Better Man

 

This review may contain spoilers!

Better Man is a musical biopic about musician-entertainer Robbie Williams; with a specific focus on his mental health struggles, addiction and tenuous relationship with his father.

This is an incredibly well-structured and creative biopic, the likes of which I have not seen in a very long time. In a world of Bohemian Rhapsody and Rocketman accolades (which are well deserved), I feel what this film has to offer is a step beyond. This movie maintains a strong sense of personal artistic voice, no doubt influenced by Robbie Williams' direct involvement with the production of the film. Yet where some projects would be restrained due to such presence, this instead only develops an open book feeling. Robbie disappears via this fantastical monkey facade and is free to be raw and honest with key moments of his life. He doesn't hold back from honest opinions around certain individuals, he exposes his personal grief and he is truly apologetic to those he has hurt. I loved the commentary around his personal mental health throughout the feature, it's neither pretentious nor generic but sincere. We see Robbie embattled with his own demons, even during his highest points we envision the spectres of his past judging him. It cements Robbie as his own worst enemy and takes full accountability for that. The fantasy of him being portrayed as an anthropomorphic monkey allows for other fantasy metaphors to bleed through. When he sings 'Come Undone' and jets on that dangerous road to nowhere, crashing into a body of water and then being swarmed by siren-like anonymous fans, we get a very clear metaphor for where his head is at and the consuming nature of celebrity. Other biopics wouldn't naturally be able to take such creative risk, nor revel at the reward. Even the more grounded moments, where he contemplates self-harm or is caught in the throes of heroin, or nearly takes his own life while singing 'Better Man' feels like easier ground to tread because of this CGI mask. The relationship work is another narrative high note, I was moved by the euphoria and ultimate tragic falling apart of his relationship with Nicole Appleton. The running story around his father, the expectations set on him at a young age, abandonment and later reconciliation are some of the most fascinating dynamics in the film.  Robbie's grandmother also has this beautiful relationship with him, watching her develop dementia and passing shortly thereafter was one of the best-told stories in this and it ripped my heart out. This is a film that understands struggle, conflict, tragedy, ambition and celebration. It is a film about the price of entertainment and it is much more than a monkey movie.

This is a great-looking film, the camera shows a very layered style with intimate close-ups to capture expression paired with whirling moving moments as we bounce through montages, narration sequences and choreography. The special effects are extremely impressive with the focal design of Robbie Williams as a monkey leading me to barely bat an eye. The creature design is strongly personified but opens the gateway for other great effects like the aforementioned siren scene or the colossal monkey fight at Knebworth. In a year that already holds a musical in my top 3, let me tell you this is the cleanest dance choreography we have in film this year; I was especially wowed by the duet of 'She's the One'. The music is a strength for this film of course, with multiple points in which the score lifted the whole emotional weight of this piece up. Robbie Williams' work on remastering some of his most beloved songs for the soundtrack helped craft some of my favourite scenes. Many of my favourites I have mentioned already, but 'Angels' left me in tears.

Steve Pemberton, who played Peter, is such an engaging point of the film as Williams' father; the way Pemberton portrays Peter as beholden to his own worldview and life without regret is both exceptional and tragic at times. Alison Steadman, who played Betty, is one of my very favourite performances in this film; Steadman is entirely sweet and her portrayal of a woman developing dementia broke my heart. Kate Mulvany, who played Janet, is perhaps a more minor role but she feels like a solid performance; Mulvany gives this character a heck of a backbone. Frazer Hadfield, who played Nate, is perhaps not consistently utilised but leaves a strong impression; the scene in which Hadfield gets to call Williams out for forsaking their friendship is an amazing moment of conflict. Damon Herriman, who played Nigel Martin Smith,  came off as a professional expert but a bit of a shark; Herriman really gave this music producer a sharp edge which was gripping in the first act. Raechelle Banno, who played Nicole Appleton, had so much chemistry with Davies onscreen; I found Banno's realisation of Appleton to be very kind and big-hearted which only made the relationship dynamic all the more tragic. Tom Budge, who played Guy Chambers, really crafted an eccentric songwriter; I liked the oddball manner with which he assessed and revised lyrics. Carter J. Murphy and Asmara Feik, who played Young Robbie, really developed quite a sweet beginning story for Williams; it is clear to see the personality of the role and the hurt being abandoned by his father brought him

However, the best performance came from Robbie Williams and Jonno Davies, who voiced himself and who played Robbie Williams respectively. I greatly enjoyed Davies's motion capture performance as the more simian-looking Williams. He has boundless energy in his movement, resulting in a very engaging protagonist. I also found his expression work to show a lot of range through physical performance, there is no successful leading performance without Davies in truth. However, Williams really bares himself through his voice acting. This is a retelling of self for him, and it is clear just how committed he is to getting it all right. Moments of conflict, breakdown or desperation have everything poured into them; though he is equally game to quip some of the raunchier dialogue. It's easy to understand why it would usually be unconventional to cast the person in a biopic about themselves, but here it works brilliantly.

Overall, this is one of my favourite films to have watched this year but it does take the first few minutes to really embrace the premise. The film really does just drop you into the monkey aspect and expect you to accept it and move on, which does happen but it is initially pretty jarring. I also found this movie a bit self-congratulatory in places, which is maybe the downside of having Robbie Williams himself so deeply involved in the production.

Jake Simmance, Liam Head, Chase Vollenweider and Jesse Hyde, who played Gary Barlow, Howard Donald, Jason Orange and Mark Owen respectively, weren't particularly memorable as all the other collective members of Take That; Simmance had the most chance of bringing some conflict to the story but he didn't really delve deep enough. Anthony Hayes, who played Chris Briggs, was perhaps the most unremarkable of the music producer-type roles; Hayes was little more than window-dressing to other players in his scenes. Leo Harvey-Elledge, who played Liam Gallagher, is more just here to play the name drop of Gallagher than the role; the film itself seems too scared of throwing a jab at Oasis.

What could have just been a CGI parody of itself is a surprisingly raw and honest biopic that has capped my 2024 off brilliantly. I would give Better Man a 9/10.

Sonic the Hedgehog 3

 

This review may contain spoilers!

Sonic the Hedgehog 3 marks the third instalment in the movie franchise that kicked off in 2020. In this story, a new hedgehog with motives for revenge against mankind appears on the scene: Shadow. Shadow the Hedgehog was once an experiment for G.U.N. but when someone he cared for was killed, he was placed in suspended animation for decades. Now that he is free and seeking vengeance, it's up to Team Sonic to do what they can to stop Shadow and...TWO Dr Robotniks!

This film is a full-throttle adventure, particularly from the second act onwards. In other films from this series, the light bonding moments or the witty humour lifts things up, but it's great to see the main narrative take a dramatic turn. The film is a race against the enemy, first to the control key for a world-ending weapon. Everything comes to a head with Team Sonic fighting Shadow in a great introduction moment at Tokyo; there's a lot of set-up here for a brilliant confrontation as we go along. It builds all the way up to the villain team forming together and both teams going through intricate heist hijinks to secure the control key. When Tom is injured in the ensuing battle by Shadow it sets Sonic down his own path for revenge, using the Chaos Emerald against the wishes of his team. The whole third act is an epic moment of confrontation unlike anything we've seen from this series thus far, the heated battle between Sonic and Shadow is a good one. It allows Sonic to reaffirm his good nature after almost falling to a darker way, while also allowing Shadow a moment of redemption from his own darkness. Shadow's storyline is such a high point of this film; we get to see him go from being a lab experiment to someone who feels loved through the friendship he forms with Maria. The moment of tragedy inflicted upon Maria, and by extension, Shadow and Gerald is a real heartstrings tug. I also loved that amongst the big action sequences and comedy antics led by the two Dr Robotnik's, there is still room for some great dramatic moments. The cold and compassionate betrayal by Gerald in service of his goal to destroy Earth is a tough blow, while watching Ivo sacrifice himself to save Earth and more specifically, Stone, is quite a beautiful end to the film.

Jeff Fowler has only gotten better at capturing special effects imagery with a fast-moving blockbuster piece. The focus on character interaction, high-speed moments and gorgeous action sequences speaks to the real passion for a continued strong Sonic adaptation. The special effects look as solid as ever with the designs of Sonic, Knuckles, Tails and Shadow all looking consistently good across the film. I also thought the final act space station and attack robots stood out. The score for this film has plenty of action beats to provide, but it was the score that really stood above for me. 'Galvanize' by The Chemical Brothers being used for the Robotnik dance number is my favourite scene of the film.

