#23: HOW TO MAKE A KILLING

 

STARRING: Glenn (The Next Big Thing) Powell, Margaret Qualley, Jessica Henwick, Bill Camp,  Zach Woods, Topher Grace and Ed Harris. Screenplay and directed by John Patton Ford. Based on Israel Rank: The Autobiography of a Criminal by Roy Horniman. Budget $15 million. Running time 105 minutes.

Apparently this is 'loosely based on Robert Hamer's classic 1949 Ealing Comedy Kind Hearts and Coronets, which was heralded as 'loosely based' on the above mentioned Roy Horniman novel. This marks the second British comedy remake of the year, with last month's immensely enjoyable Send Help being a loose remake of The Admirable Crighton.

HTMAK sees orphan Becket Redfellow (Glenn Powell) sitting in his prison cell explaining to a priest on the eve of his execution how he murdered members of his immediate family so he could inherit a family fortune of $29 billion. This, he explains he did after being inspired to do so by his school sweetheart, Julia Steinway (Margaret Qualley) who walks back into his life as a staggering beautiful heiress and discovers him folding clothes in a upmarket men's fashion boutique. Becket loves the idea and with no hassle or difficulty at all proceeds to murder his way up the food chain so to speak, exhibiting extremely impressive chemistry and weapons knowledge to achieve his goals. At one point his uncle, Warren Redfellow (Bill Camp) kindly takes him under his wing, gives him a job, the one his son had before Becket killed him and sort of adopts him. Because this is Hollywood, Warren conveniently dies of a massive heart attack so Becket doesn't have to kill him and the audience won't dislike him as a character. Anyway, he slaughters his through his cousins until that fateful final showdown with his grandfather, Ed Harris.  

Finally once he's achieved his life ambition he's captured for a murder he didn't commit, that of Julia's husband, and gets sentenced to death. 

Over all this is a rather dull and un-engaging comedy action romp. Exhibiting no real bite, the murders are all utterly vanilla, bloodless and achieved with an ease that stretches credulity to breaking point and leaves the film completely toothless. It's all so goddam tame and dreary. The sublime 1949 original, set in Edwardian Britain, with Denis Price in the Becket role and Alec Guinness as all eight members of the D'Ascoyne family, as the Redfellows where known was a charming, witty black comedy that still delights to this day. In adapting and revamping the original film, all that John Patton Ford seems to have done is just shift the time and location to New York in the 2020s. So, thank god for Margaret Qualley at least in principle, who is a truly extraordinarily exciting actress, although she sadly overwhelms the rather bland Glenn Powell. She, or at least her character who exudes seduction and sinister intent, is the sole saving grace of the whole film. Although her character is not properly established and beyond a single caste kiss when they are both children seems to have no real connection with Becket. Hollywood seem determined to launch Glenn Powell as The Next Big Thing and keep chucking him at projects and they keep misfiring, if he doesn't find something he clicks in soon, he's going be become known as The Last Hasbeen. in this he is okay, but he's simply outclassed by both Qualley and Ed Harris who both give this film some glimmer of quality.

The direction is okay, the sound mix, for once is good, but the film looks cheap, and fails to convince this is a world of billionaires.  

Not all together totally horrendous, but I'd still dump it for just one more chance to watch the original up on the big screen. 

6/10

#22: EPiC: ELVIS PRESLEY IN CONCERT

 

STARRING: ELVIS PRESLEY. Directed by Baz Luhrmann. Budget $11 million. Running time 97 minutes.

The story behind the making of this film is worthy of a film in its own right. While making his 2022 bio pic of the King, Elvis Baz Luhrmann went looking for unseen footage from the two legendary Elvis concert films – Elvis: That's the Way It Is and Elvis on Tour when he stumbled across 68 boxes of unseen footage in the Warner Bros film archives, situated in a Kansas salt mine. The film, both 35mm and 8mm featured not only Elvis's legendary 'Gold Jacket' performance from his 1957 Hawaii show, but also outtakes and previously unseen material, although sadly it all came with absolutely no sound. He also uncovered a previously unheard 45 minute audio recording of Elvis talking about his life and an unseen clip of Presley singing 'Oh Happy Day'. Baz then spent the next two years getting the footage restored and synced to existing audio sources. So far, so Wikipidia.

Although what Baz did next was to craft all that incredible footage into this utterly unique and extraordinary hybrid movie that's simultaneously a classic Elvis Las Vegas concert film stitched together from various shows and also a genuinely unique glimpse behind the scenes as we watch Elvis and his band rehearse and practice, then added to that, listening to the man himself talk about about his life and answer questions from various press interviews. There's also an after party sequence, with Elvis in his black leather outfit as he talks to a obviously delighted Cary Grant and Sammy Davis Jnr.

It all works to create a truly wondrous experience that's actually breathtaking. There's something about watching Elvis that is truly memorising, he is the consummate performer, and his obvious knowledge of music and its structure is mesmerizing to behold, watching him with his band, sweating, practising, shaping the performance to come is a true delight, much in the same way the superlative Beatles: Let it Be was, it's always a genuine privilege to watch true musicians, or artist, to craft their art, to seem to peek behind the curtain and watch the magic being stirred. There's a scene, from the Vegas shows, a reverse shot from the stage back at the audience that is simply staggering, a sea of fans, all moving as one, all cheering, waving, and you can feel the sheer delight and excitement of each and every one of them. All those marvellous 1960s and 70s fashions, sunglasses, haircuts and screaming, it's breathtaking. Good I loved this! The vibrant colours, the cinematography, the film throbs and surges with life and energy and the running time, flew by. This was a film to enjoy on the big screen, Elvis's head, hair and sideburns huge for all to see, and then when he's performing, Oh. My. God. There's a reason he was called The King. That man was pure power transcendent. 

This was a fantastic, film that left me with goosebumps, dazed by his voice, his physicality, his sheer musical prowess and his magnificent high collared white suits. 

Go and see this at the cinema and watch the best concert you've ever seen. 

10/10

#21: THE GODFATHER

STARRING: Marlon Brando, Al Pacino, James Caan, Richard Castellano, Robert Duvall, Sterling Hayden, John Marley, Richard Conte and Diane Keaton. Screenplay by Mario Puzo. Directed by Francis Ford Coppola. Music by Nino Rota. Budget $7 million. Running time 175 minutes. Originally released in 1972.

The rise and rise of the Don Corn Holio crime family. A staggeringly sumptuous, brilliantly made, intensely gripping and powerful movie, indeed one of the greatest movies ever made. Directed to perfection by Coppola, from a layered and nuanced script by Puzo, and with a cast of some of the finest actors ever to grace the silver screen. This is a note perfect, beautiful film that never fails to thrill me to my actual core. 

