Creed  (2015)    71/100

Rating :   71/100                                                                     133 Min        12A

‘Creed’ marks the seventh instalment in the Rocky franchise, after Sylvester Stallone wrote, directed and starred in the original back in 1976 – guiding it to Oscar glory for the best picture win, and giving him his one and only acting nod for his iconic turn as Rocky Balboa, beaten posthumously by Peter Finch for ‘Network’. His only nod until now, that is, as his emotional return to the character saw him deservedly nominated for a best supporting actor Oscar, whilst Michael B. Jordan takes the lead playing the titular Adonis Creed; illegitimate son of Rocky’s original opponent Apollo Creed, who was of course wonderfully portrayed by Carl Weathers in the first three movies.

Written by Ryan Coogler and Aaron Covington, and directed by Coogler who worked previously with Jordan on their hit ‘Fruitvale Station’ (13), the film suffers initially from a lack of any emotional connection to the central character. Taken out of juvie and the foster care system to be raised in opulence by Apollo’s widow, Adonis shows a determination to fight just as his father did, but as the screenplay points out he has all the advantages in life that his father before him did not, giving him many more avenues to explore. In the beginning we see him receiving a promotion and promptly leaving his office job to pursue his fighting career, and whilst his office job presumably wasn’t all that fulfilling, he is wealthy and educated enough to try his hand at any sport or endeavour, there’s no need to pick one that could leave you fatally wounded or brain damaged.

The screenplay acknowledges this conceit, and there’s a wonderful piece of dialogue from Phylicia Rashad (playing Mary Anne Creed) where she explains she had to wipe Apollo’s ass because he couldn’t do it himself after some fights. The whole premise is that Adonis is trying to prove his own self-worth given his roots and his never having even met his father, but lack of emotional depth early on still leaves this feeling like a struggle foisted onto the main character by a plot blind to its weaknesses in its eagerness to make and justify another Rocky film.

Similarly, we find the young character of Bianca (Tessa Thompson) who is working as a singer, her passion in life, but suffering from permanent gradual hearing loss, although she seems quite content to listen to music full blast in her apartment; without so much as a thought for her neighbours let alone herself. Later on a key theme of the movie is anchored when Adonis tells someone who is sick to fight it and not give in – but this is completely at odds with the character of Bianca, as she says she just wants to do what she loves for as long as she can, and yet is actually caving in to her condition by propelling it ever forward at the fastest rate possible, doing things that would stand a good chance of damaging anyone’s hearing.

From a writing stance all of this fails and comes across as far too naïve, good general concepts poorly realised, but then enter Stallone, who reluctantly agrees to train Adonis and the two develop a father-son relationship that is both convincing and touching at times, and it looks for all the world like that very relationship had its effect on the performers too, as all the raw nerves that were only really there in print in the beginning exist on the surface by the end. Jordan delivers not only a likeable, and believable given how ripped he is for the role, performance throughout, but also a vulnerable and sympathetic one by the end, with Stallone on top form and really operating as the pulsating heart behind the movie.

Coogler has managed to shoot the film in such a way as to make it feel modern and down-to-earth, perfectly in keeping with the original, but also reasonably cinematic where it needed to be, although they’ve tried too hard to fit in bites of the original soundtrack into the new one and it usually feels out of place. When the story gets going though, the pace and momentum is such that it’s easy to be carried along with it, and Stallone’s guidance grounds and carries everything forward, not particularly hindered by the weaknesses of the first half.

It’s well shot throughout, although some scenes don’t come off as well as intended – such as a fight ambitiously done in one take, all the rage these days, that sees the camera in all the wrong places and a distance created between us and the action, and although the performers have done the scene well, the nature of it being a fight means the slightest of hesitations and going through their paces is really noticeable. Comically, the ending sees Adonis given an affectionate shove by Thompson, who unintentionally pushes him back several feet – at the culmination of that arduous and probably stressful scene, the irony isn’t lost on the cast.

