Tag: review

  • Review: Super/Man: The Christopher Reeve Story ★★★★☆

    Review: Super/Man: The Christopher Reeve Story ★★★★☆

    I did not manage to see this film when it was released in the cinema. However, with a 11 hour flight to LA, I suddenly had a lot of time and opportunity on my hands.

    The tragedy and triumph of Christopher Reeve is well-established for anyone who lived during his time and has access to Google.

    I am a sceptical type when it comes to media forcing emotions upon me, and milking a situation for the sake of milking a tear. I’d much rather the story be told naturally, and for the emotions to naturally swell.

    However, the depth and details of this have been beautifully portrayed by the documentary makers who interviewed those closest to him.

    Other great techniques used by the documentary makers included the use of music and footage from Christopher Reeve’s films.

    Within the first three minutes, you know exactly what you’re going to watch.

    Mr. Reeve is depicted in an overall positive manner, but his flaws were explored as well. I found this was important, as with any story about humanity.

    As well as humanity, it is also a story about tragedy, loss and taking the resilience of a bad situation and turning it into a “superpower” as to generate change.

    The only reason I didn’t give this a five star was the pacing and timeline. The documentary was non-linear, built together with connecting threads if thematic elements, which moved from Reeve’s acting work, to his family, to his injury, and revisited each one in no obvious order.

    This is more a case of preference, but I would have liked the timeline to be directed by sequential order. Still, it works for the documentary in the sense that it doesn’t take away from it.

    The pace was good on a whole, although I would have liked there to be more time replacing some of the run time with an exploration into the legacy that Reeves left behind.

    The tragedy behind Christopher Reeve is a prevalent theme, but this is a natural by-product of the story, rather than its main emotional composition.

    I was very impressed, and felt there was a genuine element of tenderness involved. One that did not need to be milked beyond what seemed natural

    The story speaks for itself, and the documentary makers involved knew that I would likely cry without them trying.

  • Small Things Like These: understated acting saves vacant plot ★★★☆☆

    Small Things Like These: understated acting saves vacant plot ★★★☆☆

    Is Small Things Like These just another artsy-fartsy Cillian Murphy film? Well, mostly.

    The film focuses on Bill Furlong, a coal merchant who discovers dark secrets in the local convent. Pregnant women and girls are treated poorly by nuns in a sadistic environment of cruelty and carelessness. A quiet but sensitive soul, discovers this by accident. The film follows his actions thereafter.

    There is an overall oppressive atmosphere within the film, following themes of disconnected families, abuse and bullying.

    But fear not, for there is a happy ending. At 93 minutes long, there is a lot of unraveling that needs to take place before this ending is given.

    With an old film feel to it and its incredible performances, it is no surprise that this drama been given critical praise in film festivals.

    Regarding the visuals, the gritty soul of the film is shown through a soft lens. There is a genuine ache I feel when peeling back the layers of the actors performances, from the double takes of Bill’s wife and Bill’s gasps for relief, the acting is superior to most films being shown in the cinema today.

    Warm colours collide with cold moments, just as Bill Furlong’s (Cillian Murphy) sensitivity collides with the harsh world around him. His character is tragically human, fearing the cruelty of the world yet fearing the consequences of changing it.

    However, I am wary of falling into the artsy trap of calling this a masterpiece. Film critics sometimes fail to understand that unless you are a surveyor of the arts, you are not immediately interested in the deeper meaning or colour palette of a film.

    Thus, I will critique the film based on the face value. This is what matters to most movie-goers, after all.

    The storyline is made evident soon enough, although audiences who do not enjoy slow burns will certainly struggle to stay interested

    It does inspire thought, albeit through seemingly disjointed flashbacks and interactions throughout. Unfortunately, the disjointed nature of these occasionally boarders on incoherent.

    Thematically speaking, I feel Small Things Like These could have done better if condensed into a short film. However, the long-form storytelling is done with beautiful cinematography and incredible acting. It kept me interested, although I do wish more happened.

    The storyline was minimalist, which comes with its own disadvantages. The advantages are that audiences can focus more on the acting, visuals and subtle reveals of a character’s inner turmoil. But if you’re watching a film for the sake of watching a film, this might bore some.

    The ending is appreciated, and for a whole two minutes, I felt uplifted.

    Much like the coal Bill supplies, this is a slow burn that fails to warm the heart. Still, Small Things Like These is visually beautiful and a masterclass in understated acting.

  • Paddington in Peru: it was barely bearable ★★☆☆☆

    Paddington in Peru: it was barely bearable ★★☆☆☆

    This is the third instalment in the Paddington series, and often with third instalments (such as Venom), it’s more of the same with less of the punch. 

    I can imagine the filmmakers had many challenges to face. Since the success of the first two films, Paddington has gained a following, and I am among them. I went into the cinema with cautiously high hopes, and unfortunately these were not filled. 

