Fuze

This review may contain spoilers!

Fuze is a heist thriller following a military bomb disarmament unit locking down a few city blocks in London to disarm a recently unearthed WWII bomb. At the same time, a band of opportunistic thieves use the lockdown to perform a bank heist.

I found this an incredibly interesting thriller, one that was prepared to change itself to keep the audience hooked. At first, what we have is quite an operational high-stakes glimpse into a major event that forces military, law enforcement and other units of government to come together to protect innocent lives from this bomb threat. The additional element of a band of thieves steadily working throughout this lockdown also contributes to the tightly paced delivery, with their heist proving extremely methodical. At precise moments, you wonder whether this is the time the thieves would be caught, while at others, the risk of the bomb detonating escalates. The film is stacked with tiny micro-conflicts that shift things into tenser or more unpredictable spaces. Once the large pivotal shift of the film transpires, the dangerous elements really unravel, and our focus lies with the heist. Seeing double crosses play out, secrets become revealed and intensive shoot-outs play out, leave you guessing to the very end who our final triumphant characters will be. There is a strange sense of satisfaction in watching who walks away, regardless of how likable the characters themselves are. Fuze is a thriller where you might notice the cards it has up its sleeve, yet it spins its story very well.

This film has a very simplistic, everything precisely in the frame approach. We move and hold with the characters who lead the screen; this is a film that invites you to observe as it all unfolds steadily. The editing for Fuze is absolutely tight; it keeps an incredible pace and moves through scenes in a way that only serves the story that is being told. The score might not be the most impressive of 2026, but it manages to keep a tense feeling of anxiety going in crucial scenes.

Theo James, who played Karalis, is a pretty slippery criminal mastermind here; James' role is riding the stress and high of this caper the most out of anyone. Gugu Mbatha-Raw, who played Chief Superintendent Zuzana, is a very stoic leader; Mbatha-Raw does a good job at showing a reserved and effective figure of authority. Saffron Hocking, who played Military Sergeant Dootsie Keane, is a strong foil to Taylor-Johnson's more aloof lead; Hocking banters with her lines impressively while switching into a more abrasive military manner when called for. 

However, the best performance came from Aaron Taylor-Johnson, who played Will Tranter. This might be a smaller film than some of Taylor-Johnson's recent leading work, but it also reflects how much he has grown as a performer. There is no point in this film where you don't believe Will is a man of action who is seasoned in difficult scenarios such as this. Taylor-Johnson commands the military response scenes, barking orders and holding the unit together with a casual grit. Yet, it's the scenes where his command is challenged that I loved; watching him grow stubborn and upset was a nice switch. Seeing the sort of compassionate soldier he was and the path he chose in that final flashback was a great piece of acting from Taylor-Johnson to close us out.

Fuze is a well-written, precise piece of cinema that isn't too hard to follow. This is the sort of feature that signposts where it's going pretty hard, and I felt the mystery would have been richer with some more subtlety. The way this thriller becomes so heightened near the end, with a scrabble for success, felt a bit messier than the polished first half. The final flashback scene, paired with the humorous credits roll, felt a bit unnecessary. It was an endpoint that had me wishing the film just trusted the audience to be smart enough to read it. The use of comedy before a full cut to credits just seemed tonally jarring when compared to the movie we had been watching.

The soundtrack for this film had some cool tracks, but a really strange mix of genres that made no real sense. The jump from reggae to a folk-rock thing really had me scratching my head.

Sam Worthington, who played X, isn't much more than a big grunt with a few more lines than most; whatever leading man talent Worthington used to wield has abandoned him here. Elham Ehsas, who played Rahim, has his own subplot that doesn't intrigue as much as the others; Ehsas is really held on his own to tell his story, which struggles.

A tense play-by-play that turns into a lively heist thriller. I would give Fuze a 7.5/10.

Outcome

This review may contain spoilers!

Outcome follows Reef Hawk, a famous Hollywood actor who has been performing since he was six. Poised to come off a five-year hiatus after a stint in rehab, Reef is suddenly confronted with the threat of blackmail that could shatter his entire existence.

I enjoy that this film is about image at its very core. Reef is quite a fragile figure; he is held together by the thought that he is admired and thought of as a 'good' celebrity. Across Outcome, we watch Reef feverishly wrestle his cellphone out of his pocket and Google how well-liked he is, often by searching up negative things about himself. When people say damaging things about who he is in this movie, he spirals into a depressive, frenzied or rageful state. Even when face-to-face with the man who was blackmailing him, Reef asks if the guy hates him. It's the only thing Reef can understand; his own reputation and image are the very things his being revolves around.

The soundtrack for the feature serves it rather well; playing that moment of final growth out on 'How Lucky' by Kurt Vile was that light, contemplative feeling this film needed.

Keanu Reeves, who played Reef Hawk, actually really goes for it with this role; Reeves' lead protagonist is a constantly anxious and hopeless mess. Cary Christopher, who played Skylar Williams Wood, is a prodigal young talent; Christopher only has one scene here, but his parody of an overconfident young actor is hilarious. Laverne Cox, Roy Wood Jr., Atsuko Okatsuka, who played Virginia Allen-Green, Reverend Leondrus Carter and Unis Kim respectively, are a hilarious group together; they really play up the absurdity of a Hollywood image crisis team. Welker White, who played Savannah, is a biting moment of realness in all this; White's painful remarks about how hurt Reef left her and how damaging he was salted the earth of this film. Matt Bomer and Cameron Diaz, who played Xander and Kyle respectively, struggled with the material at times but really showed their experience when it counted; the scene where Diaz loses her temper and Bomer confesses why he is Reef's friend, is powerful stuff.

However, the best performance came from Martin Scorsese, who played Richie 'Red' Rodriguez. I've really enjoyed the more recent light forays into acting from Scorsese; if you haven't seen him in The Studio, that is a must-watch. What I enjoyed about Scorsese as Red, this washed-up manager for child actors, is that Scorsese makes Red feel seasoned in the industry. You believe Red isn't a big player; he's just a guy who works out the back of a bowling alley. But he has doggedly hustled at his work for years, in a way that has often felt thankless. When Scorsese admonishes Reeves and tells him that he tried his best for him, it's a real moment of vulnerability. The first this film ever really shows. Watching Scorsese confide that he tried to save his client from the drugs, all while beating himself up for not doing enough, is a genuine moment of feeling in this entire feature. But adding that confession layer from Scorsese that he is so sad that none of his clients ever reached out to him again after they left is a bit tragic. Ending the film on the reconnection between Scorsese and Reeves is the smartest thing this film achieves.

Outcome is the sort of film that you put on and almost immediately question who on Earth it's actually for. This film is the sort of story that feels like it's made in Hollywood for Hollywood. Jonah Hill's take on Hollywood celebrity satire is one of the more niche experiences I have had watching cinema. There is a vapid reflection on actors being afraid of being cancelled in the digital age, jumping at the sight of a cellphone camera or a tabloid rumour. Characters jape about the #MeToo movement and being a victim of sexual harassment in a way that feels like it's playing with a line that doesn't really need to be crossed. Outcome wants to be a comedy more than it wants to be a drama, but the humour feels extremely tailored to the crowd of people who are actually making the film. When it isn't the comedy often degrades itself into sex or drug-related material, with one scene putting Ira on a toilet seat while Reef continues to chat with him. This film has characters making racist jokes while then darting away from that material in the same breath to show how 'opposed to racism' they are. It's a film that feels more than a bit senseless and warped morally. There's an implication that Reef's manager, Ira, also represents Kanye West and Kevin Spacey, as there are monolithic photo frames of them all through his offices. As a character, I never found myself entirely understanding or caring for Reef very much, and the film never manages to change my mind on that. Reef is quite a shallow character with a strange life and people around him who act extremely artificially. Everything about this film is performative, and you wonder if there's even any sincerity in the message. Knowing that Jonah Hill made this, while watching him pantomime a morally bankrupt Hollywood manager, often feels more warped than funny.

The way Outcome is shot is absolutely hideous. You are either all too aware of the artifice, or you're too aware that this film has the worst lighting crew working in the big year 2026. The editing is an inconsistent series of cutting choices that often stilt or lend an awkward effect to the pacing. The score for Outcome is grating and lends no extra emotional weight to the feature.