I've lost count of the number of times I've watched this, although never on the big screen so what a treat to see it writ large the way Coppola intended. It's so packed with drama and incident, but never at the cost of the story, events unfold perfectly and it's tightly plotted structure is a marvel to behold. Watching the character of Michael (Al Pacino) change over the course of the story from war hero to Godfather of his father's crime syndicate is to witness the power of subtle corruption, how the events slowly change him and transforms him from near-innocent into the dead-behind-eyes crime family boss who calmly orders the murder of five men to secure his family's future on the day of his nephew's christening is chilling. Pacino sets the film alight with his presence. Watching this on a large screen gives you a chance to really explore the actors as they work, watching Brando is a treat that richly rewards. Like I said, everyone in this film is astounding.   

I was struck by some of Coppola's blocking, the way he moves the camera in scenes, as well as the editing prowess of William Reynolds and Peter Zinner, and the gorgeous cinematography of Gordon Willis. Indeed every aspect of this film was just a joy to behold. Starting with the wedding scene is a brilliant decision, and for the first 20 odd minutes we are slowly immersed into the working of the family, before we're exposed to evil that infects it.

This went on to make over $291million dollars on its initial release off a budget of just $7 million, and would win seven Golden Globes and was nominated for 11 Academy Awards winning just two for Best Actor (Marlon Brando) and Best Picture. It also spawned two sequels, Godfather II, and Godfather III.  

If you've only ever seen this on Blu Ray, or DVD, or VHS or just at home do yourself a favour and watch it on the big screen if you get a chance, you won't be disappointed. 

A triumph. 10/10

#20: GOOD LUCK, HAVE FUN, DON'T DIE

STARRING: Sam Rockwell, Haley Lu Richardson, Michael Pena, Zazie Beetz, Asim Chaudhry and Juno Temple. Screenplay by Matthew Robinson. Directed by Gore Verbinski. Music by Geoff Zanelli. Budget $20 million. Running time 134 minutes.

What's about, David? Well it's about 2 hrs and 14 minutes. But if it's story you're interested in then have you heard the one about a time traveller from a future post apocalyptic world who travels back to our present to recruit someone to help take down a soon to be activated super intelligent AI computer?

But that's the only similarity it has to Terminator, this is an altogether different kettle of fish. For a start it's far funnier. However, if you're someone who likes films to be described using pre-existing movies, then think of this as Terminator meets Miracle Mile via 12 Monkeys, Groundhog Day and The Matrix.

This is a bat-shit crazy, manic, breath-taking relentless mad-dash comedy action adventure that grips the moment Sam Rockwell's character known only as 'Man From the Future' stomps into a late-night diner called Norms and tells everyone he's there to save the world. He proceeds to pressgang six of the patrons into helping him and together they set off across town to the kill a nine-year old boy – the genius mastermind behind a super AI program that's going to enslave the world. Each of the six reluctant helpers are told they're expendable, although each is given a flash back which helps to flesh out this maddening world and give the film some much needed context, indeed enough for the keen eyed amongst you to just about work out what the heck is going on. I don't think you'll be disappointed, I certainly wasn't. This is at turns thrilling, gripping and bloody enjoyable. I loved the energy and the pace of this film, because those 2 hours and 14 minutes flew by. These sorts of films only work if the ending is nailed and this nails like perfectly. I don't want to go into specifics or story beats because this is a film best seen knowing as little as possible about the story. Just know it unravels perfectly and never feels leaden, plus it's lacking those annoying plot holes that often undermine these sorts of films.  

The cast, especially Rockwell is excellent, this is the sort of role he excels in. But then the rest of the cast do a damn fine job too. Similarly, the soundtrack by Geoff Zanelli fits in perfectly with the visuals and provides excellent audio beats. Finally, Gore Verbinski directs the whole thing with great skill and a keen eye for the visual and fills the screen with detail and action. 

Overall, this was a funny, moving and satisfying science-fiction comedy action film that manages to deliver a solid punch ending while avoiding and I'm looking forward to seeing again, and again!

10/10

#19: COLD STORAGE

 

STARRING: Georgina Campbell, Joe Keery, Sosie Bacon, Vanessa Redgrave, Lesley Manville and Liam Neeson. Screenplay by David Koepp. Directed by Jonny Campbell. Running time 99 minutes.

Staying just long enough to do its job this was a fun, if uninspiring little sci-fi romp with a game cast, gory effects and a nice chemistry, but sadly missing the oomph factor to make it something really special.

The plot sees a mutated fungus return to Earth on a piece of the old Sky Lab and start killing all it infects. Luckily Neeson and Manville are on hand to contain it and lock it away in military storage facility. However, 18 years later the facility has been sold off and is now a self storage depot and the once hi-tech deep freeze containment facility holding the fungus has started malfunctioning causing storage depot night-watch man, Travis 'Teacake' Meacham (Joe Keery) and new girl, Naomi Williams (Georgina Campbell) to go off and explore the ominous bleeping deep below in sub basement 4. Meanwhile, an old lady, Ma Rooney (Venessa Redgrave) has come to inspect her storage locker. When Travis and Naomi discover that something has breached the containment field they phone the military and both Robert Quinn (Liam Neeson) and Trini Romano (Lesley Manville) are dispatched to contain the breech and kill any infected humans. Added to the mix is Travis and Naomi's boss, Griffen (Gavin Spookes), a Hells Angel biker who brings his gang to transport some stolen TVs out of the storage facility, oh, and Naomi's ex-boyfriend Mike (Aaron Heffernan). And the stage is set for some gory deaths and silliness. 

How wonderful to see so many great British and Irish actors in one film, Neeson, Manville and Vanessa Redgrave, and what a shame they're not given more to do. The film takes its time to get up to speed with a pre-credit sequence showing the capture of the fungus by Neeson and Manville, which is rather reminicent of the vastly superior, but far less funny 1971 film, The Andromeda Strain. The present day cast in the guise of Keery and Campbell have good chemistry and there's a nice edge of humour. And the idea of a military storage facility breaking down was used far more effectively in the superb The Return of the Living Dead.

This isn't a bad film, it was entertaining, funny and gross out gory at times but that's about it, it's a tad too laid back for its own good and lacks a really satisfying big boss battle. That said, at 99 minutes it's brisk and altogether fluffy and not at all terrible.

7/10

#18: WUTHERING HEIGHTS

 

STARRING: Margot Robbie, Jacob Elordi, Hong Chau, Shazad Latif, Martin Clunes, Alison Oliver and Ewan Mitchell. Written and directed by Emerald Fennell. Budget $86 million. Running time an endurance testing 136 minutes long.

