All posts by Paul. Writer and Filmmaker

Paul is a writer and filmmaker. He has been committed to a writing career from a very early age. In 1997, he graduated from Staffordshire University with a first class degree in Film, TV and Radio Studies. His 2nd year short film project THE ARTS FILE won a Stoke-on-Trent Young Filmmaker's award. Subsequently, he worked as a Production Assistant on a number of promos and successfully completed a work placement at Sky Movies. In 2002, he gained an MA in Feature Film Screenwriting from Royal Holloway College of London and since graduation has written several feature and many short film scripts. In 2005, he formed FIX FILMS and has written and produced many shorts to date. He has also had several short screenplays commissioned by the Mountview Film Academy and film director Jonathan Wolff. His work can be found here - https://www.youtube.com/c/FixFilmsLtd Most recently Paul wrote, produced and directed his own short horror film called FLATMATES (2018). He has subsequently written and directed the films: MISDIRECTION (2019), TOLERANCE (2019) and YOU HAVE A NEW FOLLOWER (2020). His short films have had screenings worldwide at many film festivals. His latest works are the horror, INFERIS (2024), a set of short film monologues called SIN (2024) and THE SUICIDE SHIFT (2026). PAUL is a versatile and prolific writer with ideas in abundance and a very strong feel for structure, characterisation and dialogue. He favours thought-provoking and entertaining narratives with memorable characters, images and scenes. While he values all styles of film he tends toward genre movies as opposed to overtly "arty" cinema. Moreover, being involved in the producing, casting and crewing of low budget shorts has given him great experience and insight into the filmmaking process; improving his writing no end. From 2008 until 2020, Paul had been on the exciting merry-go-round that is the stand-up comedy circuit. He has done over 1000+ gigs. Venues included: Downstairs at the King's Head, The Comedy Pit, The Comedy Cafe, Soho Comedy, London Comedy Store, Electric Mouse Comedy, Streatham Comedy Club, Mirth Control, Comedy Heat, Lion's Den Comedy etc. He also ran two comedy nights: West End Comedy @ The Comedy Pub and West End Comedy @ The Brazen Head. He used to be the resident MC at Electric Mouse's show at The Fox, Palmers Green and got regular paid bookings as a comic and MC in and out of town. In 2014 and 2016 he performed at the Brighton Fringe Festival and Camden Fringe Festival in 2014. He performed open spots for the Banana Cabaret, The Comedy Store and Up the Creek comedy clubs in London. He is also a keen film and television seer and has a love for all genres of movies from art-house to low-budget z-movies. He also loves television of all kinds notably great comedies and dramas. He is an essayist expressing passionate analysis for all elements of cinema. Links Blog: www.thecinemafix.com YouTube: www.youtube.com/c/FixFilmsLtd
Cinema, Reviews

Cinema Review: Mission Impossible – The Final Reckoning (2025) plus my 1-8 ranking of the franchise.

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CINEMA REVIEW: MISSION IMPOSSIBLE – THE FINAL RECKONING

Directed by Christopher McQuarrie

Written by Christopher McQuarrie & Erik Jendresen

Based on Mission: Impossible by Bruce Geller

Produced by Tom Cruise & Christopher McQuarrie

Main Cast: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Henry Czerny, Angela Bassett, Pom Klementieff, Esai Morales, Holt McCallany, Janet McTeer, Mark Gatiss, Nick Offerman, Tramell Tillman, Shea Wigham, Rolf Saxon, etc.

*** MAY CONTAIN SPOILERS ***

Christopher McQuarrie returns to helm the final chapter of Mission: Impossible, delivering exactly what fans have come to expect—exquisite stunt work, globe-trotting chaos, MacGuffins galore, and Tom Cruise running like the fate of cinema depends on it. What stands out during Dead Reckoning (2025) is McQuarrie’s deft layering of callbacks from across the franchise: masks, betrayals, teamwork, sacrifice and even thematic echoes to Ethan Hunt’s original arc as a man constantly outpaced by the very institutions he serves. I mean bringing back Rolf Saxon as banished CIA analyst, William Donloe, from the first film is absolute genius.

