Set in 1982, aspiring novelist Denise Platt (Anne Hathaway) and her husband Greg (Ewan McGregor) are already navigating the rocky waters of a strained marriage when their family nightmare takes a turn into the completely inexplicable. Alongside their two children, Audrey and Brian, and the family dog, Starbuck, they suddenly find themselves transported back to the Jurassic period, trapped in a hostile environment with seemingly no way home; and dinosaurs are making a very unwelcome resurgence. It is, quite literally, the stuff of nightmares.

Embracing the Mystery

Directed by David Robert Mitchell, The End of Oak Street doesn’t necessarily concern itself with explaining every single detail of its premise. And, frankly, that is part of the fun. How did this happen? Why them? What exactly is going on? There are questions aplenty, but not every cinematic mystery needs a tidy answer. Sometimes the sheer thrill of the ride is enough.

And what a ride this is.

The film veers effortlessly between genuine tension, dark comedy and moments that simply make you sit back and think, What the actual hell? There is an infectious sense of unpredictability running through the entire film, with Mitchell embracing the kind of grand, imaginative storytelling that feels increasingly rare in modern cinema.

A Throwbock Blockbuster Event

There is also a distinctly Spielbergian, Amblin-esque quality to the film. The 1980s setting, terrific period fashion and vintage production design give the movie an unmistakable retro character, while the science-fiction premise pushes it firmly into stranger territory.

Interestingly, The End of Oak Street feels so much like the adaptation of some long-lost cult science-fiction novel that it comes as a genuine surprise to discover it is an original cinematic story. The film has the scale and imagination of a sprawling genre adventure, yet it retains an unusual sense of personality throughout.

Strong Performances at the Centre

Anne Hathaway is particularly impressive as Denise, bringing a believable maternal ferocity to a woman desperately trying to protect her children while simultaneously attempting to find a way home. Her performance gives the film an emotional anchor, ensuring that the family’s predicament never becomes merely a vehicle for spectacle.

Ewan McGregor provides a strong counterpoint to Hathaway as Denise’s husband Greg, with their fractured marriage adding a surprisingly human dimension beneath all the prehistoric chaos. Their strained relationship adds an additional layer of tension, as the family must confront both external danger and problems that existed before their extraordinary displacement.

Dinosaurs That Mean Business

And then there are the dinosaurs.

These aren’t cute, family-friendly theme-park dinosaurs. These things are terrifying. Ferocious, vicious and utterly relentless, Mitchell’s prehistoric beasts feel genuinely dangerous, with plenty of blood, gore and gruesome collateral damage along the way.

At times, Jurassic Park feels positively like Saturday-morning television by comparison. The dinosaurs are not simply background attractions; they are constant, unpredictable threats that make every jungle, clearing and shadow feel potentially lethal.

A Visually Striking Nightmare

Michael Gioulakis’ cinematography is another standout, giving the film an expansive, cinematic scale while maintaining a sense of claustrophobic danger.

The visual style also complements the film’s unusual blend of retro adventure and nightmarish science fiction. The world feels both recognisable and completely unknown, creating an atmosphere in which the characters, and the audience, are never allowed to feel entirely safe.

Final Verdict: Pure Blockbuster Fun

Ultimately, The End of Oak Street is pure blockbuster entertainment. Strange, stylish, occasionally absurd and gloriously fun.

Most importantly, it is different. At a time when cinemas could use a little more creative risk-taking, David Robert Mitchell has delivered a film that feels genuinely original. It may not answer every question, but it delivers something arguably more valuable: the feeling of discovering something you’ve never quite seen before. And sometimes, that’s exactly what going to the movies should be about.

Image: Warner Brothers Pictures

The post ‘The End of Oak Street’ – Dinosaurs, Domestic Dysfunction and One Hell of a Time Warp – Review appeared first on SpicyPulp.

Since the events of Suicide Squad, Harley Quinn has left the Joker. When Roman Sionis, a narcissistic crime lord known as Black Mask, places a hit on a young girl named Cassandra Cain, Gotham City turns upside down looking for her. Harley joins forces with Black Canary, Helena Bertinelli, and Renee Montoya to protect the girl and to take Sionis down.

