Batman V Superman:Dawn of Justice (2016), a Review (Defense)

Batman Vs Superman

Director – Zak Snyder

Writer(s) – Chris Terrio, David S.Goyer

Starring – Ben Affleck, Henry Cavill, Jessie Eisenberg, Amy Adams, Gal Gadot

After years of comic book fans dreaming the big dream, we finally got what we never thought would happen, though it made all the commercial sense in the world to do it, Batman and Superman on screen at the same time. Currently raking in all the money whilst being panned by all the critics, Batman V Superman:Dawn of Justice is easily the best film of the divisive career of Zak Snyder, and delivers on everything it promised. Forget what the general consensus are saying, this is a great piece of Blockbuster cinema.

The narrative is relatively complex, featuring several twists and turns. To tell you too much would be to spoil the experience for you, but the basics are as follows. During Superman (Henry Cavill) and Zod’s (Michael Shannon) war in Metropolis during Man of Steel, Bruce Wayne/Batman (Affleck) is there to experience it first hand, saving a young girl’s life in the process.

Terrified of the ungodly power these two possess, Batman begins to distrust Superman, believing if there is the slight possibility he could turn on us, we’d be powerless to stop him. Meanwhile, Superman’s reporter alter-ego Clark Kent has begun to investigate Batman’s vigilante justice spree, which has become more brutally and ethically questionable. Believing him to be a psychotic vigilante, he begins to distrust him equally. Meanwhile, the eccentric Lex Luthor (Eisenberg) begins to formulate a plot to pit them against each other in the world’s greatest gladiator contest.

For a large scale superhero blockbuster, and especially for a film by Zak Snyder, the writing is surprisingly very good. There’s rarely any lines that can be considered hammy or filler, and everything everyone says furthers the plot whilst letting you know their character.

Affleck’s Wayne/Batman is blunt and to the point, never spouting nonsense and always getting down to brass tacks. Superman, by contrast, tends to be more positive and tends to be about justice, truth or love. This perfectly highlights his ‘boy-scout’ heroic good guy character, and is a great juxtaposition to Batman’s darker view on life.

Luthor’s dialogue tends to be erratic, full of pseudo-philosophical nonsense whilst taking seemingly forever to reach the point. This is however, clearly a far more psychologically unbalanced and damaged depiction than his comic book counterpart. Thus, while it may well divide the audience, it’s hard to argue his dialogue doesn’t underpin his presented character very well. Regardless of your subjective views on said character, the writing still gets him across as it should.

The plot has been stated by many critics as seemingly an incomprehensible mess. This confused me somewhat, because what I saw personally was a genuinely engaging plot full of enough twists and turns to keep you entertained. It’s generally pretty predictable, save for the ending, but not in necessarily a bad way. The film never does anything crazy or nonsensical, and as such remains tight. Again, I won’t go into specific examples, and I’d hate to ruin anything for those yet to see it, but it all comes together nicely, providing you’re willing to do a little thinking for yourself and don’t expect everything force-fed to you.

The characterisation will probably prove controversial in terms of sticking to comic book traditions, so we should get this out the way. Firstly, Batman is pretty trigger happy. He kills quite a few people, seemingly in cold blood a lot of the time. Now, in terms of comic book adherence, this is problematic, as it plays very loosely with the ‘no killing’ rule that often defines the character. However, the film does go out of it’s way to explain it to you.

Alfred in particular says at one stage ‘You’ve changed. Everything’s changed.’, which is followed with a ‘Good men can become cruel’. This means, within the context of this film, and by extension this universe, this is explained. Ergo, it shouldn’t really be held against the film, in my opinion. We, as critics, aren’t here to judge how good a film is by how well it depicts characters from other mediums. If we did, The Shining would be chastised and despised. Rather, we judge the cinematic universe by it’s own rules. Batman and Robin isn’t trash because of the nipples on the bat suit; rather, it’s trash because of the awful writing and hammy performances. If the film was amazing, I wouldn’t be bothered by the nipples.

In short, this Batman is violent, angry and aggressive, taking the more psychotic elements of The Dark Knight Returns, and ramming them up to higher levels. So be prepared. Affleck also gives one of the best performances of his career as probably the best on-screen Batman to date. Certainly, he plays Bruce Wayne better than anyone I’ve seen before, and portrays his aggressive and tortured, as well as mildly psychotic, Batman perfectly. The voice is also the perfect balance between Bale’s rather shouty Batman and Keaton’s calmer depiction.

