Colby Cutler (Brendan Gleeson) rules his family with an iron fist, making sure that they’re all part of his criminal activities, but also provided for. But his son Chad (Michael Fassbender) has had enough of their life, of getting into trouble. He wants to make sure that his children are settled – literally it means leaving the collection of trailers that is their family’s home. But Colby won’t just let him go without a fight.
Throughout the film I was wondering whether the Cutlers are supposed to be Romani – because then it would have been one of the most racist films I’ve ever seen. It turns out that they’re actually Irish Travellers, meaning that the film isn’t racist, just stereotypical as fuck and pretty aggravating.
The Covenant is a spaceship that carries colonizers who hope to find a new habitable planet. But before they reach their chosen destination, there is a malfunction that requires Walter (Michael Fassbender), a robot in charge of the ship, to wake the crew from cryostasis. As they are dealing with the aftermath of the damage, a transmission reaches them, a call for help that brings them off their intended path and down to a planet that seems to offer perfect conditions for colonization. But as soon as they land, things start to become weird.
Alien Covenant failed to leave much of an impression with me. The first half was pretty good, but the second half turned pretty boring and was simply too clichéd to work.
Callum Lynch (Michael Fassbender) was sentenced to die. But the Abstergo Company fake his death instead and bring him to Madrid. As Abstergo’s CEO Rikkin (Jeremy Irons) explains, Cal’s ancestor belonged to a brotherhood of assassins, and they need him to access his own genetic memories to find the Apple of Eden, an artifact that belongs to the Templars and that has been historically protected by the Assassin’s Creed. Cal is more than reluctant to participate until Rikkin’s daughter Sofia (Marion Cotillard) puts him into the Animus – a machine that makes it able to access his genetic memories.
Assassin’s Creed was impressively nonsensical and it was far from pretty enough to make up for the incredible stupidity. I saw it on January 5th and it was clearly one of my biggest mistakes of the year that I did not bring alcohol to the screening.
Tom (Michael Fassbender) has signed up to be the lighthouse keeper on a small island just off the coast of a small town in Australia. On the rare occasions that he gets to come to the main land and see people, he meets Isabel (Alicia Vikander) and they quickly fall in love. Isabel is happy to lead the solitary lighthouse keeper life with Tom and would love nothing more than a baby. Much to her chagrin, she keeps miscarrying though, so it feels like fate when a boat with a baby washes up on their island during a storm. Tom only wants to see Isabel happy, so he agrees to keep the child. But when they hear of Hannah (Rachel Weisz) whose husband and child were lost during the storm, they will have to make a decision.
The Light Between Oceans is one of the cheesiest films I ever saw. It’s high-quality cheese, no doubt about it, but it was all a little too much for me, ultimately keeping me at a distance.
Charles Xavier (James McAvoy) is busy with running his school for mutants and finding misunderstood and mistreated mutants around the world with the help of Raven (Jennifer Lawrence). In the meantime, Erik Lensherr (Michael Fassbender) has decided to disappear into a quiet and very normal life. But when an immortal, very dangerous and most powerful mutant, En Sabah Nur (Oscar Isaac), finds himself returned to consciousness after millennia of sleep, it becomes clear that they can only oppose him together.
So far, I really enjoyed this generation of X-Men movies and X-Men Apocalypse was a another thoroughly satisfying entry into the series. Especially after my rather lukewarm reaction to Captain America: Civil War, it was nice to get a superhero movie that manages to keep the quality of its predecessors, even if it doesn’t really add anything new to the story.
Plot: Steve Jobs (Michael Fassbender) is preparing for product launches at three moments in his life. Just before the shows he puts on, he is confronted with various friends and colleagues who have things to discuss with him in very different stages of his life. But there’s also his daughter Lisa (Perla Haney-Jardine, Ripley Sobo, Makenzie Moss) who is trying to build a relationship with her father.
Steve Jobs is a well-paced film with beautiful dialogues that manage to cover up the film’s shortcomings enough that it’s very enjoyable to watch.
Macbeth (Michael Fassbender) and Banquo (Paddy Considine) just fought successfully for King Duncan (David Thewlis) and are finally on their way home. In the woods, they meet four witches (Kayla Fallon, Lynn Kennedy, Seylan Baxter, Amber Rissmann) who predict, among other things, that Macbeth will become King. Spurred on by that prophecy and uncontent to just wait for it to come true, Macbeth and his wife (Marion Cotillard) hatch the plan to help things along when Duncan comes to visit. But murder comes with moral consequences – and it might not be the only thing necessary to make Macbeth King.
Macbeth unfortunately was an absolute disappointment. I don’t think I have ever seen a more monotous film, and that with Macbeth as your basis as well!
Jay Cavendish (Kodi Smit-McPhee) is on a mission: he has to find the love of his life, Rose Ross (Caren Pistorius), who has found a new home in the Wild West. Jay is all alone, which is not without dangers. When Silas Selleck (Michael Fassbender) stumbles upon him, he practically forces himself on Jay as a guide. Together they make the track West. But there seems to be more to the story than just simple romance and to Silas’ motivations than pure kindheartedness.
I’m not a huge fan of Westerns in general (though I do find myself starting to appreciate the genre), but quite apart from genre considerations, Slow West is a beautifully crafted, well executed film that I enjoyed a lot.
Jon (Domhnall Gleeson) dreams of becoming a musician. When he stumbles upon the idiosyncratic indie band Soronprfbs on the beach while their keyboardist tries to drown himself, he offers to step in for him that night. Band member/manager Don (Scoot McNairy) agrees after talking to Frank (Michael Fassbender), the band’s lead singer who always wears a big papier-maché head. It doesn’t take long and Jon is invited to join the band for good, despite band member Clara’s (Maggie Gyllenhaal) hesitation about him. But being part of the band isn’t at all what Jon expected.
From what I heard about the film before, I was afraid that it would be another hipster movie about oh-so-quirky people and an indie-soundtrack. But Frank might look like that but it is way, way more. I was really very taken by the film.
Scientist Bolivar Trask (Peter Dinklage) created an adaptive superroboter to hunt and kill mutants that eradicated mutants almost entirely in just a few short years. The only way to stop their complete extinction is by stopping Trask building the robots in the first place. So Kitty Pride (Ellen Page) sends Logan (Hugh Jackman) back into the past to find Charles Xavier (James McAvoy) and Erik Lensherr (Michael Fassbender) from stopping Raven (Jennifer Lawrence) to inadvertently set everything in motion. But neither Charles nor Erik are at a particularly good place in their lives and its up to Logan to make everything happen.
I really, really enjoyed X-Men: Days of Future Past (I even saw it twice in the cinema), even if I do have certain qualms about it. But the fun pretty much outweigs everything.