Billy Lynn's Long Halftime Walk

I am pissed that we do not get to watch this as Ang Lee had intended it to be (120 fps, 3D 4K HD). You can see that this film was filmed in such a way that flat, 2D just do not do it justice. Nonetheless, this was a good film - just not a great film. It was more Lee's The Ice Storm meets Clint Eastwood's Letters from Iwo Jima  than Kathryn Bigelow's The Hurt Locker or Ridley Scott's Black Hawk Down.

Very strong supporting performances by Kristen Stewart and Garret Hedlund and a definite breakthrough role for newcomer Joe Alwyn.

Lee weaved a tight story, based off the script by Jean-Christophe Castelli, who in turn based it off the novel by Ben Fountain. A character driven study, rather than an action piece, the story required the main cast to really sell the emotional and satirical conflict of war and peace, army and civilian, family and comrades. Although Alwyn, Stewart and Hedlund managed to do exactly that, the rest of the cast and the script failed to hold them up. In particular, the ending really had to dumb it down to drill across its point which is insulting to its audience. Then again, this ain't really an indie. Is it?

Castelli focused too much on trying to make this film a satire that he actually missed what the novel was really about. Too many meta, in jokes (which not of it landed) on the film industry and not enough insight into the irony of war.

Lee and cinematographer John Toll obviously shot the film with the intention for the audience to experience the whole technology. Unfortunately, we could not. The POV shots made sense but I can also imagine it to veer towards distracting. Too much panning in the Iraq scenes was a distraction when watched at normal 24 fps frame-rate. And the actual war-scenes lacked viscerality, which may have worked with the POV moments if the audience was really immersed in the scene.

Another odd directorial choice by Lee, especially since you'd think that he would have some clout by now, was the purposeful avoidance of showing Beyonce Knowles, Michelle Williams and Kelly Rowland's face. It just became too distracting the longer he focused on the backs of the stand-ins.

Alwyn has a great introduction with this film. The boy has potential but as of now, still limited in range. It will be interesting to see his career trajectory. Will he go the way of Jack O'Connell or Sam Worthington?

Stewart continues on her path to differentiate herself from Bella Thorne, and she is doing a tremendous job thus far. Unfortunately, she was let down by the script although she did her best to elevate it beyond the obvious.

Hedlund was a revelation. Is this really the same guy from Tron: Legacy? Well done to him for making good career choices since then, and he was easily the highlight of the film. If his material was stronger, it would not be hard to actually make a case for him to get a Best Supporting Actor nod.

Vin Diesel was miscast. Steve Martin was miscast. Chris Tucker and Ben Platt filled their roles. Fellow newcomer Makenzie Leigh was unmemorable and lacked chemistry with Alwyn to convincingly sell her character.

This film had so much potential, and buzz, going in, but it failed to fully connect with the audience either intellectually, emotionally or viscerally. Maybe should just go read the book.

Death Note: Light Up The New World

Absolutely over-acted, over-written, over-directed and over-long (scrap the unnecessary prologue and the extended epilogue), this film was unnecessary and utterly tarnished the franchise. It took itself too seriously and the actors tried too hard to emulate the effortless charisma and quirkiness of the original actors. It also lacked the smarts and intelligent to be an effective thriller/whodunit that characterised the originals. There is a germ of potential sowed in its final sequence and the film should have just gone with that idea in the beginning.

君の名は。your name.

A typical Japanese seishun eiga anime that tugs efficiently at the heartstrings. With an atypical sci-fi premise, director Makoto Shinkai tried to be unconventional but ended up still being rather predictable and unsurprising, keeping in line with the genre

What worked was its portrayal of the main characters and the pacing of the story. The two leads were well-liked, albeit the scenarios that they were thrown into were cliched. In addition, the story established the premise quickly and set up the emotional baggage efficiently such that the audience gets involved fast.

Just accept that this is a YA anime and the logic that goes along with it, and it will be easy to escape into the story. The animation was gorgeous and really makes one want to go to the Japan.