Jonah Hill, who played Ira Slitz, is the biggest letdown in his own movie; Hill gallivants around scenes like he thinks he is the funniest person in any given room. Ivy Wolk, who played Sammy, is here to be Reeves' onscreen daughter, but the pair have no chemistry; Wolk has this dry, tinny delivery that falls on its face. David Spade and Kaia Gerber, who played Buddy Gomorrah and Oksana respectively, are important additions to the film but serve their purpose poorly; Spade looks completely washed out here. Susan Lucci, who played Dinah Hawk, really doesn't know how to ground her character at all; Lucci feels like she is often playing her character too big and fake for the scene. Drew Barrymore, who played herself, has clearly been out of the acting game too long; she just went over the top as her first instinct.

This incredibly talented cast doesn't hide the fact that this is nothing more than a thin vanity project for Jonah Hill. I would give Outcome a 1.5/10.

The Drama

 

This review may contain spoilers!

The Drama follows a happily engaged couple, Emma and Charlie, who are due to be married. At a wine tasting evening with their friends, they play a game naming the worst thing they have ever done. However, when Emma shares hers, the ramifications on all of their lives could be severe indeed.

This film has one key thing to do that ends the first act and catapults us into the second. The Drama has to tell us exactly what the drama is. If there is anything this movie did incredibly well, it was this pivotal moment. The film has given us the fluffy meet-cute, dates and relatable love story that is a little too sweet. It has also shown us that some of the characters are a bit inane, snobbish and have their own conceits. It's the perfect calamitous cocktail for a moment of confession, in which we get this varied mix of the worst things our main cast of characters has ever done. Emma admitting to planning and nearly executing a school shooting silences the room and immediately erodes that feeling of golden romance. Suddenly, tension is high, and the mystery becomes how it is all going to play out. That then becomes the solid strand moving forward; this palpable feeling of tension as you wonder how the gossip spreads and when the bubble will inevitably burst.

Unsurprisingly for an A24 film, this is a highly aesthetic piece of cinema. It has a very indie romance take on New York romance, but then bubbles into intensive uncomfortable shots as the plot unravels into its more foreboding back half. The soundtrack for The Drama is a light offering, but it has these gentle tracks that also suit the indie style of the film. I found 'Inside Out' by Jesse Rae to be the bright theme for everything right in Emma and Charlie's relationship.

Robert Pattinson, who played Charlie, seems to be in his element with a role like this; Charlie is a very aloof figure who absolutely crumbles across the duration of this film. Mamoudou Athie, who played Mike, is a friend character I quite enjoyed across this feature; Athie really tries to settle tensions and is often on the fringe, feeling pretty perturbed by everyone else. Hailey Gates, who played Misha, is this very impassive figure who plays well against Pattinson's ramping fears; Gates is the perfect ingredient to push Emma and Charlie's relationship over a very precarious edge.

However, the best performance came from Zendaya, who played Emma. This character is a really bright and loveable spark from the moment we meet her at the start of the film. Zendaya plays Emma as being entirely head over heels, it's almost to a point where it feels a bit dorky, as her friends indicate to her. Yet Emma is this character who seems to take action and move forward; she has her own temperaments and isn't initially swayed by others. Zendaya plays the drunken confession of admitting she planned a school shooting brilliantly; it bursts out of her in a fairly innocent and naive way. The fallout from that point is that we see Zendaya really spiral out of control from here; she overthinks every social interaction and despairs that her relationship is over. She plays to the tension of every scene, and wilts at becoming this pariah. But I also think the layer of complexity that Zendaya brings that sets her above is how she plays Emma as this redemptive figure. Even at their lowest point, Emma is the character who brings the hope that this relationship can be saved and endure.

I think the reveal of the drama behind The Drama is where the film peaks. From there, I really struggled with what this film had to say for itself. The idea that Emma committed to planning and nearly executing a school shooting as a young teenager is shocking enough to make a good twist. From here, you might expect the movie to say something, anything, about school shootings and gun violence. However, beyond Charlie noting how many shootings there are in the US in a year, this film just loosely wags its finger and says gun violence is bad. Which is really quite a simple and expected position to take. The Drama is more focused on the interpersonal nature of this confessional, asking whether Emma should be condemned for what she almost did some years ago. It's a strange moment for the plot to utilise quite a serious problem within American society, then put it to the side to make a film that is more in line with asking if people are worth getting a second chance, regardless of their actions? This film has a very stilted pacing that snaps between imaginary scenarios, dream sequences, flashbacks and jump cuts that craft a very strange type of pacing to watch. The film also wields these characters who seem to live quite an elevated life; it's very glamorous while still feeling quite domestic. There's a bit of an academia air to the whole thing that creates this superior sense when discussing morality; the characters hardly feel like arbiters of justice that an audience can relate to. When the characters confess to the worst things they have done, one of Emma's friends nearly killed someone through their actions. Yet this friend is never condemned in the same way that Emma is, a plot moment I really struggled to make heads or tails of. The film snowballs into everyone taking increasingly worse actions to muddy the moral implications of the story, with Charlie even cheating on Emma at one point. By the time the wedding implodes itself in this grotesque way, I don't think anyone felt shock so much as they felt repulsion. The film offers up crumbs of a happy ending, but I struggled to understand if I should even really care about the fate of Emma and Charlie by this point.

The editing for The Drama is a scattered nightmare, with cuts that confuse and divert the audience, constantly destroying the pacing. I also found the score for the feature to be a frenetic, droning sound that might have heaped on the anxiety of certain scenes, but had no business being described as anything 'musical'.

Alana Haim, who played Rachel, is here to be the frosty friend who is also a bit of a bitch; but Haim never really seems to grasp how to do this in a particularly grounded manner. Hannah Gross, who played Alice, is a very reserved figure who feels a bit superfluous at times; Gross' relationship with Zendaya and Haim is really poorly defined and perhaps not needed at all.

A strange, reckless movie that utilises a major systemic American issue for an edgy take on interpersonal relationships. I would give The Drama a 3.5/10.

The Super Mario Galaxy Movie

 

This review may contain spoilers!

The Super Mario Galaxy Movie is a direct sequel to The Super Mario Bros. Movie (2023). In this feature, Bowser Jr. is on a galaxy-wide rampage and wants his father returned to him. It will take our heroes, and some new friends, to stop the Bowser family and their Koopa army.

I really liked that it felt like Princess Peach got to be active in this story. The good thing about a Nintendo property film is that all of these characters are equally exciting and can command their own story. Peach undergoes a real heroic arc, venturing throughout the galaxy to save her sister and uncover the mysteries of her past.

The one thing I have to say positively for Illumination is that they have really turned out their A game for designing these Mario movies. The colour palettes are entirely vibrant, and everything really pops with a varied colour scheme. There is plenty of background detail to look for here, and the animation team has really worked to bring the world of Mario and his friends to life. Tyler Bates' score is a real love letter to the cartoonish video games, with tribute to those original game scores woven through his adventurous musical arrangement.

Anya Taylor-Joy, who voiced Princess Peach, is really fighting a great fight this time around; Taylor-Joy gets to present Peach as a bit of a stubborn and capable warrior. Brie Larson, who voiced Rosalina, is this really gentle and motherly figure to the stars; yet Larson also makes it clear that no one in their right mind messes with someone as tough as Rosalina. Keegan-Michael Key, who voiced Toad, has a very dry wit that works well; Key's Toad is always up for adventure even when he isn't the most equipped for it. Charlie Day, who voiced Luigi, suits the plumber brother more ready to jump at his own shadow; Day's take on Luigi is rather stressed out yet full of admiration for his brother.

However, the best performance came from Benny Safdie, who voiced Bowser Jr. As far as antagonists go, Safdie has really stepped up the game in this sequel. Bowser Jr. can seem like a mean-spirited kid who lashes out in tantrum-like ways. However, Safdie does a good job of following through and actually sculpting him to be an intimidating villain. This is a Bowser who just wants the approval of his father and his father's love. Safdie leans into the playful wickedness of the role, creating an animated villain who actually stands against our heroes well.

