#89 THE HOBBIT: THE BATTLE OF THE FIVE ARMIES
Directed by Peter Jackson, written by Jackson, Fran Walsh, Philappa Boyens and Guillermo Del Torro. Starring loads of people including Martin Freeman, Orlando Bloom, Luke Evans, Evangeline Lilly. 144 minutes long.
I slept through most of the last one, I remember there was a dragon in it, voiced by Bendy Dick Currant-Bun, also there was Stephen Fry and an old Dr. Who, added to that was that Irish bloke from Cold Feet and that one from Spooks who along with Arthur Dent from the Office and Magnetto (the old one, not the younger one) who were all trying to break into a mountain and steal a dragon's gold (think Goldfinger meets Ocean's 11 via Conan The Destroyer) for some reason or another. Anyway, that one ended with the dragon flying out of his mountain home and heading for a lake-based town. This part, number three if you're counting, starts with lake home obliterated by dragon and Luke Evans in prison. Not to give too much away at this stage but dragon is dead 15 minutes later.
Hooray you say, I should be out of here in a minute or two, but no, god, fucking no, there's still another 130 minutes or two hours and ten minutes to go. And that's two hours and ten minutes of humans, Elves and Dwarves fighting Orcs, trolls and goblins. You're not allowed to ask questions either at this stage. No, 'hang on minute, what happened to the Spice Worms?' or, 'war-breed Orcs die very easily don't they?' or, 'Seriously, there's no way that many boring, old, overweight Drawves can hold off an entire Elvish army.' And not forgetting my favourite, 'By Christ I thought Lord of the Rings III: Return of the Twin Towers of the King's Fellowship had a lot of endings.' which I know isn't a question but you get the idea. Finally there's the, 'Say, isn't that guy the bad guy from Gaurdians of the Galaxy?' one too.
The battle goes on. And on, and on and on and on. And then on some more. Then it seems to end, but it's just a break before carrying on where it left before. Luckily it ends before your life does, but not after having gone on for a very long, long time. Much longer than is perhaps necessary as you, the viewer, don't really care about any of these stinking little, whining fuckers anyway, cos when the dust finally settles, only two of the stupid tossers is actually dead, which is amazing cos I seriously thought the old one and the really, really overweight one, was going to die. But no, most of the Dwarves survive to do fuck all another day, cos they're never heard of ever again.
Anyway, since I don't really care about any of these big footed, tiny halfwits what did I think of the rest of it? Well, it's okay, nice effects but this is no Lord of the Rings. Since this was always going to be the case of second child syndrome, there's not much to say. I've seem much worse than this and I've seen a lot better. If you've seen the first two go then I suppose you might as well go and see this one and finish off the set, otherwise I'd probably give it a pass. There's no effort to explain what went before and even I who sat through most of it didn't quite know what the hell everything nor who everybody was.
Looked good, some nice action, earnest performances and it's directed by the man who did Bad Taste, Meet the Feebles and Braindead.
6/10
Saturday, 13 December 2014
#88 GET SANTA
#88: GET SANTA
Starring Jim Broadbent, Rafe Spall, Warwick Davis, Stephen Graham and Kit Conner.
Written and directed by Christopher Smith, 102 minutes.
Released from jail, three days before Christmas, having served his 2 year sentence (a rare occurrence, an actual ex-con who deserved to be in jail) Steve, Rafe Spall, has sworn to go straight and take his son out for the day, only there's a man in his son's shed who swears he's Santa and he needs Steve and his son, Tom's help or Christmas is going to be canceled! It turns out he is actually Santa and when he's subsequently arrested for trying to break his reindeer out of Battersea Dog's Home and carted off to the exact same prison, Steve's just been released from it's up to newly reunited father and son to break him out of the slammer or see the world's Christmas loving children wake up on Christmas Day without presents!
After that, it's the usual story of a missing ex-con and his son – who it seems he's abducted – and a nationwide, police man-hunt staged by loveable, bungling policemen and not a single, 'I can't breathe' in sight, flatulent reindeer and a father bonding with his mildly estranged son and rediscovering the the good in everyone at Christmas, even crimbos! Think of it as Shawshank Redemption meets Miracle on 51st by way of Starred Up.