Ben Schwartz, who voiced Sonic, has always been phenomenal as the energetic and comedic protagonist of these films; Schwartz also nails the darker turn Sonic takes in that final act. Keanu Reeves, who voiced Shadow, has a harsh stoicism about him that fits the pain Shadow is carrying around; those quieter moments of reflection and hesitation where Shadow works his way to the light is where Reeves really fleshes out the character. Idris Elba, who voiced Knuckles, might have had his best run with this character yet; Knuckles was so entertaining in this that Elba almost eclipsed Carrey as my favourite performance. Colleen O'Shaughnessey, who voiced Tails, got to just be a part of the fun this time which suited the character more; O'Shaughnessey brings a genuine enthusiastic spark to Tails that makes the character so loveable. Lee Majdoub, who played Agent Stone, really plays off Carrey well as the loyal henchman; Majdoub has some very emotional farewell moments in this film that hit home. Alyla Browne, who played Maria, is the heart of the best sub-plot of the film; Browne carries the emotional weight of Shadow's backstory with range and talent.

However, the best performance came from Jim Carrey, who played Ivo Robotnik and Gerald Robotnik. This is a role that Carrey clearly enjoys letting loose in a bit, it feels like a role that lets him comedically adlib and improv like some of his classic roles. Watching him wallow and hurl insults as Ivo at an all-new low is a great reintroduction to the role. Yet as the film progresses, we see that unmatched ego and flair for the grandiose return. This pairs neatly with his work as Gerald, a more parental (or grandparental) figure who comes off as much more sinister than Ivo. Yet the pair are both comedic powerhouses with a multitude of side-splitting scenes. Carrey's dance with himself is the most memorable scene of the film for me as mentioned previously, but there is some dramatic weight here too. The betrayal of Gerald comes hard and heavy at Ivo and cements him as our lead antagonist. While Ivo's final world-saving speech directed at Majdoub's Stone is a beautiful departure for Carrey. The Sonic movies wouldn't be what they are without Carrey's Robotnik and this film proved that.

I'm almost surprised I wound up considering Sonic 3 to be the best in the series thus far, especially given the first act. The first act of this film is quite a cheesy affair of family birthday parties, poor use of human characters, generic military types and some of the worst humour the series has had to offer. It almost made it difficult to focus on the introduction of Shadow, a fight scene that was the singly good thing about the first third of the film. The entire first act is just playing it for the young demographic and knows full well the story is barely moving. For the opening twenty-five minutes, it feels like the film is really just waiting to start and come to life.

 James Marsden and Tika Sumpter, who played Tom and Maddie respectively, finally feel like the films are starting to move on without them; Marsden's emotional beats with Sonic just don't feel sincere like they used to. Krysten Ritter, who played Director Rockwell, is quite a bland new addition to the main cast; Ritter enters as another point of conflict but isn't very well realised. Adam Pally, who played Wade, doesn't really feel like he has a place in this one; Pally's cameo just doesn't make the mark and it would've been better to leave him behind on this one. Natasha Rothwell and Shemar Moore, who played Rachel and Randall respectively, are comedic cameos that come off as a bit too over the top; Rothwell in particular is crudely inserted back without much need at all. Tom Butler, who played Commander Walters, always feels a bit over the top in these; he just doesn't quite fit the military role nor the world of talking coloured super powerful animals.

This franchise went from a family-friendly blockbuster outing to a blockbuster entry that really rivals some of the most major releases of 2024. I would give Sonic the Hedgehog 3 an 8/10.

The Lord of the Rings: The War of the Rohirrim

 

This review may contain spoilers!

The Lord of the Rings: The War of the Rohirrim is a tale from J.R.R. Tolkien's appendices, specifically from the 'House of Eorl' section. Set nearly 200 years before the original trilogy, this film details the end of the reign of Helm Hammerhand and a moment of civil war within the lands of Rohan.

This film is nice as an invitation back into the world of Middle-earth, from the opening map sprawl there is a sense of return to a world that holds a lot of intrigue to the audience. When this film took the time to sit in the worldbuilding it was quite marvellous, it gave us such an incredible glimpse into the history of Rohan in particular. I loved seeing beasts like the Giant Eagles, the Orcs and even the Oliphaunts which placed us in the more fantastical elements of this setting. The political sparring (and physical) between Helm and his rival, Freca, resulted in a great moment of tension that created discord in the region for years after. Watching Wulf's campaign turn to this bloodthirsty revenge narrative poised to expunge Helm's line from the annals of history is a strong conflict and brings the feature to a neat boiling point.

Stephen Gallagher does the score for this film and it is the single greatest thing about the feature. The music draws on old scores from the original trilogy to evoke that familiarity with the world, but it paints a colourful tapestry in this work too. Moments of calamity will rattle you, tragedy is a mournful dirge and battle will fill you with adrenaline too. I must also note Paris Paloma's 'The Rider', which is a gorgeous credits track.

Lorraine Ashbourne, who voiced Olwyn, was one of my favourite characters in the film; she had a quiet fire to her that made you realise the full extent of her warrior background. Benjamin Wainwright, who voiced Haleth, isn't the most noteworthy character but he does feel like a classic hero; Wainwright really shines in moments of his battle where his character's voice gets to shine. Yazdan Qafouri, who voiced Hama, is a very gentle and almost elegant figure in this; he's not a warrior son of Helm but he still rises above so noble regardless. Laurence Ubong Williams, who voiced Fréalaf, is another favourite character of mine in the film; Williams' character radiates goodness and honour that make him a true champion of Rohan.

However, the best performance came from Brian Cox, who voiced Helm Hammerhand. There is something to be said for being the most seasoned and decorated actor in an otherwise quite inexperienced cast. Cox demands attention through Helm, he radiates power and authority in equal measure. This is the sort of character who holds his reign with an ironclad grip, quite literally in a few scenes. He speaks with genuine affection for his family and speaks to the honour of Rohan the way a figure of majesty would. Watching Cox present moments of grief for his sons, or apology to his on-screen daughter or even the challenge in Helm's last stand resulted in some of my very favourite scenes of the film.

There is a part of me that wonders if there is a more interesting story to tell or a better way for this one to be told. War of the Rohirrim exists in the space of a wider franchise and feels like a slighter offering when held against other cinematic entries. The reasoning is that the film just comes off as a bit simple at times, Héra's rebellion to normal gender roles isn't really given much central focus and it's hardly something new, even for Lord of the Rings. More than this the film is poised as a simple good versus evil, which is fine but could have been fleshed out more. It just boils down to Wulf versus Helm and his line, there'll be an ultimate winner and Rohan will go on. The film doesn't venture off this path and as a result, there aren't really any twists or turns for the audience. The film moves quite slowly, the entire second act is our main characters hiding in Helm's Deep, licking their wounds and talking about what happens next or hatching escape plans. It really drags the momentum down and the film comes to an uncomfortable crawl only offset by Helm's demise.

War of the Rohirrim is perhaps the ugliest adaptation of Tolkien's work I have watched thus far. The animation is jarring and often moves in an inorganic way. The character models feel off and don't do a very good job of planting me in the setting, with some fantasy elements feeling entirely contrary to the design of a Tolkien creation. The animation is what this film is built around and the fact that it doesn't work means this film becomes a very difficult piece to sit and watch at times.

Gaia Wise, who voiced Héra, isn't a particularly engaging protagonist for much of the movie; Wise really over-delivers on her lines making this character come off as quite heightened a lot. Miranda Otto, who voiced Éowyn, is a dull and inconsistent narrator; Otto's character in the original trilogy was great but there is never a moment in this film that justifies the need for having her as a narrator. Luca Pasqualino, who voiced Wulf, is a very generic antagonist performance; Pasqualino just shouts his lines and paints a very stereotypical revenge-motivated villain. Shaun Dooley, who voiced Freca, is a gruff and blustery voice that isn't particularly impressionable; Dooley gives a bully of a brute and the depth isn't much deeper than that. Michael Wildman, who voiced General Targg, is a bit too lacking in presence to make his mark in this film; the General has a few good moments to shine with Pasqualino's Wulf but they are blips in the narrative. Bilal Hasna, who voiced Lief, is a nice reminder that child characters in anime can oftentimes be the most annoying; this character was my least favourite in the cast by a mile.

A Tolkien adaptation is always put on such a pedestal that reaching such a high bar is difficult. I would give The Lord of the Rings: The War of the Rohirrim a 6/10.

Kraven The Hunter

 

This review may contain spoilers!