The Super Mario Galaxy Movie is much like the first Mario movie; it barely has any plot to speak of. These films are made by Illumination, which famously treats its animated features like products, and less like art forms. If you don't believe me, perhaps just reflect on the fact that we almost have as many Minions movies as we do Despicable Me movies now. This is a film that starts off with hints of a grander, nefarious plot, but in reality, Bowser Jr. just wants Bowser back. Princess Peach flies all over the place to find her sister. The Mario Bros. eventually stumble after her. Yoshi is just kinda introduced and then becomes a part of the gang. Bowser's character development is weirdly stripped away, and he regresses back to being a villain. Even the final battle sidelines our main antagonists for a monster fight that didn't seem especially well set up. A lot of this movie wants you to see and be interested in the familiar locations, characters and objects of the various Nintendo games. It dangles them out in front of you with a big grin, hoping the memory of the past is enough to have you hooked. This coming out after Pixar had just released one of its most imaginative films in years is such a stark contrast.

The soundtrack for this movie has a few strange moments of hip-hop or modern tracks that just don't really mesh with the sort of story being delivered.

Glen Powell, who voiced Fox McCloud, is a moment where the actor is trying to impress upon you that his character is cool; Fox feels awkwardly stuffed into this movie to mirror what Donkey Kong achieved in the last one. Chris Pratt, who voiced Mario, just doesn't have a voice that makes me think of Mario; the accent inflection Pratt does is quite painful. Jack Black, who voiced Bowser, feels like he's only really capable of playing to this strange comedic take on the villain; Black often sounds more like himself than the character he is attempting to portray. Donald Glover, who voiced Yoshi, feels more like a marketing move than anything else; Glover voicing something as innocuous as Yoshi is a waste of time. Kevin Michael Richardson, who voiced Kamek, is quite an annoying henchman figure; his grating presence in the Bowser scenes really brings those down. Luis Guzmán, who voiced Wart, is a barely notable antagonist role; he does some remarkably unimpressive posturing to ignite a fight scene.

Mamma mia, here we go again. I would give The Super Mario Galaxy Movie a 3.5/10.

Mike & Nick & Nick & Alice

 

This review may contain spoilers!

Mike & Nick & Nick & Alice is a science-fiction buddy-comedy following Mike, a gangster who is about to get himself clean. However, his fellow gangster Nick has just time-travelled back from the future to warn him that he is going to die in a few hours, and the main person who could stand in their way is...Nick.

This is a very unusual gangster story. Almost immediately, we have a big party for the crime boss's son being released from prison, with our main characters on the periphery engaged in extramarital affairs. But the film doesn't want to linger too long on anything that could be considered 'normal' to a crime film. Nick comes to bundle up Mike, ask for his help with a job and sends the hapless gangster to chloroform his present-day self. This type of unpredictable, off-kilter and random comedy fuels this feature. It is absolutely hilarious the strange and dark places this film is prepared to go; whether that be Nick drawing a gun on a cashier over some sugar-free lollies or a mob boss having a heart-to-heart with his son about his kid being a foundling he discovered under a dumpster. Even the action sequences showcase a sense of well-choreographed humour; one character is bashed in the face with an urn full of ashes, while in another fight, a character manages to hook a combatant up in an embarrassing position with gym equipment.

The soundtrack for Mike & Nick & Nick & Alice is absolutely on fire the whole way through. There's a lot of partying and dancing, with perfect tracks paired to these settings. But there are also some big moments in the film where music feeds the story. 'The Boys Are Back In Town' playing while the Nicks and Mike have their shootout is an awesome sequence, Ben Schwartz performing 'Why Should I Worry?' marks a strong introduction, and 'Don't Look Back In Anger' by Oasis accompanying the death of a main character drove that home incredibly.

Vince Vaughn, who played Future and Present Nick, was really interesting as this impassive but predestined gangster; Vaughn has a dry wit which made him completely likable even in moments of decent conflict. Eiza González, who played Alice, felt like one of the more grounded characters in this film; she often presented her frustration at how out of hand the evolving situation was becoming. Ben Schwartz, who played Symon, is a real bright spot in this feature; his introduction to the film is an absolute hook. Emily Hampshire and Dylan Playfair, who played Sam and Stoned Chasier respectively, work with Vaughn to round out a phenomenally funny gas station scene; Hampshire and Vaughn also have some chemistry worth noting in this. 

However, the best performance came from Keith David, who played Sosa. If you want a crazy antagonist who will take a screwy comedy wherever it wants to go, David is more than capable. In his first scene, David seems rather amiable, happy to be celebrating his son. It doesn't take long for him to suddenly flip and start threatening and cussing out the crowd. David presents as authoritative and relatively refined across the feature, a genuine mafioso at the head of his table. But this doesn't mean David is devoid of being funny. He riffs on Tatro constantly, pretending to be confused over Winnie the Pooh or growing frustrated that his son is so upset at having been discovered under a dumpster as a baby. David really leans into the comedy this villain can bring, without compromising the mean streak of the role.

I found this film to be on the back foot almost constantly. Mike & Nick & Nick & Alice is a sci-fi concept film at its core, but the time travel stuff feels extremely shoehorned in. There being two Nicks is interesting, but why there are two Nicks never really gels. Even having a scientist friend of Alice who has been working on a time machine is out there and doesn't integrate well into the story. But even the gang is strange; they're a mob collective of some kind, but we don't know what they actually do beyond general crime. Strangely, most of the gang members seem like frat bros telling one another stories about malfunctioning sexual organs and reminiscing about weddings of old. Occassionally the film realises it doesn't know how to explain anything without an awkwardly imposed black and white flashback. Even the interpersonal elements of the characters don't really work; Nick and Alice barely seem like they have a history, which makes the whole cheating storyline lose wind pretty fast. Mike and Nick are labelled as friends, but this doesn't seem especially likely. Frankly, it's hard to even fathom that Nick was capable of enough guilt to travel back in time to save his friend.

I found the visual style of this film to be utterly bizarre and often ugly. The fact that random shots descended into these out-of-focus, blurred, dropped frame rate sequences was hard to understand as a stylistic choice. The editing set an extremely slow pace and could have been tidier in a few scenes. The score was incredibly scattered, with the style of music weirdly switching up for different scenes at times. I felt confused by the intent of the score, which only really came to the party for a handful of moments.

James Marsden, who played Quick Draw Mike, just did not feel like a criminal at all in this; Marsden seemed baffled by the material he was working with at the best of times. Jimmy Tatro, who played Jimmy Boy, just felt like a bit of an obvious push for comedy; Tatro felt more like a college bro than the son of a crime lord. Arturo Castro, who played Dumbass Tony, had such a weird gag scene around dicks no longer working after a certain age; Castro really didn't belong among the criminal ensemble. Stephen Root, who played Chet, was a bit of a novelty fake-out scene; Root gives a passing strange effort at an eccentric character. Dolph Lundgren, who played The Barron, was really just in this for his height; Lundgren's imposing figure was kinda worse than Root's previous clowning of this role. 

This film never stopped struggling to make its oddball concept work. I would give Mike & Nick & Nick & Alice a 4.5/10.

Hoppers

This review may contain spoilers!

Hoppers follows Mabel Tanaka, a young student advocating for a glade that Beaverton's Mayor, Jerry, wants to build a motorway bypass through. When she stumbles across a science project that allows her to become a robot beaver, Mabel uses this 'hopping' technology to incite a wildlife rebellion against the humans.

Does that little blurb for the film above sound a bit crazy? Well, it is. Hoppers is unabashedly a zany, creative tour de force with a concept that just sets out to be fun. From a young age, we see Mabel as someone who loves animals and the natural world; it's the place that grounds her when she gets mad. It's also the place she connects with her grandmother, who teaches her to be peaceful and find calm in this world. Leaping forward to Mabel as a high-energy university student passionately protesting the city destroying this magical place she had growing up, we see Mabel still feels righteous and headstrong about those who endanger nature. This film has an awesome way of presenting the fight for the environment, even showing the viewer how ecosystems are disregarded and destroyed for industrial expansion. The sci-fi component is initially bizarre, but a fun leap into seeing the animal world. The animals have been pushed into one tumultuous environment with the city creeping further and further into their wood. It's here that Mabel meets King George, who sees things a lot more black and white than Mabel does. He believes all creatures are capable of trust, that we all live in one big pond together, and that trust might leak, but it can be mended. While Mabel incites change so that the animals can return home, she is also learning from George that reason and common ground are good places to fight from, too. Watching Mabel set aside her differences with Jerry to stop the Insect King, a megalomaniacal butterfly in the final act, is an important aspect of this story. It shows that two people standing on opposite sides of the divide can find a place to be better if they talk and learn from one another; watching Mabel and Jerry actually work together to clean up the glade by the end of the film was a real emotional sucker punch for me.

