#5: HAMNET

 

STARRING: Jessie Buckley, Paul Mescal, Emily Watson and Joe Alwyn. Screenplay by Chloe Zhao and Maggie O'Farrell. Based on the book Hamnet by Maggie O'Farrell. Directed by Chloe Zhao. Budget $35 million. Running time 126 minutes.

Charting the moment Shakespeare (Paul Mescal) spots his future wife Agnes (Jessie Buckley) falls madly in love with her, within seconds they're married and she's in the family way and before you can say now is the winter of our discontent, she's given birth to twins, Hamnet (Jacobie Jupe) and Judith (Olivia Lynes), then spotting her hubby has an urge to write she sends him off to London to make his fortune selling handmade gloves. Then the black death hits, and Hamnet dies, while Shakespeare is away and Agnes isn't too happy about that, so Shakespeare follows some good advice about writing, in short write what you know and writes a play about losing his son Hamnet, but calls it Hamlet to protect the identity of its main inspiration and Agnes, pissed off that her husband is always at work rides off to London just in time to catch opening night of said new play. 

This is a beautifully made, well directed and well acted movie with a great soundtrack. But sadly it didn't move me any more deeply than that. I was warned to be prepared to cry buckets, well buckets were taken but narry a tear was shed. The trouble for me is everybody was trying just too hard to out act the other. Jessie Buckley is superb and this film belongs to her hook, line and sinker. Sadly Paul Mescal just comes across as a bungling somewhat belittled dweeb. The rest of the cast, in particular Emily Watson as Shaky's mum plays an absolute blinder, but boy is everyone acting their little boots off.  

So, the over acting just did my head in. That and the naturalist lighting. Look, Stanley Kubrick already did that to perfection with Barry Lydon and the use of candles to light scenes now just seems like an arrogant cry for acknowledgement. Look at me! It screams, or not, since it's rather dim. Anyway, when this film focuses on Agnes, who may or may not be bestowed with almost witch-like powers this film is a triumph, but too many scenes of people screaming with drool dripping down their faces sort of did me in, to a degree. And there's no mistaking that the end staging of Hamlet is absolutely stunning. I just wasn't moved more than that. I went in expecting to be reduced to a quivering wreck and I wasn't. As I was watching this i found my mind wandering as to what score to give it, it starts strong and i though, 'nice' this is a solid 9, then it started to dip and I found myself thinking oh god, this might just be a 7, then that final staging and I was finally won over. Sadly it was just a little too little, too late. Still, I'd recommend it greatly.  

Score wise, it's a solid 8/10

#4: 28 YEARS LATER: THE BONE TEMPLE

 

STARRING: Ralph Fiennes, Jack O'Connell, Alfie Willims, Wrin Kellyman, Chi Lewis-Parry. Written by Alex Garland. Directed by Nia DaCosta. Budget $63 million. Running time 109 minutes.

Four films in and not only a sequel to 28 Years Later, the most recent film in this 25 year-old franchise, but also the second part to a planned trilogy, which makes this the Empire Strikes Back of the 28 Years Later saga.

This follows on exactly from where the last one left off, with young Spike (Alfie Williams) the runaway from a island community finding himself an unwilling member of The Jimmies, a truly diabolical satanic cult lead by the even more truly demented Sir Lord Jimmy Crystal (Jack O'Connell). In the last film, Spike had taken his terminally ill mother off to the mainland in search of a cure for her brain cancer. There he'd met Dr. Ian Kelson (Ralph Fiennes) a former GP who had dedicated his life to building a huge bone shrine, or 'temple' if you will to the dead. But now Spike is press-ganged into service to the terrifying Jimmys and forced to bear witness to their unbelievable savagery and believe me it's truly savage. Conditioned to accept that their leader is the actual son of Satan, the Jimmies are forced to question their faith when they come across the red-skinned Dr. Kelson and assmue he is actually 'Old Nick'. Meanwhile Dr. Kelson has been developing a relationship with a rage-infected Alpha male he's named Samson (Chi Lewis-Parry). Oh boy I bet this isn't going to end well.

Blimey, that was gruelling. Superbly directed by Nia DaCosta who carries the torch on from Danny Boyle and before handing the reigns over to Alex Garland for the concluding chapter next year. Shot on location, the film has a quality that revels in its rural setting and with most of it taking part in broad daylight this still manages to be profoundly unsettling and at times downright horrific, particularly when the Jimmies are doing their thing. But it's also the Jimmies and their deadly leader who drags the film down a notch, while the burgeoning relationship between Ian Kelson and Samson gives the film it's heart and soul, seriously there's a moment, reminiscent of Luc Besson's The Last Battle, that actually made the hairs on my arms stand up. Truly this whole aspect of the film is a joy to behold. 