    The reasons included the lack of a feel-good side quest. In the previous films, a refreshing variety of subplots were present, generally stemming from the overall goal by the characters. I would argue there wasn’t any of that in this film, as the missing aunt and the pursuit of El Dorado were indistinguishable plots. Additional shenanigans were far and few between. 

    I also found that things happened because they were supposed to. There was no organic cause and effect but rather a cause, then effect. If I were to describe the plot, I would be using the phrase “and then” often. When a film does this, it risks losing its sense of a natural narrative, which I felt happened in this film. 

    I would also use the phrase “and apparently” a lot too. Apparently the young Paddington had an ancient bracelet on him when Aunt Lucy saved him. And apparently that bracelet was one she wore all the time. And apparently that bracelet has a greater purpose… despite us never having seen it in the previous films. 

    So it goes, with most films part of a saga, there are additional plot points added and backdated. Marvel does it almost every time it makes up a new enemy (I’m looking at you, Venom). But it irks me. It’s not world building, it’s world reframing. And it virtually always feels forced. 

    Maybe I’m being pessimistic. Maybe Paddington’s overwhelmingly positive attitude and the nun’s surprise musical number failed to inspire excessive jubilation with me after a long week of work. Maybe I was just tired. But from my perspective, the humor was less “haha” and more “heh”. 

    With the previous films, Paddington’s clumsiness often paved the way for particularly funny moments. But if you’ve seen the trailer for the film, you have most likely seen all of those scenes before walking into the cinema. 

    One of the many things that the previous films did successfully was incorporate themes of homesickness and family in a surprisingly emotive way. This film took on a different theme by focussing on the concept of leaving the nest, and the idea that someone from another country has “mixed feelings” about their homeland when their current home is elsewhere. 

    This was a great idea, and I thought the film would go into it in more detail. I was wrong. Rather, it was the bow that tied the beginning and end together with Paddington’s letters to home. 

    Creatively speaking, this film felt more formulaic than previous ones. There were nice moments but missed opportunities to show more of the unique animation and special effects that were in the first films. 

    As for the “surprise” plot twists, they were not. It is hardly a spoiler to say you can’t have the talented Olivia Coleman as a mere secondary character. 

    Despite the crying toddler watching the film to my side (and boy, did she cry), Paddington in Peru isn’t very emotional. The moments of conflict were more moments of inconvenience. Still, it isn’t a bad film. Merely an average one. Box office money aside, there were good intentions behind it. Paddington is loveable, iconic and very very polite. 

    Overall, the film is an easy watch for the family. But do not make the same mistake I did. Lower your expectations, and possibly get some sleep before going to the cinema. 

  • Review: The Wild Robot ★★★★ 1/2

    Review: The Wild Robot ★★★★ 1/2

    The Wild Robot is a Family Adventure Animation produced by Dreamworks Animation and distributed by Universal Pictures.

    Clearly directed to a broad audience, the story has a variety of messages. From being an outsider to the effects of climate change, the trials of motherhood, the brutality of nature and the advantages of humanity, this film covers enough moral ground to be reasonably thought-provoking for the entire family.

    It explores these themes with a genuine simplicity that is subtle enough to avoid the trap of seeming preachy. One of my favourite family films is WALL-E, and I have heard plenty of comparisons being made – particularly with one scene in which Roz and her “son” has a moment of connection that inspires her memory to come back alive. However, WALL-E is quite heavy-handed with its message (skyscrapers of rubbish will do that). Meanwhile, The Wild Robot focuses less on the environmental issues caused by humanity and more on the humanity of the characters themselves.

    All character-led films have the potential to show their world through a lens you can easily sympathise with (take A Quiet Place for example). This film does the same, with characters that are all very entertaining.

    Even with her robotic characteristics, Ros’s Lupita Nyong’o creates both humour and humanity for the character she portrays. She isn’t the only one. Kit Conner’s character of Brightbill was also amazing, although I do wonder why they could not select an American actor for this. Other honourable mentions include Pedro Pascal as the mischievous Fink, Bill Nighty as Longneck and Catherine O’Hara as tired mother, Pinktail.

    One of the unique characteristics of this film was the language used between the characters. In blunt terms, it is blunt. Perhaps this is expected – in pop culture, robots are generally coded to be honest. If animals were to talk, then I can presume they would also be honest (if my nonchalant cat were to begin talking, I fear of the judgemental things he would tell me).

    The brutality of nature is discussed heavily in the film – be aware, you will see dead animals. But this topic is a ripe ground to explore the clash and harmony between humanity and nature. The film does well to show the chemistry between the best parts of humanity (the ability to care, even when it is not suitable for surviving), and the best parts of nature (adaptability).