Further highlights include the icy St Matthew Island cabin shootout. Plus, the hauntingly atmospheric silent submarine sequence is an exercise in pure cinematic tension that, while a bit dark on the screen I saw it on, was incredibly designed and delivered. In the final thrilling act McQuarrie and his team flex their editing chops in a virtuoso ticking-clock sequence that cross-cuts a rapidly escalating nuclear threat with a spiraling physical stunt—clearly tipping its hat to Dr. Strangelove but with a modern blockbuster pulse. The bi-plane action that Cruise and the stunt team perform is just breathtaking. Lastly, there was also some emotional weight in certain scenes as Hunt shares touching moments throughout, especially with stalwart, Ving Rhames, Luther Stickell.

But while the ambition is laudable, one can’t help but question whether it all needed to stretch across a bum-numbing three hours, weighed down by dense exposition about AI, allegiance, and global power games. The storytelling sometimes forgets to trust the audience, explaining what we already understand or could intuit. It’s thrilling, yes—but occasionally exhausting, especially as Mission: Impossible – Dead Reckoning Part One (2023), had done a lot of the heavy work setting up the Entity and Esai Morales as the nemeses of the piece. Still, along with an impressive ensemble cast, expert production team and of course Tom Cruise doing what he does best, McQuarrie proves himself the rare modern action director who respects his audience’s intelligence and patience—even if he tests both.

Mark: 8 out of 11

MISSION IMPOSSIBLE – MY FAVOURITES 1 to 8

  1. Mission Impossible – Fallout (2018)
  2. Mission Impossible – Rogue Nation (2015)
  3. Mission Impossible – Ghost Protocol (2011)
  4. Mission Impossible (1996)
  5. Mission Impossible – Dead Reckoning (2023)
  6. Mission Impossible III (2006)
  7. Mission Impossible – The Final Reckoning (2025)
  8. Mission Impossible II (2000)
Amazon Prime, music, Reviews

Amazon Prime Film Review: Kneecap (2024) – Irish rap rebels substitute words-for-bombs in riotous youth-in-revolt triumph!

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Amazon Prime Film Review: Kneecap (2024)

Directed by Rich Peppiatt

Screenplay by Rich Peppiatt

Story by Rich Peppiatt, Liam Óg Ó hAnnaidh, Naoise Ó Cairealláin, JJ Ó Dochartaigh

Produced by Jack Tarling and Trevor Birney

Main cast: Naoise Ó Cairealláin, Liam Óg Ó hAnnaidh, JJ Ó Dochartaigh, Josie Walker, Fionnuala Flaherty, Jessica Reynolds, Adam Best, Simone Kirby, Michael Fassbender, etc.

Cinematography by Ryan Kernaghan

*** MAY CONTAIN SPOILERS ***

The 2024 film Kneecap is a riotous, politically charged portrait of youth in revolt, channeling the raw energy of punk and hip-hop into a uniquely Irish-language rebellion. Starring the real-life Belfast rap trio—Mo Chara, Móglaí Bap, and DJ Próvaí—as fictionalized versions of themselves, the film blends anarchic humour, biting satire, rites of passage, and cultural defiance to tell the story of how a group of working-class misfits wove their frustrations into musical gold.

Set in post-Troubles West Belfast, the film captures the lingering scars of British occupation and the generational trauma it left behind. Liam (Mo Chara) and Naoise (Móglaí Bap) are introduced as small-time drug dealers navigating poverty, police harassment, and fractured families. Their lives take a turn when JJ Ó Dochartaigh, a disillusioned Irish-language teacher, discovers their lyrical talents and joins them as DJ Próvaí. Together, they form the eponymous group, an Irish-language rap group that weaponizes music as a form of cultural resistance.

The film is unapologetically rebellious, using the Irish language not just as a means of communication but as a symbol of defiance. Arlo (Michael Fassbender), Naoise’s father and a former republican paramilitary, encapsulates this sentiment when he declares, “Every word of Irish spoken is a bullet fired for Irish freedom” . This philosophy permeates the group’s music, which tackles issues like British colonialism, drug culture, and the complexities of identity in a divided society.

Kneecap (2024), while a bold and electric celebration of youth rebellion arguably overstretches itself emotionally by attempting to cover too many themes at once. In its ambition to be both a political statement and a coming-of-age tale, a musical odyssey and a generational cry for recognition, the film occasionally dilutes its emotional impact. As the film juggles a multitude of weighty themes: the trauma of post-Troubles Northern Ireland, the fight for Irish-language preservation, the drug culture plaguing working-class communities, the fractured nature of family life, absent fathers and mothers, and the burden of political legacy. Add to this the rise of a rap group in an unexpected cultural context, and the film becomes a whirlwind of ideas competing for attention. The result is a film that sometimes feels like it’s racing to say everything at once, rather than letting its most resonant emotional threads breathe.