Simultaneously this managed to be both a 2/10 and a 9/10, go figure? It was a film that was both infuriatingly ridiculous and powerfully moving, emotional and hysterical at the same time! It was like the maddest gothic comedy you've ever seen and then the most overwrought melodramatic romantic drama imaginable. It was a true assualt on the senses and it leaves you drained, shaken and entertained. The cast, every last one of them, gives nothing but 110%, with particularly fantastic performances from both Margot Robbie and Jacob Elordi, although I'm going to say this right now, Margot Robbie as Catherine is way too old for the role. Their accents are perfect, their passion for each other so real you can smell it and their rawness aches with power. 

But by god this is a strange film. To say it was batshit crazy is an understatment. It plays like a fucking fever dream, it is truly insane, its sheer lust positively oozes from the screen, this is a film obsessed by passion, lust and love and all things moist and squiggy. Everything about this film is in excess, the look of it, the acting, the fashions, the cinematography, and the staggering visual style of it, which feels it's like the bastard love child of Tim Burton and Guillermo del Toro by the way of David Lynch, this is gothic ratcheted up to a million. Everything about this is so far removed from the usual adaptations of Bronte as to make it altogether unique and utterly unrepeatable. Following Saltburn with this, Emerald Fennell  delivers a version of the obsessed young lovers that will either leave you ripping the seats out in rage, or weeping tears of joy at its sheer intensity. Special mention has to be given to Martin Clunes who is a fucking revelation in his role as Cathy's monstrous and abusive, alcoholic father, Mr. Earnshaw, who gifts Heathcliff to his daughter as a 'pet'.

Then there's two other actors of sublime ability who deserve special mention too! The first, Alsion Oliver,who plays Mr. Linton's sister, Isabella Linton, who deserves her own film, she's so sexually repressed she's utterly unhinged. At one point in the movie she innocently gifts to Cathy, as a Christmas present, the world's most erotic pop-up book, filled with page after page of engorged phallic-like mushrooms and flowers that open like velvety vaginas, she's almost insane with obvious lusty obsessions. And her reward is to be bedded by Heathcliff himself and debased in the most outrageous way imaginable, but only after he's warned her he's going to ruin her both physically and mentally in a mad attempt to win Cathy back. He explains how he'll use her and demean her and she positively leaps at the chance! And then there's Hong Chau as Nelly Dean, Cathy's paid companion who becomes the architect of all that is going to happen in the film, she is responsible for all the misery, death and emotional destruction that is to follow and Hong Chau plays it to perfection.  

Watching this reminded me of a recurring bad dream I used to have a few years back, which felt so real it would always leave me feeling unnerved and deeply uncomfortable when I awoke, not unlike this film. I don't know why, but this film had the same feeling, of some great unseen pressure this feels like a dream, like the sort you get after you've recovered from a general anaesthetic, not quite a nightmare, but most certainly not a 'good dream', this claws and scratches at your psyche, and pokes at you, it whispers then shouts, it's unsettling and uncomfortable and I still don't know if I loved it or hated it, but one thing I do know is I've never seen anything like it before and I was gripped to the bloody, bitter, diabolical end. 

And by god, the visual style of this film was so rich, so intense so vital, Catherine's room, her husband Mr. Linton (played by Toast of London's Clem Fandango - Shazad Latif, the only nice character in this whole film) tells her is painted the same pink as her face and on closer inspection reveals it even has light blue veins beneath the surface, like her face, and features the same moles that grace her face. There are monsterous things that dwell in this house which all coagulate into creating something almost David Cronneberg-esque. Likewise Cathy'e many costumes that seem to grip her and restrict her positively pulsate with sexuality. This is a film raw in tooth and claw.

I assumed I would hate this but I was wrong. It's a film you'll want to see with friends so you can talk about it. It's a film that will linger long after you've seen it and it's a film with a true uniqueness and raw spirit I've not seen in a very long time. And it's a film you'll either love or hate, there is no middle ground and for that reason alone I urge you to see it. 

9/10

POST SCRIPT!
It's the day after I saw this and I'm still getting flashback, like a PTSD suffering Nam Special Forces Green Beret after a particularly grizzly Vietcong village massacre. 

#17: CRIME 101

 

STARRING: Chris Hemsworth, Mark Ruffalo, Barry Keoghan, Halle Berry, Nick Nolte, Monica Barbaro, Corey Hawkins and Jennifer Jason Leigh. Written and directed by Bart Layton. Based on the book, Crime 101 by Don Winslow. Music by Blanck Mass. Budget $90 million. Running time 140 minutes.

Feeling like a 1970s crime film, this gripping, tense crime thriller is a real shot in the arm, with a cast all clearly revelling in their roles  and working well with the director to deliver a superb crime movie that's both satisfying and powerful although it does slightly fumble the landing. 

Written and directed by British BAFTA winning documentarian Bart Layton, who directed both The Imposter and Transylvania University Book Heist, gives Crime 101 a documentary feel and comes a cross like a mashup of The Getaway, Heat and The Driver, and that's not a bad thing!. 

The plot set in Los Angeles, and more importantly along U.S. Route 101 sees profession thief, Mike Davis (Chris Hemsworth) plotting his next major car hijacking with skill, precision and a lack of violence and DNA evidence, he's building a reputation for this and Detective, Lou Lubesnick (Mark Ruffalo) is hot on his trail. The film follows these two as well as 53 year-old insurance broker, Sharon Combs (Halle Berry), who's struggling at work and Ormon (Barry Keoghan), a young new turk on the scene of car hijackings, who just so happens to be rather psychotic. When Mike gets cold feet on a job he's been planning, his fence, Money (Nick Nolte) gives the job to Ormon and orders him to follow Mike and rob him once he's done his next big job. Meanwhile Mike, when he's not trying to date Maya (Monica Barbaro), a young woman he met following a minor car accident, is starting to question his own life choices, especially when he's very nearly killed in a heist, and Sharon is learning about the glass ceiling at her job, which also sees her question some of her life choices. The power dynamic between the four leads ebbs and flows as their fortunes rise and fall leading to a powerful collision in the final act that's pretty bloody exciting. 

It's great to see Chris Hemsworth acting again and not just being the laughing muscle he was in Thor, likewise watching Ruffalo and Hemsworth acting together is a real treat too. Both characters are excellent in their respective jobs but bad at the romance side of their lives, with Lou leaving his wife, and Hemsworth finding the isolation of his solitary life a major drawback when trying to date someone he actually likes. 