    The more sombre matters surrounding the difficulties of survival and death are seasoned with dark humour. That being said, the humour is not pitch-black. In fact, the humour is about as light as dark humour can be, but there were times when I was laughing loudly in the cinema – maybe more so than the children.

    As for the plot, it was predictable for the first half. The trailer moments (found mostly in the first half) were perhaps wasted, I’d have found it more impactful if they were placed somewhere later in the film. I got worried thinking I had seen the best parts of the film so early on.

    But I found these moments enjoyable nonetheless. With stunning visuals and an amazing soundscape, the first part of the film has a level of creativity you would typically see in a short animation film. The second half of the film was less predictable, which accounted for the halfway lull I started to feel after what I thought was the climax.

    I was never completely bored, however. From a visual perspective, this film is essentially brain candy. With a hand-created digital art look, there is something artisanal in its approach. My eyes certainly appreciated that.

    In summary, The Wild Robot is a beautiful story with a lot of heart, incredible voice acting, and a decent story. Although the story was somewhat simplistic (as you might expect with a family film), the internal and external interactions between the characters were entertaining enough that I was invested throughout.

    The true antagonist was the issue of disconnect – in the beginning, between Roz and the animals, her “son” and then with the society that made her. Eventually, this is all resolved through the connection between the animals, inspired by Roz, who learns to connect with her inner “wild robot”.

  • Listen: Resonance Rewind Film & TV Reviews: The Lego Movie 2

    Listen: Resonance Rewind Film & TV Reviews: The Lego Movie 2

    Revisiting films from the past and the past long past.

    This Resonance Rewind episode will get stuck inside your head…



    More from Southside Broadcasting:

    TMD ONLINE Wed Dec 31st 2025 southsidebroadcasting

    Elly Sample, Kara Joubert, Victoria Simmonds, Ana Cosconel, Jonathan Linsley, Cathy Manso, Sarah Huntley & Alex Lewczuk with approx 90 mins of audio entertainment to wrap up 2025 AD
    1. TMD ONLINE Wed Dec 31st 2025
    2. FMTTM The Podcast Mid-Season thoughts
    3. Lorin Krenn `Love , Relationships and Awakening`
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  • Review: Lincoln Jazz Festival & the James Taylor Quartet ★★★☆☆

    Review: Lincoln Jazz Festival & the James Taylor Quartet ★★★☆☆

    Did I enjoy or did I persevere?

    Before I answer the above question, I will say this: it was an interesting jazz experience.

    Everyone has their own jazz opinion, ranging from the humble to not-so-humble. Take for example, Ryan Gosling’s performance in La La Land as Sebastian, who romanticized traditional jazz and jabbed at the gentle forms that play in elevators and cocktail bars.

    As an enthusiast of gentle jazz and Astrud Gilberto’s often-called “elevator music”, I would need to have a word with him regarding that.

    But I doubt Sebastian would have listened. He loved chaos and excitement as a musical medium.

    With that in mind, I am not sure how he would have reacted to this event. On the one hand, it was adventurous, different, chaotic, and energized. He would have appreciated this. But on the other hand, it felt less like funky jazz and more like jazzy funk. Certainly, core jazz lovers might have needed a while for their ears to adapt to the music being played.

    To fans of the Starsky and Hutch soundtrack from the 1970s, this combo works well. Several songs sounded like something that would play in a detective’s montage scene, with dusty cigars and trench coats galore. To others, they might argue that the combination of jazz + funk = junk.

    Certainly, the organ was the core instrument throughout the evening. Unfortunately, this overpowered the rest of the instruments even if it did provide an interesting take on “jazz” itself. For that reason, I would say this both subtracted from and added to the experience.

    But with religious glass paintings and the gothic structure, it seemed fitting that an organ would be part of the musical ensemble.

    Some of the music performed seemed more like funk than jazz.

    The venue was unsurprisingly stunning, albeit an interesting choice. Like the organ, the Lincoln Cathedral comes with both its disadvantages and advantages, depending on where you sit.

    When I attended the London Film and TV Orchestra’s performance in the Lincoln Cathedral, the musicians were placed central to the venue. Like a small army, equipped with strings, trumpets, and more, they faced the long hall of the building, and their sound carried far with minimum reverberation and echoes from the walls. It did not matter where you were in the audience because the sound carried well.

    However, the James Taylor Quartet were placed against a wall, not facing the long hall, but facing another wall, which was directly behind the audience.

    The chairs were semi-circled around the stage. I sat center and back, close to the musicians in front and even closer to the wall behind me, and felt as the loud sound waves traveled through me, bounced from the stone walls behind, and zig-zagged in my ear canal.

    It was difficult to not get overwhelmed as the music pierced you at least two times over. I don’t think that speakers were completely necessary, and my drink agreed as I felt the liquid inside the can vibrate, as if a dinosaur from Jurassic Park were on its way.