Swinging the giant mallet and bringing a new tempo to the DCEU with Birds Of Prey is director Cathy Yan, and this hotshot director cranks up the fun and it’s one fantabulous ride. With a solid balance of character, action and some very fun stylings, Yan plants her audience into the trendy world of Gotham City and takes them on a wild journey. She makes the most of the film’s R-rating and this gives Birds Of Prey a definite edge, while also taking her time to sprinkle plenty of visual sparkles up on the big screen as well. As a director, she gets to play with an assortment of different media, and this allows her to take audiences inside the frazzled and loony mindscape of one Harleen Quinzel, and so presents the film squarely from Harley’s perspective. Yan spins every angle of this film perfectly, and the result is something that is incredibly different and shakes up the idea of what a DCEU film can be.

Margot Robbie is once again front and centre here with her performance as Harley Quinn, and the actress cuts loose with her performance. In Birds Of Prey, she gets to explore the complex characterization of Harley Quinn, and with this film’s narrative she’s very much exploring what this character means in a bold new setting. Birds Of Prey finds Harley emerging into her individual self and having to be something more than just the side-kick. All her life she’s tried to please others, and coming off a bad break-up with The Joker she now has to define her new state of being and just what it means to be a new independent villainous in Gotham. Robbie takes her audience into both the highs and lows of being Harley and it’s a cracker performance from the actress.

Alongside exploring the emotional depths of Harley, Robbie also jumps into the action and gets to personalize it with Harley’s jester flair! Yan, Robbie and stunt coordinator Jonathan Eusebio and fight coordinator Jon Valera delve back into the character’s backstory and bring out here acrobatic flair and time spent as a champion gymnast to great effect in the movie. Robbie’s limber physique and cat-like grace serve her well in the stunt work, and this girl gets to do it all, from cart-wheeling smash attacks to roller-derby motorcycle chases. I also can’t forget to mention Robbie’s sassy sense of humour which also shines through in a big way. Robbie has to juggle a lot here with Harley from getting over a break-up, to smashing up the scum of Gotham, to living her best life and trying to find the perfect egg sandwich….and Robbie accomplishes it all as Harley.

Joining Robbie’s Harley is Jurnee Smollett-Bell as Dinah Laurel Lance aka Black Canary, a noir laced soul queen lounge singer who finds herself in the crosshairs of her deranged boss Roman Sionis (Ewan McGregor) and has to join up with Harley. As Black Canary, Smollett-Bell brings a real Diana Ross-1970s style to the role and she’s got this wicked groove to her character. If there’s a word to best describe Black Canary, I think survivor works best, this girl has had a rough life, but still managed to find her place in Gotham, and that means she can aptly handle herself in any type of situation. Smollett-Bell owns the role here and her performance and grace shine through in a terrific light.

Crossing paths with Harley and Black Canary is Mary Elizabeth Winstead as Helena Bertinelli, who adopts the moniker Huntress and who is ready to raise a little hell in Gotham. Winstead’s Huntress is a combination of lethal focus and uncontrollable rage, and she’s a ticking time bomb of an anti-hero who is waiting to explode. Winstead fully commits to the role and while she’s certainly a fearsome hunter, you also feel that she’s got this ‘little-girl lost’ quality to her as well as if she’s never had the time to grieve properly and this has left her with plenty of anger issues. Winstead adds the spice to the Birds of Prey, as her seriousness sort of throws Harley off a bit. She works great with the other actresses and I hope to see her slinging bolts in future sequels.

Cementing our Birds Of Prey unit is Rosie Perez as Detective Renee Montoya, a down on her luck Gotham City Police detective who is battling an incompetent police department and the rules and corruption that are, unfortunately, ‘just part of the job’. Perez plays into the character as a quintessential 1980s cliched cop, and this helps to strengthen the character and fits in perfectly with the film’s setting. While Montoya is a bit of a mean drunk, she’s also snappy and has a can-do attitude that allows her to circumvent standard operating procedure, and this is ultimately what leads her to join the Birds Of Prey.

Going up against the Birds Of Prey is a collection of diabolical bad guys and one particularly nasty villain is Chris Messina’s Victor Zsasz. From the moment you set your eyes on this guy, you can just tell that there’s something wrong with him and Messina has plenty of fun as this totally unhinged serial killer. Messina’s Zsasz is best described as Sionis’s loyal lap dog and when he’s not peeling faces off peoples heads for his master, he’s creeping out anyone and everyone who crosses his path. It’s a complete 180 turn for Messina and the actor rises to the challenge and gives this guy all manner of menace.