Oddly enough, they watch ‘Skyfall‘ just afterward, which not only has a parallel with a protagonist deemed physically below par compared to his task, but also had Sam Mendes in his next instalment, ‘Spectre‘, attempt his own one-take scene.

‘Creed’ marks the best instalment in the Rocky story for decades, and although it doesn’t have the thrills and spectacle of ‘Rocky III’ or ‘Rocky IV’, its character based realism, for the most part, delivers a very ‘real’ feeling film.

Spotlight  (2015)    70/100

Rating :   70/100                                                                     128 Min        15

Drama documenting the true story of The Boston Globe’s ‘Spotlight’ feature department, who hit upon the wide-reaching scandal of Catholic priest paedophilia in the area, and, more exactly, its long running cover-up by the clergy which was to instigate revelations and repercussions throughout the world. Indeed in 2008 Pope Benedict XVI publicly apologised for the damage caused, but what this film will be remembered for is the sheer scale of the problem, which is simply overwhelming.

Alas, it’s not a great film it has to be said, it relies entirely on its subject matter wherein it can hardly fail to interest and captivate, but most of the first two-thirds lacks any real relationship with the audience and it has all been pieced together in a very straightforward way, with multiple scenes feeling like the actors are fumbling together through them. Eventually more of an emotional connection arrives, largely via a great performance from Mark Ruffalo’s dedicated and understandably outraged reporter Mike Rezendes, which leads to a suitably impactful finale.

It plays the whole thing a little safe though. Given the horror that it’s covering, we only feel a tiny bit of the evil at play – this film should really have taken no prisoners, with what the victims went through at the forefront of everything, and the church put much more on the stand than we see – the focus here is on the reporters mincing around most of the time and it’s an opportunity lost, delivering a good film but not one that’s going to hit where it really hurts, although you are still likely to remember the distaste and anger it’ll leave you with.

Up for numerous Oscars (winning best film, and best original screenplay for Josh Singer {‘The Fifth Estate‘} and Tom McCarthy), it was probably the best of an uninspiring bunch, though some of the nominations were a bit of a surprise, including for the eminently watchable Rachel McAdams in support – note the several obvious shots framed to specifically show her ass off in the film (which I did appreciate to be fair). Important to watch because of the story, but average at best in terms of its execution. Not without its effect in the real world though, with the inevitable sparking of debate about an ongoing issue.

The Big Short  (2015)    66/100

Rating :   66/100                                                                     130 Min        15

This is an important film detailing, or attempting to, what led up to and caused the financial crash in America and most of Europe in 2007/08. Focusing on the corruption in the banking sector wherein people had financial incentive, in terms of bonuses, for bankrolling increasingly dubious clients for mortgages, the film delivers a narrative charting events from the point of view of several characters trying to profit from the collapse by spotting what was going to happen and betting against the system – that system being the, until then, rock solid sub-prime mortgage stability.

Curiously, then, we have protagonists that we ought to despise and yet the movie is partly successful in having us want them to succeed, or it is up to a point – Christian Bale’s Michael Burry, and to a lesser extent Steve Carell’s Mark Baum, have us root for them, but the others fall rather flat.

Indeed, I can’t think of another film off the top of my head that is so constantly dragged down by the support work, and a large portion of the blame lies with director Adam McKay, who not only has random camera movements all over the place in an attempt to make it look like he knows what he’s doing, but he also has support characters eat, and chew gum in a really audible way all through the movie.

From a performance point of view, it can be one of the most disgusting things asked of an actor – those who are driven mad by the sound of people eating in the cinema (a sizeable percentage of the population) already have to contend with people treating the place like their own living room, with a never-ending selection of the most irritating and noisy confectionery there is, but now McKay thinks it would be a good idea to put it on the screen in front of them too, where we can not only see and hear it at a high decibel level, but it will actually interfere with the dialogue as well. It’s unbearable, and if you are put off by this notion in any way, then, simply put, I’d advise avoiding this film entirely.