It's a film of two halves, there's one which follows Jim Broadbent's Santa as he adjusts to life in prison which is utterly hilarious and had me and the only other adult male in the cinema howling with laughter, his attempts to be hard man are priceless, and then there's the half of the film where Steve and Tom go off to save Christmas and rescue St. Nick by way of the North Pole and Santa's Elves, which is okay, but you'll find yourself missing Santa LOTS.
I have it on good authority that this is infinitely funny and vastly more enjoyable than Nativity 3 and I accept that on absolute faith having no desire to sit through Nat 3. I have already seen number 1 & half of 2 and that was more than enough for me.
7/10
Starring Jim Broadbent, Rafe Spall, Warwick Davis, Stephen Graham and Kit Conner.
Written and directed by Christopher Smith, 102 minutes.
Released from jail, three days before Christmas, having served his 2 year sentence (a rare occurrence, an actual ex-con who deserved to be in jail) Steve, Rafe Spall, has sworn to go straight and take his son out for the day, only there's a man in his son's shed who swears he's Santa and he needs Steve and his son, Tom's help or Christmas is going to be canceled! It turns out he is actually Santa and when he's subsequently arrested for trying to break his reindeer out of Battersea Dog's Home and carted off to the exact same prison, Steve's just been released from it's up to newly reunited father and son to break him out of the slammer or see the world's Christmas loving children wake up on Christmas Day without presents!
After that, it's the usual story of a missing ex-con and his son – who it seems he's abducted – and a nationwide, police man-hunt staged by loveable, bungling policemen and not a single, 'I can't breathe' in sight, flatulent reindeer and a father bonding with his mildly estranged son and rediscovering the the good in everyone at Christmas, even crimbos! Think of it as Shawshank Redemption meets Miracle on 51st by way of Starred Up.
It's a film of two halves, there's one which follows Jim Broadbent's Santa as he adjusts to life in prison which is utterly hilarious and had me and the only other adult male in the cinema howling with laughter, his attempts to be hard man are priceless, and then there's the half of the film where Steve and Tom go off to save Christmas and rescue St. Nick by way of the North Pole and Santa's Elves, which is okay, but you'll find yourself missing Santa LOTS.
I have it on good authority that this is infinitely funny and vastly more enjoyable than Nativity 3 and I accept that on absolute faith having no desire to sit through Nat 3. I have already seen number 1 & half of 2 and that was more than enough for me.
7/10
Sunday, 7 December 2014
#87: ST VINCENT
87: ST. VINCENT
Starring Bill Murray, Jaeden Lieberher, Naomi Watts, Melissa McCarthy, Chris O'Dowd and Terrance Howard. Written and directed by Theodore Melfi. 103 minutes long.
Bill Murray, is everyone's favourite grumpy grandpa and it seems he's utterly cornered that market, making a new career of it in the Autumn of his years. In St. Vincent, he plays Vin a lonely, Vietnam vet, cranky pensioner with a drinking and gambling problem (he always loses) and a girlfriend in the shape of Naomi Watt's pregnant Russian pole dancer, Daka. But all is not what it seems with Vincent and when Melissa McCarthy's nurse, Maggie and her 12-year old adopted son, Oliver played by new comer, Jaeden Lieberher moves in next door and enters his life, both old man and young boy will bond, learn some valuable life lessons and grow to become better people and by the end will have created a new family dynamic for the 21st Century.
Ticking each and every generic 'old man mentors young boy and learns valuable life lesson along the way.' box on the chart, St Vincent charts no new route through the cliches and leaves no stone unturned either. Along the journey we will learn of Vin's back story and his rather sad heart break and through the joys of booze, race tracks and hookers the 12 year old will find the strength to face up to his bullies and makes a friend for life. Chris O'Dowd is there as a Catholic Priest on hand to provide gentle help and ensure the film lives up to its title.
The only thing that stops this from being a film of the week of the lesser cable channels is the presence of Bill Murray who still remains a wonderful spectacle to watch, the screen loves his jowly, wrinkly, prune-like face and it's him that will make this film succeed, it's him we come for.
It's bitter sweet, it's somewhat funny and the cast is agreeable. Overall this isn't a terrible film, but it's not Murray's best and a long way from his worst.
7/10
Starring Bill Murray, Jaeden Lieberher, Naomi Watts, Melissa McCarthy, Chris O'Dowd and Terrance Howard. Written and directed by Theodore Melfi. 103 minutes long.