Nonetheless, director and co-writer, Rich Peppiatt, displays strong visual flair evoking the urban vibrancy of Trainspotting (1996) and underdog musical joy of The Commitments (1991). It helps that the film is often fucking hilarious. Plus, I realise it’s a raw reflection of their life choices, I could take or leave the perpetual scenes of gratuitous drug-taking. At the same time, the film doesn’t shy away from the gritty realities of its setting. It portrays the trio’s clashes with radical republican groups, their run-ins with the police, and the family and romantic struggles that come with their newfound fame.

Amidst the chaos, Kneecap (2024) maintains a sense of humour and humanity, offering a nuanced look at the power of art to challenge the status quo and inspire change. In essence, Kneecap is a ballsy and risk-taking celebration of rebellion, a testament to the enduring power of language and music as tools of resistance, and a vivid portrayal of youth challenging the remnants of a colonial past and a country attempting to find peace and identity after centuries of conflict.

Mark: 8.5 out of 11

Amazon Prime, Cinema, Reviews

Amazon Prime Film Review: Sing Sing (2023) – displays the redemptive power of art and performance!

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Amazon Prime Film Review: Sing Sing (2023)

Directed by Greg Kwedar

Screenplay by Clint Bentley & Greg Kwedar

Story by Clint Bentley, Greg Kwedar, Clarence Maclin & John “Divine G” Whitfield

Based on “The Sing Sing Follies” by John H. Richardson and Breakin’ the Mummy’s Code by Brent Buell

Produced by Clint Bentley, Greg Kwedar & Monique Walton

Main cast: Colman Domingo, Clarence Maclin, Sean San José,
Paul Raci, Sharon Washington, Jon-Adrian “JJ” Velazquez, Patrick “Preme” Griffin, Sean “Dino” Johnson, Miguel Valentin and more.

Cinematography by Pat Scola

Sing Sing (2023) is a powerful prison drama directed by Greg Kwedar, based on the real-life Rehabilitation Through the Arts (RTA) program at New York’s Sing Sing Correctional Facility. The film follows John “Divine G” Whitfield (portrayed by Colman Domingo), a wrongfully convicted man who finds purpose and transformation through participation in a prison theatre group. As the group prepares to stage an original comedy, tensions arise, particularly between Divine G and a new, skeptical member, Clarence “Divine Eye” Maclin (played by himself).

The reported $2 million budget for the prison-based theatrical drama Sing Sing (2023) underscores a powerful truth in filmmaking: emotional impact and narrative power are not dictated by the size of a production’s budget. In an industry often dominated by multi-million dollar spectacles and high-concept visual effects, Sing Sing (2023) stands out as a reminder that authenticity, performance, and purposeful storytelling can achieve more than sheer spending ever could. In this way, the film charts a path forward for filmmakers: it shows that profound emotional connection comes not from lavish resources but from the courage to tell deeply human stories with clarity, care, and conviction.

By investing modestly but wisely—prioritizing casting choices, intimate direction, and a grounded script—the filmmakers harness the emotional gravity of the story itself. Featuring real formerly incarcerated individuals alongside professional actors, the film creates a resonance that can’t be manufactured with money alone. The restraint in budget mirrors the thematic focus of the film: confinement, transformation, and human dignity. There’s a raw, stripped-down sincerity in Sing Sing (2023) that aligns with its financial humility, allowing viewers to focus not on spectacle but on spirit.

At the heart of the film is Colman Domingo majestic performance. Without question he is one of the most enthralling actors working today. With a presence that radiates both gravitas and vulnerability, he has the rare ability to inhabit characters so fully that they feel less like performances and more like revelations. In Sing Sing, his work is restrained, generous, and deeply moving—serving not just as a lead, but as a quiet conduit for the emotional power of those around him. It’s the kind of performance that reminds you what acting is for.

There’s a grounded nobility to Domingo’s recent choices—films that matter, that uplift overlooked voices, and that seek to transform rather than simply entertain. In an era where so many talented actors get absorbed into the ever-expanding Disneyverse or other IP-driven machines, one can only hope that Domingo continues on this path. His gifts are too profound, too precise, to be flattened into quips and CGI battles. He belongs in films like Sing Sing (2023) where the stakes are human and the impact is lasting.