Pixar is really back in action with this one; the animation is so adventurous. I thought those neat, realistic details in nature were impressive. For a lot of years, that metric was how real the water looked, but for Hoppers, you can see it in how the long grass bends and sways, or how each rock has a different pattern of lichen upon it. Yet, the animation isn't just about grounding you in something real; it has a vibrant design brimming with colour that made me think of that joyful spark you see when a young kid falls in love with a picture book. The score for this feature hits all of the right emotional beats, and I loved the soundtrack they paired with this. 'You Make Me Feel Like Dancing' being played as Jerry's favourite song was a comedic high point of the film.

Piper Curda, who voiced Mabel, is this real fiery fighter for nature and what she loves; Curda's voice work brings this young rebel to life. Jon Hamm, who voiced Mayor Jerry Generazzo, is remarkably charismatic despite initially being placed as an antagonist; Hamm lends a ton of comedy and heart in equal measure. Kathy Najimy, who voiced Dr. Sam, is this very high-strung scientific mind; she shows a lot of care for Mabel while being this highly stressed presence for the hopping beaver robot. Meryl Streep, who voiced the Insect Queen, was a real imperial presence; Streep doing a bit of grandstanding aggression as this monarch butterfly was brilliant. Karen Huie, who voiced Grandma Tanaka, is one of those gentle grounding voices in the film; Huie is at the emotional centre of the first act completely. Lila Liu, who voiced Young Mabel, really introduces us to that fiery anger Mabel has; but we also hear her first love for the natural world from Liu. Eman Abdul-Razzak, who voiced the Insect Prince, is a classic evil antagonist; a genuine shiver when he declares he is going to pupate. Vanessa Bayer, who voiced Diane, is such a good voice gag for such an intimidating character; Bayer plays a good contrast to the scenes she is in.

However, the best performance came from Bobby Moynihan, who voiced King George. This character is an absolute sweetheart, probably one of the most likable roles I've seen in animation in a while. George is a genuinely good and kind leader; he puts his people first every step of the way. Moynihan crafts a role with a lot of compassion, who sees the good in others and believes in doing the right thing. He isn't always action-first, but he becomes inspired to take action more across the film without compromising his values. Moynihan's work here is wonderful; it left me feeling pretty inspired by a little beaver wearing a crown.

I mentioned before that Hoppers sounds a bit crazy, which means it is often very daring and creative. But sometimes it is just a bit too bonkers for its own good. The film struggles to introduce the hopping technology; it's a big shift that is quite an extreme tonal shift the film stumbles through initially. I also found the big conflict with the Insect King at the end of the film was a bit much. It made sense that the film went that way, but it went in a direction that was difficult to contain after it had gone that far. This was a big climax that probably needed to be workshopped just a little more to get it there.

Dave Franco, who voiced the Insect King, was a big part of what didn't work in act three; Franco's exaggerated delivery just blew the top off what the story was doing. Eduardo Franco, Tom Law and Melissa Villaseñor, who voiced Loaf, Tom Lizard and Ellen respectively, were a friend ensemble that never left much of an impression; these characters often lumbered right behind the two leads and barely seized the story for themselves. Aparna Nancherla and Sam Richardson, who voiced Nisha and Conner respectively, were just background elements to Najimy; neither performer really had their own way of making an impact. Isiah Whitlock Jr., Steve Purcell, Ego Nwodim and Nichole Sakura, who voiced the Bird King, the Amphibian King, the Fish Queen and the Reptile Queens respectively, were an ensemble that didn't really make much of an impression; a unique group that was never really more interesting than their visual introduction.  

A simple message, but an effective one: human or animal, we are all in this pond together. I would give Hoppers an 8.5/10.

Project Hail Mary

 

This review may contain spoilers!

Project Hail Mary is an adaptation of the Andy Weir novel of the same name. The film follows Ryland Grace, a high school science teacher who cracks the mystery of saving Earth's dying sun. Sent on a one-way mission to save the sun, Grace must work alongside an unlikely ally to save his world.

This is really what sci-fi is all about. When you think of a film that uses science to elevate the viewer and propel us out into the void of space, we often think about Star Wars or Guardians of the Galaxy. But Project Hail Mary gives us Ryland Grace, a man who has woken up alone on a spaceship after an induced coma. He is desperate to reconnect with his identity, and he feels the isolation of being alone on this ship. This film introduces Rocky, an extraterrestrial character who has ventured through the stars to save his homeworld as well. This meeting is where the film gets really refreshing. It's not a moment of tension, nor aggression. This is a film in which the characters learn about one another, and they discover how to communicate and develop a bond through their shared circumstances. What kindles from this is a friendship that defies a difference in species; it is a moment in which two scientifically minded beings show compassion for one another. The chemistry developed between this duo is the beating heart of this film and gives so much when the film really puts this pair on the rocks. I also think the story of seeing how Grace comes to be in space is a good one; he proves himself to be more than his mettle. But when he fails himself on Earth, he makes up for it by choosing to be self-sacrificing for Rocky later in the feature. This is a marked point about bravery, and what the true meaning of it looks like. I adored the humour and fun this film was willing to have with itself, knowing it could slip quite easily into wonder and thrills. There is also a powerful message for your day-to-day human being here about uniting in the face of global threats to our planet's natural environment.

This is a movie with very practised hands on the wheel. Phil Lord and Christopher Miller have a visual feast set before the audience here; the camera work glides you through the spaceship Mary. Yet I even think those helter skelter shots when Grace is chasing down an idea are electric moments of cinematography. The visual effects will blow you away; the astrophage farming scene is a real standout moment for Project Hail Mary. I also have to rave about the practical effects that are on display here; the physical set of Mary is a treat, but nothing compares to the work done to craft the puppet that is Rocky. Daniel Pemberton does the score for this, and it is a broad spectrum lending moments of levity and tension alike. I liked a lot of the more folksy soundtrack too, though Hüller's performance of 'Sign of the Times' is the real winner.

Sandra Hüller, who played Eva Stratt, was a woman with the weight of the world literally upon her shoulders; Hüller is very clever about portraying Eva as amenable, while also making it clear that she understands the burden she carries. James Ortiz, who portrayed Rocky, is a master of puppeteering and voice work; Ortiz and Gosling sculpted a bond that this film lives or dies upon. Lionel Boyce, who played Carl, is an unexpected moment of comedy and camaraderie; Boyce doesn't work in the world of science here, yet he forges a really sincere bond with Gosling in their scenes.

However, the best performance came from Ryan Gosling, who played Ryland Grace. It feels like every time Gosling takes a swing at the moment, he is hitting that ball out of the park. This role is going to sit pretty high on his filmography. Gosling really entertains when we first join him; an amnesiac Grace waking up in a state and trying to get his bearings is quite the opener. I found this character a real joy to follow; he is charismatic and very well-intentioned. Gosling makes a point of having him feel very grounded, a bit dorky and yet uncertain within himself at times. I loved the journey to discovering bravery within Ryland Grace; it's a terrific moment of character growth that drives the feature. Gosling knows this movie is all heart; it's a really compassionate piece. You couldn't have a better lead for it.

The alien is so good, I absolutely love Rocky. Yet I couldn't help but feel there's a first contact story in this that feels a bit glazed over. It never seems that alarming to Grace that he makes first contact. Maybe that's because Grace's initial fear is played for comedy, or perhaps we just aren't allowed to sit in the gravity of it. But I do think seeing that alien ship for the first time could have been given a more grounded moment of response. I also felt learning that Grace had been cowardly as a big twist to come a little late. It no longer felt convincing given what we had seen in the modern day at that point.

Milana Vayntrub and Ken Leung, who played Olesya Ilyukhina and Yao respectively, were characters who really could have been built upon; this pair were vital to the mission but ultimately felt reduced to being little more than the bodies they became. 

What a ray of joy for cinema the Lord, Miller, Goddard and Gosling team have sculpted here. I would give Project Hail Mary a 9/10.