Bill Murray, is everyone's favourite grumpy grandpa and it seems he's utterly cornered that market, making a new career of it in the Autumn of his years. In St. Vincent, he plays Vin a lonely, Vietnam vet, cranky pensioner with a drinking and gambling problem (he always loses) and a girlfriend in the shape of Naomi Watt's pregnant Russian pole dancer, Daka. But all is not what it seems with Vincent and when Melissa McCarthy's nurse, Maggie and her 12-year old adopted son, Oliver played by new comer, Jaeden Lieberher moves in next door and enters his life, both old man and young boy will bond, learn some valuable life lessons and grow to become better people and by the end will have created a new family dynamic for the 21st Century.
Ticking each and every generic 'old man mentors young boy and learns valuable life lesson along the way.' box on the chart, St Vincent charts no new route through the cliches and leaves no stone unturned either. Along the journey we will learn of Vin's back story and his rather sad heart break and through the joys of booze, race tracks and hookers the 12 year old will find the strength to face up to his bullies and makes a friend for life. Chris O'Dowd is there as a Catholic Priest on hand to provide gentle help and ensure the film lives up to its title.
The only thing that stops this from being a film of the week of the lesser cable channels is the presence of Bill Murray who still remains a wonderful spectacle to watch, the screen loves his jowly, wrinkly, prune-like face and it's him that will make this film succeed, it's him we come for.
It's bitter sweet, it's somewhat funny and the cast is agreeable. Overall this isn't a terrible film, but it's not Murray's best and a long way from his worst.
7/10
#86 BLACK SEA
#86: BLACK SEA
Directed by Kevin McDonald, written by Dennis Kelly. Starring Jude Law, Scott McNairy, Karl Davies Konstantin Khabensky, Grigoriy Dobrygin, Tobias Menzies, Ben Mendelsohn, Jodie Whittaker and Michael Smiley.
When Jude Law's Robinson is made redundant from his job as a submarine captain from a civilian salvage company, he is quickly lined up to take on the job on a life-time, salvaging 4 tonnes worth of Nazi gold from a sunken U boat at the bottom of the Black Sea. Putting together a mercenary rag-tag crew of Russian and western submariners, Robinson and co set sail in a 2nd hand rust-bucket of a soviet sub to the bottom of the blackest sea in search of fortune. But a word of advice to anyone reading this with a similar plan, I would suggest you try very hard to not employ someone you describe as a 'psycho' in the hiring stage of your plan, especially if you hope to succeed, because before you can say, 'that bloke looks like a right pscyho.' the submarine is crippled and marooned at the bottom of the sea on a sea shelf, with half the crew are dead and the only way to repairing the damage lying in the belly of the sunken German sub 100 metres away.
Me, I love submarines and love nothing more than a film about them. Some people might hold up Das Boot as an example of the best this genre can offer, while others claim Hunt for Red October or Crimson Tide, but for me it'll always be Operation Petticoat.
Anyway, this is quite a gripping and claustrophobic film which works best when it's about 12 men, six from each culture (Russian and British) struggling to work together and overcome a series of setbacks and disasters, less successful once the psycho does his stuff and the film becomes a fight for survival, but this is still an entertaining and gripping thriller. Kevin McDonald's direction is tight and adds to the claustrophobia and it's cast is good. Jude Law convinces, with ease, portraying a leader of men using the force of his personality to control and steer his men rather than strength, his painful backstory gives the film it's emotional backbone. Although starved of humour, this film still manages to punctuate the proceedings with rye comments and male-orientated hi-jinx that provides much needed laughter at some of the darkest moments.
It's a shame this film's ending screams it's arrival with the beginning of the third act, but it's still compelling and enjoyable.
7/10
Directed by Kevin McDonald, written by Dennis Kelly. Starring Jude Law, Scott McNairy, Karl Davies Konstantin Khabensky, Grigoriy Dobrygin, Tobias Menzies, Ben Mendelsohn, Jodie Whittaker and Michael Smiley.
When Jude Law's Robinson is made redundant from his job as a submarine captain from a civilian salvage company, he is quickly lined up to take on the job on a life-time, salvaging 4 tonnes worth of Nazi gold from a sunken U boat at the bottom of the Black Sea. Putting together a mercenary rag-tag crew of Russian and western submariners, Robinson and co set sail in a 2nd hand rust-bucket of a soviet sub to the bottom of the blackest sea in search of fortune. But a word of advice to anyone reading this with a similar plan, I would suggest you try very hard to not employ someone you describe as a 'psycho' in the hiring stage of your plan, especially if you hope to succeed, because before you can say, 'that bloke looks like a right pscyho.' the submarine is crippled and marooned at the bottom of the sea on a sea shelf, with half the crew are dead and the only way to repairing the damage lying in the belly of the sunken German sub 100 metres away.