    Another one of the disadvantages to the Lincoln Cathedral is it is often too cold to enjoy sitting in one place for too long, but thankfully that evening was warm and those stone walls served as a welcome fridge.

    There were drinks and snacks available, which certainly one-upped the London Film and TV Orchestra evening, in which no drinks or snacks were provided.

    Another area where the James Taylor Quartet won was in the audience engagement. James Taylor himself was something of a comedian. Not to the point where he became a key element of the evening, but he knew how to keep his audience feeling useful and entertained. People clapped their hands, danced, and sang.

    A clip of the event. The evening ended on a karaoke-meets-town-hall-disco party note.

    However, the variety of the music was a little stiff, and considering the general age demographic of the people attending, so were the dancing moves.

    Now, in answer to my question, I did both persevere and enjoy the evening.

    The experience of live music is always a fun one, and perhaps it is never truly comfortable. Maybe it should not be, in favor of La La Land Sebastian’s views.

    But if The Girl from Ipanema or more jazzy genres were performed that night, I would have enjoyed the performance little more and needed to persevere a little less.

    But that’s just my humble jazz opinion.

  • Listen: author of the week with Diann Floyd Boehm & Steffanie Costigan

    Listen: author of the week with Diann Floyd Boehm & Steffanie Costigan

    A discussion with authors and their projects.

    From wizarding world and language acquisition via emojis and the work of writers Diann Floyd Boehm and Steffanie Costigan in conversation with Alex Lewczuk, Merryn Hobson, Kara Joubert and Jessica Burtis. 



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    TMD ONLINE Wed Dec 31st 2025 southsidebroadcasting

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  • Listen: Resonance Rewind Film & TV Reviews: 1966 Batman

    Listen: Resonance Rewind Film & TV Reviews: 1966 Batman

    Revisiting films from the past and the past long past.

    The Leslie Martinson directed movie from 1966 `Batman` gets the bat-critics from a Bat-themed Resonance Rewind engaged with Victoria Simmonds, Kara Joubert, Phil Leirness and Alex Lewczuk – Holy quartet of quality !!



    More from Southside Broadcasting:

    TMD ONLINE Wed Dec 31st 2025 southsidebroadcasting

    Elly Sample, Kara Joubert, Victoria Simmonds, Ana Cosconel, Jonathan Linsley, Cathy Manso, Sarah Huntley & Alex Lewczuk with approx 90 mins of audio entertainment to wrap up 2025 AD
    1. TMD ONLINE Wed Dec 31st 2025
    2. FMTTM The Podcast Mid-Season thoughts
    3. Lorin Krenn `Love , Relationships and Awakening`
    4. Resonance Rewind Ep 283 `Casino Royale`
    5. Tricia Copeland, Lynda Williams, Patrick Sangimino, Publishing thoughts and avoiding phone scams
  • Review: Batman (1966): A Fun and Light Slapstick Movie for Kids and the Young-at-Heart ★★★☆☆

    Review: Batman (1966): A Fun and Light Slapstick Movie for Kids and the Young-at-Heart ★★★☆☆

    Of course, to follow suit of the Batman lingo, this was a bat weird, bat film that made me question my bat sanity.

    Alongside the tight leggings, there were admittedly a lot of Dicks (of course I’m referring to the yacht captain’s reading habits and Robin’s real identity, nothing more…)

    But with the occasional random couple snogging, the instant outfit lever, and Catwoman’s need to randomly meow, I was often left asking, in a hazed state, “what was that?”

    My best guess: a slapstick movie, made to entertain the kids and make the parents ask themselves the same questions I have… Why the eyebrows on the mask? Why the shark bat-spray? Why the tight shorts?

    I can’t help but laugh at the dialogue. Like the Penguin’s facial prosthetics, it’s all a bit on the nose.

    In comparison, you can’t even consider Nolan’s and Robert Pattison’s Batman as surrounding the same character. If anything, this film was closer to The Lego Batman Movie, and with nearly as much plastic in the form of giant signs and toys to make Batman’s situation as obvious as possible for its presumably young and young-at-heart audiences.

    Minus the very sad (not really) off-screen death of a porpoise we never meet, and Batman’s punches that fall about a mile from his enemies’ faces, there is no real violence or emotional investment.

    And with the Pentagon busy playing board games, riddles in which the answer is absurdly “banana”, and lines such as “some days you just can’t get rid of a bomb…” it’s a strange mix.

    The biggest irk I had with this was the pace at which the film progresses. Now, perhaps I am not its target audience (although I’d be lying if I said I didn’t find the campness of Batman 1966 hilarious). However, I found that the stakes could have been higher (I didn’t care much for the world leaders), and the whole Kitka situation could have been condensed a bit.

    The story seemed all over the place, but maybe this was the idea?

    Either way, it was fun, it was light, and it was bat-shit crazy.