Blunt Reviews Presents: Tyrannosaur (2011)

Tyrannosaur

Paddy Considine quite rightly winning the BAFTA here for his debut as writer and director. A gritty homegrown British drama that stands as one of the best films of our time. It’s fantastically written, with a gripping story and characters that are fully three dimensional, making it a film that consumes you and takes your emotions on a journey they’ve never had before. Exploring topics such as love, friendship, faith and redemption there is a lot of substance packed in but it is delivered masterfully by the director and cast, most notably Olivia Colman who is breathtaking. An undisputed masterpiece.

Blunt Reviews Presents: The Hunger Games: Mockingjay – Part 1 (2014)

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I am still among the folk who are massively bored of this franchise already. The first film was awful, the second was an improvement, and this third installment was just more of what we’ve already had. I’m bored of the ever expanding adventures of Katniss Neversmile and her multiple man friends. All I want is for the films to end already, whether it be with District 13 leading a successful revolution or with President Snow having everyone shot, I don’t care, just get it out of my local cinema. Oh look Lorde recorded a song for the film! Fuck off.

Blunt Reviews Presents: Edge of Tomorrow (2014)

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The film feels very reminiscent of a number of other films, like Groundhog Day mixed with Aliens, but thankfully it does feel like a new and unique experience in its own right, without feeling like a rip off. Tom Cruise and Emily Blunt work perfectly together as the leading roles, with a supporting cast that’s less annoying than the usual ensemble thrown together for an action film. Seldom unintelligent with the right balance of humour, I actually quite liked this film. It wasn’t perfect and there are elements that need tweaking, but overall it hangs together as a solid blockbuster.

Blunt Reviews Presents: The Visit (2015)

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M. Night Shyamalan returns as writer and director with this flimsy and annoying horror attempt that loses everything cinema audiences previously liked about Shyamalan. The man who was once the king of unforeseeable plot twists now presents minor plot developments that can be seen from the opening minutes of the film onwards. So sit tight and please welcome to the stage jump scares, overacting, uninteresting characters that you couldn’t possibly hope to sympathise with, and a general feel that someone has attempted to copy David Lynch’s style and mixed it with the bog standard recipe for a shit modern horror.