Reminders Of Him

 

This review may contain spoilers!

Reminders Of Him is an adaptation of the bestselling Colleen Hoover novel of the same name. After being released from prison, Kenna attempts to reconnect with the daughter she has never seen. However, she carries the guilt of being the driver behind the wheel the night her daughter's father died. Can Kenna find a second chance amid her own guilt and the resentment of those who knew her?

The moments when this movie remembers to be sweet are often the best. Reminders Of Him has that charm evoked by an American small-town redemption story, where hope is possible, and the underdog gets her shot at happiness again. I felt there were a few moments of emotional sincerity between Kenna and Ledger that solidified the relationship as it went along. The climax of the film being Kenna is reunited with her daughter, is the best part. It's a real heavyweight moment where everything set before us comes down to a simple conversation between a young girl and a woman trying to explain to her that she is her mother.

This film is a mixed bag when it comes to the camera work, yet when that lens gets out in nature, or alongside rolling fields or the open road, it really can take your breath away. The location shooting in this is absolutely gorgeous, and the cinematography capitalises on those moments when it gets to go wide. The acoustic guitar layered across the score for this film really grounds the viewer in that hometown setting and makes the whole feature feel a bit more heartfelt. The soundtrack is also a great mix of emotional pieces with a grounding in country. I loved that we got a few iterations of Coldplay's 'Yellow', which was utilised excellently.

Maika Monroe, who played Kenna Rowan, does a relatively decent job as the protagonist for this film; the emotional scenes where she meets her daughter or makes the impulsive decision to leave are often the ones that hit home the hardest. Lauren Graham, who played Grace Landry, is really subtle in the way she portrays internal conflict; the way we see her accept Kenna while grieving her son is very moving. Rudy Pankow, who played Scotty Landry, is quite a simple, charismatic character; Pankow doesn't let Scotty become larger than life, which makes his death all the more moving. Nicholas Duvernay, who played Roman, fast finds his place as the comedic backbone of the film; Duvernay is effortlessly funny and quite likable. Zoe Kosovic, who played Diem Landry, is the sweetest young performer they could have found; this wee girl just feels like walking sunshine.

However, the best performance came from Tyriq Withers, who played Ledger Ward. This character is the classic hometown hero that everyone seems to love type, and Withers has the charisma to run with that. Ledger is a character who really works as a father figure, and this connection Withers has with Kosovic really makes for a loveable onscreen dynamic. Withers plays to his internal conflict well, protecting the family he has served for five years while grappling with his own feelings for Kenna. Withers manages to show anger and frustration in a restrained and reasonable way, more often finding Ledger's desire for resolution. This is a character who is entirely enamoured by Monroe's Kenna, too, and Withers plays to that head over heels quality well. This is the sort of character who stands firm in supporting others, and it's he who ultimately brings this family back together.

Reminders Of Him spends most of the film being a bit melodramatic and unlikely. It's hard to get away from the fact that everything is dramatised and there aren't many moments that find their grounding. Kenna's letters to Sammy often serve as exposition dumps before they later become emotional confessions, which takes a lot of the passion out of that connection very early on. This is a film that wants to remind you that Kenna's life is a misery; nothing has gone right for her. The love of her life is dead, she can't see her daughter, and she went to prison. But it's also a movie where Kenna seems to have a lot of doors open for her every step of the way. She gets a job and a place to live without much struggle, and her dead boyfriend's best friend is pretty fast in becoming completely smitten with her. From there, her pathway to getting a second job and a chance with her daughter only becomes easier in a lot of ways. The moment Kenna and Ledger kissed didn't feel completely earned at that time; they still had some sharp points between them, and it didn't feel like they had drawn close enough together. This is a movie that really doesn't want to put too much pressure on the viewer, and you always loosely know where it's all going to play out. Even the car crash that motivates all of this isn't well captured; it still leaves a lot of room for culpability and doesn't necessarily make the audience forgive Kenna. Reminders Of Him is often a mixed bag, a predictable romance film with enough ability to tug on the heartstrings in the final act.

When the camera got to fly out on location and capture scenery, it really shone. But most of the time, the camerawork in this was downright lazy, or even ugly. The close ups often pushed in too hard, or a scene was very awkwardly framed. The editing is probably the worst thing about this feature, often making some very janky cuts that hitch the pacing of a scene. Yet, it was those flashback sequences with Sammy, which were often colour graded the ugliest shade of yellow you would ever see, that highlighted the poor style choices for this film.

Bradley Whitford, who played Patrick Landry, felt a little lost in this role; the scene in which Whitford gets violent feels completely over the top. Lainey Wilson, who played Amy, is a role the film often forgets about; Wilson's friendship with Kenna could have been better developed. Monika Myers, who played Lady Diana, is an instance where a disabled person feels hired to be made a joke out of; Myers' character's behaviour is often treated as an oddity, which doesn't represent her very well. Hilary Jardine, who played Mary Anne, is probably a friend too many for Ledger's character; Jardine often feels like the odd person out in her scenes. 

A film that won't blow anyone away, but manages to tug on the heartstrings in its final few minutes quite well. I would give Reminders Of Him a 4.5/10.

The Bride!

 

This review may contain spoilers!

The Bride! is an adaptation of the Bride of Frankenstein character first introduced in Mary Shelley's novel, 'Frankenstein'. In this telling, an informant within the mob, Ida, is possessed by Mary Shelley's ghost and dies shortly thereafter. At the same time, Frankenstein's monster seeks help to bring a female corpse back from the dead as his bride.

This is a rather off-kilter and strange tale, one that never makes a move to try to ground itself. What consistently worked for me was the way The Bride and Frank collided with one another. They are an unconventional couple, with Frank yearning for a partner and The Bride holding no memory and seeking her own sense of identity. As this pair challenge one another and explode against the world around them, their entangled strangeness blossoms into something resembling affection.

There is a lot of wild dancing in The Bride! which can only be uplifted by an incredible feat of film score composition. Hildur Guðnadóttir electrifies this romping range of 1930s melodies, at times whirling the audience about and at others lingering on moments of poignant tragedy.

Christian Bale, who played Frank, does a good job at capturing this meeker version of Frankenstein's monster; Bale's monster is a heart struck by loneliness and yearning to feel the romantic side of life. Penélope Cruz and Peter Sarsgaard, who played Myrna Malloy and Jake Wiles respectively, often stole the show quite a bit in this film; this was a duo with a good-natured partnership that really lifted the quality of this film upwards. Zlatko Buric, who played Lupino, does quite a bit with not much screen time; I found Buric's scene where he's dishing out orders to mark him as an unpredictable and intimidating antagonist.

However, the best performance came from Jessie Buckley, who played The Bride/Mary Shelley. Buckley's proving to get pretty interesting as she takes the main stage a little more in cinema. This is a tilted role from start to finish, with Buckley's predominant character, Ida, becoming possessed by Mary Shelley very early on. It's a twisted and impressive feat to watch Buckley contort and twist herself into two different characters, often moments apart. I will say that the black and white solo sequences of her playing Mary Shelley were examples of poorer performance, but once she's free of this strange artistic choice, she really gives her all. Ida is a character who feels remarkably vulnerable, clinging to scraps of identity and trying to find herself. Buckley's more external efforts to portray Shelley are erratic and fiery, igniting rebellion within this merged form. Buckley crafts a character who isevolving from what she was into something violently resistant to the cloying embrace of male assault and exploitation present in this film.

 This movie almost immediately starts off on the wrong foot. The film opens with a black-and-white close-up on Mary Shelley, manic and in some kind of purgatory. Shelley, the famed writer of the novel that started all of this, has more she wants to say, and so possesses a character who is promptly killed. At the same time, Shelley's fictional creation, Frankenstein's monster (or Frank, as he's known in the film), is actually lumbering around. It's a strange moment trying to reconcile the two entities existing together before becoming entangled. The film then has The Bride and Frank trot around on a killing spree that often comes at random intervals. In truth, most of this film feels quite aimless; The Bride is twitching between personalities and seems to telepathically know all the crimes men in any given room have committed against women. This isn't even the extent of the odd, fantastical powers that make no sense. Sometimes people become hypnotised by the monsters and join them in dance sequences, and at other times the monsters can project themselves into films playing on movie screens. The Bride acts as this trigger point for radical feminist protest, but the setup to this is weak, and it's unclear what the film is trying to say here. Frank is also quite an impotent figure that often has nothing to contribute, spending a lot of his time gazing yearningly at either The Bride or a movie screen. Overall, The Bride! is a film that feels poorly conceived and has nothing of substance to deliver to the viewing audience.