Me, I love submarines and love nothing more than a film about them. Some people might hold up Das Boot as an example of the best this genre can offer, while others claim Hunt for Red October or Crimson Tide, but for me it'll always be Operation Petticoat.
Anyway, this is quite a gripping and claustrophobic film which works best when it's about 12 men, six from each culture (Russian and British) struggling to work together and overcome a series of setbacks and disasters, less successful once the psycho does his stuff and the film becomes a fight for survival, but this is still an entertaining and gripping thriller. Kevin McDonald's direction is tight and adds to the claustrophobia and it's cast is good. Jude Law convinces, with ease, portraying a leader of men using the force of his personality to control and steer his men rather than strength, his painful backstory gives the film it's emotional backbone. Although starved of humour, this film still manages to punctuate the proceedings with rye comments and male-orientated hi-jinx that provides much needed laughter at some of the darkest moments.
It's a shame this film's ending screams it's arrival with the beginning of the third act, but it's still compelling and enjoyable.
7/10
#85 FORBIDDEN PLANET
#85: FORBIDDEN PLANET
Directed by Fred M. Wilcox, written by Irwin Block, Allan Alder and Cyril Hume. Starring Leslie Nelson, Anne Frances, Walter Pigeon and Robbie, The Robot. 98 minutes long.
It's turned out to be the month I watch some of my favourite movies, first 2001, then Forbidden Planet and later on month, I'm going to see Bladerunner.
Released in 1956, Forbidden Planet was the Interstellar of its day. A film that pushed the bounderies of technology and revolutionised the genre of science fiction. It was, along with War of the Worlds, When Worlds Collide, This Island Earth and Day the Earth Stood Still an early attempt to make a big budget 'A' style science fiction film, as opposed the the usual cheap, second feature or 'B-movie' more associated with sci-fi films of the 1950's. It was also unusual because it wasn't a thinly veiled attack upon communism, featured a totally synthesized, or tonal, sound track and was based on William Shakespeare's The Tempest. Culturally, Forbidden Planet would go on to greatly inspire Gene Roddenberry's Star Trek and be entered into the Library of Congress' National Film Registry for being - "culturally, historically, or aesthetically significant." in 2013.
Set in the 23rd Century, the movie follows the crew of the interstellar spaceship, C-57D as it arrives at the distant planet Altair V on a relief mission to determine the fate of the Earth settlers who landed 20 years earlier. Instead of a bustling metropolis the crew find the goatie-wearing, all-in-black garbed scientist, Morbius, his virginal daughter Altaria and Robbie, The Robot all living in splendid isolation in an idyllic John Lautner inspired desert palace. They are only survivors of the original settlers who were all horribly murdered by an unknown invisible planetary force two decades earlier. What the crew, led by Leslie Nelson's Commander John Adams discover is that deep below the surface of Altair V is the last remaining city of a super-advanced alien race called the Krell who all, over the course of a single night, mysteriously died out 200,000 years earlier. As the ship begins to suffer a series of increasingly more damaging attacks, the crew begins a desperate race of survival against the same unseen monster of the Id as the Krell and discovers their horrific and tragic fate.
Featuring award winning special effects and some inspired production design, particularly with the design of the Krell's utterly alien world, Forbidden Planet is never less than utterly engrossing and thrilling and the opportunity of watching it on the big screen was a sheer delight, how sad then that the print the BFI managed to obtain was so dark, scratched and poor.
Despite it's wonderfully sweet naivety and simple story-line this was still a note-perfect sheer delight.
10/10
Directed by Fred M. Wilcox, written by Irwin Block, Allan Alder and Cyril Hume. Starring Leslie Nelson, Anne Frances, Walter Pigeon and Robbie, The Robot. 98 minutes long.
It's turned out to be the month I watch some of my favourite movies, first 2001, then Forbidden Planet and later on month, I'm going to see Bladerunner.