Despite being a long film, this certainly didn't drag, the action, although not plentiful is nevertheless vigorous and intense, and the friction between both Ormon and Mike provides real grist for the mill. Likewise Halle Berry performance gives the film a whole other level and helps to build a solid, bloody well-made crime thriller, which uses the 1970s crime thriller vibe to create an altogether different kind of 21st Century crime noir. The film builds to a showdown, which isn't hard to guess, but the ending stretches credulity a tad and somewhat mars the ending.

Well worth it! You'll come for the muscle and muscle cars and stay for the dynamic.

9/10

#16: A KNIGHT'S TALE

 

STARRING: Heath Ledger, Mark Addy, Rufus Sewell, Paul Bettany, Alan Tudyk, Laura Fraser, Shannyn Sossamon, Berenice Bejo and James Purefoy. Written and directed by Brian Helgeland. Budget $65 million. Running time 132 minutes. Originally released in 2001.

Has it really been 25 years since this was first released? I suppose it must be, I mean 2026 minus 25 is 2001, so yes it really has been a quarter of a century since this first graced our silver screens. But has time been good to it, or does it now look decidedly silly and dated? On first release it only managed a paltry 59% on Rotten Tomatoes, but it did take in a worldwide box office of $117.5 million, so you know, mix bag, mix bag, some sort of chicken-like dinner. 

An amusing side note, the film gained notoriety back in 2001, when it was revealed that the film posters featuring glowing reviews from critic David Manning of The Ridgefield Press. Trouble was, he didn't exist he was created by a member of the Columbia advertising department.  

And so, what of the film itself? Well, first off, I've never seen this at the cinema, before, back then it didn't appeal to me, I've only ever seen bits of it, mostly the ending on TV, so when it turned up on my local Cineworld schedule, I thought I'd give it a go. As far as I remembered it's mostly remembered for it's fantastically anachronistic soundtrack and obviously Heath Ledger, who'd go on to die seven years later, just after finishing The Dark Knight, thus sealing his reputation for all time as a proto-type Chris Hemsworth.

The plot, set in 14th Century medieval Europe sees peasant, Willian Thatcher (Heath Ledger) steal the identity, and armour, of a dead Knight so he can take part in jousting tournaments, while committing fraud and dating scams across Europe, while PTSD suffering, Count Adhemar of Anjou, (Rufus Sewell) does his best to bring him to justice. 

It's a savvy idea to mix contemporary music, attitudes, fashions and blacksmithing techinques into a period of history best know for the Black Death, misery, and unbelievable poverty. Brian Helgeland, who not only wrote and directed this, but also produced single handedly carries the can. Sure he delivers some meaty, solid and jarring jousting matches, lots of them, I mean if you like watching men in armour shoving other men in armour off their armoured horses with exploding lances then this is most certainly your film! Sadly for me, after a while they all blurred into one, plus it's hard to work out who's who beneath all that fake modern armour. The plot is fun, it's got baddies, heroes, romance, and action but it never really ignites, it fizzles but never bursts.

William changes from scene to scene, at one point a poignant and poetic romantic, the next as petulant bore, he's intelligent and then stupid, agile and clumsy whenever the plot needs him to be. It's not a terrible film, it was entertaining but ultimately nothing more than that. 

And the one good thing in it's favour is that it's the answer to a great Pub Quiz film question. 

"WHAT FILM FEATURED THE VISION, THE JOKER AND SOLOMON KANE?"

7/10

#15: SILENCE OF THE LAMBS

 

STARRING: Jodie Foster, Anthony Hopkins, Scott Glenn and Ted Levine. Screenplay by Ted Tally based on the book by Thomas Harris. Directed by Jonathan Demme. Budget $19 million. Running time 118 minutes. Originally released in 1991. 

Trainee FBI agent Clarice Sterling (Jodie Foster) is called in by the Head of Behavioural Science, Jack Crawford (Scott Glenn) to help him investigate a series of serial killings carried out by a killer called Buffalo Bill (Ted Levine). Crawford sends her off to interview the legendary, personal friend of Donald J. Trump, Hannibal Lecter (Sir Anthony Hopkins) a.k.a Hannibal the Cannibal. And so begins the utterly gripping, atmospheric and Oscar winning Silence of the Lambs, a film much copied but seldom bettered, and the film that successfully launched Hollywood's super-intelligent serial killer genre. 

The film was a huge success both financially, critically and also went on to win five Academy Awards including Best Picture, Best Director, Best Actor, Best Actress and Best Adapted Screenplay, making it only the third film in movie history to achieve this incredible feat.

Described as a psychological horror thriller film, Silence of the Lambs is a truly impressive film, serious, sombre and utterly engrossing, but also bloody entertaining, gripping and scary! Jonathan Demme directs his cast face first, with the actors looking and talking directly into the camera, which gives the film a surprisingly intimate and personal connection that works brilliantly, it makes you feel as if you and Starling are interviewing Hannibal in the basement of hospital together. The film is unfussy and brilliantly directed and feels like a fly-on-the-wall documentary. The cast is outstandingly good too, not just Jodie Foster, who's simply superb, but everyone, even the bit parts, like legendary director Roger Corman. The music by Howard Shore gives the film an uneasy edge that just enhances the tension brilliantly. 

There's also something that is much more significant today than it was when first made, and that's the way Starling is treated, throughout the whole film, she is constantly battling outdated male attitudes towards her, and is often the only woman in the scene, apart from her Quantico fellow student, she's battling the system and it gives the film yet another level, or edge. 

Not seen this at the cinema since it was released and it was an utter joy to see it again on the big screen. 

There are people who over the years take a pompus attitude towards the film and say, about Anthony Hopkins, that Brian Cox was a better Hannibal, well I'm here to tell them they are utterly wrong, Anthony Hopkins is a brilliant actor and creates in his version of Hannibal one of the greatest screen monsters ever!

Anyway, enough waffle. This was brilliant, if you haven't seen it, drop everything and go and see it while it's on at the cinema, cos it's the best way to see films.

10/10 

 

#14: SEND HELP

 

STARRING: Rachel McAdams, Dylan O'Brien. Written by Damian Shannon and Mark Swift. Directed by Sam Raimi. Budget $40 million. Running time 115 minutes.

In a nutshell the plot of this couldn't be simpler, socially awkward, but fantastic at her job as a strategist for some sort of financial company, Linda Liddle (Rachel McAdams) and her horrible, entitled, arrogant and deeply bullying new boss, Bradley Preston (Dylan O'Brien) find themselves shipwrecked on a beautiful desert island in the Gulf of Thailand after a plane-crash. What follows is a 21st Century remake of The Admirable Crichton but far more psychological, gory, and fantastically intense. Oh, and funny, cos this is the darkest comedy I've seen in a long time.  