Superman is pretty much his classic self, and we get to see a deeper performance than previously as he wrestles with complex emotions; torn between his honour to defend people and fight for justice, and his guilt at the controversy his existence causes. Lots of themes are covered in terms of Superman, including; theology, xenophobia, fear, guilt, one’s place in the world, the nature of people. There is a lot going on here, and it’s all really quite interesting. Cavill grounds it with a serious performance that is unfortunately overshadowed by Affleck’s brilliance.

Lois Lane as a love interest is unfortunately quite dull yet again. Problem is, I always found the comic book character dull as well. I find her insistence in meddling with things and getting herself into precarious positions quite tedious. Personally, I wouldn’t want to date her. So, if you like her as a character as a rule, you’ll probably enjoy this. If you’re like me, you probably won’t. Adams puts in a good performance though, if she seems a bit stilted at times with her delivery of dialogue.

Now, to Luthor, the divisive one. He’s certainly closer to Hackman than the comics, but takes the eccentricity to incredible levels. He takes some getting used to, but for me provided a few of the film’s more entertaining moments. Perhaps it’s because I relate with his borderline autistic demeanour personally, and could completely understand his bizarre ramblings on weird tangents. I can see him annoying a few people though, certainly he’s a love it or hate it character.

Gadot arguably steals the entire show as Wonder Woman. She’s both well-spoken and charming whilst socialising, and a believable badass when fighting. She’s surely going to see a lot more fleshing out in her standalone movie, but she provides an enigmatic and intriguing presence throughout.

The visual directing is also absolutely incredible in terms of cinematography, and whilst a lot of CGI is deployed, it usually looks pretty good, with a few dodgy moments. Doomsday isn’t great, but isn’t the mess he’s been made out to be on the good old ‘net. Batman’s robotic suit looks fantastic, if seemingly conjured up out of nowhere,  and the final fight sequence is a bit crazy but doesn’t go on too long. The sequence between Bats and Supes though is absolutely note perfect. Anybody who’s read Dark Knight Returns knows that it only lasted a few panels, as Batman quickly got the better of him. This fight goes on fractionally longer, and through several different locations, but is basically the perfect length.

The score is also incredibly good, if the fight music for the finale is a bit odd and out of place with the rest of it, feeling like it was ripped straight out of 300. The Zimmer moments are fantastic as always.

Batman Vs Superman:Dawn of Justice is not a perfect movie, and there a few minor issues, but these are very minor. Batman killing or Luthor may annoy you a bit, the fight may seem a bit short considering the hype, and some of the allusions to future films may seem out of a place and like unfulfilled plot threads, so long as you conveniently forget this already has a sequel in place. Please ignore the critics (Ironic, huh?) and go and see this for yourselves. It’s a great foundation for the Justice League, a marked improvement on Man of Steel, and both Zak Snyder’s best movie yet, and the best on-screen Batman to date.

Final Rating – 4.2

Southbound (2016), a Review


Director(s) – Radio Silence (Matt Bettinelli-Olipn, Tyler Gillet, Justin Martinez, Chad Villella), Roxanne Benjamin, David Bruckner, Patrick Horvath

Writer(s) – Matt Bettinelli-Olipn, Susane Burke, Patrick Horvath, Dallas Hallam

Starring – Chad Villella, Hannah Marks, Dana Gould

Anthology films are often hit and miss. For every great one, such as V.H.S , or the glorious Korean ensemble piece Three..Extremes, we get one that isn’t quite so strong. Either the invidual segments draw us out of the traditional viewing experience, or the segments are clunkily linked. In the case of Southbound it manages to be pretty entertaining, as despite this being five individual shorts strung together over ninety minutes, it arguably holds up as a single interweaving narrative better than any anthology film has before.

Featuring the directorial talents of seven people, including the quartet behind V.H.S, Radio Silence Productions, Southbound somehow manages to hold it all together as five interlocking tales of terror follow the fates of a group of weary travellers who confront their worst nightmares and darkest secrets on a desolate stretch of desert highway. So, in order to make this review a bit different, I’ll be doing a mini review for each of the five shorts;


The Way Out Directed by Radio Silence, written by Matt Bettinelli-Olipn.

Mitch and Jack (Chad Villella and Matt Bettinelli-Olpin) are on the run from enigmatic floating creatures. Mitch looks at a photograph of his daughter Katherine as they drive down a nameless highway, displaying clear remorse for some unknown action.