Released in 1956, Forbidden Planet was the Interstellar of its day. A film that pushed the bounderies of technology and revolutionised the genre of science fiction. It was, along with War of the Worlds, When Worlds Collide, This Island Earth and Day the Earth Stood Still an early attempt to make a big budget 'A' style science fiction film, as opposed the the usual cheap, second feature or 'B-movie' more associated with sci-fi films of the 1950's. It was also unusual because it wasn't a thinly veiled attack upon communism, featured a totally synthesized, or tonal, sound track and was based on William Shakespeare's The Tempest. Culturally, Forbidden Planet would go on to greatly inspire Gene Roddenberry's Star Trek and be entered into the Library of Congress' National Film Registry for being - "culturally, historically, or aesthetically significant." in 2013.
Set in the 23rd Century, the movie follows the crew of the interstellar spaceship, C-57D as it arrives at the distant planet Altair V on a relief mission to determine the fate of the Earth settlers who landed 20 years earlier. Instead of a bustling metropolis the crew find the goatie-wearing, all-in-black garbed scientist, Morbius, his virginal daughter Altaria and Robbie, The Robot all living in splendid isolation in an idyllic John Lautner inspired desert palace. They are only survivors of the original settlers who were all horribly murdered by an unknown invisible planetary force two decades earlier. What the crew, led by Leslie Nelson's Commander John Adams discover is that deep below the surface of Altair V is the last remaining city of a super-advanced alien race called the Krell who all, over the course of a single night, mysteriously died out 200,000 years earlier. As the ship begins to suffer a series of increasingly more damaging attacks, the crew begins a desperate race of survival against the same unseen monster of the Id as the Krell and discovers their horrific and tragic fate.
Featuring award winning special effects and some inspired production design, particularly with the design of the Krell's utterly alien world, Forbidden Planet is never less than utterly engrossing and thrilling and the opportunity of watching it on the big screen was a sheer delight, how sad then that the print the BFI managed to obtain was so dark, scratched and poor.
Despite it's wonderfully sweet naivety and simple story-line this was still a note-perfect sheer delight.
10/10
Tuesday, 2 December 2014
#84 2001: A SPACE ODYSSEY
#84 2001: A SPACE ODYSSEY
Starring Keir Dullea, Gary Lockwood. Written by Stanley Kubrick and Arthur C. Clarke. Directed by Stanley Kubrick. 142 minutes long.
Simply one of the greatest films ever made, it's scope, skill and creativity are off the chart. With this single film, Stanley Kubrick changed an entire genre and influenced film makers for the next 46 years, including this year's Interstellar which owes a huge debt to Odyssey and indeed pays homage to it with it's own spiraling spaceship docking sequence.
Telling the story of mankind from his very dawn on the Earth to his next evolutionary step to the stars as our destiny is gently nudged by an alien intelligence we never glimpse, hear nor understand. With no attempt made to explain the reasons behind their extraordinary gift of technology, nor any efforts made to explain the final act of this extraordinary film, 2001 is a truly stunning and genuine work of cinematic genius.
Despite having seen this countless times both at the cinema and at home, 2001 never fails to thrill me, and I continue to marvel at its scope and achievements.
Whether it's marrying long, non-speaking special effects shots of spaceships in orbit, docking, landing or just flying, perfectly, with classical music, or throwing us a stunning 45 million year forward in the story thanks to its legendary jump cut, or it's exquisite attention to detail or even just the sequence where HAL 9000 pleads for its artificial life, 2001 is an utterly brilliant film that allows you to supply your own answers to the final act without leaving you feeling cheated or frustrated.
One of my all-time favourite films which hasn't aged or dated a day. If you get a chance to see it on the big screen, do it.
10/10
Starring Keir Dullea, Gary Lockwood. Written by Stanley Kubrick and Arthur C. Clarke. Directed by Stanley Kubrick. 142 minutes long.
Simply one of the greatest films ever made, it's scope, skill and creativity are off the chart. With this single film, Stanley Kubrick changed an entire genre and influenced film makers for the next 46 years, including this year's Interstellar which owes a huge debt to Odyssey and indeed pays homage to it with it's own spiraling spaceship docking sequence.
Telling the story of mankind from his very dawn on the Earth to his next evolutionary step to the stars as our destiny is gently nudged by an alien intelligence we never glimpse, hear nor understand. With no attempt made to explain the reasons behind their extraordinary gift of technology, nor any efforts made to explain the final act of this extraordinary film, 2001 is a truly stunning and genuine work of cinematic genius.