The plot of Send Help most certainly isn't new, the idea of social status reversing due to location and situation, but in the hands of Sam Raimi it's never been this intense, gory, or as entertaining. McAdams seems to revel in her role as Liddle, who comes to life on the island using her survival skills (she's a keen 'outdoors person', and dreams of being a contestant on Survivors), from nerdy, clumsy, and and awkward, to a confident, powerful and more than capable, Linda thrives on the island and quickly becomes the person she was always meant to be. While, on the other hand, O'Brien's Bradly is a fish-out-of-water, hating every grain of sand of the beautiful island and longing to get back to his pampered corporate life, his trophy fiancee and his beloved golf courses. He hates Linda and as their dynamic changes that hatred grows stronger. However, due to an horrible injury he suffered due to the plane crash, his very survival depends on Linda. 

The power dynamic see-saws as their survival fortunes ebb and flow, tensions rise leading to an exhilarating final act. With plot twists galore, a clever, witty script and some seriously game performances, this was an absolute hoot and had me wincing, yelping, and roaring with laughter, along with the audience. Indeed it's been a while since I heard an audience so invested in a film. There are many scenes you'll watch through your fingers and Sam Raimi expertly nails the landing, despite a nervous tonal shift in the final act that threatens to sink the whole affair. Luckily, Raimi knows what he's doing and steers the ship away from the rocks. It's been four years since we had a Raimi film and it's great to see him back doing something small and horror based again, rather than a big budget Hollywood blockbuster.  

A wonderfully gory, exciting and funny little romp and I was thoroughly entertained!

9/10

.   

#13: MELANIA

STARRING: Melania Trump. Directed by Brett Ratner. Budget $47 million. Running time 104 miserable minutes. 

The plot to this fly-on-the-wall mock-umentary follows Melania Trump (the world, and history's most success trophy wife) over 20 days back in 2025 leading up to the inauguration of her husband, the orange-faced, pedo-protector, convicted felon, insurrection-instigator, sexual predator, failed business man, and worst President e-ver, Donald J. Trump. The camera slavishly follows her, ogling her killer heels shoes, lusting after her perfectly coloured & coiffured hair, simpering over her permanently smoky made-up eyes, and positively drooling over her pouty pinched mouth. From the genuinely hideous Trump Tower in NYC, where every square inch is either gold, marble or mirror and gaudy beyond belief, although the view's nice. Then on to Mar-a-Largo, not as much gold but just as tacky. We get to watch Melania as she meets a series of grovelling lackies and 'designs' her outfits, picks carpets, wall fabrics, and furniture for her White House take-over, then styles every aspect of the coming inauguration ball, from the gold-leaf toilet paper to the army of arse lickers eager to clean the orange fool's huge fat arse. Throughout the whole film, Melania glides around on castors dispensing vizdom on a vide range of subjects, from orphans, to Hamas hostages, to der children. She teaches world-class experts in their fields how to be better and she fawns over her freakishly tall son, Baron, who according to this film is the only child that Donnie seems to have, as so little mention of the other spawn of his loins is made. 

All we get, endlessly, is her telling us vat a vonderful humanitarian she is, how much she loves her dead mother, and fantastic her son Baron is, how vunderful is family and her husband is too, and just how lucky she is to be so very talented at everything. We get to spend much time with her, as she changes outfits every scene and sunglasses, we get to see her interacting vid der little people who run her life so perfectly, ve get to zee her mourning her dead mother at a private little pilgrimage to St. Patrick's Cathedral in New York, which has been specially cleared of people so she can sashay up the isle and light a candle. Ve are told how much she loves everybody and ve get to see the staff of the White House and Mar-Largo and I found myself wondering what they must look like after ICE.

This film is an afront to all that is decent, the music made up of a veritable list of well-known pop stars and pop music include 'Who Wants to Rule the World', by Tear for Fears and that other well-known peado, Michael Jackson's Billie Jean. We get to see the sheer opulence of the Trump world, everything tacky and gold and  everything disgustingly gauche. Because this is right back in the beginning of his second presidency, everyone we see seems to have a semi-lob-on for that stinking sac of orange shit. They love him, although this is before the abhorrent ICE raids that saw the deaths of two people, the splitting up of family through deportations, the naked avarice, the open greed of the Trump presidency and the absolute contempt for foreign countries, international law and just good old fashioned common decency. 

This film is a fantastic reminder of just what a hateful, petty, spiteful, and shit the fake orange-faced, small-handed president really is. He gloating over Biden then pathetically patting him on the back in a shallow show of support. Trump waddles through this all, vindictive and eager for retribution, he can't wait to start sowing seeds of destruction, but we don't get to see any of that, the film mercifully ends with one last peek of her high heels before a sickening final series of captions tell us what a fucking saint she is and how much she's achieved, and how wonderful her freakishly tall son is. 

And through it all Epstein acolyte and accused sexual predator, Brett Rayner, directs with all the subtly of a porn film, as he oggles every inch of his 'star', listen carefully and you can hear his drool-filled mouth muttering fawning appreciations of his Slavic heroine. 

This film tries hard to position the Dump Dynasty as some sort of royalty fawned over by other world leaders and sycophantic worshippers, but scratch the surface and all you get is shit. One of the things you realise watching this, is that at no point does Melania ever actually interact with ordinary human beings, she lives completely isolated inside her sickeningly gilded cage, whisked from Dump Towers by limo to a private Dump jet to another limo and then to Mar-a-Lago, or driven in a motorcade to some city location before being driven home. She doesn't do anything remotely normal, by Christ she can't even dress herself without help and I doubt she even knows how to boil a kettle, let alone where the kitchen is. This whole film is the purest form of an empty experience, for she has nothing to offer beyond the glamour and opulence. How anyone thought that a country as ridden with bread-line existence as America would react well to something so filled with hubris and greed and that cost $75 million dollars to make is beyond me. The fact Bezos spent so much trying to humanise these parasites is despicable. 

Also, I can imagine that a lot of Dumpy's MAGA supporters are going to be truly upset when they realise his wife is just another immigrant stealing jobs from Americans, although in this case it's a job no American clearly wanted. 

This was a hideous, miserable, fawning spectacle that gives us nothing new but shows the world just how naked and hateful the avarice filled world that Melania and Dump inhabit truly is. 

1/10

   

#12: SHELTER

 

STARRING: JASON STATHAM, Bodhi Rae Breathnach, Bill Nighy, Naomi Ackie and Daniel Mays. Written by Ward Parry. Directed by Ric Roman Waugh. Running time 107 minutes.