Finally bringing Birds Of Prey together is Ewan McGregor as Gotham City crime lord Roman Sionis/Black Mask, and it’s a performance from McGregor that we’ve absolutely never seen him play before. As Sionis, McGregor embraces the villain’s life with glee and he has a ball being the bad guy here. Best described as a violently narcissistic sociopath, he’s one mean creep and not the kind of guy you want to tick off. Sionis also has a pathological hate for women and this is of course directed towards our female characters, and he does some particularly despicable things. Sionis is a particularly worthy villain for the Birds Of Prey to face off against, and McGregor plays him with plenty of sadistic camp that frightens you as an audience member and has you rooting for his demise at Harley’s hands.

Birds Of Prey’s R-rating gives this film a huge advantage, and this dials up the intensity and aggressiveness of the film’s action scenes. Brace yourself for plenty of bone-breaking and ballbusting, because Birds Of Prey goes for it, and there’s a spattering of the old ultra-violence on display and at full effect going on. But aside from just being a gnarly watch, Birds Of Prey is also incredibly innovative in its use of action, as it uses its characters and their unique traits and personalities to shape the film’s action sequences. Birds Of Prey is also not repetitive with what it brings to the screen, and each new sequence offers up something different and this keeps things interesting and your adrenaline pumping.

Tonally and stylistically Birds of Prey embraces a unique visual palette and this is one of it’s most exciting features. It cranks up the comic book landscape of Gotham City and injects plenty of bright fuchsia pastels and Valentine reds into it for an original punk rock look and vibe. Yan and noted cinematographer Matthew Libatique capture something distinctive with Birds Of Prey and it’s unlike anything you’ve ever seen before in a DCEU film. With a great throwback to classic cinema works of the late 70s and early-80s like The Warriors and Big Trouble In Little China, and a touch of the mafia opulence of The Godfather, we get to see something very cool in this Gotham City. This comic book fantasy comes to life with plenty of high fashion sheen, and it’s a fantastic piece of cinema to look at.

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is a wildly spontaneous watch and is an exciting and fresh entry into the comic book movie landscape. It’s a girl gang movie that hits hard, and you’ll be sure to have a spectacular time watching this one.

Image: Roadshow Films

The post ‘Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)’ – Review appeared first on SpicyPulp.

Watch the new trailer for Birds Of Prey below:

Here’s the official synopsis:

Since the events of Suicide Squad, Harley Quinn has left the Joker. When Roman Sionis, a narcissistic crime lord known as Black Mask , places a hit on a young girl named Cassandra Cain, Gotham City turns upside down looking for her. Harley joins forces with Black Canary, Helena Bertinelli, and Renee Montoya to protect the girl and to take Sionis down.

This R-rated girl gang is about to go for it with plenty of action and a wild time and this time around it’s Harley herself who is taking the lead and narrating this twisting and explosive superhero crime film and it looks like it’s going to be a blast!

This new trailer is packed to the brim with crazy new action set pieces, Margot Robbie’s Harley fully loosing it and embracing her inner wild child, along with allowing us our first full look at Ewan McGregor’s narcissistic crime lord Roman Sionis/Black Mask, who this time gets to pull on the mask as well in a fearsome appearance. Oh and did we mention that we get introduced to a hyena named Bruce…y’know ‘who was named after that hunky Wayne guy’.

Birds of Prey has really invested in it’s heightened cinematic style and this one has plenty of visual flair to display here. With it’s pop-punk aesthetic and drawing inspiration from 1990s Hong Kong action cinema and the visual landscape of Tarantino, along with adding a dash of the madness of A Clockwork Orange to it, Birds Of Prey promises to be a completely original cinematic experience and fans are going to love it absolutely.

Get ready to go wild because in less than a month the madness is breaking out of the cage when Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) arrives in cinemas on February 6.

The post The madness arrives in new trailer for ‘Birds Of Prey’ appeared first on SpicyPulp.

Still irrevocably scarred by the trauma he endured as a child at the Overlook, Dan Torrance (Ewan McGregor) has fought to find some semblance of peace. But that peace is shattered when he encounters Abra, a courageous teenager with her own powerful extrasensory gift, known as the ‘shine.’ Instinctively recognizing that Dan shares her power, Abra has sought him out, desperate for his help against the merciless Rose the Hat and her followers, The True Knot, who feed off the shine of innocents in their quest for immortality. Forming an unlikely alliance, Dan and Abra engage in a brutal life-or-death battle with Rose. Abra’s innocence and fearless embrace of her shine compel Dan to call upon his own powers as never before—at once facing his fears and reawakening the ghosts of the past.