Directed with subtle power by Greg Kwedar he delivers a drama of transcendent creative expression as the inmates forge deep bonds, confront personal demons and change societal perceptions. Featuring performances by both professional actors and real-life formerly incarcerated individuals, Sing Sing (2023) offers an authentic and moving exploration of redemption, resilience, and the transformative power of art. Of course not all of them are innocent and are guilty. The film does not apologise for their crimes or glamourise them, but allows these men to find light amidst the darkness; a spiritual and cultural escape from the walls and bars which surround them.

Mark: 9 out of 11

Cinema, horror, Reviews

Cinema Review: Sinners (2025) – a blazing, bold and bloody blues opera!

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Cinema Review: Sinners (2025)

Directed by Ryan Coogler

Written by Ryan Coogler

Produced by Zinzi Coogler, Sev Ohanian, Ryan Coogler

Main cast: Michael B. Jordan, Hailee Steinfeld, Miles Caton, Jack O’Connell, Wunmi Mosaku, Jayme Lawson, Omar Miller, Delroy Lindo, etc.

Cinematography by Autumn Durald Arkapaw

After the bleakly lustful vision of Robert Eggers’ Nosferatu (2024) — a film steeped in shadow, dread, and tragic sensuality — Ryan Coogler offers a wildly different, electrifying take on the vampire mythos: a bold, colourful, and deeply soulful experience that pulses with life even as it drinks from the dead. Where Eggers lingers in gothic majesty, with Sinners (2025), Coogler surges forward with kinetic energy, blending grind-house thrills and emotional depth with From Dusk Till Dawn-style narrative turns.

Coogler’s film is set in the richly textured American South of the 1930s, a world still nursing the scars of the Great War and on the cusp of social upheaval. Into this volatile landscape, he drops the muscular Michael B. Jordan as twin war veterans turned Chicago gangsters, Smoke and Stack — men who carry both physical and spiritual wounds from the trenches — now repurposed as businessman looking to set up a juke joint. These characters feel reminiscent of the working class anti-heroes of Peaky Blinders, their emotional trauma rendered in everything from flickering glances to bursts of brutal, operatic violence. The twins have ghosts of the past and present to battle including relationship issues with Stack’s ex-girlfriend, Mary (Hailee Steinfeld), as well as Smoke’s painful reunion with his wife, Annie (Wunmi Mosaku).

Sinners (2025) plot is muscular and sinewy, establishing the characters impressively before shifting the moody Southern gothic tale into an all-out genre-bender. The film contains a fine ensemble cast knitting a series of substantial supporting characters each with their own personalities, humour and wants. The most striking is Miles Caton as the twins’ cousin, Sammie “Preacher Boy” Moore, a young blues musician with an incredible ability, that proves to be a somewhat dangerous talent. Delroy Lindo also throws in another memorable performance as the ebullient pianist, Delta Slim. With the first night’s festivities in full swing three mysterious strangers appear from the near dark, desiring to be let in. Their leader is charismatic Remmick (Jack O’Connell) and he has more than partying in mind.

Visually, Coogler lets his imagination loose, notably in a memorable cross-generational musical montage that literally burns up the cinema screen. Gone is the shadow-heavy monochrome of Eggers; in its place is a palette of dusk reds, moonlit silvers, and deep bayou greens. The film pulses with colour, sex, motion, and sweat. Blood flows, but it never feels gratuitous — it feels earned, ritualistic, even sacramental. But what ultimately makes Coogler’s film so potent is its soul. Amid the genre thrills and gore, there’s a beating heart full of soul. These vampires are not romanticised, nor merely feared; they are hungry creatures. Coogler gives them back their humanity, and in doing so, reanimates the genre with urgency.

Music is where the film truly soars. Coogler and his production team, attuned to the cultural pulse, curate a soundtrack that fuses Delta blues, Appalachian folk, and early jazz into a feverish, ghostly soundscape. There are scenes where the music alone tells the story: a backwoods funeral scored by a bone-dry slide guitar; a juke joint confrontation where the rhythm of violence matches the stomp of the blues; a haunting lullaby sung by Remmick the migrant vampire that channels generations of sorrow. It is music as memory, as resistance, as raw emotional texture.

Sinners (2025) is not just a vampire film. It’s a blues opera. A folk horror elegy. A pulpy, poignant, and powerfully visceral story about the things that haunt us, and how we fight to keep our humanity intact. What begins as a slow-burning period drama smolders into a blood-soaked explosion of action and moral reckoning. Coogler even delivers a Klan-blasting and redemptive shoot-out final act set-piece. Lastly, in Coogler’s hands, the vampire becomes more than a monster; it’s a metaphor for trauma, addiction, religion, racism, and survival. Coogler reclaims the myth for a new generation, one shaped by history, crime, grief, music, and spiritual struggle, delivering a genre masterpiece that bites deep and lingers long after the lights come up.

