Gary Siddons

The first and still finest on screen adaptation to feature Thomas Harris's indelible cannibal. Manhunter gave us the first cinematic iteration of Hannibal Lecktor in the form of Scottish actor Brian Cox. While Tony Hopkins won the oscar for his scenery chewing performance in The Silence of the Lambs in 1991 which was earned. I actually prefer Cox's more subtle and controlled manipulator there was something more unnerving about the calmer more restful evil at work here. Cox will be my favourite Lecktor from here on now after seeing this for the dozenth time. Manhunter follows the book 'Red Dragon' quite closely, it doesn't abide to the storytelling all the way through. The basis of the story are picked and used, writer/director Michael Mann carefully uses the plot to tell his own. William Petersen was born to play Will Graham, the haunted but useful protagonist, recruited to find a serial killer known as 'The Tooth Fairy'. Tom Noonan was probably the only actor of that era who fitted such a creepy and conflicting character. The man is so good as Dollarhyde the warped and unpredictable antagonist, unnerving enough to sink under your skin. While the 2002 remake of 'Red Dragon ' was more faithful to the book, Manhunter was a far powerful interpretation. One of the best thrillers ever made.

I recently watched American Rust and despite the lukewarm reviews and general bad word of mouth was captivated by the story of good and desperate people trying to survive at odds with a suffocating environment. Jeff Daniels has always been a favourite actor of mine. Truth be told he was the sole reason I turned in. Let's just say he was outstanding as Del Harris, the good hearted but comprised Sheriff who puts everything on the line for the woman he loves. The story of the downfall of Billy Poe is told beautifully here, and the characters are all given rich layered backstories. The moody setting absorbs you into the hidden truths that surface at every turn. There's discomfort to be seen, ugliness brewing under the surface of the small rust town in southwest Pennsylvania. Pain and sacrifice. Love and loss it all unravels to devastating effect. American Rust deserved to be revived, there's more to explore and more twists to captivate the viewers.

With Taken, Liam Neeson became a born again action hero despite being in his mid fifties at that point. The Grey was unfairly lumbered with his by then dozen other action features. Man vs Wolf, or Liam Neeson beating Wolves to a bloody pulp as it was wrongfully marketed. The Grey is surprisingly one of the most beautifully crafted, emotionally driven films Neeson has made in his career. With it's simple but gratifying story, it invokes a sense of inevitability, the natural defeat pivoted by unbiased nature. The Wolves really represent the sealed fates of it's characters. Presented here as cunning, ruthless killing machines with one singular purpose. The movie might not be super realistic but it packs much emotional pathos with the harsh elements and rich performances. Neeson's John Ottway is a killer for hire. Stationed at the Hellish Alaskan wilderness. Having lost his wife and suicidal he almost crosses over, until his cruel calling pulls him back from the brink. Following a devastating plane crash, Ottway and the small number of survivors are forced to venture into the unknown, hunted one by one by an unstoppable enemy. The Grey is far more brilliant then it has right to be. The pain of Ottway's final journey makes for one poignant ride. The other characters lure you into their hearts and minds. The gradual bond that is forged between them in extreme circumstances is moving and believable. The Grey isn't an easy journey but it's certainly worthwhile. Neeson gives one of his very best performances as Ottway. Each of the cast delivers stellar performances. One of the best movies from the past two decades, The Grey is one of the more downbeat survival stories, but it wins at being such a stunningly told fable.