Unfortunately because this is a sequel to last year's 28 Years Later it suffers as a result, it's just not quite as good, it doesn't have the same shock factor or the same sense of sheer panic. For me last year's offering was one of the top five films of the year and a worthy of the 9/10 I gave it, but this while still being a deeply engrossing and intense offering, just wasn't quite as enjoyable, or as satisfying. The story has more threads and the focus is diffused across several characters. Plus each time it leaves that of Kelson and Samson, you kinda feel sad and long for their return. 

Be warned this is a savage and nasty film the violence of the Jimmies is deeply disturbing and makes for uncomfortable viewing.  

Overall this builds to an astounding final confrontation and an extremely exciting coda that makes the wait for the third and final chapter a torture equivalent to that of waiting for Return of the Jedi, let's hope this one's conclusion won't be as diversive.

8/10

#3: RENTAL FAMILY

 

STARRING: Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman and Akira Emoto. Written by Hikari and Stephen Glahut. Directed by Hikari. Running time 110 minutes.

Brendan Fraser is Phillip Vanderploeg a jobbing American actor who went to Japan to star in a toothpaste commercial, playing a superhero, and ended up staying. Seven years later he's living in a tiny apartment and struggling to make ends, taking small bit parts whenever he can. Just then fate comes knocking on his door when he's hired for a bit part, told to wear his black suit and to be at the location next morning. He does and finds himself at a funeral, in a room packed full of mourners and so begins his new career working for a Rental Family agency as an emotional surrogate, be it a 'Sad American', a husband, a father, friend, or journalist. At first Phillip is unsure and almost ruins his first proper assignment, but slowly he comes to terms with his role and even starts to revel in it, particularly as the 'acting' father to a young mixed-race girl, whose single mother is so desperate to get her daughter a place at an exclusive school that she hires Phillip to be her child's father. Slowly over time these roles help Phillip to recover his own humanity and his life begins to take on meaning again, but at what cost...

The very definition of a 'feel good' movie, this is good-natured, heart-warming and dare I say life-affirming. Brendan Fraser does a standout job as the lost actor and it's a treat to watch these ordinary people whose lives he touches re-ignite his  own passion for life. Running along side the main story we also follow two other members of the Rental Family staff, boss Shinji played by Takehiro Hira who is hiding a tragic secret that truly surprises when it's revealed, and Mari Yamamoto as Aiko, a fellow employoee who specialises in playing mistresses apologising to wives of unfaithful husbands. This never slips into over-sentimentalisation and the two key fake relationships at its core are both moving and poignant. 

But real star of the whole film is Japan itself, it's so rare to see the city of Tokyo like this, so large and vibrant and to witness the everyday life of the city, in fact it's infectious, you come for the story but you stay for the actual spectacle. You find yourself exploring the background lapping up all the strange everyday details and losing yourself in an utterly alien environments.  

Well directed, with a subtle soundtrack and beautiful cinematography this was a  deeply satisfying and touching movie and a true treat to watch. With no overt drama or action, or wise-cracking and once again an, to all purposes, a foreign language film that offers up a truly unique, naturally funny, and sensitive movie experience.

8/10 

#2: SENTIMENTAL VALUE

 

STARRING: Renate Reinsve, Stellan Skarsgård, Inga Ibsodotter Lilleaas and Elle Fanning. Written by Eskil Vogt and Joachim Trier. Directed by Joachim Trier. Running time 133 minutes. 

This Norwegian drama sees two sisters, Nora and Agnes reconnecting with their father after decades of distance following the death of their mother, his wife, and the ownership of the family home. 

We are introduced to the Borg family through a truly beautiful sequence which sees the history of the family told from the house's point of view as retold by a story once written by the oldest Borg sister, Nora who's now an acclaimed Norwegian  stage actress (Renate Reinsve). She has major daddy issues stemming from the fact her father, celebrated film director Gustave Borg (Stellan Skarsgård) abandoned her, her mother, and her sister Agnes (Inga Ibsdotter Lilleaas) to pursue his own career. Now, Nora feelings of abandonment are starting to impact her life and jeopardise her stage career leading to crippling stage fright. So, when Gustave returns to Norway following the death of his wife to reclaim the family home the three of them are thrown together again. But Gustave has an ulterior motive. He wants Nora to play the lead in a film he's written about the life of his mother (a WWII Resistance Fighter) who committed suicide in the very family house at the centre of the story. When Nora flatly refuses he entices, Rachel Kemp – an American film-star (Ella Fanning) to take the part leading to more conflict. 