Instantly with The Way Out we are shown that this is a film concerned more with ambience and atmosphere than it is cheap tricks or jump scares. Tense, ethereal and enigmatic, it instantaneously grasps audience’s attention, although this feels, until you reach the final piece, like the weakest of the five. Whilst the surreal elements are welcome, it never really grabs you fully. It peaks your interest, but never does an awful lot with it. It’s visually well-made, with a deliberate gritty production values and synth soundtrack (that thankfully runs through the entire anthology), letting the audience know this will be a fun trip down memory lane to the classic horrors of the 70’s.

A solid if unspectacular leaping off point for the movie



SirenDirected by Roxanne Benjamin, Written by Roxanne Benjamin and Susan Burke.  

Sadie, Ava and Kim (Fabianne Therese, Hannah Marks and Nathalie Love) are in a band named ‘’The White Tights’’ that used to have a fourth member who died named Alex. When their van breaks down they are picked up by two nice strangers (Susan Burke and Davey Johnson) who appear friendly enough, but have a disturbing aura to them.

Of the five shorts, I have to say Siren is probably my joint favourite, snuggling in nicely alongside its immediate successor. The way the story follows on from the first via the transition of a nurse moving from one motel room to the next is brilliant and organic, allowing the stories to seamlessly transition into one another, and creating a flowing piece of cinema from five separate stories. Bloody great that.

The directing is tight, the writing is solid, and the tension is ranked up a notch, as a farirly predictable, yet disturbing, narrative unfolds before you

 – 4/5


The Accident Written and Directed by David Bruckner.

Lucas (Mather Zickel) is driving on the same nameless highway, talking to his wife Claire on the phone, when he hits Sadie who had ran into the road looking for help. Sadie is hurt badly and might not make it. Stuck in the middle of nowhere without GPS, he calls 911 and is disturbed to discover the person on the other end mysteriously knows his name. A certified EMT gets on the line to help. The voices of the dispatcher and the EMPT lure Lucas to a nearby hospital

You know what I was saying about great transitions? Well, it happens again here, as we leap beautifully between Sadie’s story and Lucas’. This is probably the most ambient and tense piece in the entire film, eventually turning into a twisted episode of Casualty from your worst nightmares. Touches of Dario Agento in terms of sound use, Silent Hill in terms of the atmospheric and empty hospital, and classic horror in terms of graphic violence, this is easily the most tense and disturbing piece of the entire ensemble. Zickel also puts in the film’s stand out performance as Lucas.

–  4.5/5


JailbreakDirected by Patrick Horvath, Written by Patrick Horvath and Dallas Hallam.

The dispatcher who was talking to Lucas (Maria Olsen) is on an old payphone and watches Lucas drive away. The camera follows her into a bar named “The Trap” and across the parking lot Danny (David Yow) gets out of his car. Inside the dive bar, there’s a poster for The White Tights show that was supposed to happen that night. The locals debate closing the door all the way when Danny breaks in with a shot gun. Everyone thinks it’s a robbery but he explains that he’s searching for his sister, Jessie.

Unfortunately, after the rising crescendo that was The Accident, Jailbreak feels like a bit of a flat disappointment. Showing initial promise as a love letter to the works of David Lynch, in particularly the deployment of the ‘seedy surreal bar’, it eventually runs out of mystique and intrigue and just feels like a bit of a disappointment after what came before it. Easily the most forgettable of the five pieces that compose this whole, it’s not awful…just not great.



The Way InDirected by Radio Silence, Written by Matt Bettinelli-Oplin.

Jem (Hassie Harrison) exits the bathroom at “Freez’n Over” and sees Jessie walk back to the secret door. Jem notices her and then meets her parents, Cait and Daryl (Kate Beahan and Gerald Downey), to finish their food. Jem is going to college and this is their last weekend together before she leaves. As they leave “Freez’n Over” someone in the parking lot watches them get into their car and drive to the house they are vacationing at. They are about to have dinner when three masked men break into their vacation house.

The Way In is for the most part pretty average, albeit quite tense. As far as genre use within Southbound goes, this traditional use of the slasher/home-invasion thriller is nothing you’ve never seen before, and does nothing to really justify existing..right up until the ending. I won’t spoil a thing, but Oplin does a fantastic job of rounding everything up, meaning we end where we begin, effectively. It’s tight writing and deserves some commendation. Just a shame the build up was so generic.