Maggie Gylenhaal apparently had a strong directorial feature debut with The Lost Daughter; I think you would be shocked to hear that if you're like me and The Bride! is the first directorial product you have seen. This is a film set in a very exciting era to capture, yet the way it is filmed is so painfully dull and, admittedly, a bit obvious in places. It's rare to find a scene in here and think this is a creative endeavour, which is wild considering this is a reimagining of the Bride of Frankenstein. I found the editing only ever really contributed to the absolute slog that was the pacing. This movie positively drags some scenes out and could've been harsher with cutting. I also found the small soundtrack to be a pretty uninspired offering, ending this whole thing on the 'Monster Mash' made my eyes roll into the back of my head.

Annette Bening, who played Dr Euphronius, doesn't seem particularly convincing as a scientist character; Bening's odd rambles often left me with my eyes glazing over. Jake Gyllenhaal, who played Ronnie Reed, just did not feel like a famous actor from the era he was portraying; Gyllenhaal trotting through a dance sequence always yanked me out of the film in that moment. 

If there is one monster movie you should avoid in 2026, it's Maggie Gyllenhaal's absolutely ludicrous take on the Frankenstein mythos. I would give The Bride! a 3.5/10.

Scream 7

 

This review may contain spoilers!

Scream 7  is the direct sequel to Scream VI (2023) and the seventh entry in the Scream franchise. This film sees Sidney Prescott return as the leading protagonist, just in time for a new Ghostface killer to target her family. An old Ghostface killer appears to be back from the dead and has Sidney's loved ones in their sights.

This is a bit of a return to classic small-town Scream, a slasher film set in an ordinary, run-of-the-mill American town that just so happens to be home to the celebrity Ghostface killer survivor, Sidney Prescott. It's a pleasure to see Sidney and her family being so nestled in a life that holds some peace; you can see a calm around Sid after being entangled in so much violence. Then, Stu Macher comes back from the dead. Suddenly, our latest Ghostface killer story has a revenge angle with some intense personal stakes. I will note that the kills throughout this film are supremely creative. I thought the high school theatre attack was brilliant, as was the later bar scene. This film really shows Sidney and, by extension, her husband Mark, as capable of fending off new iterations of Ghostface. The first direct attack plays out like a bit of a back-and-forth fight, which only serves to up the stakes. I think this film has some good heart in Tatum, Sidney's eldest daughter. This is a new legacy character who really wants out from her mother's shadow and struggles to connect with Sidney due to her Mum's past. Tatum also doesn't want to be a survivor; she wants to be a fighter instead of someone who runs from danger. A lot of the film builds up Tatum's growth as a character and her trust in her Mum.

It's actually a bit of a treat to see Kevin Williamson in the directing chair for this one. After writing Ghostface and Sidney so splendidly in the past, who better to lead them on-screen? The visual design for Scream 7 is absolutely inspired; it might even be my favourite part. Watching how Ghostface emerges into a scene, or how different kills are captured, shows a strong sense of what makes these films so arresting to watch. The editing also sets a sharp pace, with attack scenes knowing when to move at speed or toy with their prey. The soundtrack for this iteration of Scream is really impressive and kinda grungy; best use of 'Red Right Hand' by Nick Cave and the Bad Seeds since some of the originals.

Neve Campbell, who plays Sidney Evans, has really evolved this character nicely; it's great to see Campbell playing Sidney as a natural fighter now. Courtney Cox, who played Gale Weathers, is back, brimming with sass and her sharp tongue; Cox and Campbell share an interview scene in this, which is a powerful piece of performance. Joel McHale, who played Mark Evans, has a really simple kind of warmth to him in this role; which is what makes the switch to badass police protector in fight scenes so much more impressive. Timothy Simons, who played George Willis, as the over-invested drama teacher, is reasonably funny; Simons' ability to be biting with his feedback to students makes this an entertaining side character.

However, the best performance came from Isabel May, who played Tatum Evans. This is a character who felt a lot like Neve Campbell all the way back in the 90s. A little fringe, a bit of a punk, yet fairly sociable. May navigates the conflicts her character has with Campbell rather well, crafting a particularly strong mother/daughter relationship. Their dynamic really fuels this movie. Tatum, as a character, rebels and resists the cage she feels her mother is putting around her. May does a good job of making a teenage character who feels real, like she should be running around with her friends planning late-night boozy bashes. All of that work makes her horror at the death of her friends and the attack on her family all the better. May shows Tatum as being remarkably vulnerable and aware of this; she just wants to be able to hold her own like her Mum. It's a gauntlet to get there, but May really takes Tatum on a journey of growth across this feature.

While I found this film a real visual treat for slasher fans, it is probably one of the weaker scripts for a Scream film. This time around, it feels like the movie is barely interested in getting too self-referential, though there is plenty of opportunity for it. Any time it tries, it leaves a bad taste in the mouth, not least of which was a verbal jab at the Carpenter sisters by Mindy's character, of all people. This film feels the most 'by the book' of these films; the return to the hometown setting, set against a cast of mainly high schoolers, did leave me feeling like I'd seen the playbook before. The biggest disappointment is the reveal of the killers. This iteration of Ghostface is particularly weak, and there's not much substance behind the motivations of the antagonists. I really could not care for the Stu Macher is an AI deepfake thing. It felt like there was a smarter plot there that got underutilised to make some broad strokes thematic point about Hollywood's stance on AI. Which is a bit of a high horse for the studio that fired a lead performer over a social media post.

The score for Scream 7 is kinda foreboding, but it lacks character. There isn't much variance here, and the tracks tend to fade into the background.

Jasmin Savoy Brown and Mason Gooding, who played Mindy Meeks-Martin and Chad Meeks-Martin respectively, feel like odd jigsaw pieces that just don't fit into this story; Savoy Brown's whole rivalry with Cox is a new element that feels out of character for her. Anna Camp, who played Jessica Bowden, is wildly over the top in this; be it an overly friendly neighbour next door or a deranged antagonist, Camp struggles to ground herself. Celeste O'Connor, who played Chloe Parker, struggles to make herself known in scenes; O'Connor's character could have been expanded upon, but just feels like a kill waiting to happen. Sam Rechner, who played Ben Brown, is here to be the boyfriend who could be creepy; we've had a few of these, and the trope is wearing thin. Asa Germann, who played Lucas Bowden, is an off-putting role that plays like a red herring; it's hard to see this character as more than his creepier traits that are being dangled in front of us. Mckenna Grace, who played Hannah Thurman, is just in this film to die; Grace's popular girl schtick feels so detached from the rest of the cast. Matthew Lillard, who played Stu Macher, really goes in trying to oversell it hard; Lillard's manic spark is gone from his younger days. Ethan Embry, who played Marco, might just be one of the weakest Ghostface killers yet; Embry's dull delivery and forgettable presence make him an antagonist with little to give. David Arquette, Scott Foley and Laurie Metcalf, who played Dewey Riley, Roman Bridger and Debbie Salt respectively, are the sort of token cameos this series would usually mock; Foley and Metcalf are particular reminders of average Ghostfaces past. 

This sequel shelves that 'breath of fresh air' feeling for a bit of something more tried and true. I would give Scream 7 a 6.5/10.

How To Make A Killing

 

This review may contain spoilers!

How To Make A Killing follows Becket Redfellow, a forgotten heir to the Redfellow family fortune. No longer satisfied with an ordinary life, Becket sets out to kill his way through the family tree.

There are so many films these days about the pursuit of wealth, clawing one's way through the rat race or becoming consumed with ambition. I took a great deal of delight in the satirical way the wealthy characters were captured in this film. The Redfellows are presented as old money elites, having a grand manor and their own mausoleum with a refined manner that sets them above. Yet, the other heir-apparents provide a neat critique of new money as well. From throwing money out of a helicopter to clamouring onlookers, doing performative 'hippie' art or carving out a life as an evangelical mega-church preacher, the Redfellows are a witty take on the vapid lives of the one percent. The web of intrigue around Becket, whether he will get away with it or if he will get caught, steadily pulls you in more and more. I also loved the darker turn in those final moments of the film. You expect Becket to find salvation or choose a moral path, but he clings to his pursuit of wealth like a deal made with the Devil. It's a surprising yet fitting end for a character who has already compromised himself so much for money and status.