Mark: 9.5 out of 11

Apple TV, Reviews

Apple TV+ Film Reviews – Part Two

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Apple TV+ Film Reviews – Part Two

As is standard procedure when one creates a part one of a series, the logical and linear progression is to have a part two. So, having watched the majority of the AppleTV+ films currently streaming I now move onto part two. The first set of reviews can be found here:

AppleTV+ Film Reviews – Part One

Coda (2021)

For some unknown alphabetical amnesia I forgot to include this Oscar -winning film in the first set of reviews, so I rectify that omission now. Arguably one of the best films on the platform, it is simultaneously a feelgood, tearjerker and a Save-the-Cat-screenplay-template-box-ticker hitting wholly familiar beats and a well-trodden genre path. Nonetheless, it is a terrifically entertaining, moving, funny and heart-warming story which, on reflection kind of surprisingly won the Academy Award for best film. I personally think another remake West Side Story (2021) was a far more scintillating work of cinema, but hey what do I know? My original review of Coda (2021) can be found below. Mark: 9 out of 11.

APPLE TV FILM REVIEW: CODA (2021)

Ghosted (2023)

Of late Chris Evans has been choosing roles, as with Red One (2024), that go against the Alpha-heroic persona of Captain America. Unfortunately, Knives Out (2019) aside, the results are average at best. Aside from a series of amusing cameos in the middle act, not even the alluring Ana De Armas can save this clunky AI-written-spy-romance. With better scripting and direction this attractive action fluff could’ve been almost bearable. I remember when Dexter Fletcher made really good low-budget indie films like Wild Bill (2011). Mark: 5 out of 11.

The Gorge (2025)

I really enjoyed this big-budget-romantic-monster shoot-em up. I need to watch it again sober before deciding if it is going to make my top films of the year list or did I love it because I was drunk. Miles Teller and Anya Taylor-Joy revel in fine on-screen chemistry as the physical and symbolic divide provides no barrier to their lustful wants. My full review can be found below. Mark: 8.5 out of 11.

Apple TV+ Film Review: The Gorge (2025) – an exciting sci-fi shoot-em-up with a nuclear-powered romance!

The Greatest Beer Run Ever (2022)

Likeable every-guy, Chickie Donohue (Zac Efron), has the crazy notion of hand delivering beer to his buddies fighting in Vietnam. But his naïve morale-boosting trip soon becomes an eye-opening and perspective changing nightmare. There’s a really good dramatic character arc in this historical 1968-set “road” movie but the comedic tone dilutes the overall catharsis of the journey. Efron is full of energy while the formidable presence of Russell Crowe is memorable if woefully under-used. Mark: 7 out of 11.

Greyhound (2020)

A fast-paced and technically impressive WW2 film with Tom Hanks portraying the Commander of a destroyer battling to survive an enemy onslaught amidst a part of the sea called ‘the Black Pit’. It’s been a while since I watched this but recall it being a solid suspense thriller with great production design and effects, although a little light on meaty character development. Mark: 7 out of 11.

The Instigators (2024)

Matt Damon and Casey Affleck team up once again for this underdog heist film which tries to be funny and dramatic, but misses the nuanced tone a director like Steven Soderbergh can deliver. I kind of enjoyed this because I like Damon, Affleck and Hong Chau, but many scenes suffer from the sense the actors are “improvising” and rewriting the script as they go along. Also, why can’t we have some proper 1970’s hard-boiled crime films like Sam Peckinpah and David Mamet used to deliver. Not all robbery films have to have one-liners throughout. Mark: 6 out of 11.

Killers of the Flower Moon (2023)

My critical feelings of Martin Scorsese’s most recent epic did not shift on the second watch. This profile of the horrors that befall the Osage people after they have struck oil remains compelling. Indeed the film contains powerful themes relating to the greed, power and psychopathy of the white man, but focusing the main thrust of the narrative from their perspective creates a skewed and oddly unimpactful viewing experience. Of course, Scorsese’s filmmaking expertise shines through and the performances are terrific. Mark: 8 out of 11. My full review is here:

CINEMA REVIEW: KILLERS OF THE FLOWER MOON (2023)

Luck (2022)

I felt more than a tad unlucky after watching this animated misfire which didn’t work on any level. I know hundreds of crafts-people worked hard creating this, but why not spend a bit more time on the script. Or film another script altogether. The fact that the budget for this film is reported to be $140 million and there are people starving in the world is a travesty against humanity. Mark: 3 out off 11.