Southbound isn’t perfect, and suffers from some of the flaws atypical of the format. Some shorts are stronger than others, meaning your enjoyment of the film wavers depending on which segment you’re watching. Having said that, the film does a better job of book-ending itself, telling what could be one continuous narrative that merely encompasses five different stories, and when you have around nine creative minds working on one project, that is no easy feat. Tense, ambient and intelligent; when at it’s best it’s extremely effective, and when at it’s worst never quite terrible. Worth a watch, and the strongest horror release of 2016 thus far.

Final Rating – 3.8


Joshua Moulinie

Visions (2015), A Review


Director –  Kevin Greutert

Writer – Lucas Sussman

Starring – Anson Mount, Isla Fisher, Gilian Jacobs, Jim Parsons

In the continuation of my relentless quest to view as many of 2015’s horror releases as humanly possible, I next found myself viewing Greutert’s Visions. With only several feature films to his name, including Saw VI and Saw:3D, which is hardly the greatest resume, and the film receiving a right royal critical roasting, I wasn’t expecting much. Fortunately, I had a welcome surprise.

One year ago, Eveleigh Maddox (Fisher) was involved in a horrific car accident that caused the inadvertent death of a young mother’s child. Wracked with guilt, and struggling with trauma, she is put on antidepressants for six months. Eventually, she seemed to recover, and her and her husband David (Mount) move to an old vineyard in the country. Quickly, strange things begin to happen, and Eveleigh begins to see strange visions of horrific events.

The writing is surprisingly really tight; the screenplay juggling several sub-plots with varying success, creating a decently layered story that comes together very nicely at the end. To see this level of thought go into a psychological horror flick is a welcome change of pace, and the deeper storytelling gives you reason to be drawn into events and to actually care about what’s happening.

It’s not perfect, as some dialogue is a bit clunky and a couple of subplots are forgotten very quickly. There’s allusions to a crystal meth ring that may be operating out the area that is quickly forgotten, and seemingly ignored then on as a plotpoint, rendering its inclusion asinine, but the central mystery remains enthralling throughout.

Mostly, the directing is as tight as the writing; with the visual elements seeped in beauty and the cinematography and composition looking very nice. Greutert clearly gets the ‘less is more’ rule of horror of which I am a huge advocate. The vision sequences are tense, ambient and relatively brief, meaning they pack a strong punch, whilst never out staying their welcome.

Very few cheap scares/jump scares, though the film does borrow liberally from J-Horror, and there’s an odd line from the Jim Carrey film Liar Liar thrown in for some reason. It’s a really jarring moment, but doesn’t spoil the movie. It’s just out of place., and distracting, as you stop to wonder if that was a deliberate reference, simple theft, or that the director has never watched the film. The third option, in turn, leads down a whole new rabbit hole of questions, primarily ‘where were they in the 1990’s?’.

Special mention must be given to the score. It is very good, and also rather subtle; creating ambience that allows the film to elevate beyond decent to actually being pretty bloody good, without overbearing or dominating what’s happening on screen. You may not notice the score for a while because of this seamless blend, but when you do it is a delight.

If there is one major criticism it’s that the supporting cast is sadly superior to the central duo of Fisher and Mount. Fisher is actually pretty strong in places, and her kinetic acting is superb, in particularly her facial expressions. Unfortunately, she sometimes delivers dialogue in a clunky manner and has a bad habit of making odd 80’s porno noises instead when she’s supposed to be scared. It’s peculiar and distracting. Mount has the acting ability of a piece of wood; he’s not laughably bad, but he’s definitely not very good. He never convinces.

Jacobs puts in the best performance of the feature, in particular towards the end, but telling you why would be spoiling it. For now, I’ll just tell you she plays unhinged very well, not descending into cartoon levels at all.

And Jim Parsons, better known to most as Sheldon Cooper, puts in a solid supporting performance, playing it straight as a doctor. He convinces and, as the only decent actor that  series has, I hope he eventually leaves in order to focus on some larger straight roles.

Having a strong supporting cast is obviously a good thing, most of the time. Unfortunately, when they outshine the central protagonists, you’ve got a major issue on your hands. That should never be happening.

Other than these minor hiccups, this is a well-written and ambient psychological thriller that, just when it seemed like it had dropped into ludicrous territory, gives us a genuinely intriguing plot twist that cleverly wraps up the narrative strands in a neat bow. Not particularly terrifying, but ambient and unsettling with a genuine mystique. Well worth a watch.

