The Science Fiction Horror and Fantasy Film Review
An object lessons in how not to adapt a Young Adult series – take a book series about an apprentice witch hunter set in an alternate England and turn it a generic Lord of the Rings copy
A revival of the 1990s Sex and Zen series of erotic comedies, this comes with the novelty of being presented in 3D
A Chinese attempt to create an alien invasion film epic mass destruction in the vein of Independence Day and Michael Bay
Ignore the bad reviews, this is a film that is determined not to take itself seriously and keeps piling on the absurdities until it enters into the realm of the entertainingly preposterous
Adaptation of the superhero comic is played for comedy, making it very different in emphasis to the other films in the DCEU. The boy into man transformation is played up as essentially Big with superpowers – with appealing results
Sequel to Gnomeo & Juliet, which retold Shakespeare with garden gnomes. This for some reason adds a garden gnome Sherlock Holmes to the mix. The high speed whirring you hear is probably Arthur Conan Doyle rotating in his grave,
The fourth of the Shrek films. By this point, the freshness and originality of the first film has been buried under animated film formula, while the plot is a tired rehash of It’s a Wonderful Life
Dull and unimaginative Silent Hill sequel that only revisits what went before. The first film had an uncanny otherworldly atmosphere but the sequel reduces everything to no more than pop-up Clive Barker
Robert Rodriguez makes his return to Frank Miller’s classic film noir-styled graphic novels. You keep expecting this to hit in with the astonishing freshness the first film did. Rodriguez and Miller give us more of the same amazing visuals but there is the feeling it is no longer original and new
The first film was vaguely passable but this is an agonising piece of commercial product that has reduced everything to lazy slapstick sequences, cutsie laughs and smartass lines played for the single-digit age groups
For their third Smurfs film, Sony have dispensed with the live-action/CGi animation mix of the previous two films and made a wholly animated film. Its’ the Smurfs in their more natural element but the film is never more than 3D eye candy for the moppet audiences
The second of the Stars Wars spinoff films tells a Han Solo origin story. After a change of directors, it emerges in the hands of Ron Howard who has spent four decades being the world’s most ploddingly sedate director
After a disastrous fan reception of its initial trailer, the film of the videogame arrives on screen. The surprise is that for such a zero expectation film and one that defies the engagement of any of your braincells it is as much fun as it is.
Planetary adventure in the Star Wars vein with a few shakes of the junkyard future look of Mad Max 2. This was made to exploit the short-lived early 80s 3D revival fad
Spider-Man: Homecoming was Sony’s Spider-Man reboot where the elements came together with winning regard and Tom Holland’s politely eager nervousness made for a fantastic Spider-Man. This was the first sequel.
Sony’s reboot of the Spider-Man franchise bursts with a freshness and creative energy. This is also a Spider-Man that has integrated with the MCU with the script kowtowing to Marvel at every point
When you approach this in terms of exactly what it promises to be – a revival of the good old B movie standard of the giant spider film – this proves absurdly entertaining and with some surprisingly good CGI spider effects
Animated film that has the madcap premise of a top spy (voiced by Will Smith) transformed into a pigeon. A film that comes with such a level of comedic energy that it makes you think all hope is not lost for Blue Sky Studios, the makers of the interminable Ice Age films.