Doctor Strange [IMAX/3D]

First up, Marvel Studios has got some fancy new credits...

Doctor Strange was a thoroughly enjoyable film and a distinct departure from the usual MCU fare with a lot more (effective) humour and minimal bombastic action. And as per usual, Marvel scored in its casting, not only of Benedict Cumberbatch but also Tilda Swinton, regardless of her character's supposed skin colour.

The biggest problem, as with almost all MCU films, is the villain. Another wasted actor in Mads Mikkelsen, although by the end of the film, you do sense that Marvel is trying to correct that. Nonetheless, the MCU is still failing when it comes to character development as compared to the Marvel/Netflix franchise.

You know, I will pay good money to see Cumberbatch and Mikkelsen act on the small screen over 10 - heck! even 5 or 6 episodes - together! Sherlock Holmes vs Hannibal Lecter. One can only dream.

Director Scott Derrickson did a great job in visualising the multi-dimensions, but unfortunately it was not entirely original. Inception did it 6 years ago. Derrickson just multiplied it by 10. And with all that motion going on, the action choreography was a mess. 3D definitely did not help things on that end.

Although the 3D was absolutely great to give the depth and feel of dimension(less) in certain moments, and that really helped to sell the premise. However, other than those scenes, 3D was not really useful.

Screenplay was by Derrickson and C. Robert Cargill, and they definitely got the tone of the humour and paranormality right. Although I do suspect the key to selling the humour this time round was the undeniable Britishness deadpan comedic delivery by Cumberbatch, Swinton, Benedict Wong and Chiwitel Ejiofor.

Unfortunately, what they did not get right was giving Mikkelsen a more solid motive. Or Ejiofor a more genuine emotional/character arc.

And that climatic end. Go watch Doctor Who's Series 9, Episode 11: Heaven Sent. That is how it should be done. Smart, emotional and with a wallop!

Cumberbatch brings a hint of mischievousness to his Doctor Strange, but he does sell the origin story from arrogant, but inwardly cowardly, neurosurgeon to saviour of lives, Master Doctor Strange (lol!). He is a different sort of Doctor Strange from the comics but Cumberbatch makes it his own.

Swinton was a coup for MCU. Without her, I cannot imagine Marvel selling the role of The Ancient One. Swinton really is a class of her own and she imbued The Ancient One with so much wisdom but yet strength, mystery, tenderness and yes, humour. Swinton and Cumberbatch had great chemistry together and it was palpable. The film changes when they both share the screen together.

Rachel McAdams was the standout and with recent breakout performances in Spotlight and Southpaw, and being the only saving grace of season 2 of True Detective, McAdams is on a roll. This film definitely showcased her comedic timing. She should consider that next and dip her toes back into rom-com for a bit. A good rom-com can also be Oscar potential.

Mikkelsen. Wasted under all that make-up. At least it was less than Christopher Eccleston.

Michael Giacchino scored the film and there were moments, especially in the first act, that you think Marvel has finally gotten it right (see: The Marvel Symphonic Universe if you don't know what I mean), but eventually it just fell back into its usual MSU.

Similarly, nothing exciting from cinematographer Ben Davis except for some great landscaping shots of Kathmandu.

IMAX was not really necessary.

Mid-credits scene makes me really excited for Thor: Ragnorak. Post-credits scene tells me I can wait for Doctor Strange 2.

Jack Reacher: Never Go Back

A thoroughly predictable but yet sufficiently entertaining enough Tom Cruise-type film as long as one accepts the plot holes and film logic. Cruise is his usual charismatic self although Reacher is a decidedly more stoic character than Ethan Hunt, Lens Grossman or Jerry Maguire.

Director Edward Zwick does a decent job in going through the beats but the film would have benefited from at least a 10 to 15 minutes trimming off its 118 minutes run time. And credit to the writers for at least trying to pass the Bechdel Test, but their attempts could have been a tad more organic to the story.