Adapting Doctor Sleep as both writer and director, Mike Flanagan is recognized as a keen King connoisseur following his work on such films as Gerald’s Game and now this talented filmmaker gets to work on a long-overdue sequel. Flanagan pours all of himself as an artist into Doctor Sleep, and the result is a work that is packed full of originality and makes for an incredibly clever watch. While most audiences these days can dissect a horror movie pretty quickly, Flanagan’s understanding of King’s source material and Kubrick’s adaptation allow him to build out a piece of cinema that keeps his audience guessing at every turn. His narrative moves at a solid pace, and his work on Doctor Sleep turns into a ‘thinking man’s’ type of horror movie. Every part of this is packed full of unique craft and detail and Flanagan’s vision for Doctor Sleep truly leads to a film that can be branded as one of the most original pieces of cinema this year, along with being a film that will please both fans of King and Kubrick.

Taking on the lead role of a now-grown Dan Torrence is Ewan McGregor and the Scottish thespian shines here. McGregor’s Dan goes on quite a journey through the film’s narrative and his character arc kind of moves from Z to A, rather than A to Z. When we first meet him he’s below rock bottom and the ghosts can’t seem to leave him alone. But when he finally stumbles upon a new purpose in his life he’s able to use his shine productively…for a time anyway. Then, of course, the darkness rears its head and Dan is straight back into the nightmare realm and it gets very interesting from here. McGregor’s performance is subdued here and revolves around the emotion of fear. He’s able to showcase a totally haunted man and you empathise with Dan’s lot in life because of it. Doctor Sleep is a credit to McGregor’s skill as a performer and he brings his A-game here.

Facing off against McGregor is Rebecca Ferguson as the nefarious Rose the Hat and Ferguson brings plenty of menace to the big thanks to Doctor Sleep. As the leader of a cannibalistic cult who feeds on the life force or ‘steam’ of those possessed of the shining, she’s not one to be crossed and her hunger is terrible. Part of Ferguson’s intrigue in her villainous form as Rose the Hat comes from the character’s cunning and intelligence. She’s a woman on a mission, who carries a dark and dangerous cause and who desires to amass ever greater life and power by taking from those who shine…and she has no qualms about doing it. This makes her an incredibly dangerous adversary for Dan Torrence and the young and gifted Abra (Kyliegh Curran). Every great story needs a compelling villain and Rose the Hat is a terrifying force to be reckoned with and Ferguson nails the character and her menace here.

Doctor Sleep is a film that works on every single level. From character to narrative and especially concerning its brilliant visual effects as Flanagan rethinks the notion of the shining. The director employs great use of surrealism to take audiences inside the minds of our main character as they employ their shine, and the resulting visuals and his mind-bending footage takes you further inside the narrative onscreen. And it’s impressive to witness. As to the film’s use of horror Flanagan saves the bulk of this for Dan Torrence’s penultimate return to the Overlook Hotel and there’s plenty of scares here. Flanagan amps up the horror of the Overlook and the dread builds as you fully realise that this is the most terrifying place that Dan Torrence could ever return to…and for good reason too.

Doctor Sleep is a well crated and extremely clever piece of cinema that audiences will certainly lap up. Its director’s vision and the talent of its key cast make it one of the most original films to arrive in cinemas this year and should you witness it you’ll be extremely glad you did. Although maybe keep a night light handy…because there’s plenty of scares to keep you up in the dark.

Image: Roadshow Films

The post ‘Doctor Sleep’ – Review appeared first on SpicyPulp.

And this time Harley’s got a brand new bag of tricks as she swaps her villainous ways for a new vigilante mission in Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn).

We’ve got a new look at the film and it certainly appears to be packed full of colour, action and intrigue. Watch it below:

This new teaser trailer is part of a marketing campaign that has released the teaser in selected cinemas exclusively, but naturally it has now found it’s way online. While it’s certainly not a traditional approach, I’m kind of thinking that this could be part of some kind guerrilla marketing campaign, which certainly fits in with the aesthetic of Harley’s punk rock attitude.

Although we’ve only got a very small amount of footage to go off of here, Birds of Prey is shaping up to be something extremely different and looks to be breaking new ground in a burgeoning DCEU. Packed full of fantastic neon cinematography and bringing plenty of ultra-violence in the combat, Birds of Prey really looks to be in keeping with Robbie’s description of the movie as a ‘girl gang film’.

In addition to Robbie we also have our first look at the other Birds of Prey who include Jurnee Smollett-Bell as Black Canary, Mary Elizabeth Winstead as Helena Bertinelli / Huntress, Rosie Perez as Renee Montoya and Ewan McGregor who is taking on the role of the villainous crime lord Roman Sionis aka Black Mask.