The third in the series is no longer even a Spy Kids film but a Virtual Reality videogame film. Robert Rodriguez has some fun creating the virtual worlds but the parody that the other films engaged in is missing
A series that reached its maximum level of cuteness two films ago is dragged out for another pointless entry that nobody was asking for. Robert Rodriguez delivers shabby juvenile slapstick
Gene Roddenbery created a tv series that was about boldly going, confronting different ways of life. The choice to hire the director of The Fast and the Furious films to helm the film made for the show’s 50th anniversary says how wrong-headed the reboot series has become – all about cool young leads and hurtling effects sequences
I had mixed feelings about J.J. Abrams’ reboot of Star Trek This time around the actors seem more at home in the characters and the plot works a good deal better (for the most part), while Abrams creates a hurtling effects spectacle that is the most action-oriented of the Trek films
It’s not another Empire Strikes Back but it makes up for the prequels. A good part fanservice to the original – if overly reliant on rehashing elements from Star Wars – this also does many things right
I’m not one of the haters on this. It’s the first Star Wars sequel since the 1980s to invigorate the series with fresh action sequences and place more focus on the characters instead of the action
The concluding chapter of the third trilogy of Star Wars films. After the critically divided The Last Jedi, J.J. Abrams opts for a return to the safety of familiarity and nostalgia
The first animated film in 3D, a blatant copy of Star Wars that proves occasionally engaging
This did nothing for me in the pre-release. Watching it, it proves far more enjoyable than expectation. It is very baby-centric but it does have a frequently off-the-wall sense of humour that is rather appealing
George Lucas’s venture into animation was critically pilloried. It’s not bad, just no different from a formula film like Rise of the Guardians or Epic. From the man who made Star Wars, you had higher expectations
French animated film that is about as far from children’s entertainment as it is possible to get – a mordantly dark comedy that operates in similar territory to The Addams Family in its tale of a family that operates a shop selling items of despatch to the suicidally minded
One of the lush, beautifully produced modern Wu Xia (flying swordsmen) films. Produced and written by the legendary Tsui Hark
Sequel to Stephen Fung’s Taichi Zero. The first film was distractingly self-conscious and hyper-active; by contrast, this is much less so, allowing it to settle down and start being the fantastic martial arts film it sets out to be. Even so, classic Wu Xia directors leave everything Fung does for dead
Disney fairytale Lite. The story of Rapunzel gets hiply modernised and is now no more than a cute adventure/romance about a handsome rogue and a girl who has magical hair. Eminently forgettable Disney animation.
An animated version of the Tarzan story shot in the motion capture process. Some of the modernisations might have Edgar Rice Burroughs turning in his grave, nevertheless the animation is excellent and the film works well as a technologically upgraded version of the Disney film
This reboot of the pop culture icons of 80s/90s is an ugly failure on almost every level. The Turtles I remember were hip, funky and bubbled with boyish enthusiasm; these Turtles seem sinister oversized creations, while the film’s adrenalised over-production and emphasis on grit seems to have missed the essential element of fun
Nobody has good things to say about the 2014 reboot of the Turtles. This sequel is stuck with its legacy – giant over-sized Turtles that lacked the cuteness of the originals; bitchy non-acting Megan Fox – but comes out winningly by doing one thing – emulating the spirit of the original cartoon series
The sixth Terminator film that boasts the return of both James Cameron and Linda Hamilton to the franchise. After the troughs of Terminator: Genisys, this makes one forget about the last three sequels
A hodgepodge of competing elements – an aging Arnold Schwarzenegger, a soft reboot, alternate timelines, reintroduction of the familiar, twists to the familiar – that make no sense on a narrative level, least of all come anywhere near what James Cameron delivered back in the first two films
A Texas Chainsaw sequel in 3D with chainsaws and gore coming out at the screen seems the complete antithesis of the raw savagery of the original. The result is like a formulaic modern slasher, while the film is wrecked by a ridiculous reversal of sympathies in the last half
Softcore version of Thir13en Ghosts with ghosts hunters wandering through a house and seeing various girls making out. The various encounters seem to lack even the basic conviction from those involved
The third of the MCU’s Thor films. This time Kiwi director Taikia Waititi gives much more of a comedic emphasis where you get the impression the intention has been to push the film in the direction of Guardians of the Galaxy. On the other hand, the superheroics are routine
Sequel to Thor that earranges the same basic elements much more satisfyingly than the first film – the actors (with the exception of a tranquilised Natalie Portman) seem more at home in their roles and a director who is more confident with the effects and superheroics. That said, it is starting to feel like Marvel is shuffling the same plot ingredients around between films
One welcomes a collaboration between Tsui Hark, the godfather of Hong Kong fantasy cinema, and Yuen Wo Ping, fight choreographer for The Matrix and Crouching Tiger, Hidden Dragon but the the results are oddly disappointing, with Yuen’s talents seeming buried under the CGI
Less a 300 sequel or prequel than a parallel story, this offers much the same as before but in 3D and with naval instead of land combat. Seeing Zack Snyder’s amazing visuals repeated all over again, all the poses and hyper-masculinity now seem to bubble with an inherent risibility.