Kraven The Hunter follows Sergei Kravinoff, the estranged son of a Russian crime lord and infamous hunter of criminals. Sergei, or Kraven as he likes to be known, was left for dead after a hunting accident but a mystical medicine paired with lion blood saved his life and gave him the supernatural abilities to fight against a world of darkness. When his brother, Dmitri, is kidnapped, Kraven is reluctantly pulled back into the struggles of his father's criminal world.

This movie had one surprising strength: how unafraid it was to be a bit visceral and hardcore. The action scenes could be gory, rapid and with extreme bursts of brutality. It marked Kraven as an interesting character because the way he put himself into a conflict was unique, resulting in some really varied action sequences. There were also surprising bursts of random comedy or one-liners that took you off-guard but in a good way, the humour was a neat reprieve from everything else.

The way this film is shot is far from the most gripping action film of the year but it serves the piece well. I enjoyed how movement was captured, the focus on sweeping location sets and the way an action scene was covered made for some of the more gripping moments.

Aaron Taylor-Johnson, who played Kraven The Hunter, is somewhat practised at leading a film and did a nice job with what was available; the little moments of surprising levity really landed because of him.

However, the best performance came from Russell Crowe, who played Nikolai Kravinoff. The mark of experience and an accomplished career push Crowe leagues ahead of the rest of the cast here. This is a man with a mean streak, Nikolai can burst into violence but he also likes displays of power through strength. Crowe portrays this man as an unrelenting patriarch, a mentor who pushes his children and protects them while also breaking them down. What really impressed me about Crowe's performance here is how his role shows weakness. The way he defers to Kraven, still hoping to fold his strong son into his empire. But even the quiet moments of fear that are tougher to read, subtle moments that tell us why Nikolai has set all of this in motion. Crowe knows how to perform well, even paired with a disaster of a script such as this.

Kraven The Hunter struggles to be a cohesive action film at the best of times, at the worst of times it's trying to make some passing link to the comics that inspired it. The film starts with a decent action sequence introducing us to Kraven, it's a decent fight precursored by a couple of rubbish gags. Not too shabby, we are in with a chance. Then the film sends us hurtling through a prolonged flashback sequence that is nearly the entirety of the first act. The Kravinoff family, their whole dynamic, is strange and barely works much beyond male bravado character traits being imparted. The random hunting trip in which Kraven gets his powers, we are introduced to Rhino/Aleksei, we are introduced to Calypso and Nikolai has a full-blown meltdown is a strong signpost this film was not going to be good. Kraven's origin is a lot of nonsense that seems motivated by some strange connection he holds with wildlife that is never very well explored and a magical potion that feels poorly wedged into the script. But poorly wedged into the script might embody everything there is to say about leading lady, Calypso. Calypso who is sort of pa with a lot of African mysticism as her introduction and then is a very British lawyer several years later who also happens to have lethal archery training somehow. Kraven simpers around Calypso, killing people for her and 'for the greater good'; in fact, the pair turn into a bit of a duo very much out of nothing. Kraven awkwardly fights from place to place, going to locations but never really deepening the plot in any way until he kills the big bad, and in a very anti-climactic way, his father. The Rhino as a villain seems more of a joke to the point of parody, a crime boss who was so bullied that he took a drug that now turns him into a rhino if he wants to. The film also pads the thing out with antagonists like The Foreigner, who only confuse the plot and shouldn't ever really be inserted. The whole film pushes an unearned sequel tease between the Kravinoff brothers and undermines everything shown about the relationship between Kraven and his father, with Kraven taking a final point of advice from his father's letter. It almost feels against Kraven's nature to be wearing his iconic lion vest by the film's end.

I do not know what the budget was for Kraven The Hunter but it was clearly too small for the overly ambitious special effects. How characters moved in a scene sometimes looked unnatural paired with the environment, there were clear points of blue screen, the CGI animal designs were especially unforgivable and the final design for Rhino was quite comedic in some shots of the final fight. I also thought the score for the film was extremely unremarkable and barely present; while the soundtrack was such a hodgepodge of musical content that failed to uplift a very substandard movie.

Ariana DeBose, who played Calypso Ezili, is really hitting a string of awful roles at present; DeBose feels flat in this and doesn't seem to know how to substantiate an 'in' to this character. Fred Hechinger, who played Dmitri Kravinoff, is rather forgettable as the wilting lifeless Kravinoff brother; the lipsync performances Hechinger gives are a frightfully poor display. Alessandro Nivola, who played Aleksei Sytevich, presents his character like a Sacha Baron Cohen figure doing a dramatic lean; this absurd performance only gets worse when you see Nivola writhing and acting out his Rhino transformation scenes. Christopher Abbott, who played The Foreigner, was quite a bland antagonist; Abbott's role really had no reason to be in this and it was an error placing him in here. Levi Miller and Billy Barratt, who played Young Sergei and Young Dmitri respectively, just play up the angst of their roles a bit too much; Miller is a real case example that being a talented child actor isn't necessarily career-spanning. Diaana Babnicova and Susan Aderin, who played Young Calypso and Grandmother respectively, give the worst scene in the whole feature; Aderin's exposition delivery is so awkwardly dealt to the audience. Murat Seven, who played Ömer Ozdemir, is little more than a glorified henchman; his stoic stare and two-dimensional delivery make for a really uninteresting foe.

Embarrassingly, this is the best Sony Spider-Man spinoff film this year. I would give Kraven The Hunter a 3.5/10.

The Problem With People

 

This review may contain spoilers!

The Problem With People is about an Irish family and their Irish-American relations attempting to reunite after a decades-long feud. What at first seems like an amiable reconciliation by Ciáran and Barry soon turns into a hilarious reignition of the fabled feud.

There is a lot of this film which sits in the realm of comedy, some of it works well and some of it doesn't. However, I enjoyed how unapologetically quirky this film was, particularly when it sat with the Irish performers. The real comedic strength of the film is no one individual performance but seeing how Meaney and Reiser bounce off one another, the pair clearly get along and know how to draw a grin from their scene partner. The twist wedding at the end of this film was a hysterical curveball, with some surprisingly decent foreshadowing.

Paul Reiser. who played Barry, has a decent dry wit and gruff edge that serve the character; Reiser displays a genuine passion for this project he has crafted which shines through in the performance. Des Keogh, who played Fergus, has some of the more exposition-heavy lines and weaves them like an exquisite storyteller; Keogh is capable of both a touching performance and a hysterical one in equal measure.

However, the best performance came from Colm Meaney, who played Ciáran. This man has always been a phenomenal character actor and this film is no different. Ciáran is a very mild-mannered figure at first, someone you could easily meet on the street and share an easy conversation with. Meaney shows a great deal of care for his on-screen dying father (Keogh) and is a real community man. Yet the mean streak that comes from his envy of Barry is a point of fun and really allows Meaney to cut loose a little. Overall, it's a very fun role and for someone as versatile as Colm Meaney that works very well indeed.

This film has a pretty terrible script and that remains consistent from start to finish, the reconciliation of the family paired with another final feud before reconciliation should surprise no one. But more than that, this film really tugs on no heartstrings, Ciáran and Barry wind up being older guys who meet for the first time and fight over a will. If there's something worth falling in love with or relatable in that it seems a bit bleak. The film doesn't even do a good job of capturing Barry's sudden love for Ireland. He seems very excited about Ireland, but there's barely any good imagery to say why and he has one good time at a pub. The film tries to showcase some external relationships to these two but Barry's relationship with his daughter feels unreal and the relationship he pursues with Fiona feels uncomfortable the manner in which they present it; for that matter Ciáran and Fiona being former partners seems unlikely too. The humour throughout tends to be simplistic or slapstick when it isn't rooted in chemistry between performances; the whole thing stumbles around looking for easy laughs. Overall, the film has a simple script that feels like it was penned by an inexperienced writer trialling their first project.

The Problem With People is a decidedly ugly-looking film, which is unusual given this film has a homecoming element to it and really should be making use of Irish location shooting. The cinematography can get downright to some odd angle choices and poor shooting for entire scenes at a time. The animation for the flashback scenes really was another weak point, with poor design and barely rendered character models for the story. The score was pretty safe, using a lot of classically Irish sounds to place us in the setting but struggling to lend an extra edge to the tone of the feature.