The teaser is packed full of footage that really goes for it and it’s promising one hell of a rush here, so I’m definitely excited to see where this goes to from here.

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) will arrive in cinemas next year on February 6, 2020.

The post Things are about to get crazy in ‘Birds Of Prey’ appeared first on SpicyPulp.

Watch the terrifying new trailer below:

Here’s the full synopsis:

Still irrevocably scarred by the trauma he endured as a child at the Overlook, Dan Torrance (Ewan McGregor) has fought to find some semblance of peace. But that peace is shattered when he encounters Abra, a courageous teenager with her own powerful extrasensory gift, known as the ‘shine.’ Instinctively recognizing that Dan shares her power, Abra (Kyliegh Curran) has sought him out, desperate for his help against the merciless Rose the Hat (Rebecca Ferguson) and her followers, The True Knot, who feed off the shine of innocents in their quest for immortality.Forming an unlikely alliance, Dan and Abra engage in a brutal life-or-death battle with Rose. Abra’s innocence and fearless embrace of her shine compel Dan to call upon his own powers as never before—at once facing his fears and reawakening the ghosts of the past.

Ever since I first heard that an adaptation of Doctor Sleep was in motion I was very excited as to what the result would be, and this new trailer does not disappoint. Bathed in terror and awash with the mental scarring of King’s masterpiece novel, along with the haunting reflections of Stanley Kubrick’s 1980 quintessential horror film, The Shining, Doctor Sleep is going to take audiences on a terrifying mind trip.

Ewan McGregor looks particularly good as the now grown Dan Torrence, who has not been able to shake off the ghosts of the childhood trauma that he suffered at the hands of his mad father Jack and the macabre presence of The Overlook Hotel. While he’s tried to do something good with his life, the hurt of the past still hangs over him and this will lead to some very interesting places here in Doctor Sleep.

Joining McGregor in this freaky new horror watch is Rebecca Ferguson as cult leader Rose the Hat, and she has a terrifying connection both to the horrors contained in The Overlook and to Dan himself and their confrontation will lead to all kinds of chills for the audience.

Director Mike Flanagan, really appears to be in his element here and he’s crafted something that feels truly terrifying. Pulling from both King’s novel and Kubrick’s cinematic adaptation, there’s an eerie familiarity to Doctor Sleep here thanks to its many visual cues, and the film carries a sickly styled cinematic palette that only adds to the nightmarish sense of dread that is building up around us.

Get ready for the horror to return when Doctor Sleep arrives in cinemas on November 7.

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Christopher Robin (Ewan McGregor), the little boy from the Winnie-the-Pooh stories, is now all grown up and has lost all sense of imagination. Finding it difficult to connect with his loving wife Evelyn (Hayley Atwell), Christopher’s best friend Pooh and his friends re-enter Christopher’s life to help him find it again.

This new story changes things up a bit and while all of our favorite characters are here including Pooh, Piglet, Tigger, Eeyore, Kanga, Roo, Rabbit, Owl and of course Christopher, they’re all ready for a brand new adventure.

We begin the film with the young Christopher who soon grows up and has to contend with the realities of what the world has to offer: both the good and the bad. While he does experience the joys of life such as falling in love with his wife Evelyn (Hayley Atwell) and raising their daughter Madeline (Bronte Carmichael) together, Christopher has also suffered through having to face the horrors of the Second World War and now finds all sense of meaning stripped from his life in a job and a world he can no longer make sense of.

But when you’re down and you can’t seem to find the sun that’s when you need your friends by your side….and Christopher has a few he can most certainly count on.

In Christopher Robin, Forster creates a film that honours the spirit of A.A. Milne’s classic stories and the world that he built and he is able to take what we know and love and chart a bold new direction with its material. Ewan McGregor was the perfect pick for the lead and he really helps to bring the world to life. Not only does he share great chemistry with Atwell, but he’s got a wonderful boyish quality to him and this really shines through in his performance. Most importantly however you completely buy into the deeply felt friendship and love that he and Pooh share for one another.

In addition to getting some stunning lead performances, Forster also opens up the world of the Hundred Acre Wood and it really is a grand old place. This majestic landscape is magnificently captured thanks to the cinematography of Matthias Koenigswieser and this world is rendered with a beautiful aesthetic that takes its look and feel from classic English design.

Throughout the film there’s a running theme that sometimes you have to go back in order to go forwards. Just like Christopher, Pooh himself feels lost and alone and in desperate need of a friend and through circumstance and pure magic these two find each other again and a new adventure of healing and fun begins.