Batman V Superman: Dawn of Justice represents everything wrong in both the exhausted genre of comic book movies and in modern filmmaking overall. I've seen both cuts of the film and the results are still the same - abysmal. BvS is a travesty. A pretentious laughably disjointed, over stuffed failure with next to no redeeming features anywhere. One of the many, many problems with this film falls on the shoulders of the studio. Warner Brothers seemed more focused on catching up to the cinematic cancer that is Marvel that they skipped ahead and crammed several movies into one which is why the entire third act serves only one function - to establish the next Justice League feature by littering the movie with useless cameos. The motives behind the title are meaningless, it's just two alpha males who aren't two sides of the same coin, feuding resulting in a swift and forgetful confrontation. They put aside their perspective differences and well, more carnage assures and one of them makes the noble sacrifice and dies. But doesn't. That's very much the plot in a thin crusted nutshell of disposition. The biggest gripe I had with this and movies in general was how little they effect you emotionally, leave any lasting deep rooted response that stays with you long after you've seen it. This is a cold joyless byproduct, fitted by one of the least talented filmmakers working in the business. I'm not entirely certain why Zack Snyder keeps getting chances, he's more in line with Michael Bay then someone like Christopher Nolan, but the man is highly regarded for reasons I can't begin to fathom. I wander more than maybe anything else, why this couldn't have been much more fun, exciting, why must everything be so dam serious all the time and also how come none of the actors involved seem to appear to be enjoying themselves? Or even making the best of a bad situation. I really have to mention ole Henry Cavill, the least charismatic Superman ever to don the iconic red cape. A hero who does next to nothing but look mopey, bored and display fits of rage every so often. I never cared about his hopeless Clark or his Kal -El, the man was devoid of any worth. I think a plank of uneven wood has more substance and presence then ole Henry does here. I'm not sure if it's because he's a lousy actor or the terrible work given to him that he comes across in such a bad light. Poor Ben Affleck he did try has Batman with his cool robot voice and stellar intensity but was failed by the script and being stuck in a bad movie lodged with flaws. It gives you the strong indication upon viewing that nobody really knew what they wanted to do with this bag of waste, which of the different ideas and themes that are hinted throughout to use, which subplots to give full commitment towards something that might properly function as a coherent story. The less said about Jesse Eisenberg as the unbearably irritating Lex Luthor Jr the better. I wander if it's time to put Batman, Superman and other popular superhero characters away. How many more renditions do we really need? Why must we be subjected to another reboot or have another franchise set up. Are they really necessary? I look forward to the day the superhero genre rots in the deep cold grave where it belongs. Call me cynical but the movie industry doesn't show any signs of improving. We need fresh ideas, new concepts and most importantly originality. But ten years from this here review, Batman, Superman and all the rest will be back again. Maybe. Oh well there's always the classics.

One of the most gratifying and exhilaratingly bleak movies ever made. A joy to behold with one of the best and most frightening premises ever. The Thing was and shall perhaps always be John Carpenter's true masterpiece. A gory, intense, truly claustrophobic gem powered by both magnificent practical effects from special effects wizard Rob Bottin, and a finely assembled cast headed by the awesome Kurt Russell. A research team stationed in the frozen isolated Arctic, finds itself up against a terrifying alien entity that can emulate almost any living organism. Paranoia and suspicion rise as the team begin to turn on each other. With a even greater threat to consider, murder serves as the only solution out of this horrifying predicament. The Thing is a testament to the brilliance of Carpenter and the fantastic cast and crew that brought a more faithful adaptation of John W. Campbell's novel 'Who Goes There' to glorious life. When it was released in 1982, the world wasn't ready for it. The critics got it wrong, time was on Carpenter's side, today The Thing stands as one of the greatest movies ever made. The film is a blast from start to finish. Ennio Morricone's iconic score perfectly meshes with the film. And to think it was nominated for a razzie. ET may have ruled the box office that summer, but this movie along with that other misunderstood classic 'Blade Runner' have stood the test of time unlike that awfully dated Spielberg candy fluff. Watch this alone on a cold dark winter's night, don't let the noises outside frighten you. Just be careful who you let inside. They might not be who you think they are.

Flawed, ridiculous, at times awful. BBC drama Luther isn't as grounded has you would wish. It's rather pretentious in it's execution, rushed with it's unravelling of the rather predictable showdown between veteran Detective John Luther and his various human monsters. Despite it's many faults there is a weird charm to Luther. Most of it comes from Idris Elba - who makes a rather unoriginal role into something more organic. Elba shines all the way through even when the quality started to shrink down in scope. Series 1 was probably the most positively consistent, rarely a foot wrong, it was an thoroughly excellent series with richer storytelling. Much of series 2 and 3 was good, a little lacking in places but not as awful has series 4 was. Series 5 is rather a clumsy attempt to prepare us for the long awaited Luther movie. It delivered on the scares but left a cold numb aftertaste. A messy conclusion. Luther main problem is that none of it's many antagonists are thoroughly layered, some are utterly cartoonish and unengaging, only Alice Morgan played marvellous by Ruth Wilson, leaves any long term impact. While it's worn out it's welcome,early Luther still deserves to be seen. 1-3 are the gold standard. Skip 4 and 5. Wait for the movie instead.

Slight Spoilers ahead. Most people only know of Perry Mason through the series and feature films starring Raymond Burr. But now we have a new incarnation of the infamous lawyer, set in the depression of the economically desperate thirties. Perry Mason is a down on his luck P.I. He scrapes a sordid living poking his unwanted nose where it doesn't belong which inevitably gets him into some scrapes to say the least. When an infant is murdered, he is dragged into a complex case that has the city of Los Angeles in tatters, with corruption at every corner, he will need to use his wits and break some rules to claw at the hidden truth. This is a beautiful shot, bleakley absorbing noir, with a rich jazz score, superbly constructed sets, great care and detail went into the recreation of the era. The plot is a little muddled in places, a twitch of deja vu occured for me upon viewing. This is still a fine series with a superb lead performance from Matthew Rhys, who really brings a masculine sadness to his loveable but flawed take on the iconic character. The supporting cast are excellent to, notably Tatiana Maslany has the noble but conflicted Sister Alice. Anyone who likes there mysteries nasty and bloody, should give this a shot, and give Rhys another Emmy. Highly recommended.