Despite having seen this countless times both at the cinema and at home, 2001 never fails to thrill me, and I continue to marvel at its scope and achievements.
Whether it's marrying long, non-speaking special effects shots of spaceships in orbit, docking, landing or just flying, perfectly, with classical music, or throwing us a stunning 45 million year forward in the story thanks to its legendary jump cut, or it's exquisite attention to detail or even just the sequence where HAL 9000 pleads for its artificial life, 2001 is an utterly brilliant film that allows you to supply your own answers to the final act without leaving you feeling cheated or frustrated.
One of my all-time favourite films which hasn't aged or dated a day. If you get a chance to see it on the big screen, do it.
10/10
Sunday, 30 November 2014
#83 PADDINGTON BEAR: THE MOVIE
#83 PADDINGTON BEAR: THE MOVIE
Starring, Ben Whishaw, Hugh Bonneville, Sally Hawkins, Julie Walters, Nicole Kidman, Peter Capaldi, Julie Walters, Jim Broadbent and a positively who's who of the British acting community, see how many you can spot.
Written by Paul King and Hammish McColl and directed by Paul King. 95 minutes long.
It's what the world, as a singular entity has been crying out for, indeed it's what the occupy Hong Kong demonstration is all about! It's the origin story of Paddington Bear, a bear orphaned at an early age and raised in the rain forest of deepest, darkest Peru to be his race's most supreme warrior and crime fighter. Now, he's in England to thwart the evil intentions of a master, clown-faced criminal hell-bent on triggering the San Andreas fault line and clean up on some prime sea front real estate.
Oh, no, wait. That's Superman and Batman.
This is Paddington Bear, Michael Bond's sublime creation brought to life in the 21st Century and all that that sentence threatens...
I went into this expecting to hate it, the trailer looked foul, my god they'd managed to shoehorn in Nicole Kidman as some sort of demented Cruela Deville character and in the place of Bond's glorious silliness there seemed to be a skateboarding bear. So, imagine my suprise when i left the cinema an hour and a half later, feeling a happy warm glow in my chest and feeling love for the whole bastard human race. Bastards.
Damn it, I loved it. I loved its ridiculous faux Britishness, the nonsense of it all. The silly gags and slapstick adventures, but most of all I just loved the little bear, voiced brilliantly by Ben Whishaw. He's a delightful and wonderful CGI creation, staggeringly polite and not the bumbling, stupid fucktard I was convinced he'd be transformed into. I even loved his unnecessary origin story, although it also left me a little sad.
Go and see it, it's lovely.
9/10
But after a weekend of this I need to see something violent and horrible soon or I'm going to burst.
Starring, Ben Whishaw, Hugh Bonneville, Sally Hawkins, Julie Walters, Nicole Kidman, Peter Capaldi, Julie Walters, Jim Broadbent and a positively who's who of the British acting community, see how many you can spot.
Written by Paul King and Hammish McColl and directed by Paul King. 95 minutes long.
It's what the world, as a singular entity has been crying out for, indeed it's what the occupy Hong Kong demonstration is all about! It's the origin story of Paddington Bear, a bear orphaned at an early age and raised in the rain forest of deepest, darkest Peru to be his race's most supreme warrior and crime fighter. Now, he's in England to thwart the evil intentions of a master, clown-faced criminal hell-bent on triggering the San Andreas fault line and clean up on some prime sea front real estate.
Oh, no, wait. That's Superman and Batman.
This is Paddington Bear, Michael Bond's sublime creation brought to life in the 21st Century and all that that sentence threatens...
I went into this expecting to hate it, the trailer looked foul, my god they'd managed to shoehorn in Nicole Kidman as some sort of demented Cruela Deville character and in the place of Bond's glorious silliness there seemed to be a skateboarding bear. So, imagine my suprise when i left the cinema an hour and a half later, feeling a happy warm glow in my chest and feeling love for the whole bastard human race. Bastards.
Damn it, I loved it. I loved its ridiculous faux Britishness, the nonsense of it all. The silly gags and slapstick adventures, but most of all I just loved the little bear, voiced brilliantly by Ben Whishaw. He's a delightful and wonderful CGI creation, staggeringly polite and not the bumbling, stupid fucktard I was convinced he'd be transformed into. I even loved his unnecessary origin story, although it also left me a little sad.
Go and see it, it's lovely.
9/10
But after a weekend of this I need to see something violent and horrible soon or I'm going to burst.
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