The Brown Note Movie Review

A massive let down to be honest and far closer to the awful Ready Play One than I'd hoped. Living inside a fake reality films set a high water mark back in the 90's with the likes of The Truman Show and The Matrix, this offers next to nothing. The basic concept of Non Playable Characters inside video games attaining sentience is ripe for exploration, but ideas are thrown up in the air and never explored below surface level noise. It maybe the first romantic adventure for the PewDiePie/YouTube video game set but its cast is closer to the personality of NPC's themselves and relying solely on the trademark charm of Ryan Reynolds to get the movie over the line, is nowhere near enough.

Through sheer relentless volume, Aussie director James Wan gets called the king of horror, because it sure isn't quality. I've rarely been impressed by his films. Though this talked about horror is a wild and strange beast indeed. Never scary and seemingly Michael Bay making the most rote body horror imaginable for two thirds of its run time, Wan then decides to turn into a full blown Dario Argento for an insane final third that makes the whole enterprise worth while.

A big fat zero percent on Rotten Tomatoes is like cat nip to me, how bad can it be! Sadly not interestingly awful, more just terrible. Ex Disney star turned adult entertainer, Bella Thorne seems to have much the same level of talent and charisma as the rest of this cast of rock stars, models and people probably just walking past. The controversy generated by the blasphemous poster turns into immature shock tactics on screen, with only very fleeting glimpses of the true subversion of something like Pink Flamingos. I did, so you don't have to.

Full disclosure - as I am massively in love with Maggie Q, a fair review is not possible, but I have been saying for years this criminally underused actor deserves exactly this kind of starring role. This very much post Leon the Professional, slightly post Kill Bill Hitman (woman?!) actioner has been underappreciated by critics as it does one crucial thing right. Most films like this start strong and peter out into tedium in the obvious final third - this stayed fresh throughout. Throw a fantastic co-starring role for (an uncomfortably older) Michael Keaton AND Samuel L Jackson alongside the radiance that is Maggie Q and what more do you want from this kind of film???

This "inspired by" take on the Amanda Knox murder story has been rightly criticised by her but on its own terms is a hugely underrated film, perhaps as it's been mis-marketed as both a crime film and an actioner. It's neither, it's a very patient, very effecting human drama with a surprisingly bitter sting in the tail. Don't come here expecting a Liam Neeson film, it's far more European and based on character growth and interaction and I found it kind of wonderful. I always liked Matt Damon but never regarded him as anything other than a perfunctory actor - with this he turns the corner with a gravity-filled, natural career best. His relationships with a problematic estranged daughter, a deep, believable platonic love and in Abigail Breslin, one of the most charming children in modern movie history are a far more satisfying heart to this movie than the murder mystery.

Writer-director David Lowery has become one of the most interesting and exciting auteurs in cinema. This massive left turn for him into the legend of King Arthur thankfully hews far closer to John Boormans 80's classic Excalibur than Guy Ritchie's nadir, though in truth is a far more art-house experience. Dev Patel and Alicia Vikander excel in their meatiest roles in years and the production design is stunning and stylish throughout. Some occasional drifts into boredom and deviations from the source material - the story of Gawain and the Green Knight - that are both huge successes at times and let downs at others don't stop it being one of they years best and most interesting films.

The fifth entry into the occasionally polemical and relevant Purge franchise wastes the brilliant choice to relocate in post Trump America to Texas and the border. Despite having a cast array of low-hanging hand grenades it could set off with Mexicans, immigration and red-necks, it never feels like it engages with anything and could've been about anywhere. American Ninja is even mentioned.

We should thank the DC universe for providing never ending intrigue. The operate like a failed state on the border of Marvel's Europe. After the shocking abomination of WW1984 and the totally unexpected triumph of Zack Snyder's Justice League, we now get a poached Marvel director to fairly decently helm a perfectly watchable invocation of Deadpool.

Though sadly hewing closer to the likes of The Mummy or Pirates of the Caribbean than Indiana Jones, a winningly likeable cast, with good chemistry, elevate this amiable romp to being a much needed balm for troubled times.

After a rote first half that presents itself as a Friday the 13th, lets knock the obnoxious kids in the woods, one by one, horror, Wrong Turn explodes in unexpected and far more satisfying ways, recalling the likes of The Wicker Man and ends up much superior to the frankly naff Midsommar.