The score for this film is so entirely unique, it's a real display of creative music within film. The frantic piano undertones in a scene drive the tension, while the alarming rhythm as things barrel out of control had me hooked completely.

Glen Powell, who played Becket Redfellow, is quite capable as the charismatic lead for this thriller; he seems cocky and sure which works well for his character's rise and fall. Ed Harris, who played Whitelaw Redfellow, is a very domineering patriarch; his scene with Powell showed a fascinating cold sense of wisdom. Bill Camp, who played Warren Redfellow, is a surprisingly charismatic and likeable mark on Becket's hitlist; Camp brings forth a rich man who is weathered but good-natured at his core. Zach Woods, who played Noah Redfellow, is an absolutely hilarious take on a rich kid dabbling into the world of bohemian art; Woods is an eccentric and unpredictable performer resulting in some of the funniest scenes of the film. Jessica Henwick, who played Ruth, is a character who is entirely firm in her principles; Henwick is effortlessly likeable which makes some of the later conflict so difficult to see play out. Topher Grace, who played Steven Redfellow, is a true wild card; Grace gets pretty frenzied as this larger-than-life evangelical preacher wielding a guitar and katana.

However, the best performance came from Margaret Qualley, who played Julia. This character feels incredibly refined at times, like she wears her desire for wealth like a coat. And if you were to try to remove said coat, she would probably kill you. Qualley is absolutely electric here, a complete black widow in the traditional sense. She performs a lot, presents herself as an object of desire, but is probably the most intelligent character in the film. She seems to thrill in being able to toy with other characters and dangles Becket like a puppet on strings. She's a constant adversary, often underestimated, who makes the tilt into the final act an absolute thrill. Qualley is absolutely crazy in this, and you understand how much as it rolls on, a really impressive leading role for her.

This film suffers from what I would like to call, death by narration. The pity of this film is that it's quite interesting as a premise, but very early on we have the narrative device of Becket narrating his own story introduced (though the narration is a present-day conversation with a priest). This sets a very rigid tone that suffers from having a lot of the film explained to you, rather than creatively delivered. More than this, the beginning of the film isn't a great start. It spends a lot of the time rushing us through who Becket is and where he comes from, without taking much time to really let us connect with any of the characters. How To Make A Killing really has quite a steady, relaxed approach to storytelling, which can really see the tone contrast with the premise at times.

The way this film is shot is remarkably boring, there are few frames that I would say really thrilled me. There's not really a strong sense of design to this movie, it hasn't been treated as a creative endeavour visually. The editing is also staggered with slow cuts peppering a scene, adding to a slower paced film. The soundtrack jumps around in terms of how it contributes to the film, there's not many musical tracks that land an effective blow.

Adrian Lukis, who played Father Morris, gives quite a muted performance as a priest; Lukis could just as easily have been a wall as he was just there for Powell to talk at. Nell Williams, who played Mary Redfellow, doesn't show much impact for the tough figure she is written as being; Williams really needs a chance to actually show a relationship with Becket, which is never properly given. Grady Wilson and Maggie Toomey, who played Young Becket and Young Julia respectively, give pretty simplistic establishing performances; this doesn't lend the history or depth required for when these characters then meet later on. Phumi Tau and Stevel Marc, who played Megan Pinfield and Brad Matthews respectively, are quite dull as the lead Federal authroity characters of the film; this pair seeming so ineffectual took an element of risk out of the feature.

A pretty tilted resolution and a stellar cast made this a thriller worth watching. I would give How To Make A Killing a 7.5/10.

Urchin

 

This review may contain spoilers!

Urchin follows Mike, a young homeless man living in London and his journey towards rehabilitation after he assaults a person on the street for their watch.

As a character piece, this film is absolutely stunning. Mike is the sort of down-on-his-luck protagonist you want to root for; redemption dangles before him a few times. But then you are reminded that Mike is capable of cruelty, that he can lack empathy for his violent outbursts. He also returns to bad habits as a result of his addiction; his life is a spiral of self-destruction. Urchin holds a harsh mirror up to living on the streets, fighting to get just enough money to eat that day. Even the system in place to rehabilitate Mike seems detached. He is another body in the chair, needing therapy, needing medicine, needing accommodation. It's entirely tough watching him start to heal and grow, but then something bureaucratic fails him, and he takes a misstep. One of the things that makes Mike feel secure in his rehabilitation program is missed and suddenly he is in free-fall again. There is a point in this film in which Mike starts taking drugs again, and it is scary how aggressively he pursues that addiction now that it's in front of him again.

There is a real artistic lens across some scenes in Urchin. Those moments of Mike in solitude have such deliberate framing around them; this is a very grounded lens that takes in the world around Mike, too. I was also impressed with the pace set by the editing; it felt very steady. The score doesn't always feel the most present, but it is a choking element that really adds to that anxiety of teetering upon the precipice. 

Harris Dickinson, who played Nathan, was a very skittish role; Dickinson's homeless character spun quick lies that rang hollow the moment he said them. Michael Colgan, who played Scott, felt like a calm guiding presence; the scene in which he makes Mike feel patronised is very well-handled. Buckso Dhillon-Woolley, who played Nadia, is quite a stern and dismissive presence at times; it feels like she sees through Mike's niceties, which is refreshing. Okezie Morro, who played Simon, is a sincerely good-natured character; Morro's recounting of the crime in his last scene is one of the more harrowing moments. Amr Waked, who played Franco, is a straight shooter from the get-go; Waked is wary but wants to imagine the best is possible from the people on his staff.

However, the best performance came from Frank Dillane, who played Mike. I remember watching Dillane as Nathan in Fear the Walking Dead, another young addict role he portrayed in an exemplary manner. This role demands those moments of intensity from Dillane, a rabid quality to sustain the addiction. He can get violent to get money for the drugs. He can plead and barter, and he can break down. Mike is a character who wanders in a very isolated way through the streets of London, seeking all the things or people he needs to keep his pattern of being going. There are moments within the film in which Mike heals as a character. You see him accept responsibility, he apologises for his wrongs, shows empathy and connects with others. It is these moments of hope Dillane dangles in front of the audience nicely before ending it abruptly with a self-destructive implosion.

A tragic drama like Urchin likes to dwell comfortably in the misery of life sometimes, its entire thing is doing hardship well. But this does mean that Mike's story can get repetitive at times. More than this, there's a real performative quality to the commentary on homelessness at times. I didn't think the metaphorical elements of the film landed especially well. The nature scenes were strange, and the ending is a bizarre means of tying up loose ends.

I think this film often shows a lot more promise than it does flaws. However, as Harris Dickinson's directorial debut, it could stand to learn one particular lesson: it's okay to leave some stuff on the cutting room floor. The moments when the camerawork looked bad were when every shot felt included, when a montage happened where one wasn't needed. Not every creative effort was needed to bring forth that vision, sometimes post-production is a good place to kill your darlings. The soundtrack was an odd assortment that felt more like what the budget could get than anything else.

Megan Northam, who played Andrea, had quite a scattered role that barely connected with Dillane; the pair felt quite suddenly jammed together in the course of the film. Karyna Khymchuk and Shonagh Marie, who played Ramona and Chanelle respectively, are an unusual pair to be Mike's first sober friends; the friendship dynamic feels quite surface-level, with neither actress really elevating the relationships forming between everyone. 

Frank Dillane is exemplary here, with Harris Dickinson's directing debut showing a lot of promise. I would give Urchin a 6.5/10.

Wuthering Heights

 

This review may contain spoilers!

This is an adaptation of Emily Brontë's classic novel of the same name, in which Catherine Earnshaw's family adopt a poor boy, Heathcliff, and the pair become inseparably close. Yet, their love is a destructive one that pulls them apart before sending them crashing back together.

I think in its frenzied moments of passion, there are points where you can get submerged in the wild attraction between Cathy and Heathcliff. I also found their early friendship as children to be entirely endearing, if also still quite toxic.