Lucianne McEvoy, who played Fiona, is both a shoulder to lean on and a point of conflict that feels awkwardly inserted into the story; McEvoy feels unsure of her position as this sort of/sort of not love interest. Jane Levy, who played Natalya, really doesn't have the chemistry needed with Reiser to play a convincing on-screen daughter; she feels so external to the main narrative that her presence often feels unnecessary. Patrick Martins, who played Padraig, doesn't really lend much to the feature; his role is supposed to feel strongly aligned with Meaney but there's not much between them. Eimear Morrissey, who played Sargent Lizzie McGrath, is a very over the top comedic role; this bumbling cop performance is difficult to watch at times.

I really wish Paul Reiser could have been like any other celebrity and written a travel book. I would give The Problem With People a 3.5/10.

Moana 2

 

This review may contain spoilers!

Moana 2  is the direct sequel to Moana (2016) and follows Moana in her new role as Wayfinder for her people. Moana is searching the oceans for other people, other villages who could all unite to sustain one another. Yet she soon discovers the God of Chaos, Nalo is set on keeping the people of the ocean apart, and Moana will have to defy him to unite those forced apart.

The thing I was immediately reminded about when I started watching this film is how great a protagonist Moana is, she really sets a great standard for the young audiences who flock out to see these films. This character is adventurous; she barrels headfirst into danger and is excited at the prospect of where her travels may lead her. Moana is the heart of her people, they look to her and see hope at going further and becoming more. Which is a lofty expectation, but one that our lead character has often proven equal to. Watching this role unite unlikely allies in her own village, standing to the customs of her people and rising to lead when a new challenge is faced is a strong lead point in the first act. We reconnect with Moana in this beginning and see her as that young woman who inspires, with values we want to see taught. The way this film challenged our protagonist to be a lot more personal, this was a very introspective film for Moana and it resulted in her facing herself and challenges far greater than her once more. The film often got to be more creative in the strange avenues of adventure we took; the Kakamora confrontation, escaping the realm of Matangi and attempting to lift the island while navigating monster-infested waters were thrilling. There was a more varied lean into Pasifika history, culture and most significantly, mythology here that really added a layer of authenticity and immersion to the whole narrative.

I think the elements of production for this film will be under a lot of scrutiny after the absolutely stunning display of Moana. However, I really found myself hooked on the design of Moana 2 as well, it made a strong effort to take us into a world of vibrant colour. The animation style is vibrant, with action feeling very sharply caught and the variety of design between monstrous clam prisons, Nalo and his sea serpents and the beautiful island-raising scene are something to behold. I really adored how the soundtrack for this feature placed a bit more cultural sound within the composition, and more than that the film held true to pushing character-driven tracks.

Auli'i Cravalho, who voiced Moana, is a wonderful leading voice for these films; I love the strength of character Cravalho has really built up in the young Wayfinder. Hualalai Chung, who voiced Moni, is quite hysterical as the ultra-fanboy storykeeper; I especially enjoyed the exuberance and energy this performance injected into the film. Rose Matafeo, who voiced Loto, is a high-strung perfectionist boat crafter; Matafeo's erratic manner makes Loto stand out as another whirlwind of a character. David Fane, who voiced Kele, is immediately a character you know you will grow to love; it is a great journey seeing this grouchy old man become a firm part of the adventuring crew. Awhimai Fraser, who voiced Matangi, is a newcomer role that seems sinister but is a neat ally; her song 'Get Lost' is my favourite on the soundtrack. Khaleesi Lambert-Tsuda, who voiced Simea, is easily the cutest part of Moana 2; whoever decided to give Moana this precious and very tough sibling is clever indeed.

However, the best performance came from Dwayne Johnson, who voiced Maui. How much passion Johnson seems to have for this character is really surprising and heartwarming. He leans very naturally into the bravado, self-confidence and even barely checked ego of our favourite demigod. Yet, despite this character being a fun adventurer, there is a nice personal side that we get to see a lot in this sequel. Maui feels much more rounded, his initial journey with Moana has improved him as a person and he returns the lesson. Johnson really does a great job of being the voice of compassion in this, I love the scenes in which Maui lifts Moana back up. They lean on one another in a very remarkable way. The way Maui is so self-sacrificing by the end of this that he is willing to forego his demigod status to help Moana is a neat addition to his character arc.

Moana 2 slides to a halt and takes a leisurely pace at times, even when our heroes are out on their quest upon the sea. The film has long stretches where we are asked to wait for the pacing to really find itself again. This ambling to racing type of pace didn't do wonders for conveying the urgency of the quest our heroes found themselves upon. It was very clear this had been envisioned as another type of media at one point or another, the original show format feels carved out and streamlined for a one-and-done narrative. The ultimate result is a choppy pace, misguided focus on narrative elements and new sequel characters that don't have much time to develop beyond their archetypal selves.

Temuera Morrison, who voiced Chief Tui, feels like he holds a lot less to do in this film; Morrison's chief figure doesn't really sit as much of a leader in the grand scope of this film. Nicole Scherzinger, who voiced Sina, was never that important in the first film and failed to impress in the sequel; Scherzinger seems to know this with her very bland delivery. Rachel House, who voiced Gramma Tala, is really axed down for time in this one; any type of connection feels very artificially diminished between Moana and Tala in the sequel.

A faithful and exciting return to one of the best characters in modern Disney. I would give Moana 2 an 8/10.

Wicked

This review may contain spoilers!

Wicked is a film adaptation of the famous Broadway musical and, by association, the novels by Gregory Maguire. This film details the origin of Elphaba, who will come to be known as The Wicked Witch of the West, and Glinda, who will be known as the Good Witch of the South. The pair are united at Shiz University, where the promise of learning magical prowess and one day working with the fabled Wizard of Oz holds a special place in either students' heart.

I loved how this film, and indeed the greater musical, takes the well-known narrative of the Wizard of Oz and weaves a story equally as rich. Here we host a story that is still brimming with a fabled land, talking creatures and the allure of magic. However, it is also a story about being othered, of Elphaba growing up looking different and being treated as an outcast for it. She holds power, true power and yet never wields it out of an intention to harm. In fact, when she sees the talking creatures of Oz being marginalized and made to disappear, she stands against it. Elphaba is treated as an individual worth less than others due to how she looks and across the film this damage to her character is only further fuelled by more powerful characters; yet she is one of the truest points of good intention in the whole thing. Glinda (or Galinda) is a nice foil to Elphaba. Glinda comes from incredible wealth and status, filled with expectation that she will be a favourite at Shiz. However, despite her incredible popularity, she is considered not worthy of sorceress training. Glinda is quite an entitled figure and treats others as beneath her at first, including Elphaba. Yet the friendship that comes to pass between them, ignited by the immensely moving OzDust scene, is a wonderful catalyst for change. We see the good qualities Glinda starts to embody and develop through her time spent with Elphaba; things that would have defined her character as harsh instead soften and become good. Wicked takes a very colourful fantasy world and gives a good running commentary about marginalization and profiling; while also highlighting a central friendship that teaches us goodness isn't an appearance but rather something you do - it is in your actions.

Jon M. Chu really has put the work into crafting a full-blown production that honours the Broadway 'stage feel' of the material, with a heavy focus on exquisite practical sets. My favourites personally were the library at Shiz University and the train to the Emerald City. The camera glides and dances in with the leading performances and greater ensemble numbers, making the audience tumble through the music and become a part of this fantastical feature. The special effects aren't over-exaggerated, nor do they take away from the film as a whole. I loved the designs of the animals, the lion cub or Dr. Dillamond in particular, and yet it is seeing the origin of the flying monkeys that most impressed me. That scene, watching the wings sprout, was almost horrific in how arresting it was. The strength of the production really is the music, almost every number in this stands out so strongly. Though it will surprise no one that the heavy hitters really take the centre stage bow; "The Wizard and I", "Defying Gravity", "Popular", "No One Mourns the Wicked", "Loathing" and "Dancing Through Life" all completely knock it out of the park.

Ariana Grande, who played Glinda, has a real strength for comedy and leaning into the more camp qualities of Glinda; the dramatic elements felt harder but were brought out beautifully through her chemistry with Erivo. Jeff Goldblum, who played The Wonderful Wizard of Oz, is as eccentric and charming as you would hope for this showman figure; Goldblum feels intentionally a bit slippery here and plays a man caught in his own lie very well. Michelle Yeoh, who played Madame Morrible, is a stern and authoritative figure who rewards true talent; Yeoh's harsher more antagonistic element in the final act really stood out. Jonathan Bailey, who played Fiyero, is entirely charming as the princely new arrival at Shiz; I loved how truly good and noble Bailey made this prancing prince. Ethan Slater, who played Boq, is quite an aloof and light-hearted character; Slater plays the middle of his crush for Grande with his relationship with Bode very nicely. Marissa Bode, who played Nessarose, really portrays that slight distance between herself and her onscreen sister, Erivo really well; I also really believed in her strong proclamations of love for Slater's Boq. Peter Dinklage, who voiced Dr. Dillamond, is such a kindly and loveable presence; Dinklage crafts an old compassionate figure who is the subject of much injustice.

