a hands on role in the editing of this film so it’s not been shredded to within an inch of its life like the previous entry in the franchise has.
While I thought he was probably the weakest character in the film, Leto’s Joker was interesting to watch. He bounced almost incoherently between quiet psychopath and feral monster. Both iterations are fun to watch but he gets woefully little screen time to build the character. That said, it’s not his film. It’s his introduction to this Extended Universe and I am looking forward to seeing his character grow.
On the other side of that coin though, Harley Quinn is portrayed brilliantly by Robbie. In a role that could be easily overplayed and annoying (or worse, over-sexualised and used simply as teenage masturbatory material) she’s been written so well and portrayed so brilliantly that every flash of that typical hyper-sexualisation, that would be simply gross in most instances, is owned by Quinn. It’s her doing it and she’s not just the daft doll she pretends to be. Every overtly sexual act is empowering for her – and I bloody love her for that!
Everyone stands out though. Every character is fun to watch. Smith’s Deadshot is pretty much just Will Smith; wise-cracking, smart-talking and always cool to watch. Delavingne’s Enchantress is creepy and scary. I would love to see DC break the mould and do a full on horror film prequel for the 6000 year old witch. The same goes for everyone. Captain Boomerang, Killer Croc, Rick Flag; the whole bunch are fun to watch. I would love to see more of Kitana, but that’s my love of watching great martial arts on screen talking. And a part of me that thinks she needed just a little bit more screen time.
I would kill for some more Diablo. Jay Hernandez blew me away as the gang leader that is trying desperately to live in peace, regretting every life he’s snuffed out with his gift. His quiet and reserved demeanour, juxtaposed with what happens when he lets himself fight with his new team is a beautiful thing to watch and I will queue up for every single film that DC want to put this man in. He’s amazing.
The film is such a tremendous amount of fun, you just can’t help but smile your way through. It’s certainly helped by having one of the most fun “various artists” soundtracks this year. The music compliments the film brilliantly.
Ok, there is one jarring section at the beginning of the film where, and I didn’t realise this was even a thing, but the film somehow smash-cuts the bloody soundtrack together giving us three very different tracks in just a few minutes, one after the other. Overall, though, a very good effort on the licensed music front.
I still think DC has a long way to go to be able to solidify this Extended Universe they are trying for. In the hands of lesser filmmakers these films could fail miserably. Batman Vs. Superman is testament to that.
Like I said, Suicide Squad shares many of the same problems, but competent filmmaking helps a lot. However, you know what helps it more? The film is fun. It’s non-stop, guilty pleasure style action. Roll on the blu-ray release, it’ll take pride of place on my shelf right next to Punisher: War Zone.
Unironic warning: there are some minor spoilers in this article for the following films: Jurassic World, Terminator Genisys, X-Men: Apocalypse.
Time to Quit Those Spoiler-Filled Trailers, Or: How studios are trying desperately to make it so that we don’t need to go to the movies anymore
Directors, producers, studios: we need to talk. I’ve had about enough of forcing myself to avoid your marketing because you are intent on spoiling the entire damn film, sometimes months before we’ve even been given the chance to see the bloody thing.
Over the last 18 months or so, I’ve lost count of the amount of times where I’ve gone into a movie knowing not just the plot and some of the best bits of dialogue, but I’ve actually known the mid-film twist, or the big action sequence that’s supposed to be a surprise. All sense of awe has selfishly been taken away from me.
I go to the cinema to be amazed, to escape the day-to-day shittiness of having to go to work and to give me an excuse to babble on about films. Whether that’s with my mates, or in one of those many reviews I’m allowed to keep writing here.
What I don’t go to the flicks to do, is to watch the gaps in between the plot points and spoilers that I’ve already seen in your bloody trailers and TV spots.
So, of course, from here on in there will be spoilers. Mostly of older films, but I will telegraph them all and hopefully give you the opportunity to skip those you want to.
There are definitely degrees of spoiled bits, I reckon. There’s that key moment in last year’s Jurassic World where Chris Pratt’s main character, Owen, has his little bad ass moment. Zipping through the jungle growth on a bike followed by a herd of dinosaurs; that should be this amazing, awe inspiring moment. But we all knew it was coming. It was in the damn ads.
From the first reveal, to the final trailer: we saw Owen “taming” these animals one second and running with them like Mowgli and the wolves the next. But this ain’t that bad…. OK, it is. But it’s one action scene in a two hour film full of them. It’s almost understandable that you’d need to show something to whet the audiences’ appetite. There are plenty of other scenes you could have used, but whatever.
It’s nothing – and I mean nothing – compared to the now infamous Terminator: Genisys trailers. An average-at-best film (on a good day) needed a good marketing campaign to get people excited for it. After Salvation, no one wanted this pointless half reboot, and a great trailer campaign would’ve got you some serious hype.
Instead, the imbeciles whose only job was to sell me the movie decided to put the film’s defining moment, its big twist, in the god damn trailer. And here’s where my biggest issue with these bloody trailers lies – I can’t avoid them! I was staring at a screen the size of the barn when someone revealed that John Connor was a poxy Terminator!
So many films have fallen foul of this egregious marketing bullshit. Recently, X-Men: Apocalypse had Quicksilver’s family tree and a super-clawed cameo thrown directly into the faces of film goers in its final trailer The latter of which was revealed in TV spots during the ad breaks for any show on after 6pm.