At least Colbie Smulders wasn't just a pretty eye candy and she had one good kick-ass moment. Also, Heroes Reborn alum Danika Yarosh was appealing enough and managed to elevate her character from being just another annoying teen.

Ultimately, this was an entertaining entry into another Cruise franchise but whether it gets a sequel or not is really inconsequential. Tom Cruise's action movies are usually entertaining.

Westworld

Pilot: One of the best praises I can give Westworld is that I WANT MORE! The whole concept of it isn't original...not least because it was based on Michael Crichton's 1973 film. This was Dollhouse (Joss Whedon's most under-rated, yet truly fantastic, show) meets Humans meets Black Mirror. It was beautifully shot, superbly acted (kudos to Evan Rachel Wood, Jeffrey Wright, Sidse Babett Knudsen, Anthony Hopkins and Ed Harris...the others like Thandie Newton and James Marden haven't really had a chance to shine yet), and very smartly written! By the end of the pilot, you kind of know what is happening but yet you don't really know...and you so want to know more! That mysterious tease is so rare these days in scripted drama. The biggest problem though is HBO senseless obsession with gratuitous nudity and violence. Although the latter did, admittedly, played a narrative function and hopefully - if I am right - a thematic one too. Just like Whedon's Dollhouse, sexual violence and exploitation served as a jumping board for deeper storytelling, but at least in Whedon's world, men were exploited too (remember Victor?). Nonetheless, bring on the next episode and hopefully we move on from the cheap, attention grabbing, ratings whoring tactics and stick with strong, smart and sexy writing! Oh, and music by Games of Thrones Ramin Djawadi is spot on and am loving the opening credits!

Miss Peregrine's Home for Peculiar Children

This film fits Tim Burton vast, creative imagination so well, with its scary creatures, paranormal happenings and Victorian-esque settings, Burton had created an imaginative gorgeous world that was filled with both wonder and fear. This was more akin to Burton's under-rated Big Fish than his seminal classics, e.g. Edward Scissorhands. Burton failed in delivering on the YA-aspect of the story and Asa Butterfield's and Ella Purnell's lack of chemistry did not help things. Although Eva Green was an excellent muse to play off of Burton's eccentricity and could very well be his next Johnny Depp or Helena Bonham Carter. Vanessa Ives would have been proud!

Jane Goldman wrote the script and it was quite evident that she was more familiar with writing about, rather than of or for, the weird and paranormal.  Beyond that, her grip on charactersation and translation of the YA bits to the screen. was at best rudimentary. Most of her dialogue was clunky and the film succeeds more at times when Burton and Academy Award-nominated cinematographer Bruno Delbonnel (from Burton's Big Eyes) were left alone to tell the story through the pictures.

Creature designs were effectively scary for the monsters and wondrously exciting for the peculiar children. Nothing groundbreaking here like in in Guillermo del Toro's Pan Labyrinth, but yet there was an odd sense of creepiness in the familiarity. And the blend of CGI, stop-motion and live action was impressive,

Eva Green chewed her scenes with great aplomb. She looked like she was having so much fun and she really sold the idea that she could really have been Miss Peregrine! After Penny Dreadful, I do think that she is one of the most under-rated actresses at work now.

Samuel L Jackson played the same role he always played when cast as the diabolical villain, see: Kingsman and Django Unchained. He could do it in his sleep. Effective but unexciting.

Asa Butterfield has grown up, but this wasn't the boy from Hugo anymore. He had so much potential, so hopefully he finds it back soon.

Judi Dench and Terence Stamp lent some gravitas to the film in their extended cameo roles. There could be a whole fan-fic film about their two characters! That's a thought...

Music was by Mike Higham and Matthew Margeson, and not frequent Burton collaborator Danny Elfman. And it showed. The music was fine but nobody really got Burton as well as Elfman through music, and the scored lacked the playfulness and eccentricity that so often marked their collaboration.

Miss Peregine's was a delightful film filmed with the curiosity of a child's eyes and imagination of the unknown. Time to go read the book....