Not a time travel film as the title leads you to expect but a Chinese copy of Raiders of the Lost Ark where you expect they were trying to call it ‘tomb raiders’. The director is also the production designer leading to a gorgeously designed film but also one of constant action postures almost entirely lacking in substance
After such high standards with the previous two films, there is considerable onus on Pixar when it comes to this third entry nevertheless they manage to wring some strong and effective new twists on the familiar
Pixar sequelise their very first film for a third time but the surprise is a film that creates a range of eccentric characters and finds the wit and warmth that has been missing through their last few films
Are there any new creative directions that Michael Bay feels he he has to explore for a fourth Transformers film? All the Transformers beating the crap out of each other and copious mass destruction has become hard to tell one of the films from each other
The third of Michael Bay’s Transformers films. While the human scenes opt for a ghastly miscalculated sense of humour, the effects houses are at the peak of their game, even if Bay allows them to drag the mass destruction out to a numbing excess
The fifth of Michael Bay’s Transformers films. This comes with more of an outright comedy focus than any of the other films where Bay seems to be second-guessing his critics and spoofing his own peccadilloes in quote marks, only to produce the silliest entry in the series yet
Cheap and tatty copycat of Raiders of the Lost Ark shot in the short-lived 1980s 3D revival fad
A perfect example of all the things I hate about modern animation. Based around the popular Troll dolls, this is vapidly designed, content-free product based solely around simplistic storylines, manic slapstick sequences, song and dance numbers, and inane contemporary pop culture in-jokes
Tron was a genuinely groundbreaking work. It is hard to describe how ill conceived this sequel is where we have gone to predicting the idea of cyberspace to a fight over a glorified 3D printer
The 24th film from DreamWorks Animation – the studio that once offered a reasonable challenge to Disney is now starting to slip into the bland formula of competitors like Blue Sky. While passable, this feels like a film substantially lacking in originality and where you can predict its every move
Francis Ford Coppola makes what may be a ghost story or a vampire film but things are so confused you are never sure what. Less like the mature work of one of the great American filmmakers than an ingenue effort from director straight out of film school with a head full of muddled pretensions
Yet another entry that nobody asked for in a conceptually threadbare series that nobody seems to like … passably better than the last two sequels due to some ok action moves but still empty-headed in terms of ideas
I am at a loss to understand who the audience for the Underworld films is – they are films devoid of minimal requirements like plotting and seem to only exist as a series of forgettable action sequences and interchangeable Gothic poses by characters in black leather – and yet we keep getting more of them
Sixth entry in the series, this throws out all the themes the previous sequels operated by and feels like a Universal Soldier film written by Philip K. Dick with utterly fascinating results. John Hyams hits in with a brutal intensity that shows he is one of the most exciting up and coming action directors
It was a box-office bomb but this is one of the most breathtaking and completely designed SF work to ever cross the screen. In terms of effects, sets and costuming, Luc Besson gives us a work that is an overwhelming treat for the eyes
Anything with the Marvel Comics name on it is box-office gold. This spins a standalone film off from one of the main villains of the Spider-Man comic-book. This is watchable by several showstopping effects set-pieces.
