I must confess that I am a bit of a sucker for a western, not sure why and I’m aware that the bullets flying, death in the streets version of the “wild west” isn’t exactly historically accurate but there is something that appeals about a simpler time that was actually a lot more complicated.
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'Jane Got A Gun' concerns the titular Jane (Natalie Portman), who lives a seemingly peaceful life on a secluded ranch watching over her daughter until her husband appears on the horizon, barely alive and with an ominous message of trouble coming their way. It seems their past is catching up to them and Jane ventures out in search of help, first begging the help of Dan (Joel Edgerton), a boozed up rancher with a thousand yard stare who somewhat aggressively tells her to get on her horse and go back to her no good husband.

Jane and Dan obviously have a troubled past, in addition to the troubled history she has with her husband, and Jane doesn’t get very far before another face from her past gives her some trouble in an alley. It’s very clear there’s a deeply complex and increasingly unhappy story being unveiled here, and I really don’t want to give you too much information because the slow reveal of this story is the centre of this film, and it’s well worth enjoying in the way the filmmakers intended. However, I do have to discuss the film to some degree so if you want to be completely spoiler free avoid the final paragraph of this review, though I’ll be sure I sum up before them.

The crux of the film is the puzzling together of the characters history, which is engaging all the way to the end and moves at a steady enough pace to never get boring whilst still flowing organically without the sudden feeling of mountains of information being dropped on our heads. All our heroes are deeply flawed, world weary people and we sympathise with them quite easily, or at the very least we want all the same people dead as they do.

I’d say the film is good, not great, as a whole though you should be aware that the story is pretty bleak. There’s not a lot of humour to be found here, our heroes barely seem to like each other and don’t seem too confident they’re going to survive the villainy that’s coming for them. This isn’t a problem though, the characters are more than interesting enough to hold your attention and the story is strong and well crafted, but beware that this isn’t a film for happy go lucky types.

In criticism the final gunfight that the film has so clearly been building up to from the start is a tad underwhelming if I’m being honest, but by then you’re so enthralled with the characters it doesn’t really matter. And perhaps refreshingly it has a very realistic feel, the action isn’t ludicrously over the top and our characters aren’t overblown caricatures, though Ewan McGregor comes close as the villainous John Bishop but that’s probably only because he doesn’t receive enough screen time to become all that well rounded. So although the film unfortunately falls apart towards the end I was drawn into the story easily and I can recommend 'Jane Got A Gun' if you’re looking for a deep character piece with a western setting because you’ll certainly find that here.

The biggest problem as it stands, and here’s some minor spoilers, is that the end is just too happy. For a film as one note as this in it’s bleakness it really is a little jarring to not only have a happy ending but what is basically the happiest ending possible for all concerned. It really doesn’t seem like the conclusion could have been any more fortuitous, even retconning some of the misery that had already happened. I’m not saying a happy ending couldn’t have worked but this seems a little extreme and something that felt more realistic to the harsh “life is cruel” world of the story might have elevated the film in my eyes.

As a genre, science-fiction is one that has seen its popularity increasingly soar. It is also a genre that, as a result, has become increasingly bloated, both on television and in the cinema. It's a double-edged sword that is especially tricky to wield, with many a director finding themselves stuck on the proverbial pointy end. Thankfully, visual effects guru turned writer/director, Steven Gomez, handles with great proficiency and to enjoyable effect...

'In a near, technology-reliant future, a group of soldiers find themselves stranded on a remote training facility. What starts out as a routine exercise swiftly descends into a terrifying battle to the death, as the marines discover the island is overrun by an enemy that transcends the human concept of evil.'

Science-fiction works best when it takes the relatable themes and forces us to witness them through a hyper-scientific and technologically advanced lens. Everything from 'Blade Runner' and 'I, Robot' to the first two Terminators and even 'Robocop', at their core, spend as much time exploring the human experience as they do blowing things up. As long as you don't ask Michael Bay, that is.

​To place 'Kill Command' alongside the likes of the Transformers franchise would be to do it a severe disservice. Although it has it's fair share of action and explosions, it is very much grounded in the human turmoil and inhuman machinations rather than simply spectacle for the sake of spectacle. A feat that is further complemented by some great use of FX and genuinely haunting, creepy imagery, resulting a very video-game style world. 