However, the best performance came from Cynthia Erivo, who played Elphaba. This is a character who has really embraced how different she is from other people and holds an indifferent sort of confidence that makes her very fun from the moment she sets foot in Shiz. Yet across the film, Erivo is so good at showing those little moments, the times where the bravado slips and hurt can be found. Her confidence is genuine but it is clear she still wishes or desires to be treated with the same respect and care as everyone else. I loved seeing the care she presents to others whether reciprocated or not, how she bonds with Fiyero or Dr. Dillamond are good examples but her relationship with her sister, Nessarose is too. All along Elphaba proves to be extremely resilient and forthright, she is a hardworking student and a consistent advocate for the talking animals who are being mistreated. I loved what Erivo brought to the OzDust scene, the hurt when she realises she isn't actually wanted and the strength shown in the dance she performs by herself anyway was powerful. I loved seeing her and Grande together, they really came to forge quite a natural chemistry across the tangent of the film. Erivo's voice is unmatched and isn't just technically good, it highlights the emotion of her character too. The hurt and betrayal we get in those last twenty minutes and the energy crafted by performing "Defying Gravity" like that made this one of the best character performances of 2024. However, I still hold that Erivo's solo of "The Wizard and I" is the defining musical number of this film.

There is a very gentle preamble in the first act, worldbuilding and explaining paired with long-winded character introductions that do make the first act quite slow in parts. I also didn't really feel like the romantic subplots that were at play were as compelling as other story arcs, they even felt a bit superficial. I wish the talking animal story arc had been explored a little more, it felt like it was given the minimum required to function for other characters and their motivations.

Andy Nyman, who played Governor Thropp, is barely a father figure to Erivo OR Bode; I just found the irritable persona Nyman brings to be very simplistic. Bowen Yang and Bronwyn James, who played Pfannee and Shenshen respectively, are entirely forgettable as Grande's entourage; there is very weak side comedy going on here that you won't remember. Keala Settle, who played Miss Coddle, is a confusing role that feels like she ought to have more presence; just an oddly antagonistic teacher presence that doesn't contribute to the overall story well.

A powerful and moving film that paves the Yellow Brick Road for the return of the iconic movie musical. I would give Wicked a 9/10.

Gladiator II

This review may contain spoilers!

 

Gladiator II is a sequel to Gladiator (2000) and picks up the story fifteen years later, with a now grown-up Lucius in Numidia. The young former Roman is pulled back harshly to his home soil after a Roman military attack and now must seek his vengeance through the gladiatorial arena.

There is something to be said for the type of spectacle Ridley Scott puts on, there is time here to take in the sprawling grandeur of Rome. But it is more than Rome; it is Numidia, the road to Rome, the poverty of the people, and the opulence of those with wealth. We are presented with a compelling setting scattered with some intriguing players who all move through this with their own driving force and function. While Lucius is pursuing his motivation with great rage, humility, and honour; there is better at work than the classic hero's journey. There is a web of intrigue to all this that I really enjoyed. Lucilla and Acacius' plot to overthrow the mad emperors, and bring back the vision of a 'good Rome' once held by Marcus Aurelius. There is this force of good working from the shadows while also something more sinister and power-hungry encroaches upon Rome. I found Denzel's performance surprisingly weak but the character of Macrinus was interesting. He manipulated his way through senators, using gladiators to curry favour and ultimately endeared himself to the emperors by betraying other characters of the film. The way this film pivots and spins through the political narrative points is entirely fascinating. 

Ridley Scott knows how to shoot a big-budget beast of a feature and Gladiator II is no exception. There are incredible grandeur angles that take in the action, dramatic scene work and historical backdrops within this film. Perhaps the greatest achievement of the feature is the score, done beautifully by Harry Gregson-Williams. The music draws on those familiar emotional beats from Gladiator while blazing its own path of epic conflict and heroism.

Connie Nielsen, who played Lucilla, absolutely brings her A-game to this role; I felt like Nielsen had never walked away from the role and only gotten stronger in her portrayal of Lucilla's bravery. Paul Mescal, who played Lucius, is a very competent leading protagonist; I simultaneously enjoyed Mescal's representation of fury and the hero arc he took Lucius on. Pedro Pascal, who played Marcus Acacius, is a more stoic and noble figure here; this is a very honour-bound role that you will come to really root for. Peter Mensah, who played Jubartha,is quite the strong leadership figure early within the film; Mensah is a wise guiding voice and shares the screen with Mescal well. Tim McInnerny, who played Thraex, is a phenomenal character role; McInnerny enjoys being the measured ally as much as he does being the uncontrollable gambler or cunning master of secrets. Alexander Karim, who played Ravi, has a very light chemistry with Mescal that bonds them well as faithful allies on-screen; Karim's measured and steady delivery allows him to be both a kindly and wise figure. Lior Raz, who played Viggo, could have come off as a dull thug but he got to lean into the role a good amount; I enjoyed seeing Raz leap between conflict with the gladiators and begrudging respect from them.

However, the best performance came from Joseph Quinn and Fred Hechinger, who played Emperor Geta and Emperor Caracalla respectively. This film demands depraved and chaotic tyranny from its sibling emperors, and what we get is perhaps the most gripping display of acting in the film. When seeing promotional material for this film I always found this pair a little odd or gaudy; but damn does it work on-screen. Quinn is a little more tempered, he holds a mean streak and is quite vindictive with his power. However, he is cunning enough to remain a few steps ahead and he has an intellect that allows him to be a threat. Hechinger, by comparison, is almost entirely insane from start to finish. His role is bloodthirsty and prone to exhilarating bursts of violence. Watching Hechinger really descend into depravity is a neat spiral that is a great escalation into the final act. This pair make a tragic and despicable brother duo and I cannot wait to see more from either of them.

I started watching this film and felt a little confused. I swore I had paid to see Gladiator II but I was almost certainly seeing Gladiator, at least elements that were so comparable it became impossible to distinguish them. The whole framework of Lucius' journey in the first two-thirds of this film isn't very different from that of Maximus. A great warrior suffers tragedy, turns righteously vengeful, and becomes a gladiator, all the gladiators wind up loving him, big Roman revolt is helmed by the man of action. It just felt like the original film had been simplified, even dumbed down and raced to completion. The entire reveal and handling of Mescal's character being Lucius all along is barely surprising and almost comes off as a soap opera. As the film heads towards the conclusion, the pacing starts to crawl and loses its stride majorly. The final battle between our protagonist and the antagonist feels poorly constructed; I found the conflict lacking and the concluding scene an anti-climax.

For a film with a relatively sizable budget, I found the special effects to be quite subpar. The film opens with a very ugly ship battle, with both the boats and the water looking like the sort of stuff that would have functioned well twenty-five years ago. Worse is this film crams an animal into nearly every arena fight, and the constant need to lean on an effect becomes tiring, particularly because the effects don't blend neatly into the scene. 

Denzel Washington, who played Macrinus, perhaps didn't take this role seriously enough or lost focus within the fun he was clearly having on set; Washington's line delivery often felt jarring and entirely separate from the presentation by the rest of the cast. Derek Jacobi, who played Gracchus, is a prolific actor shunted into a meaningless bit part; I wanted to see some meat for Jacobi to sink his teeth into but there is nothing there. Yuval Gonan, who played Arishat, is more of a plot motive than an actual character performance; Gonan is just the wife waiting in the wings to be killed which is rather two-dimensional.

If the last one was a historical epic for Ridley Scott then this one is certainly more of an enjoyable summer blockbuster. I would give Gladiator II a 6.5/10.

Red One

This review may contain spoilers!

 

 Red One follows Callum Drift, head of Santa's secret Service (E.L.F.) as he gears towards his last ride on the sleigh. However, when Santa is kidnapped on Drift's watch he heads out on a globe-spanning mission to recover the holiday hero. But Drift will have to make an unsavoury alliance with the hacker who exposed Santa's location in order to find St. Nick. Will this decorated Christmas bodyguard and level four naughty lister be able to save Christmas?