Napoleon (2023)

I haven’t had the spiritual gumption to re-watch this messy biopic from Joaquin Phoenix and Ridley Scott. There’s a four-hour directorial version to contemplate watching too. Oh, if only Stanley Kubrick had made his version. My original review is below. Mark: 7 out of 11

CINEMA REVIEW: NAPOLEON (2023)

Palmer (2021)

Justin Timberlake again proves himself an adept leading man, having successfully graduated from the Disney-groomed production line he started out on. Palmer (2021) is overall a well-acted and directed redemptive crime drama, which also tackles themes relating to gender nonconformity to differentiate the well worn “parolee-trying-to-go-straight” narrative. Mark: 7 out of 11.


Sharper (2023)

Sharper (2023), directed by Benjamin Caron, skillfully uses classic con artist film tropes to craft a layered and compelling drama. By blending familiar elements of the genre with sleek cinematography and a nonlinear narrative, the film elevates itself above typical heist fare and leans into character-driven storytelling. The terrific cast, notably Julianne Moore, have fun with a genre script containing emotional depth, deliberate pacing, and decent characterisation. Mark: 7.5 out of 11.

Tetris (2023)

Tetris (2023), directed by Jon S. Baird, turns the unlikely origin story of a video game into a surprisingly engaging Cold War-era techno-thriller—at least for a while. Rooted in real historical tensions, the film smartly weaves espionage, corporate greed, and political paranoia into the story of how a simple puzzle game became a global phenomenon. However, its descent into exaggerated action sequences, particularly the climactic chase, turns it into something closer to parody than period drama. It’s a film that ultimately undercuts the suspense by choosing spectacle over substance. Mark: 7 out of 11

Apple TV, Reviews

Apple TV+ Film Reviews – Part One

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Apple TV+ Film Reviews – Part One

Apple TV+ has had an interesting trajectory since it launched in November 2019. While it entered an already crowded streaming landscape, it quickly distinguished itself—particularly with its high-quality original series, even as its film offerings have been a bit more inconsistent.

Apple TV+ has rightly earned a reputation for premium TV content, often described as “curated” and “prestige-focused.” Some standout series include: Ted Lasso, Slow Horses, Pachinko, Severance, The Morning Show, Bad Sisters, Dickinson, and many, many more. These shows share a few key traits: strong writing, high production values, and a willingness to take creative risks. Apple’s deep pockets have allowed them to secure A-list talent and give creators the freedom to execute ambitious visions.

When it comes to films, Apple TV+ has seen a less consistent track record. While the platform has had some critical hits, the overall output hasn’t matched the buzz or consistency of its series. Over the last year or so I have watched the majority of the films they have produced and have now consolidated them in a series of short reviews for your consideration. Marks out of 11 and links to the longer reviews where applicable.

A Charlie Brown Thanksgiving (1973)

A trip down memory lane watching this classic short focusing on the quirky adventures of hapless Charlie Brown, his friends and of course, Snoopy. Simple, but effective animation, and wonderfully mellow soundtrack make this a memorable comfort watch. Mark: 8 out 11

Argylle (2024)

Matthew Vaughn’s directorial career started really strongly and he soon carved out an excellent C.V. consisting of some fantastically entertaining genre films. But this tonally chaotic spy comedy-actioner is so laughably awful I actually thought I was watching an Airplane-style parody. The mildly-meta screenplay offers the occasional spark and Sam Rockwell is great as always. Mark: 4 out of 11


The Banker (2020)

Absorbing drama based-on-the-true-story of two entrepreneurs, portrayed brilliantly by Anthony Mackie and Samuel L. Jackson, who expertly circumnavigate the racism of 1950s while starting a successful real estate business. Nicholas Hoult also excels as the eager front man they employ to be the face of their business. Mark: 8 out of 11

Blitz (2024)

“. . . Blitz (2024) is McQueen’s beautifully filmed and noble testament to the strength and resilience of the human spirit during wartime.” Read the full review here. Mark: 8 out of 11.