Slight Spoilers Ahead. The late Alan Parker was one of the more versatile filmmakers of all time, his filmography covered a stern range, from Musicals( Bugsy Malone, Evita) to high intense dramas (Midnight Express, Mississippi Burning). Parker's work for the most part never sustained much in high acclaim nor were the majority of his features all that profitable. Angel Heart was his most misunderstood and ballsy feature. It's premise wasn't what you would call an easy sell given it was released in 1987 you couldn't hardly say it was a product of it's time either. It's dark disturbing nature literally turned audiences away, critics were even less kind, given the timing and strikingly bold concept that originated from the superb novel by William Hjorsberg (Falling Angel) it was perhaps always destined for cult status where in time audiences were able to fully embrace it's warped disturbing genius. The one lingering criticism is always aimed at the finale, many people even today over thirty years on still hate the infamous end twist, with some going as far has to calling it ludicrous or in harsher cases, stupid. Without giving it away, the reveal in those closing scenes are truly scary and expertly profound and are just as effective now, I can only imagine how the audiences reacted seeing this for the first time in 87. And what a film this is, not only is Angel Heart, Parker's masterpiece it's one of the most exhilarating, profoundly unsettling Noir/ horror head trips of all time. Psychological horror don't get much more frightening, nor do they leave you feeling less assured regarding who you are, similar to John Carpenter's body horror classic 'The Thing', Angel Heart explores the deception of self, of not being who we think we are, making you question so much of what you've been seen and been subjected too, repeat viewings offering more clues, the movie like remains a wonderfully macabre puzzle . Mickey Rourke is Harry Angel, your classic low level gum shoe. Witty and cynical, possessing a weaponized oozing charm that could charm the locks of latches. Rourke who was 34 then, the ultimate rouge rebel, was perfectly cast here giving his finest performance as Angel. Rourke's superbly conveys all of the layers required for what was a deeply complex character. Robert De Niro has a small but pivotal supporting role has the mysterious, wealthy businessman Louis Cyphre who hires Angel to locate a long forgotten crooner who has gone AWOL after being drafted during the second world war. Subtly restrained, Cyphre haunts the film from his first introduction, with his thick black beard, tied hairbun, clutching a prop cane with nails long enough to resemble claws, his persona that gives him a theatrical edge, De Niro is naturally sublimely menacing here, doing so much with very little effort. Cyphre will perhaps remain one of his most overlooked characters. Angel Heart isn't the sort of film you snuggle tightly with your significant other on the sofa to, it's assuredly a required taste, but serious film buffs should appreciate and nourish what Parker did, translating a difficult novel and really putting his own unique stamp on it, Angel Heart is filled with blood but guts is what it has in spades. Angel Heart if nothing else reserves the stature of being the pinnacle of the perspective talents of Rourke and Parker. It really will scare you to your soul.

In 1997 HBO debuted Spawn the animated series. This now classic, influential, beautifully illustrated, smartly scripted interpretation of Todd MacFarlane's now iconic creation, gave us one of the best forays in Animated comic book spinoffs. Also that year we were finally treated to the live action feature, it seemed 1997 was to be the year for Spawn to cross over into the masses, But Unfortunately this wasn't to be the case. On paper this looked great. It was a game changer in regards to being the first Black lead in a superhero movie, a great cast including the late Nicol Williamson, Martin Sheen and John Leguizamo were all on board. Up and coming star Michael Jai White took the lead mantle. The pieces were all firmly placed so what went wrong? Why did this fail so spectacularly? The obvious answer, Studio interference it seemed New Line Cinema didn't feel confident with distributing what was and still is a mature product. Poor changes were made and the result was a irreversible failure. Contradiction costs money. A weakly malformed story,a bad script of leftover dialogue, some genuinely laughable CGI and you get the gist has to why Spawn the movie became the dud that it was. This movie is less than a guilty pleasure, more a nostalgic investment, yeah it's rubbish but it still holds a strange charm to it and most of that comes from Williamson and the scene stealing Leguizamo. Has the maggot chomping, crudely vulgar, one liner dispensing Clown, Leguizamo was the only great asset to this otherwise reprehensible mishap, the rest of the talented cast was cruelly wasted here, Martin Sheen especially who seems awfully miscast has Jason Wynn . To me Keith David was and still is Spawn. Michael Jai White lacks the emotional gravitas to carry the responsibility of portraying both Al Simmons/Spawn. I don't believe it's all down to him, the misguided script, bad directing, conflicts over direction were all attributing elements that botched the final product. In short I recommend the animated series instead.