 

There is something about this movie that had me laughing far more than I thought it would; there aren't a lot of big comedy players in this and it is geared up solidly like a blockbuster. However, the strength of Red One is that it never really takes itself too seriously, even better it sort of leans into the absurdity of the story and world it is portraying. Drift's stoic serious quality in the face of mythical beings, toys that come to life and attack snowmen only make the whackier elements more humourous.

 

The visual effects across the film justify the high budget at play too; with entire landscapes, mythical creatures and shrinking Dwayne Johnson's looking inventive and placed well in a fun romp of a blockbuster. I really commend the design team at work here, the final form for Gryla is surprisingly scary and good look for the showdown with the antagonist.

 

Dwayne Johnson, who played Callum Drift, works remarkably well as the straight man to a very whacky script; Johnson has a hard edge to this special Christmas operative that made me realise he works as the comedic backbone of this film. Chris Evans, who played Jack O'Malley, feels like one of the greatest actors in this ensemble; Evans takes a very smarmy criminal and steadily teaches him the meaning of Christmas over the course of this performance. Lucy Liu, who played Zoe, quite like Johnson works so well because she plays things so serious; Liu really commands a scene and feels like the leader of a globe-spanning force. J.K. Simmons, who played Nick, is a really fun casting for this gruff and tough Santa; he simultaneously embodies the spirit of Christmas while also having a bit of a world weary streak. Kiernan Shipka, who played Gryla, commands the screen as a pretty major lead antagonist role; it's really great to see Shipka own and lead a role alongside this major cast.

 

However, the best performance came from Kristofer Hivju, who played Krampus. A heavy amount of prosthetics and Hivju disappears into one of his most memorable roles I've watched onscreen. His take on Krampus is a cruel captor, a beast built out of the need to punish the naughty children on the list. Yet despite that I loved how raucous and boisterous this character was, he felt like the head of a very bizarre party. His immediate match-off with Johnson was very tense, and you actually felt he was a pretty intimidating force against the lead. I felt Hivju really inhabited his character to draw comedic moments out quite naturally. More than that, I found the way he brought a feeling of regret and connection to his relationship with on-screen brother, Simmons, to be a nice emotional touch.

Red One is pretty funny throughout but that doesn't really disguise the fact the plot has nothing to it really. This film is a Christmas action caper, with scenes of the American Air Force escorting Santa out of their borders, strict work structures for Santa's workshop and a hacker who accidentally ruins Christmas. The whole action narrative with a high stakes kidnapping is a bit thin, and the twist being Santa is still in the North Pole all along feels like a pretty deflated end to the whole adventure. The worldbuilding is extremely over the top and nonsensical with a whole SHIELD-like organisation romping around wrangling mythical creatures and Gryla with a very two-dimensional fixation on punishing all naughty people. Tie this very thin main narrative to an E.L.F. looking to hit retirement because he's lost the joy of Christmas and it becomes a bit too corny as well. The whole fluffy Christmas narrative is smushed against a film that wants to be seen as an action-comedy blockbuster and the whole thing doesn't pair together neatly. I also really couldn't stand Jack's absentee Dad storyline, discovering the joy of fatherhood again whilst also being a high profile fugitive felt like two very different subplots once again awkwardly entangled.

The way this film is shot pivots on the effects, holding us in the confines of a massive blue-screened or Volume set. Nothing in how this thing is captured shows much room for a unique style or artisitic voice. I expected a lot more from Henry Jackman's score; what we get is the most generic Christmas sound ever paired with a film that could've used a bit of flavour or for classic tracks to at the least be used comedically. Even the soundtrack is overloaded with more Mariah Carey than anything else.

Bonnie Hunt, who played Mrs Claus, is quite a timid and light performance; Hunt often fades into the background and doesn't impact the plot much. Mary Elizabeth Ellis, who played Olivia, is a tough pick to play off Evans as his ex-partner; the pair have no screen chemistry that even speaks to a history. Wesley Kimmel, who played Dylan, is perhaps the most annoying role of the film; watching him and Evans struggle through father and son scenes together resulted in the weak point of the feature. Nick Kroll, who played Ted, leans into the safe elements of his comedy acting a bit too much; by which I mean Kroll is here to make silly faces and sillier voices.

This film can be silly fun at times and boasts a solid cast, but it can't escape Dwayne Johnson's streak of lousy blockbusters. I would give Red One a 5.5/10.

The Critic

This review may contain spoilers!

 

The Critic is a drama that follows ageing theatre drama critic, Jimmy Erskine, as his comfortable career is brought under threat when the newspaper he works at gains a new editor-in-chief. Jimmy must go to extreme measures and manipulate many others in order to secure his place, but just how far will this depraved man go to keep his place?

 

I have a real fascination with a corrupt character who entangles and snares those around him, Jimmy Erskine is a real vile creation, but he influences our cast in such a compelling way. From the start of this film Erskine is a massive presence, he holds incredible knowledge of the theatrical arts, and he understands people around him in a way that allows him to lightly tug on their threads. Working against Jimmy is the fact he is openly a bully, he can be crass and even downright plastered in inappropriate settings. He is also a barely closeted older queer man in late 1930s London, a frequent target of those who would wish harm to those perceived as outside 'the normal'. He is not the rising star of his newspaper any more, he is an old fixture that could be gotten rid of. Only Jimmy won't go for anything, he revels in luxury and high society. He cannot give up a wonderful life but won't change himself in order to do it. To watch Jimmy start weaving an intricate blackmail surrounding an affair between his boss and upcoming actress, Nina Land, is like watching the scales truly tip. Erskine manipulates Land, promising her greatness and turning her ambition into something dark. What happens as a result is an obliteration of lives, death and misery with a triumphant Jimmy staying afloat by the skin of his teeth. It but takes one betrayal for the despicable puppeteer to fall, to fester in his loneliness and conniving mind. The end should be a high point, a happy ending. But it all feels a bit futile, Jimmy has destroyed his life and many others in the blind chase of status. There are no winners in this game, only loss. 

It's quite an intimate production, but a feature that is very considered with how it looks. The cinematography holds interesting tracking wides as characters march through corridors or wind through London streets. But what I loved was how closely the camera steadily held a microscope to the face, refusing to hide a single slight crinkling of the eyes or downturn of the mouth. This film examined the characters and only held their true selves accountable to the viewer. The editing felt very steady, even moving to a more frantic pace as the narrative unravels, and we race to the climax of the story. I commend Craig Armstrong's score, it feels very refined but also has those wild, dangerous streaks that tie so neatly to the film's protagonist/antagonist.

 

Mark Strong, who played David Brooke, absolutely dominates his scenes with this quiet yet powerful presence; I loved the measure of character and good honour Strong brings to this role in sharp contrast to McKellen. Gemma Arterton, who played Nina Land, is a triumph to watch in this and gives McKellen a real run for his money; watching Arterton battle for her ambition while grappling with her morals makes this a gripping role to watch. Lesley Manville, who played Annabel Land, is a more measured performance but a really strong one; I love the way in which she quietly advocates and fights for her onscreen daughter in spite of the tragic forces against her.

However, the best performance came from Ian McKellen, who played Jimmy Erskine. The filmography and indeed, wider acting career of Ian McKellen is a stunning one. There is no denying the man is a talent, and it is gratifying to see that this talent has not lost stride in his recent years. Erskine is a foul character, a rotten bully with a tendency towards vile behaviour for selfish means. It is one of the nastiest roles I have seen McKellen play and that is kind of the wonder of it all. McKellen plays this force of corruption and twisted ambition at the centre of it all, a pillar of darkness really that the whole thing spins around. Yet while he plays the darker nature of his role so well, there is a sincerity and a defiance to the way he is noted as a societal other in this. I quite enjoyed the sneaky, unabashed and yet very vulnerable queer storyline brought to the surface. McKellen's final monologue, his letter to Tom, was a beautifully tragic and terrible thing. It made me realise I will miss this magnificent man one day, even if I will not miss Mr Erskine.

The flaw with this film is the amount in it, there are a lot of little stray stories and sub-plots that comprise the whole thing, and they don't necessarily come together well. I thought the fact there was so much romantic entanglement got a bit over the top, the character of Stephen was particularly a role I felt didn't need as much focus as he got. I feel like the film had to pad itself out in such a way because the whole movie revolved around a role that didn't go through character development, so change had to be visualised elsewhere. But this made the movie feel distracted at times and uncertain of where to plant its foot in the next scene.