Perhaps this is connected to Brad Pitt? He stars and produces here and is known for his trademark of eating onscreen, but he always manages it in a way that isn’t annoying. His role is reminiscent of his brief and messianic appearance in ‘12 Years a Slave‘, also produced by his company Plan B, as here, after aiding two undesirables to become rich via other people’s gross misfortune, he turns around to berate them for celebrating, telling them that it’s going to mean bitter hardship, homelessness and death for huge swathes of the population, and the others are all ‘hmm, I never thought of it that way ..’.

The dialogue is also problematic – we have several interjections from famous faces such as Margot Robbie and Selena Gomez (and some chef most people have never heard of before and who is really hard to make out), explaining in supposed layman’s terms what all the financial jargon actually means. Initially, this does help, but as the film continues it delves back into a mire of confusion – grasping the initial introductory section is critical to understanding the rest of the film, so try to pay special attention to the first ten minutes or so explaining the history of banking as a business.

Undeservedly nominated for lots of Oscars, including for director McKay which must surely be an aberration, although support nominee Bale is one of the few people that save the film from becoming an acting monstrosity. The film is both poorly crafted and written (despite winning the best adapted screenplay Oscar for McKay and Charles Randolph: their script is based on the 2010 book ‘The Big Short: Inside the Doomsday Machine’ by Michael Lewis), but as a movie attempting to chronicle one of the biggest financial stories of our time it is still one worth paying attention to, maybe just bring earplugs for some of the scenes …

Room  (2015)    55/100

Rating :   55/100                                                                     118 Min        15

Completely ridiculous. A piece of absolute nonsense that somehow garnered nods for best film, actress (Brie Larson), director (Lenny Abrahamson, ‘Frank‘ 2014) and adapted screenplay (Emma Donoghue) at the Oscars for 2015 – I’m not sure I want to divulge the central story as parts of it are only revealed after time, but the plot is focused on a mother’s relationship with her young five-year-old child (Brie Larson and Jacob Tremblay respectively) within the context of a dramatic scenario they have to try and resolve. Suffice it to say, when you find out what that scenario is you will be left thinking, really? You couldn’t find a way to solve that problem with all the means at your disposal, and all the time you had to work on it?

To make matters worse, the solution hit upon has so many aspects that could head south fast it effectively buries the suspension of disbelief and the film from then on. Larsen carries the role (she was the only win at the Oscars) but not in any particularly resonant way, I didn’t feel anything for her character from start to finish, and I thought her young son was actually a girl for the majority of the film as well – visually he looks like a girl, and I thought there are reasons the mother might want to pretend that it was a boy, but no, it actually is a boy, so confusing. Basic changes to the details and the entire movie could work, but what they’ve ran with in the end is just preposterous.

Similarly, they hint at deeper and darker sexual themes, but then pull back before they’ve even begun to be explored. Ultimately, the entire thing is basically a waste of time, although Tremblay is quite convincing, despite looking like a girl (he can blame his mother for that).

Our Brand Is Crisis  (2015)    71/100

Rating :   71/100                                                                     107 Min        15

Much maligned but actually delivering a very astute, interesting and accurate dissection of modern-day politics, possibly why it was shunned by the Oscars, in a way that’s very easy to follow, and within a story that’s interesting and moves everything along at a very decent pace – only really falling down when it tries to deal with its characters outwith the confines of its central arc, where it mostly feels a little cold and flat.

Sandra Bullock stars as ‘Calamity’ Jane Bodine, the political strategic ace, brought out of retirement to help flagging ex-general Pedro Castillo (Joaquim de Almeida) try to become Bolivia’s next president, and who’s rival in the arena is being coached by Jane’s old archnemesis Pat Candy (Billy Bob Thornton).