When it comes to the acting, it's packed with mostly solid performances, with most of the heavy-lifting resting upon the shoulders of Thure Lindhardt ('Fast & Furious 6', 'The Bridge') as the untrusting Captain Bukes and Vanessa Kirby ('About Time', 'Jupiter Ascending') as the technologically advanced Mills. The latter, especially, truly shines in the role, offering a great physical and emotional performance, adding another tough, capable female character to a pantheon still sorely lacking.

David Ajala ('The Dark Knight') is another standout, as the more noble and open-minded second-in-command, Drifter. He is, however, quite wasted in the grand-scheme of things, indicating some flaws in the narrative decisions at the writing stage. Similarly, some of the attempts at banter and establishing camaraderie fall awkwardly flat.

'Kill Command' also doesn't offer much that hasn't been seen elsewhere over the years. However, Steven Gomez has blended numerous familar elements together to create a something wholly it's own. A film best described as a Predator movie for the modern, increasingly technological age; a film that it sizzles as much on the surface as it intriguingly bubbles with nuance just beneath.
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All in all, 'Kill Command' is cult film in the making, an enthralling thrill-ride, that capably maintains the balance between action and philosophical explorations of how we view technology, how technology views us, and what it means to be human.

After missing her at this year's academy awards, but with a couple more films under her
belt, Meryl Streep is back with another outstanding performance in 'Florence Foster Jenkins'.

Set in the 1944 New York, this movie tells the story of the eccentric and extraordinary life
of Madame Florence Foster Jenkins. During a time of hopelessness and fear, what madame Florence wanted to do was bring joy and colour to everyone's life. Always a lyrical music devotee, Florence Foster Jenkins didn't want to just be a spectator anymore. Her greatest dream was to perform for an audience and become an acclaimed opera singer.

​Motivated by her desire to create art and mostly pushed by her devoted husband to showcase her hidden talent, Florence will start to finally take the big step from private singing lessons to recording a vinyl and finally performing on the big Carnegie Hall's stage. However, a strong deep passion for music doesn't always mean having a great voice, no matter how many music lessons you take.

As a biography, the film is based on real events, however, they are romanticised to appeal the audience. In movies it always seems difficult to combine two polar opposite genres. However, in 'Florence Foster Jenkins' there is the perfect marriage between comedy and drama and those
two characteristic make this biographical movie a well made and entertaining piece of art. The film's flow is timed mostly by great humour and comic scenes that almost verge to insanity. However, the comic relief is much needed to balance out the dramatic aspects of the movie in order to both lighten the mood while still making the audience pause for thought.

The cinematography portrays perfectly New York's society in the 1945, or at least the wealthy portion of said society. The colours are bright and vivacious. The details in the costumes are astonishing and they recreate that atmosphere so distinctive of that time. The cast ensemble is perfectly balanced and it works together beautifully in supporting Meryl Streep. Once again the always brilliant Meryl shows how it is done. She embraces her character and deeply understand every single aspect of her.

Her Florence Foster Jenkins is not only a determined woman, extremely devoted to art and her husband, she is also vulnerable and fragile. Her entire world is based on the illusion of her vocal talent, an illusion that is fed by her husband St Clair Bayfield (Hugh Grant) who wants to protect her and indulge her every desire, not for selfish reasons, but to see her happy. Meryl Streep brought to the screen a well rounded character by highlighting both her extravagances and her frailty while still capturing the comic essence of this extraordinary woman. Hugh Grant is committed to his role and he supports Meryl's performance gracefully, showcasing Bayfield's affection for his wife until the end.
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Among them, Simon Helberg, who plays pianist Cosme McMoon, isn't as convincing as them. His performance has highs and lows, however, he still managed in the end to redeem himself during the great finale in the film. In this movie, music is key not just to the story, but also in creating the right atmosphere to make the audience immerse in the time frame. Along with the cameos from many famous composers, the soundtrack accompanies the story and uses the right rhythm to capture the audience.

All in all 'Florence Foster Jenkins' is a biographical tale of an extraordinary woman that, by not taking itself too seriously, equally entertains and moves the audience.