It's time for The Stath's new action movie! Nothing new there you might think, he's been releasing new action films every year for almost 25 years. However what is new is the formula! Last year the Stath played Levon Cade an ex-Marine, and one-man killing machine, who was working as construction site labourer, in 2023 he was Adam Clay a bee-keeper who just so happened to be an ex-government one-man killing machine, and in 2021 he was a one-man killing machine, who worked as a security guard. This year, he's a lighthouse keeper who used to be the world's greatest one-man killing machine. See, real change! He's working in light house!

Actually, this one is different from the rest, perhaps because The Stath is getting older, but it feels more grounded, more weary. His portrayal of its hero, Mason as a man carrying the woes of the world on his shoulders, he's weary, he's insanely stoic but he's living his life in a state of permanent fear. He feels vulnerable. 

The story sees Mason forced to end his self-imposed exile as a lighthouse keeper when Jessie (Bodhi Rae Breathnach), an orphaned teenage girl who delivers his groceries, gets ship-wrecked on his outer Hebridean Island following a storm and suffers a nasty ankle injury that gets infected. This forces Mason to go to the mainland in search of medicine and accidentally getting his retina scanned by a CCTV, which  in doing so triggers a variety of government kill squads and assassins who are all determined to kill him for something he's done in the past. What that something is has something to do with Manafort (Bill Nighy) who used to run M.I.6. but who now operates a covert government-sanctioned kill squad utilising the world's CCTV capabilities. Then it's bloodbath time as Mason and Jessie are forced to go on the run while Mason finds a way to save his young charge.

Filmed in and around the UK gives this an all-together different feel and helps to ground the film, making it feel far more real than last year's rather turgid Working Man, similarly Mason isn't your usual Statham hero, he's jaded and more real than the others, more grounded. Although he still has that fantastic ability to shrug off gunshot wounds and stabbings and takes a beating that would kill lesser men.

Look, no beating round the bush (not a pun), this is another by-the-numbers, Ronsil-style action movie, it references John Wick at times but it's not a gun orgy, the fights are short and brutal. Sure, The Stath does his usual hard-hitting kicks and punches but it looks plausible. The fight scenes are frantic and very kenetic. It's more than competently directed by Ric Roman Waugh, a former stunt man and director of Angel Has Fallen who knows his way round a fight scene and that certainly helps in spades! And through it all Mason becomes human again and that gives this film something that The Stath's films don't usually have, heart. 

It's a film that doesn't out stay its welcome, it's a compact, action romp that actually rather entertaining and more grounded than most, and it has an emotional core that really rather sweet. And I enjoyed it greatly! Most satisfying.

7/10

#11: PRIMATE

 

STARRING: Johnny Sequoyah, Jessica Alexander and Troy Kotsur. Written by Johnanes Roberts and Ernest Riera. Directed by Johnanes Roberts. Budget $24 million. Running time 89 minutes. Certificate 18!

A group of victims - comprising one vet, one deaf author who's also the father of two of the four girls, one handsome young man, and two random boys, whom the girls meet on the flight to Hawaii and invited over for a drinking and sex-party all end up in a cliff-top villa with an infinity pool all promptly become the soon-to-be victims of a man in a monkey suit pretending to be a chimpanzee with rabies. Much hilarity ensues as the bloke in the suit lumbers around the place offing teenagers, ripping off faces, biting chunks out of them, breaking fingers, smashing skulls, and generally not being a good boy. 

Offering nothing new to the tired genre of teenagers getting killed by somebody, save for the conceit that it's a bloke in a monkey suit doing the killing, while pretending he's been bitten by a rabid mongoose and thereby suffering from Rabies, which as we all know turns you into an almost superhuman, supernatural being able to come back to life for one more go, even though he's quite clearly dead. And which also means the victim of Rabies becomes phobic about water leading most of the cast to get in the pool to wait things out, only getting out constantly to progress the plot and provide victims for the ape-suited killer.

Not much to say about this really, there's the occasional jump scare, which always makes me tut, some gruesome deaths, the best in a bed will have you squirming, and the rest are gorily unpleasant. The cast, or at least their characters all deserve death, so that's fun, watching them die horribly. Continuity takes a holiday at times during the proceedings when it's needed to make sure this thing stays on the tracks. Characters avoid saying things or doing things that could help them, and injuries are only obstacles when needed and can be ignored if necessary - like broken hands, blood loss, broken ribs, skulls and/or limbs. Thankfully, the ending trundles into view briskly and you realise it's only taken 90 minutes of your life. 

Not the worst thing I've ever seen.

6/10

Actually, come to think of it, maybe it wasn't a man in a suit, maybe it was supposed to be a monkey with Rabies, but it was being played by a bloke in a monkey suit. That might explain why he was living in a cage in the garden. The monkey I mean, not the man in the monkey suit. Unless of course he's a method actor. 

#10: WILD AT HEART

 

STARRING: Nicolas Cage, Laura Dern, Willem Dafoe, Diane Ladd, Isabella Rossellini, Harry Dean Stanton and Crispin Glover. Written and directed David Lynch. Based on the book, Wild at Heart by Barry Gifford. Music by Angelo Badalamenti. Budget $10 million. Running time 124 minutes. Originally released in 1990.

Sailor Ripley (Nicolas Cage) leaves prison after serving two years for man-slaughter, to reconnect with his teenage lover Lula Fortune (Laura Dern). Their relationship is raw, passionate, all consuming and forbidden by Lula's mother Marietta (Diane Ladd) who lusts after her daughter's lover. Skipping bail, the two young troubled lovers head south while Marietta sends a couple of killers to kill him and bring her home. 

Like Lynch's previous film, Blue Velvet, Wild at Heart is another Neo-Noir crime movie, one filtered through a fever-induced nightmare by means of the Wizard of Oz, it's a film so pure, so raw, so infused with relentless energy that it positively vibrates with power, it's a film staggering sexy, and seemingly obsessed with cigarettes, smoking and the mechanics of lighting said fags. It's filled with violence, and has a quality unsettling and sinister, although this is not as dream-like as Eraser Head, Blue Velvet or his later films, Lynch brings a sense of fantasy to the film with the Wizard of Oz playing a strange part in the proceedings. Through it all stride Cage and Dern taking no prisoners, shinning brilliantly and committing to their roles 100%. Likewise Willem Dafoe is positively mesmerising as the twisted Bobby Peru bringing true malevolence to the role.

A strange intense film that roars with passion and energy but doesn't quite stick the landing, Cage feels uncorked at times and there's a sense of nasty misogyny that permeates proceedings. Ultimately there's just too much of everything, sex, violence, dancing, music and smoking, so much smoking. 

8/10  

#9: IS THIS THING ON?