Fictional, but based on Rachel Boynton’s 2005 documentary about American campaign tactics in the 2002 Bolivian presidential election, the movie feels very real with, on the face of it, connections to British politics, as we hear one story of someone spreading a rumour about their rival having fucked pigs purely so they could hear them deny it – in Britain the former Prime Minister, David Cameron (who resigned after declaring ‘why should I do the hard stuff?’), apparently actually did fuck a dead pig, or at least he inserted his penis into it’s mouth (there is reputedly photographic evidence of this). The pig probably had a tag on it that read ‘Poor People’. Similarly, we watch as Jane’s team runs with the ‘crises’ dialogue, with their candidate the only one that can save the country – here the Tories used the word ‘chaos’ relentlessly when talking about what would happen if they lost the vote, effectively assuming the voting populace were of a combined intellect equivalent to that of a herd of cattle (or swine perhaps). Lo and behold, they won all the elections.

Bullock is immense in this film, utterly convincing in the moments when she has to appear commanding and equally convincing when displaying restrained emotion. I was dead against her Oscar nomination for ‘Gravity‘ but I don’t understand why she didn’t get a nod for this, especially given some of the performances that did sneak in that year. Directed by David Gordon Green (‘Stronger’ 2017) and with Anthony Mackie, Zoe Kazan and Scoot McNairy in support, this is a really clever and understated film that deserved more attention that it received – it only lasted a single week on release here, which really smacks of political intervention given even a crummy film with Sandra Bullock that gets universally slated and bombs at the box office will still last at least two weeks normally.

The Revenant  (2015)    54/100

Rating :   54/100                                                                     156 Min        15

A fairly horrid disappointment, as director Alejandro G. Iñarritu follows up his Oscar win for ‘Birdman‘ the year previous, which I was rooting for, with this, a period piece set in the wilderness of America’s Dakotas in 1823, replete with as many arty shots as you can shake your fist at, but no amount of landscapes and visceral clenches of the environment can mask that at its core ‘The Revenant’ is just an extremely poorly written action film that makes no sense at any point, and whose bloody excess is endorsed by a director playing around with cameras so much that he operates as a character himself, which is exactly what a director shouldn’t be doing, to the extent that the only thing of any merit is the technical quality of the equipment and cinematographer Emmanuel Lubezki’s use of it, delivering crisp and lucid images throughout, but even they are interjected far too often, and with a run time of 156 mins this is one film where you’ll be glad to see the credits role and signal the experience is finally over.

Leonardo DiCaprio stars, and indeed finally won his first Oscar for the role (Iñarritu and Lubezki were the other winners from a total of twelve nominations; including best film and a best supporting nod for Tom Hardy), playing one of a group of fur trappers (Hugh Glass) dealing with Indian attacks and basic survival against the elements. At its heart, the film is as predictable as could be, with an essential plot element revealed in the trailer (aiding its predictability), a continuously unbelievable central arc and a litany of character decisions that make no sense at all – whilst trying to be vague, a non-exhaustive list of these include:

Indians attacking a group because they believe the chief’s daughter might be held captive by them, they don’t think to check first of course and the ensuing slaughter could easily have killed her had she been there in the first place, the Indians then decide to doggedly harass the remainder of the group, still with no actual evidence the girl is with them, whilst at the same time completely ignoring the possibility that the other groups of whites around may be the culprits; a bear attack that presumably has some relationship with something the scriptwriter seen on the discovery channel at some point but still looks completely ridiculous and should have by rights killed the recipient right off but instead mangles him for the sake of rubbish plot lines; a character that has the use of lots of men at his disposal but instead heads off without them to deal with a lone gunman; a shootout with someone firing at range when they know the other person cannot possibly reload in time so they could have leisurely walked up to them and fired with no chance to miss; someone committing murder and not killing the only witness – even though they were about to originally murder said witness so they obviously have no qualms about it; someone deciding revenge is bad but giving a person over to other people knowing they will immediately kill them; someone stealing a horse from a large armed group in broad daylight when they could have at least waited until dark …