Yet another one of those films called a 'comedy/drama' which leans into the drama and whose only nods to comedy are a couple of amusing film-related gags. Norwegian films have a quality all of their own, measured, sombre, realistically acted and heavy on the pathos. 

As a result this was a hard slog, a film with some beautiful moments of acting, camera work and deep ponderings, which at the end of the day still leaves you bum numb and a tad fatigued. The trailer alludes to a more amusing film featuring Rachel and Nora, but that ultimately was a smoke screen. The glory of this film lies wholly in the hands of Skarsgård and Reinsve, he is phenomenal, his complete self-absorption making Gustave a deeply fascinating character. Nora clearly deeply damaged by her father is brilliantly played by Renate and the interaction between those two and Agnes is very satisfying to behold. 

Although ultimately this film offers nothing new on the dynamic of a broken father/daughter dynamic, it's just told through a different eye with a different agenda and that in itself is a delight to behold. Frankly I was in love with this with the opening narration told from the point of view of the house, and of the ending that is telegraphed early on in the film, which pays off brilliantly in the closing scene. 

A sombre and absorbing film with real heart. Sadly too long.

8/10

#1: MARTY SUPREME

 

STARRING: Timothée Chalamet, Gwyneth Paltrow, Odessa A'zion, Kevin O'Leary, Tyler Okonma, Abel Ferrara and Fran Drescher. Written by Ronald Bronstein and Josh Safde. Directed by Josh Safdie. Music by Daiel Lopatin, cinematography by Darius Khondji. Budget $70 million. Running time 150 minutes. 

It's 1952 in New York City and Marty Mauser (Timothée Chalamet) is an insanely gifted, obscenely driven and disgustingly arrogant young man who eats, drinks, sleeps and shits Ping Pong, indeed nothing else matters to him. He is a man who believes he will reign supreme, it's just a shame life seems to have other plans for him. Forced to steal his own money back from his uncle, who runs a shoe shop, to finance a Ping Pong tournament in London, which he very nearly wins, Marty finds himself living it large at the Ritz and shagging retired actress and socialite Kay Stone (Gwyneth Paltrow) whose husband, Milton Rockwell (Kevin O'Leary) just so happens to be a super-rich and highly influential captain of industry, whom Marty introduces to the world of Ping Pong, making him a huge fan in the process. When the whiff of success goes to Marty's head he wrecks a fantastic opportunity that would have put him on the map and leaves him having to return to New York eight months later, where he ends up on the run after his uncle bribes a policeman to arrest him for the previous robbery, added to that his married childhood friend, and lover, Rachel Mizler (Odessa A'zion) is pregnant and claims her unborn child is his, and then things just start going wrong, horribly wrong. 

Beautifully mounted, fantastically acted, with a superb soundtrack and looking like a million, or 70 million dollars, this is a extremely well mounted film. Chalamet is simply mesmerising in the lead role and is in each and every scene, his performance is excellent. Likewise Gwyneth Paltrow as the former movie star packs a punch and gives the film at least one likeable character and it's great to see her acting again in something significant. Kevin O'Leary has her husband is also deeply impressive and makes a speech near the end that is fantastically unsettling. The ping pong games are exciting but a little bit repetitive and the promised rematch between Mauser and the Japanese World Champion feels a little rushed.

The only negative is just how bleak and relentless this is, and its length at 10 minutes short of three hours truly tries one's patiences. The trouble is Marty is such a thoroughly unlikeable character, constantly scamming his friends and family, and putting them in danger, he's manipulative and so single-minded that he's extremely hard to like, but then it's only in the closing moments as the film ends that Marty seems to have learned some valuable life lessons. 

Great start to the new year. Intense, satisfying and well made, but I won't be hurrying back to it any time soon.

8/10

2025: A REVIEW - THE BEST AND WORST FILMS OF THE YEAR

FILMS OF 2025

Welcome to the annual round up of the year in cinema, a chance for you, kind reader, to relive with me the highlights and lows of the 2025 cinematic year. A year although slight on the number of new releases, but not bad in terms of quality. My attendance is down on previous years, where I'd easily see 10 or more films a month, but perhaps I've not been as Gung Ho in my approach, electing on occasion to avoid films I just know are going to be bad, rather than seeing absolutely everything. 

