The Oxford History of the Novel in English: Volume 1: Prose Fiction in English from the Origins of Print to 1750
Book
The Oxford History of the Novel in English is a 12-volume series presenting a comprehensive, global,...
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Guy Garvey recommended Catalpa by Jolie Holland in Music (curated)
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Gareth von Kallenbach (971 KP) rated Free Fire (2017) in Movies
Jul 11, 2019
It may say Scorsese’s producing, but Free Fire definitely smacks more of a Tarantino-influenced affair and I can think of no better example, in recent years anyway, that proves the lasting legacy of his still awe-inspiring debut, Reservoir Dogs. After years of making deliberately obtuse films (High Rise, A Field in England), Ben Wheatley has finally made something accessible, but unfortunately, Free Fire can’t pack the same visceral punch and narrative competence as the films that it takes influence from. I’m having flashbacks to about this time last year when I reviewed another film from A24, Green Room. I walked out of Free Fire in much the same manner; on a high, feeling satisfied from what appeared to be something unique and notable. As the hours have passed and I’m preparing my summation, the sentiment has all but vanished and I’m wanting of something with a little more substance. Granted, an 90 minute runtime can only accommodate so much, but I have to ask: could all that time spent crawling around in the dust and the rubble, as realistic a light that it may or may not shine on the authenticity of an actual shootout, have been used instead to get inside our characters motivations, driving us to really care about their fates? There’s no doubt that from its style and attitude, there was the potential for this to be the Reservoir Dogs for a new generation, but ultimately it’s just not a very memorable experience.
What will save Free Fire from obscurity is a cast that, despite having little plot to work with, is firing on all cylinders. An exemplary job is done from Oscar winners on down to character actors whose faces you know, but names you don’t. There isn’t one weak link in the chain and their performances have an excellent balance of toughness and levity that grounds them just enough to allow for suspension of disbelief. I might chastise Ben Wheatley as a storyteller, but there’s no doubt that he has an ear for great dialogue and fine judgement on the performers to deliver it.
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The Abyssal Plain: The R'lyeh Cycle
Book
With The Abyssal Plain, Holloway and Talley have managed to transform the Cthulhu Mythos into...
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Julia and Jacques Cooking at Home
Book
In Julia and Jacques Cooking at Home, two legendary cooks invite us into their kitchen and show us...
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Coalitions
Tabletop Game
Coalitions is based on the series of conflicts known as the Revolutionary and Napoleonic Wars....
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IRB Rugby Sevens Series
Sports and Travel
App
'IRB RUGBY SEVENS SERIES' Mobile App targets Rugby fans all over World who love the gentlemen game,...
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Power Cricket T20 - 2016
Games and Sports
App
Its time to warm up for the T20 World Series! Play against the best cricket teams from across the...
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Magic Is Dead: My Journey into the World's Most Secretive Society of Magicians
Book
In the vein of Neil Strauss’ The Game and Joshua Foer’s Moonwalking with Einstein comes the...
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LeftSideCut (3778 KP) rated Last Night in Soho (2021) in Movies
Dec 1, 2021
I enjoy Anya Taylor-Joy in pretty much anything she's in, and the same applies here, stealing most of the scenes that she's in. Thomasin McKenzie is an infectiously likable protagonist, whether she's battling seedy-men ghosts, or the struggles of going to University in England (the scene near the beginning where she's stuck at a dorm party is a literal nightmare put straight onto the screen if you ask me). She's fantastic here as she was in Jojo Rabbit.
It boasts a strong supporting cast as well. Matt Smith plays a convincing shit-bag, and is quite clearly having a ball shouting in a cockney accent. It's always a pleasure to see Terence Stamp, and of course, Diana Rigg was one of the best in the game, and her performance here in her final role is testament to that.
LNIS is dripping with style, which is to be expected from Edgar Wright, but it's more subtle than a lot of his other works, substituting clever edits, cuts, and comedy for a film that's visual crack with a more serious tone. The vibrancy of its colour pallettes, both in the modern and 60s settings are as important as any character. Every frame feels like it's been lovingly poured over and is cinematic in every sense of the word. It also boasts a stellar soundtrack. I didn't realise how much I fucking love a bit of Cilla Black but here we are.
The only minor gripes I have is that it does drag ever so slightly during the final third. At one point it feels like a natural resolve is near, but then the narrative continues for a while longer before the twists and turns land. It also goes a little slasher-y at one point, which isn't necessarily an issue, but it feels a bit alien to the rest of the vibe (still manages to be a visually striking moment though!)
Overall though, Last Night in Soho is an incredibly engaging and enjoyable thriller, and is a proud addition to both Wright's filmography, and the modern resurgence of top quality horror.