… and these are just the ones off the top of my head, I have no doubt there are many others. It starts off really promisingly (incidentally, opening scenes are sure to remind anyone who has ever played ‘Myst’ of one of the lands in the game, and curiously the symbol drawn on a canteen at one point is the same used throughout Myst online, maybe they are fans …) but it isn’t long before it becomes tedious and ridiculous, and it’s all downhill from there as we watch the inevitable play out in the most indulgent and drawn-out fashion imaginable. Iñarritu takes to several moments of providing 360 degree spins with the camera, presumably trying to put the audience into the scene but in reality removing us from it and instead creating a somewhat dizzying effect.

It’s a very physical role for DiCaprio, and as is ever the case with this kind of part, if you’re actually there freezing your bollocks off and getting wrecked by the environment, are you really acting? Although not really his finest hour, and he deserved a much better screenplay, few could begrudge him his long overdue Oscar win. For anyone who has seen ‘The Big Sky’ (52) starring the late, great Kirk Douglas (it’s a much better film incidentally), then you will undoubtedly notice some large-scale and not-so-subtle parallels with ‘The Revenant’, and indeed here the scene where someone guts an animal and climbs inside its carcass has almost certainly been taken directly from ‘Headhunters’ (2011). Massive disappointment from the director and writers – Iñarritu and Mark L. Smith, who based their work partly on Michael Punke’s 2002 novel of the same name detailing the adventures of the real-life Glass. I remember a surge of gratefulness when this finally finished that definitely made it a memorable entry in my log of long and painful cinematic experiences.

I almost forgot – show of hands, who actually knows what ‘revenant’ means? Hmm, I don’t see many hands going up out there – apart from you, but you are lying to yourself. Here is the definition I’ve swiped from Dictionary.com:

 

Revenant –  noun  1) a person who returns
                              2) a person who returns as a spirit after death; ghost

              Brit. dic.  noun  1) something, esp a ghost, that returns  

  ORIGIN: C19: from French: ghost, from revenir to come back, from Latin
                
revenīre, from re- + venīre to come

The Danish Girl  (2015)    49/100

Rating :   49/100                                                                     119 Min        15

What a horrific mess. A film fundamentally flawed by its not knowing, to put it mildly, what it wants to be or what it is trying to say. Based on David Ebershoff’s 2000 novel of the same name and adapted for the screen by Lucinda Coxon (‘Wild Target’ 2010), this loosely tells the true story of Danish painter Einar Wegener, who goes through a, long buried, crises of identity – suddenly now convinced he is a woman trapped in a man’s body. One would naturally assume this is really a mainstream attempt to portray a strong and explorative transgender theme on the big-screen, and that we would identify with Wegener’s plight and confusion on a human level, but we really, really don’t – in fact he just comes across as clinically insane, which he is diagnosed as at one point by ‘evil’ practitioners of medicine but actually they seem to be quite correct; he has been, for example, banging away quite happily at his young nubile wife Gerda Wegener (Alicia Vikander) for six or seven years and now suddenly he refuses to even acknowledge this happened and recoils from her, as if every aspect of his previous existence that he can’t be bothered with is now taboo.

If he isn’t psychotic then he’s the most vain, self-absorbed obnoxious little shit one could have the misfortune to marry, as his ‘crisis’ justifies him doing whatever he wants – including cheating on his wife with various men. Eddie Redmayne plays Einar and by God is he terrible here – you would be hard pressed to find a worse example of overacting anywhere, as he cries and cries and whimpers and pretends to be injured (he gets beat up for no apparent reason, oh, and he decides he’s having his period as well at one point) something which he has effectively made a career out of doing. If we look at the header picture above I think even I would make a more convincing human female – although the film at least partially acknowledges this failure, or seems to at any rate, until near the end where people seem to genuinely believe he passes for a woman. The film in general smacks of this kind of insincerity throughout – Oscar bait with a modern-day politically charged topic, and I imagine any endorsement from the transgender community is purely down to lack of many other options.

