Simon Brookfield, Author at We Got This Covered – Page 2 of 16 - Part 2

Simon Brookfield

Simon Brookfield is staff writer and associate editor of We Got This Covered. He is a graduate of the University of Waterloo in business but is a huge film fan and writes movie news, features and reviews for this and other entertainment sites.

Simon Brookfield - Page 2

The Frozen Ground Review

The Frozen Ground while not embodying all the premier qualities of the old school procedural thriller it is far more focussed, unvarnished and streamlined than most. Coupled with a great cast and the foreboding Alaskan wilderness this first time effort from writer-director Scott Walker pulls emotion and visceral reactions with those frank aspects alone – actors, setting, and setup – rarely relying on contrivances or slight of hand storytelling.

Clear History Review

For fans of Larry David (among whom I count myself) and his masterful modern comedies Seinfeld and Curb Your Enthusiasm, the potential was bursting for his latest writing and starring effort Clear History to transport you back to those heydays. On the other hand, for those who find his brand of uptight, quick fire improvisational humour grating, they will find themselves trapped in 100 minutes of quirky hell.

I Give It A Year Review

With so many modern romantic comedies reaching the point of unintentional self parody, we have seen a niche segment emerge that aims to subvert the conventions that have plagued this once frothy and enjoyable genre. Fare like (500) Days of Summer, Celeste and Jesse Forever and Friends with Kids have seen the sins of the father and have come up with ways to please mainstream audiences but without insulting their intelligence. I Give It a Year joins these rare ranks and delivers a sometimes gut busting, always frank and enjoyably clever look at the trails and tribulations of marriage.

In spite of this subgenre’s lack of mainstream appeal there is one thing they – and Australian import Drift – prove and that is surfing looks damn cool, especially when presented so slickly and in such a high energy fashion. So it’s a shame in the case of this period drama (which transports us back to the early years of the sport in the land down under) that the wet and wild sequences trump anything transpiring on dry land and that most of the human drama relies on unnecessary plot turns and the usual formula that accompanies almost all sport based fare.

Stranded Review

Reviewing truly bad cinema can be one of the purest forms of entertainment a film critic can experience. Crafting a review of a meritless mess can serve as the antithesis to what the job normally entails – even handily looking at all of a movie’s components be they big or small in a way that is fair and without prejudice, preconceived notions or bullying. When a film is truly horrendous there is little one can do besides tear it apart. Then there are films like the sci-fi thriller Stranded, an experience so without identity, spark or narrative drive it evokes no emotion one way or the other. I exited this low budget effort feeling as if I hadn’t seen anything, like it had all been a dream and was already beginning to slowly seep from my mind as the tasks of a new day slowly replaced it.

Hammer Of The Gods Review

In all fairness, Hammer of the Gods isn’t entirely inept; it’s simply useless at being distinctive in any way. The British Highlands look as intimidating and coldly beautiful as ever and there are shots set up that relieve director Farren Blackburn of some of the blame. Likewise lead Charlie Bewley as a young Norse prince does the very best he can with the material, bringing a primal physicality to the role and line delivery heads above nearly everyone else. But that’s approximately where the compliments dead end and where we must delve into how insultingly pilfering this gritty actionier really is.

Redemption Review

At least superficially, the canon of Jason Statham movies seems to be one marred by redundancy and ultimately blandness; showcasing a scowling, one man army raining down fiery vengeance on those that have wronged him. To an extent this generalization is true and at a baser level the action star’s films do stem from a familiar formula. However not only are there many gems to be found throughout his filmography, recently he has chosen projects that are safe in appearance only (except Safe which was safe in name only). Redemption ultimately adds to that ilk even when it doesn’t always find the right balance between weighty themes, sombre aesthetics and the trademark Statham dry wit and physically demanding action.

Crazy Kind Of Love Review

The unholy bastard child of a low budget after school drama and the limpest, most derivative romantic comedy imaginable, Crazy Kind of Love attempts to exist as both a frothy coming of age story and a more sombre drama and completely fails at both. So little feels genuine from the opening acoustic guitar to that of the close it begs the question if those involved are in actuality idiot savants and have crafted one of the most subtle parodies of all time.

Shadow Dancer Review

Revelling in bleak aesthetics and themes of loyalty and duty that have fittingly served dozens of films before, James Marsh’s Shadow Dancer while akin to that class of filmmaking in spirit, does not represent that breed in practice. This supposed thriller is devoid of extended tension and fails to capitalize on what should be an emotionally complex experience, featuring a web of characters that inherently should come off as more compelling than what ultimately unravels.

The English Teacher Review

Born from mostly pleasant parts, Craig Zisk’s The English Teacher is a frothy foil to most mainstream comedies masquerading as such. It nicely blends a coming of (old) age tale with what is clearly a love/hate relationship with the emotions associated with writing and theater, chiefly seeing one’s work realized in the fashion originally envisioned. Lead by a company of fine thesps doing equally fine work, this dramedy is an easy watch even when those aforementioned amiable parts are far less effective when singled out.