The winning element of this feature is how absolutely visually stunning it looks. Emerald Fennell has crafted a colour palette that feels fantastical. This movie captures red like it is a jewel to behold. This movie is more about style than script, and watching the lavish visuals contrast so sharply with the vast natural landscapes or the dark vision of Wuthering Heights estate is the one shining triumph of all this.

Charlotte Mellington, who played Young Cathy, is an absolute moment of time travel between her and Robbie; Mellington genuinely feels besotted with Heathcliff while also playing to her sense of ego. Vy Nguyen, who played Young Nelly, was one of the strongest performers in the film's opening; her sense of hurt feelings and hard exterior are better captured than her older counterpart, Chau.

However, the best performance came from Margot Robbie, who played Cathy. Cathy is a remarkably vain character, extremely self-obsessed and expecting the world to revolve around her. Robbie likes to toy with others a bit, especially early in the film when she played across from Elordi. This is a character who is used to getting her way, whose arrogance and ego take up the whole screen. Her self-serving impulses contrast with her all-consuming love for Heathcliff, which is something Robbie understands and plays to very well, especially in the crossroads scene of the film in which she accidentally makes the wrong choice. There is a wickedness from here that only grows as passion and spite consume our protagonists. I found Robbie to be vile at times, and fated to destroy herself in others. This was one performer who really understood what her role was and what she was playing to.

Wuthering Heights is everything bad in Emerald Fennell's more illustrious works brought to bear. Where other works have been made to unnerve you with purpose, this is an adaptation that is here to be freaky and perturb the audience first. The intention of the film is to show the moments of passionate sexual desire and then the moments of grotesque disgust. Before long, it will become hard to distinguish the two, and in time, there is little left to see. This is a Wuthering Heights that wants to be carnal; it wants to root around in the mud, and it doesn't much care if you enjoy what you are watching. The opening of the film evokes imagery of sex before cutting to our first true flame and revealing a hanging. But it won't end there. Violent outbursts, gutted pigs, festering refuse, kinky acts, walls made to look like skin, septicemia, women acting like dogs... You get the idea. This is a film made to be shocking, but it fails to thrill. Someone I went to see this with me turned to me and asked if I had taken them to see a horror. I suppose I had. This is a film that doesn't want to achieve anything. The story itself is painfully vulgar, with two people who desire one another destroying themselves and everyone around them. It is the worst possible way this classic work could have been imagined.

This film is chopped up like a music video; there are entire jumps in the scene that don't work, and montages are overly stylised. I absolutely could not stand the music provided to this by Charli XCX; it yanked me right out of any scene every time something lyrical struck up. The idea that a trendy pop artist could pair neatly with a period tragedy is madness.

Jacob Elordi, who played Heathcliff, seems to be a casting choice more grounded in aesthetics; Elordi struggles with subtlety and seems downright evil at times. Hong Chau, who played Nelly, feels a bit too old for her role at the best of times; Chau's overbearing matronly manner was a weight on the feature. Shazad Latif, who played Edgar, is just a bit too dull to make himself known; Latif's entire character falls into the background time and again. Alison Oliver, who played Isabella, is just an absurd performance that seems doomed to fail; Oliver's doing that dog scene is absolutely ridiculous. Martin Clunes, who played Mr Earnshaw, doesn't seem remotely grounded in reality; his imp-like look near the end really jumped the shark. Owen Cooper, who played Young Heathcliff, is a bit too plain for the character; Cooper comes across as rather wooden, evoking just a bit too much of Elordi.

I can't imagine a more grotesque and horrific take on Emily Brontë's famous novel. I would give Wuthering Heights a 2.5/10. 

Crime 101

 

This review may contain spoilers!

Crime 101 is a crime thriller adapted from a Don Winslow novella of the same name. The film follows Davis, a skilled thief who has been conducting a string of robberies just off the 101 motorway. As he gears up for his biggest score yet, the police officer and rival thief hounding him are drawing closer.

I have always had a soft spot for heist films, and I wondered if I would feel the same way while watching this one. But though there are heists in this film, this is more of a 'cat and mouse' story. The whole thing pivoting around Davis running his cons and staying ahead of those after him by a hair is one of the most satisfying elements of the film. Lou, the detective after Davis, is having his entire life blow up while hounding this criminal, but this laser focus also becomes a noose slowly slipping around Davis' neck. I also liked the chaotic energy that came from Money sending Ormon, a young legacy thief, after Davis. These parties circling one another created some tense moments and left you wondering how that final job against Monroe was going to play out. In a lot of ways, Crime 101 is a film that pays tribute to old films of the honourable outlaw versus the honourable officer of the law.

If Crime 101 has a strength, it is just how impressive the cinematography looks. This is a very dynamic-looking film, with an intense neo-noir style. Every character is scrutinised with intensive close-ups, LA is captured like a timeless Metropolis, and car chases inject high octane adrenaline into the lens.

Halle Berry, who played Sharon, is quite a calculating numbers savant here; Berry's character is more grounded than others and building towards an explosive decision is a great piece of softer acting from Berry. Tate Donovan, who played Monroe, is that type of arrogant, rich mogul you decidedly hate; the way Donovan played to the ego of this character, even when he had a gun to his head, is great. Barry Keoghan, who played Ormon, is a captivating, unhinged antagonist; he has a frenzied need to prove himself by all means necessary. Matthew Del Negro, who played Police Captain Stewart, is a real bureaucratic point of corruption; Del Negro has a toxic energy to this character that makes him a good adversary for Ruffalo.

However, the best performance came from Mark Ruffalo, who played Lou. Lou seems a very disgruntled type of police detective protagonist. He is living in a cramped apartment with his wife, their marriage falls apart throughout the film, and his car is a piece of shit. Ruffalo still has a real water off a duck's back outlook around all this; he has a grouchy edge but remains laser-focused on his casework. Lou is like a dog with a bone around the Davis case; his police department is slowly isolating him, and yet he won't let the 101 robber go. The moment his job and his marriage implode, we get a new take on Lou. Ruffalo brings a stillness, a calmness to the character. He brings what he has always chased to a head in a very measured way, holding the fate of all that has transpired in the palm of his hand. Lou's euphoria by the end of the film seems rather earned; he is the honourable officer of the law.

Crime 101 is a rather desolate film, so sprawling and vast with a lot of emptiness there. And if I were just talking about the setting, this would be a perfect modern film noir story. But that's not Crime 101. From the moment multiple leading roles are introduced, it becomes clear that Crime 101 is a branching story with many perspectives guiding the story. The issue with this is that a slow-paced film passing the ball like that really has to have an incredible sense of structure. This film doesn't have that; if anything, this is a film that would have been better served as a limited series. There is a lot of empty space between narrative-forward scenes, which hurt the pacing tremendously. It is also clear that while the robberies are interesting, Davis is not. As a protagonist, Davis's 'Robin Hood' schtick is poorly explored, as is his relationship and background with Money, his ally in the criminal world. Davis jitters and shows signs of neurodiversity, but the creatives clearly don't know what they're doing here beyond vaguely saying Davis isn't your typical criminal. There's even a strange romance sub-plot for Davis that feels a little too fairytale and easy-going to work. The truth of Crime 101 is that it has a decent cast, but the writing rarely cracks open these characters and lets me see who they are as an audience member.

The editing can be disjointed at times and create an inconsistent flow, resulting in a pace that stretches out or even becomes a bit scattered to watch. There are moments of interest in the score, but the majority of this is just a long, warbling drone. The soundtrack is also a mismatch of tracks that don't really bring a lot of character to the piece, ranging from Run the Jewels to Bryan Adams.

Chris Hemsworth, who played Davis, really gives one of his worst leading performances in a long time; I had no idea whether he was playing autism or OCD, and it is his worst American accent in some time. Corey Hawkins, who played Tillman, is quite a bland police partner character across from Ruffalo; Hawkins becomes almost forgettable the second the film phases his role out. Nick Nolte, who played Money, is such a prolific actor who is struggling to still perform well; I say this because Nolte's line delivery as Money is almost indecipherable. Monica Barbaro, who played Maya, is a bit of a dull fantasy girlfriend role; Barbaro is really just here to dangle a happy ending outcome in front of Hemsworth's role.

Incredibly scattered crime film with a weak lead in Chris Hemsworth. I would give Crime 101 a 5.5/10.