Tom Hooper directs and to be fair he almost completely avoids having the camera too close to his performers’ faces after ‘Les Miserables‘, and a lot of his shots of countryside and the framing of scenic cityscapes are great; it’s really the story and acting that destroy the film, as melodrama takes an enormous bite out of history in their misguided creepy crawl in the direction of awards season glory. It’s a shame, there was a lot of potential to explore the subject – and indeed in the film’s frank portrayal of nudity there begins to form the semblance of something greater, before it all disintegrates in the second act. Also with Amber Heard, who’s dancing scenes were reportedly cut from the film. Fuck’s sake.

Joy  (2015)    71/100

Rating :   71/100                                                                     124 Min        12A

David O. Russell writes (or rather rewrites, with Annie Mumolo penning the original script), directs and calls upon Jennifer Lawrence, Bradley Cooper and Robert De Niro, much like he did with ‘Silver Linings Playbook‘ and ‘American Hustle‘, to star in the semi-fictional tale of self-made business magnate and inventor Joy Mangano (played by Lawrence). The film gets off to the worst possible start, with titles dedicating it to strong women in general … and one in particular. It’s a little condescending, as if David O. Russell had only recently discovered women were actually capable of doing something interesting enough to make a film about, and there are numerous hints of force throughout the film: Joy when she is a child (played by Isabella Crovetti-Cramp) saying she doesn’t need a prince in the fantasy future-life she’s playing out, for example. We can see what the intention was of course, but the tone is a little too blatant. Why not simply tell the story?

A story which sells itself entirely. It’s not easy to see where fact and fiction collide here, but it certainly appears on the face of it that the main details are correct and the most important showdowns and moments when the protagonist really has to take the bull by the horns actually did happen. We begin in 1989 with Joy frantically running her household and her father (De Niro) appearing on the doorstep, who is promptly thrust into the basement in order to share it with her now divorced husband (Edgar Ramirez), whilst her kids are looked after upstairs – supervised by her grandmother (Diane Ladd) – kids that occasionally accompany her mother (Virginia Madsen), who seems to permanently engage with vegetating in front of her favourite soap opera on the tele in her room.

Oddly, we are constantly greeted with scenes from this same show throughout the first chapter of the film, demonstrating the nightmarish pull of the humdrum and banal void as Joy struggles to fit the bill as house matriarch whilst working as an airline reservations manager, but these sections are far too wayward, indulgent, lengthy and frequent and could mostly have been axed, although showing the pervasive sickness that can arise from such garbage on television and the isolating effect it has on families is to be applauded, it nevertheless simply becomes another overplayed element of the movie.

Spiralling out of another chaotic dream about the soap opera, Joy awakens with zest and inspiration for a product that will ignite everyone and everything around her – the Miracle Mop, designed to address the simple everyday practical issues she, and everyone else doing any floor cleaning, were met with every day, namely having to wring out the thing by hand (although surely they had buckets with strainers back then?) and buy a new one all too frequently. Thus begins her adventure as she attempts to produce and market her creation, bringing into the frame two new characters: her father’s new wealthy girlfriend (Isabella Rossellini) and a head executive of the QVC advertising channel (Bradley Cooper).

It’s an inspirational tale that ought to speak volumes to anyone who’s ever tried to create anything themselves and despite the film’s many self-imposed setbacks, including twists and turns that continually have you thinking the movie is over when it’s not, it ultimately delivers, thanks in no small measure to another fantastic and Oscar worthy performance from Lawrence herself. A sizeable amount of trimming and a little less force would have ensured this came out of the blocks at the same pace Silver Linings and Hustle did, but in the end the heart of the true story and strong acting all round ultimately atone for its artistic hiccups.

