fairbrother’s Film Reviews

201 Films have been rated or reviewed by fairbrother.

Wire, The - Season 1 (TV Series) (2002): With uncommon smarts and street–cred, this is grippingly authentic crime fiction and clear–eyed social comment: less a cop show than an epic portrait of Urban America at the end of the 20th century. As deep and rewarding as TV drama gets.
Show Me a Hero (TV Mini-Series) (2015): Like The Wire, it requires patience, but rewards it. The writing is stylised, not with flourishes but with punchy, journalistic focus that has the crackle of authenticity. A compelling social drama with another ace turn from Oscar Isaac.
Love & Mercy (Love and Mercy) (2014): Thoughtful writing, enhanced with expressive editing and sound, makes it succeed where many Hollywood music–biopic fail: as human drama. Dano and Cusack are excellent but Banks and Giamatti deserve kudos too.
Blow Out (1981): Dream–logic trumps realism to accommodate De Palma's melodramatic style and baroque set pieces. Fair call. Memorable villain (Lithgow), awesomely perverse ending. A must if you've ever said "whoa, cool shot!" during a movie.; DVD ~~$34.95~~ $26.20
Martian, The (2015): Refreshing to see a big–studio space adventure that hinges on logical problem–solving and has a sense of humour. They finally jump the shark, of course, but its hard not to root for (the very engaging) Damon anyway. Scott's best film in years.; DVD $14.95
Harvey (1950): The gender politics and 'psychiatry' are hilariously dated – lucky, then, that the essential story is still so darn funny and very, very charming. Giggles and warm fuzzies guaranteed.
Persona (1966): The only film to ever hypnotise me completely from the fade–up. Its images, performances, and mysteries have yet to let me go. Stunning? And then some.
Whiplash (2014): Contrived, maybe, but utterly riveting. Teller's good, Simmons is great, and the editing's near–perfect. The finale is breath–taking – and, despite what some critics assert, actually questions the characters' dodgy attitudes rather than endorsing them.
Red Rock West (1993): Subtly plays its rural–noir atmosphere and (frankly ludicrous) plot twists as dark farce – without diminishing the suspense. It's a tonal high–wire act that succeeds thanks to confident direction and spot–on performances. Very entertaining.
Django Unchained (2012): Waltz and Jackson are great but Foxx's Django is a monotonous void where we need a hero. As with Basterds, Quentin's daring is admirable, but becomes too flip to make us care. Inspired flashes aside, it's a protracted ride through uneven terrain.

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fairbrother’s Film Reviews