Alfred Enoch, who played Tom Turner, is quite comfortable in the background for this film; Enoch feels like he should be more present but even when the camera finally turns to him more he doesn't have the charisma to take the screen. Ben Barnes, who played Stephen Wyley, is this sort of mopey romantic role that doesn't fit in very well; Barnes' whole pining lover act is a very safe and generic performance for him. Romola Garai, who played Cora Wyley, could've really worked the screen a bit with more time I feel; as it stood Garai went from this background wife figure to an over the top business mogul in a blink. Ron Cook, who played Hugh Morris, isn't an especially funny performer for one who is playing a bit of a cad; Cook also struggles to keep up with or match McKellen in their scenes together. Nikesh Patel, who played Ferdy Harwood, is a very over the top performance that is really just there to be paired against Arterton; Patel is never very convincing as a leader/director type.

 

A captivating drama that is made all the more gripping for McKellen's turn as a vile and abhorrent fiend who I could not look away from. I would give The Critic an 8/10.

Venom: The Last Dance

This review may contain spoilers!

 

Venom: The Last Dance is the third instalment in the Venom trilogy and our most intergalactic, multiversal spanning threat yet. When Knull, God of the Symbiotes, seeks an escape from his dimensional prison, he sends his symbiote hunters, the Xenophage, to find the key to his release. Unfortunately for Eddie and Venom, their unique bond has created a Codex within them - the exact artefact needed to release Knull.

What really worked for this film is how action sequences often upped the moments of tension. The soldiers of Area 55 (yes, that's a thing) have weapons that finally make humanity a threat to symbiotes. Alongside this, the Xenophage are terrifying and more powerful than any threat in a Venom film thus far; pair them with a big symbiote versus Xenophage battle in the final act, and you have some high points of action conflict.

 

Stephen Graham, who played Detective Mulligan/Toxin, wasn't my favourite in Let There Be Carnage but got to explore something entirely fascinating here; Graham's take on a man inflicted with and haunted by a symbiote is great and his exposition delivery as Toxin is surprisingly gripping.

However, the best performance came from Tom Hardy, who played Eddie Brock. Hardy is a phenomenal character actor who has often sat within gritty, tough and sometimes entirely mad roles. He has a long history of being able to lead a film and carry it forward as a protagonist. I wouldn't call his time as Eddie one of his most memorable characters, but he has certainly led this series of films very well. This time around, we pick up right where we left Venom and Eddie after Let There Be Carnage and Spider-Man: No Way Home. Eddie seems extremely disoriented, confused, and like he is frantically trying to pull together some semblance of normalcy into his new life as a wanted felon. Hardy's Eddie is so strange because his psyche after being paired with Venom seems so shattered, he is simultaneously beaten and worn down while also weirdly fixated on very menial things at odd moments. I found his great reluctance at letting Venom go quite sweet, and his farewell at the end was an impactful delivery. His work at voicing Venom was also quite wild and unpredictable. Yet there was a tenderness there, a strong bond with his host that comes from a place of wanting to protect that connection. Tom Hardy saw this role through consistently over three average and below films, which is commendable in its own right.

There is this real lack of direction, planning and purpose when it comes to the Sony Marvel films that makes them increasingly frustrating to watch. Bad enough I have had to sit through such features as Morbius and Madame Web, but the fact they took their flagship Spider-Man spinoff in Venom and completely fumbled it is a disappointment. This film is a major swing in difference from the last two; in which the first was an origin story and the second was a poor introduction to Carnage, one of the more famous symbiotes Venom has faced off against. This film opens with Knull, a being who created the symbiotes, holds multiversal powers and exists outside the known universe in a dimensional prison crafted by the symbiotes. Knull sends these creatures designed to hunt symbiotes, but specifically a symbiote that has saved its host from death. Apparently this exact, very specific act creates a key called a Codex which will free Knull. Before you spend too long wondering why the symbiotes would make themselves the weakness to the prison of their greatest enemy, I'd encourage you to consider how colossal this plot has ballooned into by introducing Knull. It has suddenly become exposition heavy, there are a lot more very specific factors around symbiotes that are being introduced quite late in the trilogy and the whole film drops Knull on us which feels far bigger than Venom has really been up until this point. In fact, the entire film feels like promotional material for Knull, teasing a big bad I hope Sony doesn't explore because they really did a poor job of introducing us to him here. More than this, the film is this really sluggish road trip movie for two thirds of it; in which Eddie and Venom stumble through a symbiote horse ride, an Area 51 enthusiast family and an abysmal Las Vegas sequence. Let us not forget Area 51, oh I mean 55, in which there is now apparently an American military group designed specifically for hunting and collecting symbiotes. If they feel like a dull, last minute idea - I think that might be intentional. Area 55 is even led by a scientist with a weird backstory in which her twin brother gets killed by a lightning strike; and it gets brought up, a lot. The whole film shrugs towards a predictable final death scene with a bunch of newly decked out symbiotes who look like they might be out of a Power Rangers film on acid.

This is the worst looking Venom yet, every shot seems to be hinged around a special effect, otherwise we're pushing the most simple to achieve mid-shots I've seen in a blockbuster all year. The budget is quite stretched in this one and it shows. Venom appears a lot less, giving us his weird floating head look instead, the army of symbiotes aren't as interesting as Carnage or Riot have been in the past. The effects also don't look good in motion very well, Tom Hardy looks outside of the effect a lot, which makes the final fight a pretty ugly affair. The whole film builds to a Knull face reveal halfway through the credits, which looked half-rendered. The score for the film was barely present, a constant problem with the Venom films. I also found the soundtrack to be a real whacky assembly of tracks; bouncing from songs that barely had anything to do with the scene to songs that didn't even make the scene funnier.

Chiwetel Ejiofor, who played Strickland, jumped from the Marvel universe smack bang into one of the worst roles of his career; Ejiofor gives such a generic take on a military leader that it winds up falling quite flat. Juno Temple, who played Dr. Teddy Paine, is one of my least favourite characters and performances of the film; her light bubbly persona and backstory fixation are in such odd contrast to the rest of the film. Rhys Ifans, who played Martin, is an incredible waste of Ifans talents and acting ability; Ifans toyed with this nonsense role but failed to really breathe any meaning into this alien obsessed man. Peggy Lu, who played Mrs. Chen, was a nice side character in the other films, but it's just too over the top in this; the whole Las Vegas dance number is quite a weak point in the script. Clark Backo, who played Sadie, is a very forgettable presence for almost the whole film; her push into being a symbiote hero at the end doesn't ever really feel earned. Alanna Ubach, Hala Finley and Dash McCloud, who played Nova, Echo and Leaf respectively, might be the worst family ensemble in a major release film I've seen this year; no one seems too into it and there are no performances that really command a scene. Andy Serkis, who played Knull, might be the worst introduction to what could have been an interesting villain; the character spends more time monologuing exposition than actually being menacing. Reads more Serkis playing Snoke than the King in Black.

Not only the worst Venom film yet, but currently one of my least favourite superhero films of the 2020s. I would give Venom: The Last Dance a 2/10.

Woman Of The Hour

This review may contain spoilers!

 

Woman Of The Hour is a true crime biopic about Rodney Alcala, the Dating Show Killer. Within this film we get glimpses of Alcala's crime spree, his game show encounter with Sheryl Bradshaw and his ultimate arrest in 1979.

 

The quality of the writing for this movie really surprised me in terms of what I got drawn in by. The film has two focal points; one in which we get a random viewpoint into Rodney Alcala's murder spree, and then a glimpse into Sheryl Bradshaw's life in Hollywood. I loved seeing Sheryl's life in this specific time period and the challenges she faces from men in her life. Immediately we see her struggle at the end of an audition as two male producers criticise her and her appearance, ask if she's open to nudity and all the while clearly forgetting her even though she's still in the room. Later we see further moments like this with Sheryl being asked to audition in a swimsuit, or only getting her first acting job as a contestant on a dating game show. Later at the show itself Sheryl's appearance is picked up, she is handed scripted questions that cater to the male contestants, and she is given explicit instructions to act dumb and smile. Throughout the whole film, Sheryl is also put into situations with male friends where she feels forced to give them something like sex, attempts to flee dangerous dates and demonstrates survival tactics known to many women in order to escape a hostile date. Woman Of The Hour isn't the most well-constructed film of 2024, but it drives home some phenomenal feminist themes that are very well written.