Final Rating – 3.8


Joshua Moulinie







Macabre Meanderings.

Sometimes, late at night,
I sit alone, and I think,
Would it be easier,
If I turned out the lights,
Upon this curse, they call life?

Sometimes, I think,
It would be so simple,
Stand alone,
In a field of Geraniums,
Take a gun,
Fire into my cranium.

Would it be enough?

Or does the soul carry on?
To a torment that’s eternal,
Would I damn myself,
To a never ending inferno?

So I carry on,
Alone I meander,
And those around myself,
I drive mad,
With my macabre thoughts,
So alone I stand…
Until the bitter end,
An end I can merely hope,
Will be mercifully soon.


Joshua A. Moulinie



Cinema Paradiso (1988), a Retrospective Review


Director – Giueseppe Tornatore

Writer – Giueseppe Tornatore

Starring – Phillipe Noiret, Salvatore Cascio, Marco Leonardi, Jacques Perrin

The next stop on my tour of the IMDB top 250 takes me to Cinema Paradiso, an Italian film released to extreme critical acclaim in 1988, directed by Giuseppe Tornatore. A film about film, it is a grandiose expedition through the life of Salvatorre Di Vata, a young boy from a poor rural background, who finds both escape in the films at the local cinema, the Cinema Paradiso, and through his life-long friendship with the projectionist, Alfredo.

The writing is absolutely magical, and the script is littered with thousands of references to other films, which is unsurprising considering the subject matter. It tells a grand tale of growing up, finding love and the joy that can be brought via cinema that is both beautifully fantastical, yet painfully believable.

Alfredo is a character that resonated deeply within me. He is both loving and affectionate once his barriers drop, but frosty and obnoxious on the outside. His love for cinema never led quite where he wanted it to, and instead he has devoted his life to the projector. A devotion that has led to social isolation, a lack of love, and an inability to interact with his fellow people, other than Salvatorre, who he lovingly nicknames Toto.

In many ways, Alfredo is the closest I have ever come to seeing myself on the screen, and as such he resonated with me in a way I’m sure no other film character ever could. Magically brought to life via an incredible performance by Phillipe Noiret, a performance both subtle yet perfectly convincing, Alfredo is the true star of this show, even it is effectively Toto’s movie.

Of course, the film wouldn’t work without the central friendship, and it requires the audience to care about Toto. Luckily, we are given plenty of reason to, as he is an extremely likeable character, and watching his evolution from ten year old boy with a film obsession and a cheeky character, to a more mature young man in love but retaining his love of the cinema, before finally evolving into a successful adult director is a rich and rewarding experience.

 It’s an organic and enjoyable journey, and all three of the young actors do a fantastic job with Toto. The child actor, Salvatore Cascio, in particular deserves plaudits for his work, as he puts in a fantastic performance seemingly beyond his years.

 The story about cinema is also an enriching one, as we see how the power of film can bring an entire community together, and allow people to escape their mundane lives. Cinema Paradiso is an exploration of cinema itself, and a fine one at that.

 In fact, the stream of golden-age classics screened throughout the film provide a fun mini-game for cinephiles, and you play ‘spot the classic.’ This is definitely a film for lovers of film, with one of the most organic friendships in cinematic history to boot.

The film, unfortunately, is far from perfect though. At times it sags a bit, and it doesn’t necessarily justify the lengthy running time. The ending is also a tad boring, as once we get the emotional punch everything seems to drag on fifteen or so minutes longer than it needed to.

Also, the second half of the film is considerably more boring than the first half. Which is a problem I find with most coming-of-age dramas, as I tend to be more interested in the child than the adult they become. Possibly because the star-eyed innocent child is likable, whereas the emotionally worn down adult is a bit more difficult to get behind.

Cinema Paradiso is a fantastic love letter to cinema that also happens to feature among the most organic friendships in movie history. Genuinely moving without resorting to cheap sentimentality, Tornatore gives us a beautifully moving journey that reminds us just how much films have done for us over the years.


Final Rating – 4.2/5


Joshua Moulinie





Space Cop (2016), an Extended Review

Space Cop

Director(s) – Jay Bauman, Mike Stoklasa

Write – Mike Stoklasa

Starring – Rich Evans, Mike Stoklasa

Released recently on DVD after a gestation period of eight years, Space Cop is a delightfully surprising comedy romp. Mercilessly lampooning two genres simultaneously, possible three – (buddy cop comedy, renegade cop and Sci-Fi) – Stoklasa and Bauman bring you possibly the funniest film of the year so far, and certainly the biggest surprise.