One thing that really struck me with Christopher Robin was how much Forster and his team invested in the underlying mindfulness principles that are present throughout the Winnie the Pooh stories. As a character Pooh has always had a sage like quality to him and has an ability to offer simple, yet extremely thoughtful musing that have a profound effect on those around him. These philosophical phrases are expertly captured here and as an audience member I can tell you that they really sink in.

To Pooh the world is a relatively simple place and there’s plenty of comforts to be enjoyed. Whether it’s taking a leisurely stroll, eating honey or simply playing with a balloon, all of these activities are important things to do and they absolutely do wonders for your soul. For Pooh the solution is simply to enjoy what the world has to offer because there are so many amazing things to explore.

If I were to use a word to describe Christopher Robin then it would most definitely be heartwarming. This film sprinkles joy like fairy dust at every moment and Pooh is always performing some kind of action that will bring a smile to your face or leave you giggling with laughter. Joy, happiness and love flow through this film and you’ll be feeling all sorts of warm fuzzy’s by the end.

Christopher Robin will leave a smile on your face, make your heart flutter and open you up to the magic of the Hundred Acre Wood. It simply is the loveliest film and as Pooh would say “it’s always a sunny day when Christopher Robin comes to play’.

Image: Walt Disney Pictures

The post ‘Christopher Robin’ – Review appeared first on SpicyPulp.

Boyle’s focus on his sequel’s story is rather simple: just what the hell has happened to these four loutish characters twenty years on? And the answers he provides are genuinely surprising. While the predicaments of some of the characters such as the soft minded Spud (Ewan Bremmer), and the psychotic Begbie (Robert Carlyle) are rather apparent given their life choices, other characters such as the formally charismatic Sick Boy (Jonny Lee Miller) and party girl Diane (Kelly Macdonald) have taken unexpected turns in their lives. And then there’s the everyman anti-hero of the original film, Ewan McGregor’s Mark ‘Rent Boy’ Renton, who knowingly betrayed his three friends more than twenty years ago, and who has been living in Amsterdam ever since. Following a sudden health emergency, Renton returns to his homeland and looks to reconnect with his past and those former friends, but of course, it’s not as easy as he thought.

T2 Trainspotting is a film that touches on both the familiar and the new. While Boyle showcases plenty of new hairbrained schemes and quirky outbursts that result from Renton’s return, it’s rather the analysis of the characters’ collective past and the choices that they made that makes T2 Trainspotting so compelling. While the idea of any kind of future was never a part of these four characters’ lives, the ‘future’ inevitably catches up with them, and the results make for a very interesting watch. By revisiting this world again Boyle is able to ask questions such as how our environment shapes who we are, and whether or not we can truly change as individuals.

While there’s plenty of introspection and thought, this is of course Trainspotting, and Boyle has lost none of the punk rock, anarchy of the original film. From Begbie’s psychotic new career choice to Spud’s attempt to kick his habit through boxing, there are plenty of perfect comedic gems that will have you laughing out loud.

T2 Trainspotting is also a gorgeous film to watch thanks to some amazing cinematography from Boyle’s frequent collaborator Anthony Dod Mantle, who uses his camera in some particularly complex ways to push the action of the narrative forward. Added to this is the kinetic cutting of editor Jon Harris which results in a highly watchable and exhilarating film experience, particularly in the initial confrontation between Renton and Begbie…an event that has been twenty years in the making.

Besides a superbly crafted script and cast, T2 Trainspotting also has one hell of a soundtrack. While the original film went hand in hand with the rise of the early EDM scene, the music here is far more nostalgically cool. It features innovative artists such as Blondie, Run-D.M.C., The Clash, Wolf Alice and a very clever use of Queen’s ‘Radio Gaga’. And it wouldn’t be Trainspotting without the appearance of Iggy Pop, and Boyle’s inclusion of the 70s punk icon is a fitting tribute to the spirit of this unique film experience.

Image source: Sony Pictures

The post ‘T2 Trainspotting’ – Review appeared first on SpicyPulp.

Check out the trailer below:

Trainspotting 2 looks to be an absolutely crazy cinematic experience and will examine the lives of its characters two decades on from the last time we saw them. Boyle and original screenwriter John Hodge have created an uncontrollable carnival of imagery, light and sound as Renton (McGregor) and his friends meet up again and fall under the spell of the EDM drug scene.

Trainspotting 2 will be released in cinemas on January 27, 2017 in the US and UK and on February 2 in New Zealand and Australia.

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