 

STARRING: BRADLEY COOPER, Will Arnett, Laura Dern, Andra Day. From a story by John Bishop, Will Arnett and Mark Chappell. Screenplay by BRADLEY COOPER, Will Arnett and Mark Chappell. Directed by BRADLEY COOPER. B Camera Operator BRADLEY COOPER. Produced by BRADLEY COOPER, Weston Middleton, Will Arnett and Kris Thykier. Budget $6 million. Running time 121 minutes. 

BRADLEY COOPER is Balls, the best friend of successful investment banker, Alex Novak (Will Arnett) and basketball Olympian Tess Novak (Laura Dern). Balls is a permanently stoned and waster, actor who we meet following a prat-fall during an uncomfortable dinner party. Despite only being a secondary character we'll get to spend far too much time with Bradley Cooper's Balls, as he returns at intervals for updates on his utterly parasitic life, which his so-called friends seem to accept without any comment, and his marriage to Christine (Andra Day), which is used as a flimsy barometer to the Novak's own failing marriage. You'll marvel with delight as his career as an actor leads him to landing a role in a TV western, his role as Jesus and many other 'hi-larious' stories.

However, he's not the focus of the movie, no that's Alex and Tess. You see, after 26 years of marriage and relationship, resulting in two children, the Novaks have decided to call it quits,  utterly amicably of course. There aren't any exterior forces at play, it's just that they've drifted apart and just don't love each other anymore. Not that you'd know it. They chat, go off on couple dates, and discuss their career futures. It's just that they don't have any passion for each other, and that seems enough to call it a day. Anyway, because Alex is a successful investment wanker he's got enough money to own a massive house in the suburbs and to move into a flat in New York city just round the corner from an Open Mic bar where he staggers into one night and discovers the audience of hipsters and Millennials just love his utterly humourless observations on his tedious life, and thus is born his new career as a stand up comic. 

Night after night, he stumbles into the bar and regales his audience of vapid dudes and dudettes with yet more staggering middling anecdotes of his crumbling marriage and in doing so discovers a second family of jobbing stand-up comics, who treat him like the second coming. Meanwhile his split life jogs on without issue, his wife decides to return to the world of basketball, this time coaching, and their two children shuttle back and forth between their two parents. Finally, Tess and a prospective boyfriend end up at the bar on open mic night and witness Alex's staggering dull set about his break up with her and the stage is set for more hilarity and japes. 

It's a sort of boy leaves girl, brags about girl to strangers, gets girl back, loses girl, then sort of gets her back. 

And then mercifully it ends. 

If you love looking at the pores of people or staring deeply up their nostrils then this is most certainly the film for you. Old Bradley doesn't just go in for the close up, he's literally boring right into the faces of his cast, I swear to god there were a couple of occasions where the camera bumped into his actors. But beyond that there's just this horrible sense of overwhelming smugness about this whole sorry affair, rich Americans indulging their dreams in huge houses with no real worries or cares. 

Based on the life of John Bishop, a stand-up comic whom I'm not a fan of, is still  funnier than this cinematic version of himself. 

I hated these characters, they are all scum, but most of all I hated Bradley Coopers Balls. He has such a smugness about him and is such an odious character, so jarring, seemingly shoehorned into his own film, because a simple Hitchcock cameo wasn't enough for old Braders, oh no, he's wanted his own role crammed into the film to break up the sheer monotony of the whole goddam self-serving, self-important, pretentious bollocks. Arnett is a good comedian but this film seems to hog-tie him, he's best when he's being ott and seeing him here meek and almost pathetic makes his Alex an unlikeable lead, not the same for Laura Dern, who seems to be having a bit of a career resurgence of late, and about bloody time! A damn fine actress, her character is by far the most interesting and entertaining. 

Actually, this film proves that Laura Dern is the British Double Decker bus of Hollywood. You wait ages for one of her films, then three turn up at the same time! Thank you, my name is David Leach and you've been lovely.

But as for the film, I found it dull and rather 'meh', plus it's up its own arse too much. There are some nice moments, but it's too safe and about as funny as an actual divorce.

6/10 

#8: MERCY

 

STARRING: Chris Pratt, Rebecca Ferguson, Kali Reis, Annabelle Wallis, Chris Sullivan and Kyle Rogers. Written by Marco van Belle. Directed by Timur Bekmambetov. Budget $60 million. Running time 100 minutes. 

It's the future, a bright, glorious future where AI is not only our friend, it's also our justice system, judge, jury and executioner all rolled into one and called Mercy and presidesed over by Judge Maddox (Rebecca Ferguson). Crimbos who've committed capital crimes wake up strapped to a chair and have 90 minutes to prove their innocence or be executed on the spot. And case #19 is alcoholic LAPD Detective Chris Raven (Chris Pratt) who wakes up after a bender to find himself strapped into the chair and facing execution for the murder of his wife. Naturally he's innocent, but can he prove it? What makes it even more amazing is that Raven is the cop who sent the first criminal to the Mercy chair, hmmm, I wonder if that's connected? Now he has less time than the running time of the film to prove he's not guilty armed with only every single bit of digital information at Maddox's disposal from all phone records, CTV footage, emails, texts, smoke signals, morse-code, semaphore, and every other form of communication ever devised by man including every single photo ever saved to the cloud. Plus, the ability to phone whomever he wants to or needs to prove his innocence, and Maddox is more than keen to help him too. Oh, and the entire police force and all his buddies who are all keen to prove his innocence and willing to do whatever it is to save his life, despite all the evidence pointing to the fact Raven killed his wife in a crime of passion. But when Raven points out how was that possible when he had no passion for his wife, Maddox begins to believe he might just be what he says he is, innocent. Then he starts to uncover something that looks like a huge conspiracy and then it all goes ape-shit stupid.

Directed by Russian director Timur Nuruakhitovich Bekmambetov, he what directed such classics as Abraham Lincoln: Vampire Hunter, Unfriended and the extraordinarly awful 2025 classic War of the Worlds. Actually he also directed the much loved Night Watch and Wanted. This is a kinetic, frantic and frenzied action flick made more remarkable by fact that our two lead characters, Raven and Maddox are for 90% of this film just head and shoulder shots and sitting down, although that doesn't prevent everyone else running their little hearts out, or flying massive four-turbine man-sized drones, or engaging in chaotic gun battles to a pounding soundtrack. Actually it doesn't stop Raven either. 

The trouble is that what starts as quite an intriguing premise begins to spiral out of control as Hollywood demands their highly paid action-orientated hero get some action in the final act, but not before he manages to solve and uncover an utterly ridiculous conspiracy involving an half-ton of explosives hidden in a runaway truck and a conspiracy at the very heart of the Mercy program itself that if exposed to cause the very fabric LA society to come crashing down. 