The plot is delightfully daft. A police officer from the future of space, Space Cop (Evans) travels back in time to the present and is teamed up with an officer from the past, Officer Cooper (Stoklasa) who is unfrozen in the present. Together, they must defeat evil aliens with a sinister plan. It’s the good kind of B-Movie fun you can’t help but shamelessly adore.

Good parody, the kind that leaves a lasting impression, does so not by taking the aesthetics of a genre and making lame jokes around it that don’t derive from the source text. This is best seen in Disaster Movie, Meet the Spartans, and all the other abominations of cinema put out by Friedberg and Seltzer. Rather, it works best when the comedy comes from our understanding of cinematic tropes; the way Team America mercilessly and brilliantly lampooned action films whilst using a script that could be taken seriously by any one of them. In that way, Space Cop is delightful, and it plays on conventions in every way.

The dialogue is deliberately wacky and silly, and Space Cop himself is just a walking bag of one-liners for the most part. The genius part? He’s absolutely awful at them, and downright nonsensical. He plays it straight, for the most part, and is at times a hilarious parody of every renegade cop ever, whilst predominantly lampooning Judge Dredd.

There is one hilarious, if brutal, moment where he goes so renegade he allows a doll, masquerading as a baby, to boil alive. He then puts the icing on a savage cake by nonchalantly telling his boss ‘I didn’t kill that baby. The hot water did’.  I also say masquerading because this film really goes all the way with its tribute to poor 80’s Sci-Fi, including the micro budget, down to deploying a plastic doll baby.

Coop is also a fantastic character, as the seventies cop thrown into 2016. Coming to terms with his not being able to smoke anywhere, and women having rights, leads to some fantastic moments, and both leads play off each other pretty well, if a bit deliberately stilted at times.

The script is a perfect example of the sort of thing you’d see within the genre and most of the best jokes hit home. Everything is touched upon; from Star Wars to Lethal Weapon, and the writers are not afraid to go anywhere. This leads to a great game of ‘spot the reference’.

It’s not perfect; some jokes are simply poor, others initially funny but held on too long perhaps. Whilst it’s the Sci-Fi/Cop-Movie equivalent of Team America, it never quite manages to sustain the level of brilliance throughout. The good moments though are fantastic and the film is endlessly quotable, it’s just a crying shame that these occasional misfires at times drag down the great stuff that came before. Fortunately, the good outweighs the bad, and the good is great.

I particularly loved the joke where a character asks Space Cop his name, and when he replies ‘Space Cop’, he inquires as to whether it’s his real name. Space Cop replies that when one becomes a Space Cop, they must legally change their name to Space Cop. A wonderful little joke on its own, at least in terms of my own sense of humour, but it’s punctuated by the next line he delivers – ‘It’s a stupid name, I know. I wish I’d kept my original name now. Madicky. Holden Madicky.’. Ok, maybe I’m juvenile, but it got a loud laugh out of me at the time.

The performances are hard to gauge, really, because Stoklasa clearly wanted this to mimic those poor B-Movies to a tee, poor acting included. As such, everything is very deliberately hammy and over the top. Are they entertaining though? Certainly. You’d just have to see the actors in a more straight and serious scenario to truly sense their levels of ability.

Along with the occasional inconsistencies with the humours success rate, there are a couple of other issues that bring the film down a bit. The big meta joke of ripping on low-budget Sci-Fi by being micro-budget, down to poor sound mixing and all, could be overlooked by a lot of people, and in turn they’d simply see a terribly made movie. Arguably, it is, but we know that’s deliberate. If you’re not in on the joke, this doesn’t work so well.

Also, they perhaps drive the micro budget joke too far, and at times you genuinely wonder how much was planned (I.E, poor sound mixing) and how much was simply a result of the budget cuts. What was deliberate and what wasn’t becomes a distraction at times, if you’re a person who tends to think deeply about the construction of your films. Also, it drags on a bit, and could do with shaving twenty minutes.

Still, as far as comedy goes at the very least, this is easily the funniest thing I’ve seen all year, and I’ve seen Deadpool. A beautiful love letter to the 80’s that anybody with a soft spot for B-Movies will find almost impossible to love, Space Cop is a satirical blast, and endlessly quotable.

Final Rating – 3.9/5

Joshua Moulinie