Tag Archives: Don Cheadle

The Boys Presents: Diabolical Season One – Review

Ahead of its third season releasing this year, what better time than now to look back on The Boys? It premiered and soon became a flagship show for the Prime Video brand. Its uber-gritty, so-called mature tone set The Boys apart from the mostly homogenous pack that is the mainstream of the comic book and superhero format. It was a certainty that expansions would be made to the world overseen by showrunner Eric Kripke, and Diabolical, the first addition to the universe, is a hit. This eight-episode collection is a hybrid of canon-recognised narratives mangled in with the usual outlandishness that we’ve come to expect from Billy Butcher and company, resulting in an easily watchable and equally entertaining offshoot.

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Space Jam: A New Legacy Review

This is it. The commercialisation of nostalgia, from a generation whose nostalgia lies in the likes of Looney Tunes: Back in Action and Robots. Joe Dante already spoke of the issues surrounding the former, where executives wished not for depth, but displays of popular characters from a variety of IPs, cohabiting with one another. Space Jam: A New Legacy is just that, a cameo collect-a-thon for those who find fun in witnessing characters from different franchises appearing in their beloved, space-oriented basketball films. That is not depth, nor is it fun. Where Space Jam had a comic appeal to it through its all-star cast and its animated versatility, its faithfulness to the Looney Tunes style, the inevitable adaptation to the modern-day from Malcolm D. Lee is a frustratingly inept one. 

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No Sudden Move Review

Mob flicks may have dominated a portion of culture for some time, but their influence has ebbed away. Not entirely, and considering how many are still made, we should take note of their style and their impact. But the glory days are over. These are not the days of Scarface and GoodfellasNo Sudden Move, the latest feature from Steven Soderbergh, does not wish to be like those former examples, nor does it wish to cultivate a new direction for the genre. By setting itself and its impressive ensemble long before the days of mainstream crime, Soderbergh enjoys the ability to come clean with engaging realisations of trope-worthy characters. 

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Bulworth Review

An odd sub-genre it may be, but the “politician with nothing to lose” and the many avenues of opportunity found in such films is an engaging and surprisingly well-rounded one. What could be a platform for one set of views or a real political statement is shirked in the face of character studies, and how power corrupts those that desire it or come across it without trying. The Candidate is the best offering of such an idea, the unlikely outsider heading to the big leagues without knowing it. Bulworth, the Warren Beatty-directed political comedy-drama hybrid attempts much the same, but with stark, differing results that lead not to self-congratulatory messages, but manic, hip-hop horrors and crazed, fascinating exchanges.

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Flight Review

I’ve always thought it odd that Robert Zemeckis, a man who crafted such classics of the 80s and early 90s, could spiral so rapidly into films that were lifeless hack jobs, failing to capture anything close to the magic he could put to screen in his glory days. Perhaps he became a parody of himself somewhere along the way, for all his Oscar success with Tom Hanks, he soon found himself recycling the same style and formula in the hopes of bagging more favour with those in high places with the Academy Awards. Flight feels like his strongest effort at nudging himself back into the public eye, with Denzel Washington taking centre stage, but this pairing fails to take flight.  

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Ocean’s Eleven Review

My personal dislike for the latter-day efforts of director Steven Soderbergh comes from a part of me that can’t shake the feeling that his stories are often empty. A burst of interest in Contagion (for obvious reasons), led me to the conclusion that he can certainly make some interesting premises but following through on those ideas to create interesting conclusions or depth is something I don’t believe his direction can bring. Ocean’s Eleven is perhaps his most famous piece of work, and if not it’s by far his most famous trilogy (solely because this is his only trilogy). Although littered with the tropes that I dislike from his direction, I find Ocean’s Eleven to be a completely amicable heist movie.

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