2025 saw the worst monthly box office haul of the 21st Century and the worst box office month since 1997! That month was October and in fact, there was one week in October where 'Hollywood' didn't release a single new movie.  

That said, Ne Zha 2, an animated film from China, did something no other animated film has ever done before, and only six other films in history have ever managed to do, it took over $2 billion at the box office, and I didn't even see it.

It was also the year of the heritage sequels and while the likes of Spinal Tap and Tron Ares crashed and burned, Naked Gun soared, and it was a year that witnessed a once mighty box-office juggernaut franchise, Mission Impossible, finish its eight film run roll with a whimper rather than a spectacular bang. And it was a year that saw the continued slow death of the superhero genre with only six Marvel or DC films released. 

Only two films broke a billion this year, the forementioned Ne Zha 2 and the live action remake of Lilo and Stitch (another film I didn't see).   

And then the year ended with the third Avatar film unleashed upon an indifferent world – a truly unique cultural phenomenon that somehow galvanises staggering box-office takings and yet leaves not a scintilla of cultural wake. So far it has taken over $217 million domestically and over $542 million internationally for a grand total of over $757 million. However, with a budget of $400 that means it still hasn't broken even. 

In total I went to the cinema a grand total of 85 times, of which 25 were re-issues of classic films.

SO without further ado, here we go for the list no one wants or even cares about. 

First up...

TOP TEN OF 2025 

1. ONE BATTLE AFTER ANOTHER 10/10 (FILM OF THE YEAR)
"Overall this is a thrilling and gripping experience that just builds and builds to a coda that just seals the whole film with a satisfying and meaty thunk. And aided by humour as dry as the desert. Damn it, I can't fault it."

2. KILL BILL: THE WHOLE BLOODY AFFAIR 10/10
"I cannot think of a single thing I did not like about this film, it truly was one of those extremely rare cinematic occurrences, a note-perfect, cinematic triumph."

3.THE PHOENICIAN SCHEME 10/10
"Every aspect of this film was a pure delight, from the soundtrack, the style and direction, it's at turns funny, and dramatic and frantic. -- if you're a fan of [Anderson's] wonderful oeuvre then get ready for 109 minutes of pure bliss."

4. THE LIFE OF CHUCK 10/10
"This is an emotional film, beautifully performed by the cast from a witty literate script -- [the] near two hour run time flies by and engages you on a deep emotional level."

5. 28 YEARS LATER 10/10
"By no means is this an easy film, it's filled with nihilism, it's fantastically bleak and deeply savage, and yet it's also deeply engaging and at times moving. Quite simply one of the most unique and powerful films of the year." 

6. ETERNITY 9/10
"This felt like a throw-back to a bygone time, the script never preaches, there's no hidden agenda or messaging trying to piggyback the ride -- It's witty, funny, clever and utterly enjoyable and the running time of 114 minutes flew by. Catch it before it's lost for all eternity." 

7. BLACK BAG 9/10
"So refreshing to see something so satisfyingly adult. Fassbender and Blanchett are exquisite in their roles and give measured and precise performances and a masterclass in acting. Can't really fault this, beyond the complexity of the plot which robbed me of being able to work out who the spy was. But bloody hell I loved it."

8. WEAPONS 9/10
"[A] film like this only works if it nails its landing and it's a delight to report that this does it with absolute precision and you will not be disappointed. I think this was one of the most original and chilling horror films I've seen in a very long time and I bloody loved it!"

9. SINNERS 9/10
"This is a deeply satisfying, energetic and gorgeous looking film and I goddam loved it! Definitely the best horror film I've seen in an absolute age!"

10. BECOMING LED ZEPPELIN 9/10
"I was captivated and sat centre four rows from the front and just lost myself in the music. -- Even if you're not [a fan of the Zeppelin] I'd still say give this a go! It's always fascinating to watch truly creative people working and creating something unique and extraordinary. Plus the music is EXHILARATING!!" 

HONOURABLE MENTION:

11. A COMPLETE UNKNOWN 9/10
"From beginning to end this is Timothée Chalamet's film, his utterly mesmerising performance grabs your complete attention from the first second he appears on screen in the back of car as a hitchhiker to the last as he rides off on his motorbike, 140 minutes later that seem to have flashed by in the blink of an eye."