In the Heart of the Sea  (2015)    68/100

Rating :   68/100                                                                     122 Min        12A

Director Ron Howard’s latest dramatic feature since ‘Rush‘ is based on the similarly titled 2000 novel by Nathaniel Philbrick and once again features Chris Hemsworth as one of the protagonists, here playing Owen Chase – first mate of the Essex, a whaling ship whose fateful 1820 voyage was one of the primary sources that inspired writer Herman Melville to pen his historic fiction ‘Moby-Dick’ in 1851 (the legend of albino sperm whale Mocha Dick, who frequented the waters around the Chilean island of Mocha, was another such real-life source). Here, shots of the Essex and her crew are occasionally interjected by scenes of an eagerly attentive Melville (Ben Whishaw) listening to the recounting of the story by one of the original crew (Brendan Gleeson), often visibly pained by the memories the writer elicits from him.

The Essex hailed from Nantucket in Massachusetts, and the most obvious thing that stands out from the opening chapter of the film is the truly terrible range of accents that the cast have attempted; chief turkey among them being Hemsworth’s – to be honest, they are so bad I’m not even sure if they are attempted something similar to the modern-day region, maybe even close to Bostonian, or something which for some reason they think must have existed once upon a time. It’s all, ahem, ropey to say the least, but as a crew their collective voices seem to coalesce together and eventually it all evens out.

The crux of the story is the Essex’s basic and ongoing attempt to hunt whales, especially the extremely lucrative sperm whales, for their oil (it wasn’t until the late 1840s that Scotsman James Young really began the crude oil trade, taking out the UK and US patents for Paraffin distillation from coal in the early 1850s) and the unfortunate dearth of aquatic activity they come across leads them to desperate searches further and further into the Pacific Ocean, whereupon they encounter one particular sperm whale, bedecked white and awash with the scars of many previous encounters with man, who isn’t especially keen to let the whalers have it all their own way, and so begins their real adventure.

All of this is against the background of tension between the first mate and the captain, George Pollard (Benjamin Walker), as the latter is a posh dunderhead from a rich family, thusly gaining the position, whose manhood isn’t best pleased to find that his first mate is in fact Thor, swaggering around, vaunting up ropes, proving to always be right and seeming to single-handedly sail the ship. This element of the film never really climbs out of the doldrums of melodrama, but the recreation of the voyage amidst the setting of the ship is one of the highlights, and the story and effects, for the most part, unerringly draw us into their world for the movie’s duration, also providing the key to its eventual success as we really feel for them and the many maritime men for whom such journeys were a reality.

The additional horror of showing us the brutal reality of their line of work, with sanguinary depictions of the murder of innocent whales, will absolutely disgust many viewers, and indeed you can feel the film jitter with uncertainty over how to portray these scenes and the characters within them, but they are fascinating from a historical accuracy point of view and indeed these detailed features are in keeping with one of the many noteworthy aspects of ‘Moby-Dick’ itself, which, incredulously, was not a financial success during the author’s lifetime.

Daddy’s Home  (2015)    56/100

Rating :   56/100                                                                       96 Min        12A

A very standard Will Ferrell comedy that sees the stepfather (Ferrell) in a family compete with the unexpected arrival of the testosterone-fuelled biological father (Mark Wahlberg), coupled with the usual level of predictability, over-the-top antics and, in this case, some particularly ropey CGI. It’s actually the second time the two actors have headlined together, after 2010’s ‘The Other Guys’, and Ferrell has once more ended up with the hot wife (here played by Linda Cardellini) though his caring and overly-sensitive husband is about to be emasculated by the motorbike riding, musclebound and well-hung Wahlberg (again, not a first onscreen … ). The leads engage to some extent as they play off one another, and there’s a slight upward trajectory as the plot unfolds, but it’s pretty desperate stuff throughout and it really needed more social bite with higher-impact comedy moments, not to mention less cringeworthy effects. Go and watch Star Wars instead.