 

Daniel Zovatto, who played Rodney, has an unsettling charisma that makes for a good serial killer performance; Zovatto has such duality to him in that he can be likeable while simultaneously feeling dangerous. Kathryn Gallagher, who played Charlie, is perhaps the most interesting portrayal of one of Rodney's victims; Gallagher presents a very grounded figure who you feel like you could bump into right on the street, which made her whole arc all the more tragic for a viewer. Matty Finochio and Geoff Gustafson, who played the Casting Directors, brought one of my favourite scenes in the film, and it comes very early on; the way this pair flip from very brutal to a sort of nice façade is quite entertaining, and they play off Kendrick well.

 

However, the best performance came from Anna Kendrick, who played Sheryl. This is a very grounded protagonist performance for Kendrick, the importance of Sheryl isn't that she has some special unique twist, but rather she could be any woman in LA experiencing the dangers of men. When we meet Sheryl, she is exasperated, she cannot find an acting gig, and she is at the whims of sexist producers in a position of power. She has this drive to break in, but even when she is venting her hopes to her male friend, we see her lose a more everyday battle. The scene in which Kendrick's role awkwardly realises her friend is making moves on her, she lightly reproaches him only to be guilted into sleeping with him is an uncomfortable scene that will resonate with audiences. Kendrick plays a woman who often seems like she has to temper herself for others but is growing frustrated at having to do so. I loved seeing Kendrick's charisma and wit ignite at being able to play Sheryl running away with the show, writing her own questions. However, it is her fear that steadily develops when she finally gets to act one on one across from Zovatto that I really loved.

Where the whole thing doesn't work on this for me is the genre component of this; what is probably intended as the main driving force of the movie. The true crime component just doesn't really work, it often feels weirdly inserted into the film and grapples with the Dating Game aspect which is often presented as the main storyline. Yet the more The Dating Game story plays out, it becomes clear this large component of the film is more of a novelty, an almost danger that resulted in Alcala's infamous moniker. There's even a really unnecessary sub-plot tacked on with a friend of a prior victim recognising Alcala that makes the whole Dating Game storyline begin to feel more fiction than fact. The film jumps around in time a lot to show random killings of Alcala's, this creates a distorted sense of pace. It doesn't really add anything to the Alcala story than to just show him as a monstrous killer. Frankly, there are a lot of narrative choices in this that feel like they are put there to pad the story out and make it fit a commercial runtime.

My other main concern for the film is that as a final finished visual product, it left a lot to be desired. Beyond a few 'postcard perfect' location shots, this is a very simple film that holds easy framing and really make the entire Dating Game set quite a bore to watch. The editing adds to the frenetic and uneven pace, even bringing a slow quality to how the whole thing comes together. The score is barely present at all and fails to push any emotional beats further, even the soundtrack is quite a throwaway thing with barely any noteworthy points to draw focus to.

Tony Hale, who played Ed, is a pretty stereotypical game show host role; he has a bit of a tense point with Kendrick that feels really squandered. Nicolette Robinson and Max Lloyd-Jones, who played Laura and Ken respectively, are a couple that comprise the most useless sub-plot of the film; Robinson's more hysterical performance isn't very engaging and feels quite tacked on to the whole thing. Pete Holmes, who played Terry, is an unsettling friend role that never really makes sense from introduction; I never really get chemistry with him and Kendrick so it's hard to even imagine how their roles became friends. Autumn Best and Kelley Jakie, who played Amy and Sarah respectively, are the more disappointing roles who played noteworthy victims to Alcala; Best plays quite a significant one but struggled to lend much emotion to her role.

At times a compelling insight into the world of Hollywood dominated by male authority and violence, but more often a bizarre true crime biopic that suffers from a weak cast and poor directorial debut for Kendrick. I would give Woman Of The Hour a 4.5/10.

A Mistake

This review may contain spoilers!

 

A Mistake is an adaptation of Carl Shuker's novel of the same name, in which surgeon Liz Taylor comes under scrutiny for alleged medical malpractice. After a sepsis patient Liz was operating on dies to her infection, focus begins to draw to the surgery in which a mistake happened during the operation.

 

This is a very compelling drama, the sort of topic that if you don't have a lot of knowledge on, really makes you yearn to discover a bit more around medical practice. Yet, while the film touts some weighty themes, I found myself personally most invested in the story of Liz Taylor and the downward descent she finds herself upon. Liz is a powerhouse figure when first we meet her, a dominant presence in the operating theory and entirely confident in herself. We note some early points of weakness in her character, she is very arrogant which leads to her pushing her registrar to make an insertion he is unprepared for, and Liz isn't naturally empathetic with her patients and their families. The fallout of her patient's death results in Liz bumbling the post-mortem sit down with the family, leading to her name being dragged through the papers and the hospital itself coming under fire. From here her life only spirals as she is faced with increased monitoring of her surgery results, suspension of her ability to practise, a mite infestation in her home, her girlfriend leaving her and multiple deaths resulting from this fallout. Liz really gets broken throughout this piece and watching her take the broken pieces, acknowledge her blame and fight for others ultimately is a very satisfying character arc to watch.

 

Frank Ilfman's morose score perfectly represents the descent into despair this film takes us on, it's a very sombre piece of music that filters in nicely throughout this grey visual.

 

Simon McBurney, who played Andrew McGrath, is a bit of a moustache twirling antagonist, but he works so neatly for it; McBurney revels in being the bully to Banks all film long. Mickey Sumner, who played Robin, feels quietly exciting and intoxicating, which shows why Banks is so captivated with her; it was nice to see Sumner's own crisis of conscience in staying with Banks during the events of the film. Joel Tobeck, who played Alistair, is a pretty gruff and ready leader of the hospital; Tobeck exudes the management role very well, and he connects neatly with Banks in their first scene. Richard Crouchley, who played Richard, is a very meek and earnest character who desires to do the best; watching Crouchley take his character on a very depressive spiral is arresting to watch. Niwa Whatuira, who played the Bio Ethicist, is a very calculating and hard to like character at times; there's a degree of cold indifference to Whatuira which makes him an incredible on-screen rival for Banks.

 

However, the best performance came from Elizabeth Banks, who played Liz Taylor. This role is a real hardass at times, she can be impassive and wields her intellect like a weapon and a status symbol. Yet, it's clear within this performance that attitude is earned, it comes from skill and hard work well performed. Banks plays the theatre scene in which the operation goes wrong really well, from an arrogant outburst to a laser-like and driven focus. This whole film we see the hard fighter she is within her workplace and outside that space, the way she is emotionally drained or beaten up by those events. I loved seeing how distanced she comes across even in her closest relationships with her girlfriend or sister. The scene in which she has to put down her sister's dog is one of the saddest things you'll see in this film, rivalled closely by her being the first responder to a suicide. Liz Taylor is a strong and impressive role that goes on a wonderful character arc, brought to life by Elizabeth Banks. It's almost enough to excuse the questionable Kiwi accent.

 

A Mistake grapples with some pretty big themes of medical ethics and accountability. It frames a surgery for a sepsis patient in which three incisions and insertions have to be made. Liz takes the first and performs the third incision, but goads her registrar into making the final insertion. He does and fails, leading to damage within the organs; Taylor fixes this and the patient later dies of her infection. The whole film then descends into questioning whether Liz is right about the surgery not being the cause of death, also pondering if that patient should be held against her morbidity stats even though the patient was likely to pass. The film gets lost down the road about how to talk to families about these events and what good accountability looks like in the medical field. The film even asks if we should be tracking and releasing success and morbidity data for each practising surgeon, or if this will just drive good doctors out of work. The whole film is riddled with moral questions, often very precise for the medical profession, but it doesn't have the surety to answer them. Often the film pushes an idea back and forth a little and then events just progress. A Mistake is very tentative around taking a stance at the best of times. This is also a sluggish film, it isn't in any hurry to reach conclusions or dramatic heights despite the nature of the events in the film.

 

The design of this film tries to get creative without much to work with at times, but overall the film is a drab, grey, lifeless thing. There doesn't seem to be much insight into how to draw effective visuals from a bland fake hospital, the Auckland CBD or a basic house set. Overall, the film is edited and coloured to be slow and dull.

 

Fern Sutherland, who played Jessica, is a hard sell as Banks' sister; the pair don't really have much chemistry, even in their big emotional character moment of the film. Rena Owen and Matthew Sunderland, who played Tessa and Owen respectively, are almost cartoonish and over the top in their portrayal of grief; it's an embarrassing contrast to some of the dramatic performers in the same scenes as them. 

In spite of a brilliant cast, this is a film lost in its own complex themes and washed out colour palette. I would give A Mistake a 5.5/10.