ALL THE REST:

12. ONE TO ONE: JOHN & YOKO 9/10
13. PREDATOR: BADLANDS 8/10
14. SUPERMAN 8/10
15. FANTASTIC FOUR: FIRST STEPS 8/10
16. MISSION IMPOSSIBLE: FINAL RECKONING 8/10
17. THE HOUSEMAID 8/10
18. PILLION 8/10 
19. COMPANION 8/10  
20. THE ACCOUNTANT 2 
21. FINAL DESTINATION: BLOODLINES 8/10
22. SISU 2: ROAD TO REVENGE 8/10
23. THUNDERBOLTS * 7/10
24. WICKED FOR GOOD 7/10 
25. NUREMBERG 7/10 MICKEY 17 7/10
26. MICKEY 17 7/10 
27. NAKED GUN 7/10 
28. THE RUNNING MAN 7/10 
29. THE ROSES 7/10
30. BRIDGET JONES: MAD ABOUT THE BOY 7/10 
31. F1: THE MOVIE 7/10 
32. DEATH OF A UNICORN 7/
33. CAUGHT STEALING 7/10
34. NOSFERATU 7/10
35. WARFARE 7/10 
36. AVATAR: FIRE AND ASH 6/10 
37. FACKHAM HALL 6/10
38. TRON ARES 6/10 
39. BALLERINA 6/10 
40. THE AMATEUR 6/10
41. THE WORKING MAN 6/10 
42. MONKEY 6/10 
43. M3GAN 2.0 6/10
44. SPINAL TAP II: THE END CONTINUES 6/10

TOP TEN RE-ISSUES:
IT'S A WONDERFUL LIFE 10/10
JAWS 10/10
DIE HARD 10/10
GRAND BUDAPEST HOTEL 10/10
ALIENS 10/10
TERMINATOR 2 10/10
SEVEN 10/10
MISSION IMPOSSIBLE III 10/10
LORD OF THE RINGS: FOTR, TT, ROTK 10/10
THE BIG LEBOWSKI 10/10
THE SHINING 10/10

OTHER RE-ISSUES SEEN
EBIRAH, HORROR OF THE DEEP 10/10
GODZILLA VS. MEGALON 10/10
FANTASTIC MR. FOX 9/10
LIFE AQUATIC 9/10
GODZILLA VS. BIOLANTE 9/10
JOHN WICK 9/10
DIE HARD 2 8/10
X-MEN 8/10
X-MEN: FIRST CLASS 8/10
GOLDENEYE 8/10
STAR WARS III: REVENGE OF THE SITH 7/10
FINAL DESTINATION 7/10

And now the category you've been waiting for and in time honoured tradition in reverse order of awfulness...

WORST FILMS OF 2025 

How wonderful for Jack Black to have two films out in the same year and category, well done, Jack, that's not an easy feat to achieve. 

DISHONOURABLE MENTION
JURASSIC WORLD: REBIRTH 6/10
"-- there were great bits, and lots of fun to be had, but by the same token there was a lot of stupidity and shit too. Still I didn't loathe with the same bile and hate as the last two of these shit shows, so you know. Winner, winner, almost chicken dinner."

(IN DESCENDING ORDER)

10. THE ALTO KNIGHTS 5/10
"Rather than watch this, go back and watch Goodfellows and Casino back-to-back and have a great evening rather than a thoroughly mediocre one." 

9. CRAPTON AMERICA: BLAND NEW WORLD 5/10
"A film lacking flavour or bite. One that will wash over you like another person's rancid fart, which once sniffed will soon be nothing more than a rather unpleasant, rapidly forgotten memory." 

8. ELLA MCCAY 4/10
"The proof is in the pudding and this eats like a rancid apple pie, sickly sweet and limp, with a damp soggy bottom."

7. ANACONDA 4/10
"This was shit. Poorly written, filled with contrivances to support the plot and characters so one dimensional, they couldn't turn sideways."

6. DR. STRANGELOVE 4/10
"This just feels like a poorly staged church hall performance that seems incredibly dull and boring in comparison to its cinematic originator and manages to be an hour longer than it too. Although, it did make me want to rewatch the film again. So it's not all bad, but I certainly won't be rewatching [this] again."