Imagine trying to avoid spoilers for your next big film, only for it to be ruined because you had the audacity to be watching Coronation Street!
Southpaw gave away a vital plot point/character death in its initial trailer. Star Trek Beyond not only gave away massive plot points in its final trailer, but ruined what should have been a head nodding “awwwwww SHIT!” moment from the first reveal trailer. One of those Twitter buddies I hold so dear even had a spoileriffic trailer for The Huntsman: Winter’s War played to him in the trailer segment just before the Snow White sequel was due to be played.
I know it’s not a new phenomenon, I do. I know that as long as trailers have been a thing, they’ve been spoiling what they’ve been advertising, but surely it’s time for something to be done. As I write this, I’m furious (and deeply thankful) that another Twitter acquaintance warned me off of the latest Suicide Squad trailer as it reveals a load of act three spoilers! What the fuck, Warner Brothers?
It’s time these idiots leaned how to market their films. Recently, 10 Cloverfield Lane managed to get the world flocking to see it, even after it looked like a sequel to a mediocre film that no one really asked for. Marketed perfectly, we all went in clear-headed with no idea what we were letting ourselves in for. And made an excellent film from it, too.
Or you can go the other way. You can pound us with never-ending ads, trailers and TV spots if you want. Why not? Deadpool did it. But its genius is in the fact that after trailer one, we got no new footage shown to us. A load of new stuff made especially for its campaign kept the jokes coming in at ten to the dozen, without killing the comedic payoff once the film actually came out.
Just take a look at what Adam Wingard did last week. He got us all super excited for his amazing looking, insanely creepy The Woods. Then went and revealed that it’s actually a Blair Witch sequel! He managed to grab a franchise many didn’t care for and as many had forgotten – myself included – and made me all kinds of excited for it. I guarantee that trailer has barely scratched the surface of what we see when the film hits!
Come on guys, you can do so much better. Some of the greatest, most memorable films that stuck with us came with stellar marketing campaigns too. There’s no need to explain the film’s plot, beat-by-beat. or reveal twists and show all the best bits in the 2-4 minutes you get to advertise your film.
Ask absolutely anyone. Blowing your load early like that is never pretty and people don’t come back for more.
Welcome to this week’s episode of the Failed Critics Podcast. You know how we sometimes swear a lot and are rather crass? Yet, occasionally, we have to add an extra warning that the levels of explicit language and vulgar comments exceed our usually-already-fairly-high volume..? Well, this is one of those weeks.
Just as he was last week, Paul Field is back on the podcast along with hosts Steve Norman and Owen Hughes, and was once again given license to take over the quiz. The theme he went for is very tangibly linked to the first-person extremely graphic violent action movie Hardcore Henry, our main review this week.
We also have two other new releases to review this week as Owen looks at Jeff Nichols’ latest offering, the foreboding sci-fi drama Midnight Special, whilst Paul reviews Danish-noir sequel The Absent One. Never heard of it? Fear not! Paul also reviews the previous film, Keeper of the Lost Causes, in ‘What We’ve Been Watching’, where Owen lavishes praise on the documentary Future Shock! The Story of 2000AD and Steve ponders the point of Pegg with Absolutely Anything.
Join us again next week for presumably less potty-mouthed frivolities as we review The Jungle Book.
Three clueless bellends gather for the latest Failed Critics Podcast with hosts Steve Norman and Owen Hughes joined by our long-suffering guest, Paul Field. So long suffering is he, in fact, that he’s hosting this week’s quiz and theming it on injuries, suffering and accidents in movies.
Quite fitting then that this week’s new releases take in: notorious YouTubers (we don’t know what that really means) causing grief in Natural Born Pranksters; bone-breaking British feel-good comedy Eddie the Eagle; pointless gruesome horror remake Martyrs; and the independent horror film putting Martyrs to shame, with Anguish.
There’s also time on this episode for the team to cover a re-watch of Batman v Superman: Dawn of Justice (where Owen gets all ranty about the poor level of criticism on offer for Zack Snyder’s blockbuster), British crime drama Orthodox and sci-fi classic Alien. We even cover the Suicide Squad reshoots and Wolf Creek TV spin-off in our news section.
Join us again next week as the same line-up tackle first-person action thriller Hardcore Henry.
Ding dong, merrily on high – Steve’s pants are wet and minging.
Don’t worry. He just got a bit over-excited on last week’s Star Wars podcast. But before Steve worked himself up into that state, you can listen to his usual mildly-subdued-self as he hosted our Christmas special podcast, recorded the week before he exploded in a fit of fan-geekery over The Force Awakens.
Joining him in our festive celebrations during this most unholy Winterval and non-religion-specific season are Owen Hughes, Andrew Brooker and Brian Plank. As is tradition, we start off with a Christmassy quiz – quite possibly the worst quiz we’ve had on the podcast all year. Possibly ever. But moods are soon lifted as the team run through which Christmas movies they’ve been watching over the holiday period.
In lieu of any main releases to talk about, we have a special triple bill where each member of the crew pick their films of Christmas past (favourite first watch of a non-2015 film during this year), Christmas present (favourite 2015 release) and Christmas future (which movie they’re most looking forward to in 2016). It really isn’t as confusing as I’ve made it sound.
There’s still one more podcast to go this year – our Failed Critics Awards end of year wrap up (deadline for votes is 27th Dec) – so you can join us again later this month. Until then, Merry Christmas from all of us here at Failed Critics!