All the Money in the World Review

All Money World

Money and power corrupt those who wield them. It’s a near-indisputable fact at the heart of All the Money in the World’s stories, both on-screen and behind the scenes. Having to rapidly reshoot 22 scenes in order to excise exposed sexual abuser Kevin Spacey, a wealthy and powerful man who had used those privileges to get away with crimes for decades, All the Money in the World should by all rights be a mess. In its own way, Ridley Scott’s film (his second of 2017) is a bit of a jumble, but never when you’d expect it to be, Christopher Plummer’s last minute replacing of Spacey slotting in seamlessly.  Continue reading

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Alien Covenant Review

Covenant

If you thought Logan might end up taking the crown of 2017’s most violent blockbuster movie, then here comes Ridley Scott to re-prove who the king of fantastical gore really is. Alien Covenant is a vicious and gruesome sci-fi horror, incredibly effective in that aim, but also possessing far loftier ambitions that elevate what is already a brilliant thriller. Scott has already returned to the splendidly terrifying universe he created in 1979’s Alien, with the shaky 2012 entry Prometheus, but Covenant is his first true reunion with the monstrous Xenomorph that made his name nearly 40 years ago, and he clearly relishes every second.  Continue reading

Exodus: Gods and Kings Review

exodus

What is most striking about, and undoubtedly the first thing you’ll notice when watching, Exodus: Gods and Kings, the latest film from Ridley Scott, is that it is big. In fact, it is perhaps Scott’s biggest film to date, and for a director who made the lavish epics Gladiator and Kingdom of Heaven, that’s really saying something. Enormous physical sets coincide with hundreds upon hundreds of extras to create the kind of old-school scale that cinema has only very rarely seen since the early ‘60s. Fittingly, much like the grand epics of Golden Age Hollywood, Exodus is a desert story, retelling the immediately familiar tale of Moses (Christian Bale) leading the Jews out of Egypt. The sheer scope of the film is almost overwhelming, but through well-marshalled action sequences, incredible effects, and a knowing sense of campiness, Scott manages to avoid any boredom, which one may justifiably associate with a two and a half hour Old Testament adaptation. Continue reading