5. A REAL PAIN 4/10
"How apt to see a film whose title reflects exactly how you felt when you finally walk out of the cinema with your life 91 minutes shorter than it was. It's not all self-indulgent twaddle, The music by Chopin was a delight" 

4. THE BRUTALIST 4/10
"--it's all so ponderous and arrogant, "look everybody! We're all a bunch of serious actors and film makers striving to make something worthy enough to win loads of Oscars and shit. Well, shit off."

3. IN THE LOST LANDS 3/10
"The action in this is shit, the acting is shit, the characters are shit, the look of it is shit, the script is shit, the motivation is shit, the CGI is shit, the soundtrack is shit, the special effects are shit, there wasn't one thing about this that wasn't shit."

2. MINECRAFT 2/10
"It's hideous, it's bland, it's boring. A 7 year old boy with his dad in the toilets afterwards said, and I quote, "That wasn't very good, daddy." He was spot on, although I'd have phrased it somewhat differently."

1. MARCHING POWDER 2/10
"The funniest lines are in the trailer so save yourself by just watching that." 

TOP TEN MOST READ REVIEWS
This part of the yearly round-up has been one of the most fun parts, watching as films rise and fall up the list, reader figures are up on last year, so thanks to all who take time to read my reviews, it means a lot to me. 

The Naked Gun was a clear winner but the battle for silver and gold went to the wire with both films vying battling courageously till the very bitter end.  

1. THE NAKED GUN
2. SUPERMAN
3. CRAPTON AMERICA: BLAND NEW WORLD
4. ONE BATTLE AFTER ANOTHER
5. NOSFERATU
6. A REAL PAIN
7. BALLERINA
8. JURASSIC WORLD: REBIRTH
9. THE PHOENICIAN SCHEME
10. A COMPLETE UNKNOWN

THE LEAST READ 'NEW' FILM REVIEW OF 2025
ELLA MCCAY

#85: THE HOUSEMAID

STARRING: Sydney Sweeney, Amanda Seyfried, Brandon Sklenar, Michele Morrone and Elizabeth Perkins. Writen by Rebecca Sonnenshine. Directed by Paul Feig. Budget $35 million. Running time 131 minutes. 

Right then, eyes down for a full house. Sydney Sweeney is Millie Calloway, a troubled young woman living in her car and desperately trying to make a life for herself after serving 10 years of a 15 year prison sentence, for what -- remains to be seen, although all will be revealed... Amanda Seyfried is Nina Winchester the massively neurotic wife of rugged beefcake Andrew Winchester (Brandon Sklenar) and Elizabeth Perkins is Andrew's mother Evelyn, a deeply sinister matriarch with an unhealthy control over her rugged, beefcake of a son. Oh, and Indiana Elle is Nina's daughter Cece. And together they all live under the roof of a sprawling handsomely appointed town house in the middle of an apparently never ending winter. Well, they will be once Millie accepts the job offer of becoming Nina's live in housemaid of the title. 

At first, Nina couldn't be more wonderful if she tried, but the minute Millie moves in, she changes, transforming into a seriously unhinged maniac with obviously bipolar tendencies, flying off the handle at every slight, verbal abusing Millie in front of friends, neighbours and her daughter, leaving her handsome, rugged and fabulous beefcake husband to pick up the pieces and try to patch things up. But Nina just keeps escalating the abuse, literally driving Millie into the arms of Andrew until they become lovers and that's all I'm giving you, plot wise.

Paul Feig made his name with a series of genuinely funny films which included Bridemaids, The Heat and Spy, then ruined all that good will with all-female remake of The Ghostbusters. In recent years he's moved into the realm of the psychological drama, popularised by the 2014 film, Gone Girl with a Simple Favor and the sequel Another Simple Favour. He's a director who clearly enjoys complex, multi-layered dramas which like to twist his audience up a corpse on a noose. And this one is one of those. 

It's a twisty and very entertaining drama whose outcome is never clear. It's carried effortlessly by Sydney Sweeney who gives the film it's strong emotional core, but it's Amanda Seyfried, however, who has the biggest emotional arc in the film, seriously she's magnetic and you'll find yourself desperately trying to work out what her game plan is, because it soon transpires that all but one of the characters has a game plan.

I was expecting to hate this, but it won me over and I found myself engaged and more importantly entertained by this, plus it's helps massively that Sydney Sweeney is a very game actress and eager to share her bountiful abilities at the drop of a hat, repeatedly. 

Anyway, this was fun, twisty, and rather gripping, plus it nails its landing. So, a good ending to the year. 

8/10