Bread and Roses (2023)

A gut-wrenching documentary about the female activists protesting the oppressive decision to deny them the rights to education past sixth grade, work, and walking unaccompanied in public following the Taliban’s takeover of Afghanistan. One of those humanist documentaries that leaves you feeling depressed and powerless at the injustice of such grave socio-political events. The women at the heart of the film show incredible bravery in the face of threats, violence and ultimately murder. A compelling yet almost impossibly sad watch. Mark: 9.5 out of 11

Causeway (2022)

Character drama centring on themes relating to PTSD and grief, presents fine acting performances from Jennifer Lawrence and the fantastic Brian Tyree Henry. Compelling indie vibes bubble along without ever coming to a serious boil. Lawrence’s company co-produced this film and Bread and Roses (2023), before undoing a lot of the good work with the weirdly well-reviewed but pretty dire, fake-naked comedy, No Hard Feelings (2023). Mark: 7 out of 11.

Cherry (2021)

The Russo brothers certainly know how to deliver an entertaining and homogenous Marvel blockbuster, but this Tom Holland PTSD-burnout crime drama is over-directed, over-long and overall a painful misfire. Mark: 5 out of 11.

Emancipation (2022)

A very solid period drama with Will Smith as an escaped slave, Peter, who battles against the odds to find freedom. Covers much of the same ground as other better emancipation and war films, but Antoine Fuqua delivers stirring genre cinema with Ben Foster, once again, stealing scenes as a vicious slave hunter. Good story although the civil war fighting came too late in the final act structure for me. Mark: 7 out of 11.

The Family Plan (2023)

The normalization in Hollywood of the government assassin theme dominates this entertaining garbage with Mark Wahlberg as a suburban family guy with a hidden secret. Some okay gags and shoot-out action amongst the AI-created plot that’s based on about twenty different way better movies. Mark: 5.5 out of 11.

Finch (2021)

Tom Hanks stars as the eponymous Finch, in this stylish “last-man-on-Earth” apocalyptic drama. I loved the design and look of this film but dramatically it unfortunately it’s not as roasted as the radiated Earth it’s set on. Echoes of Castaway (2000) meets Silent Running (1972) but Hanks just doesn’t let rip as he did on the desert island or as much as the pulsating Bruce Dern did. So, Finch (2021) is mostly too sombre and understated for me to recommend wholeheartedly. Mark: 6.5 out of 11.

Fly me to the Moon (2024)

There’s a really good historical drama, a really good romantic comedy, a really good sci-fi-conspiracy thriller and really good satire in Fly me to the Moon (2024), however, such genres overlap and suffocate each other ultimately during the running time. Channing Tatum and Scarlett Johannson add shine and depth to their characters, yet the tonal shifts from serious space race drama to camp fake moon landing and filmmaking gags stop the film from really soaring into orbit. Still, there’s a lot to enjoy about this beautifully rendered and pacy late-60s era production. Mark: 7.5 out of 11.

Apple TV, Cinema, Reviews

Apple TV+ Film Review: The Gorge (2025) – an exciting sci-fi shoot-em-up with a nuclear-powered romance!

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Apple TV+ Film Review: The Gorge (2025)

Directed by Scott Derrickson

Written by Zach Dean

Produced by David Ellison, Dana Goldberg, Don Granger, Scott Derrickson, C. Robert Cargill, Sherryl Clark, Adam Kolbrenner, Zach Dean and Gregory Goodman.

Main cast: Miles Teller, Anya Taylor-Joy, Sigourney Weaver and Sope Dirisu.

Cinematography by Dan Laustsen

Action romance genre films are notoriously tricky to get right because they require a delicate balancing act between two genres that often have conflicting priorities. So, for every great action romance film such as The African Queen (1951), Romancing the Stone (1984), Last of the Mohicans (1992), and Casino Royale (2006), you can end up with unbalanced and indifferent ones like: Mr. & Mrs. Smith (2005), The Tourist (2010), This Means War (2012), and the recent filmic travesty, Ghosted (2024).

Successful action romance films must find the sweet spot between playing with high-stakes action, pulsating adventure and effervescent charm. Above all else, as the vehicles race, hearts pound and bullets ping there must be electricity and chemistry between the two leading actors. The audience must care not only about the characters, but must believe the characters care passionately for each other as they fight to survive. A successful combination of action, pace, wit, charisma and emotional depth is the key. So, does the recent Apple TV+ blockbuster, The Gorge (2025) achieve this difficult feat? I think overall it does, even considering that it even throws in fantastical horror elements too.