Seriously.

Chris Pratt is beginning to wear thin, funny as hell in Parks and Recreations, highly amusing and charismatic in Guardians of the Galaxy Vol 1. and those two Marvel films with Thanos, he's being repositioned as a serious man of action and he just doesn't have the chops. Sure he's capable of sweating and frowning like a bitch, but that's about it. Although it's not really his fault in this, I suppose. The plot is so ridiculous there's not a lot he can do to salvage it. And spare a thought for Rebecca Ferguson who only exists from the neck up and doesn't even get to turn her head left or right, let alone smile, or frown. She's as one dimensional as her human co-star. 

Added to that is the plot that as it unravels becomes more and more ludicrous in its revelations. I mean you can guess who's the guilty parties right off the bat,  not through detection but through piss poor acting, then added to that is the fact the film suddenly changes gear, not once but twice in the final act, before ending with a shouty final face off which in turn triggers one last reveal before the whole film just ends with a jarring full-stop, leaving a huge question hanging as to what the outcome of these revelations would be to the fictitious world they take place in?

Mercy, I plead, please, Mercy.

4/10

#7: MULHOLLAND DRIVE

 

STARRING: Naomi Watts, Laura Harring, Justin Theroux, Ann Miller and Robert Forster. Written and directed by David Lynch. Cinematography Peter Deming. Budget $15 million. Running time 147 minutes. Originally released in 2001.

This is only one of two David Lynch films I've never seen before, this and Inland Empire. And I am so glad I got to see this again on the big screen, a true cinematic delight.  

The film seems to follow the life of actress called Rita played by Laura Harring, who following a car crash, awakens suffering amnesia, and stumbles into an empty house and into the life of a wannabe actress, Betty (Naomi Watts) just arrived in Hollywood, who having won a jitterbug competition, dreams of making it big. Together the two women try to uncover who Rita really is, the mystery of a blue key, a bag full of money she carries and who the mysterious Diane Selwyn is. At the same time multiple other characters carry on their extraordinary lives revealing a twilight world of corruption, murder, movie making and several other unexplained mysteries. And as the film and its octopus-like threads seemingly coagulate, a blue box matching the colour of the key is found and opened and everything changes. And you realise that the whole film has been the fever-dream of a woman who's just committed suicide. But which woman and why?

Ultimately, like all of Lynch's films it's not the plot that's important, or the journey, it's the feelings it invokes, it's the emotions it stirs and it's the sense of impending dread and despair it pours into your soul. 

Lynch surely ranks up there with the likes of Kubrick as one of cinema's most unique creative talents. His films have a feel and quality which is instantly recognisable, from the sound design, to the visual look of it, the stilted almost amateurish acting style of his characters. The weird dream-lite quality of the dialogue and black as ink humour. No scene is safe from the deeply unsettling machine sounds that gnaw away at your psyche enhancing the sense of paranoia. And there's a grubbiness and an almost tactile feel to his films, that scratch away at you like a itch you can't scratch. Beyond the label of Neo-noir, his films simply defy classification, it simply is what it is, a dream that refuses to provide answers to any of the questions it throws at you, that's not it's role, it seems to be saying, that's up to you. Make of it what you will.

It's strange, deeply unsettling, engrossing, infuriating and profound and you'll either loathe it with a passion or love it to your core. There's a story there if you're looking but you'll need to work damn hard to fathom it out, and yet it all seems to come together at the end. Or does it?

And that's what sets this aside from any other film or film maker. Lynch doesn't seem to care what you make of his films. This, like Blue Velvet before it confounds your expectations and laughs in the face of simple logic, it just is what it is. 

And what that is, is a solid 10/10. 

#6: BLUE VELVET

 

STARRING: Kyle MacLachlan, Isabella Rossellini, Dennis Hopper, Laura Dern, Hope Lange, George Dickerson and Dean Stockwell. Cinematography Frederick Elmes. Music by Angelo Badalamenti. Written and directed by David Lynch. Budget $6 million. Originally released in 1986. Running time: 120 minutes. 

College student Jeffrey Beaumont (Kyle MacLachlan) returns home when his father suffers a near-fatal medical trauma that leaves him hospitalised. One day  Jeffrey finds a semi-decomposed human ear and takes it to the police station and Detective John Williams (George Dickerson), a family friend, who dissuades Jeffery from investigating any further. Later that night, he's approached by Williams' daughter, Sandy (Laura Dern) who tells Jeffrey about a mysterious woman called Dorothy Vallens (Isabella Rossellini), a deeply troubled club singer who lives down the road from him, and believing the ear and her are somehow connected the young couple set off to investigate. But what starts off as exciting adventure soon becomes far more unpleasant when Jeffrey begins to unravel a sinister conspiracy involving Dorothy, Frank Booth (Dennis Hopper) – a truly unhinged crime boss and his gang of henchmen. There's a underbelly of evil and violence in the quaint seemingly normal town of Lumberton that Jeffrey is about to be flung face-first into it.

Described as a Neo-Noir by better hacks than I, this was David Lynch's third movie as a director, and staked his auteur firmly into the filmic firmament. There is something deeply unsettling about the world of Blue Velvet and also something very familiar, you can see the fictional setting of Lumberton as a prototype Twin Peaks, what with it's connection with logging, diners, police stations and small town America. That and the darkness that pervades the town. Kyle MacLachlan plays Jeffrey as a bright-eyed innocent who believes that having a chipper outlook on life and a 'can-do' attitude will see him right. Boy, is he in for a rude awakening. 

This has a stunning sense of unease, it oozes from the screen, as Jeffery gets dragged further into the mayhem, he becomes burnished and changed and when Frank explodes into the fray you feel his unhinged rage. Played by Dennis Hopper, Frank is one of the greatest ever movie villains, from one second to the next he's so utterly unpredictable it's positively frightening, so much pent up rage and sexual violence, he's truly terrifying. Added to that Isabella Rossellini's character, a mother blackmailed into acquiescing to all of Frank's perverted demands. The scene where she finally has agency against someone is thrilling, even if it is against Jeffrey, who has to suffer it. 

This is so brilliantly unsettling, helped by the machine sounds that seems to throb and pulsate, there's an edge to it that's makes you itch. This is an astounding film, one I've not seen at the cinema in 40 years and the chance to see it back up on a huge screen was a true treat. 

Creepy, unsettling, and at times deeply unpleasant, but enough about my ex-sister-in-law. If you want to see something that Hollywood just doesn't make anymore, then get down to your local Cineworld as soon as you can because this deserves your complete and undivided attention. 

10/10

#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