The third film in the series of stoner comedies trips off into gonzo genre territory. A relentlessly and unashamedly vulgar film that also manages to be occasionally quite funny
Russian-made adaptation of a classic horror story that takes place as an exquisitely stylised 19th Century Gothic fantasy world but is a head-scratchingly incoherent mishmash on a plotting level
Walking With Dinosaurs was an amazing documentary series that recreated prehistoric life with CGI animation. By contrast. the film spinoff is a cutsie animated film with talking dinosaurs. It is a film that is killed by the decision to let the dinosaurs talk with smartass one-liners and contemporary in-jokes
Chinese attempt to make a Roland Emmerich-type mass destruction spectacle about the moving of the Earth. Much effects spectacle but the film suffers from plain absurd science
The third film in the rebooted Planet of the Apes series. The motion capture effects are at an absolute peak of the art and the motion capture performances astonishing. The whole film almost seems to consist of heart-tugging moments to make you go “aww”
Sequel to the H.G. Wells novel that imagines a fascinating alternate history that might have occurred following the Martian invasion. The clear appeal has been creating a series of scenes showing humanity tackling invading tripods in giant Steampunk manned robots
Adapted from the videogame, this is a third hand rehash of the basics of Tolkien. Secondly, it looks like a giant CGI cartoon where almost anything interesting about the world has been sidelined in favour of fantasy action
Robert Zemeckis of Back to the Future and Forrest Gump fame makes a film of the true-life story of Mark Hogancamp who recovered from a brutal assault by building a fantasy village of dolls. The results are bizarre where Zemeckis seems more interested in making a Sucker Punch-like fantasy where the dolls come to life
While this received a good deal of fan buzz, I must admit to being disappointed. It strips much of the superheroics and mutant cameos of the other X-Men films until it feels more like a Westerner in Japan thriller like Black Rain or even a routine film noir plot that happens to be cast with Wolverine
After three films of mixed success, DC Comics finally get their Cinematic Universe right. Director Patty Jenkins blows all of the others away with a series of exhilarating action sequences that have an entire audience cheering
A spinoff from Pixar’s Cars series (although is not in itself a Pixar film but comes from Disney) that sets out to do the same with anthropomorphic planes. Amiable, even likeable but more a wannabe that seems like it is trying to be than actually hits the cleverness and creative heights of Pixar
You wonder what this can do with such an overworked genre as the zombie apocalypse. It is not a film that reinvents the wheel for the genre but spins the basics out into an exciting, international locale hopping survival story
High-profile adaptation of the classic children’s work by Madeline L’Engle that has been entirely wrenched out of shape by its director to become a heavy-handed message about diversity. It is SF made by people who think the genre is just eye candy and absurdly over-the-top costumes
A Chinese work of meta-fiction where a man is tasked with killing the author of a book that is having effects on the real world
Despite the bad press surroundings this, I failed to find it as bad as other reviewers. It’s a solid if not standout entry in the series with some fine superheroic action sequences
It is nice to see Bryan Singer regain his form after several years lull. The plot is nothing world-shattering but it is nice to see a character-driven X-Men, while Singer delivers the superheroics with a cheer-out loud elan that most of the sequels missed by a wide margin
Amid the vast horde of low-budget zombie films of the 00s, this Norwegian effort in 3D emerges as possibly the worst. It has no discernible plot, while the gore only consists of cheap digital overlays that looks like Monty Python cutout animation
xXx, with Vin Diesel as an extreme sports junkie version of James Bond, was ridiculous. This second sequel surprisingly turns out halfway watchable, keeping the stunts moving fast and introducing an ensemble to build this out as a Fast and the Furious-type franchise
The live-action adaptation of the classic Hanna-Barbera cartoon series is a film construed entirely around slapstick sequences that never requires you to engage your brain in any way
Tsui Hark delivers a prequel to his 2010 Detective Dee film. This takes the character back far more to his original nature as a Chinese equivalent of Sherlock Holmes. That is if you can imagine Sherlock Holmes taking place as a flying swordsman film filled with sea monsters and wildly fantastic martial combat scenes (*)
Lush, visually extravagant Chinese-made Wu Xia film, shot with an epic widescreen eye that looks amazing. It falls down somewhat when the two leads become replaced by CGI and only look like the avatars from a videogame
A really good Disney animated film set in a world that imagines what might happen if animals lived in cities, this is an ingenious reworking of the talking animals premise that overflows with visual ingenuity and warm humour