Scott Derrickson, a really good genre filmmaker, directs Miles Teller as Levi Kane, and Anya Taylor-Joy as Drasa. They are two highly-trained East / West operatives appointed to guard towers on opposite sides of a vast and highly classified gorge, protecting the world from a mysterious evil that lurks within. They are each advised NOT to make contact with the other, but rules are made to be broken eh! A lot of fun is had as the two court each other. The two characters redefine the meaning of a long-distance relationship. After connecting romantically across the gorge Levi and Drasa’s passion is then threatened by the hideousness that lies beneath. When the action kicks in the established romance really made me care about these characters, even as further incredible plot details are revealed.

I had an absolute blast with The Gorge (2025). It’s just the kind of big-budget-B-movie I enjoy when done right. With its seriously attractive leads, a shadowed, stylish setting, and a story that gleefully veers into the fantastical and downright monstrous, it was a wild ride from start to finish. Anya Taylor-Joy and Miles Teller share an electric physical and emotional chemistry that truly lights up the screen as every moment they’re together feels charged. Moreover, the action sequences are sharp, inventive, and genuinely thrilling. The Gorge (2025) is the kind of guilty pleasure film that I don’t feel guilty about enjoying at all. Stylish chaos, star power, and some surprisingly sincere moments? I was all in!

Mark: 8.5 out of 11

Cinema, Film Festivals

Exploding Cinema: Screening Innovation and Cult Film Community – Set Social, Peckham – 3rd April 2025!

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Exploding Cinema Appreciation Post! Set Social, Peckham – 3rd April 2025!

Exploding Cinema’s independent screening events have been a vital force in supporting and sustaining independent filmmakers in London and beyond for over two decades. Founded in the early 1990s, this grassroots collective has consistently provided a democratic, non-hierarchical platform for filmmakers working outside the mainstream industry, long before digital distribution made it easier to reach audiences. What makes Exploding Cinema truly unique is its commitment to screening work that’s often excluded from traditional film festivals—no matter the format, budget, or level of polish.

For emerging and experimental filmmakers, Exploding Cinema offers something increasingly rare: a chance to show work without gatekeepers, submission fees, or rigid curatorial criteria. It’s a space where film is celebrated as a communal, live experience, not just a product. Events are usually held in non-traditional venues—warehouses, social centres, pubs—transforming them into vibrant spaces of DIY creativity, complete with live visuals, eclectic soundtracks, and a wonderfully mixed crowd.

But their impact doesn’t stop at London’s borders. By inspiring similar initiatives and collaborating with artists internationally, Exploding Cinema has helped fuel a global underground film culture. Its ethos—accessibility, experimentation, and community—resonates far beyond the UK. For filmmakers without industry connections or institutional backing, these events are not just screenings—they’re lifelines.

In a world where independent voices are often drowned out by algorithms and commercial demands, Exploding Cinema remains a loud, flickering beacon of artistic freedom and collective energy. So thanks for screening my film Inferis (2024) on the 3rd April 2024 at Set Social, Peckham and for screening many other wonderful independent short works. For information and history of Exploding Cinema please check out their website here:

https://explodingcinema.org/history/
Cinema, Comedy, Reviews

Cinema Review: Mickey 17 (2025) – a multi-faceted sci-fi adaptation that leaves one drunk, but somehow still thirsty!

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Directed by Bong Joon Ho

Screenplay by Bong Joon Ho – Based on Mickey 7 by Edward Ashton

Produced by Dede Gardner, Jeremy Kleiner, Bong Joon Ho and Dooho Choi

Main Cast: Robert Pattinson, Naomi Ackie, Steven Yeun, Toni Collette, Mark Ruffalo, Patsy Ferran, Cameron Britton, Daniel Henshall, Anamaria Vartolomei, etc.

Cinematography by Darius Khondji

Bong Joon Ho’s adaptation of Mickey 7, the 2022 sci-fi novel by Edward Ashton, showcases a compelling convergence of the director’s distinctive thematic interests with the novel’s narrative. Known for his ability to blend genre elements with incisive social commentary, Bong’s version of Mickey 7, now titled Mickey 17 (2025) is a comedic, at-times-crazy and imaginative sci-fi film exploring human resilience, class struggles, scientific malpractice, environmental abuse, genocidal terra-forming, plus the existential impact of technology within the workplace.

Robert Pattinson is the eponymous Mickey, a “disposable” worker sent on perilous missions to terra-form a distant planet, with his life repeatedly put in danger only for him to be replaced if he dies. This directly ties into Bong’s recurring exploration of human resilience in the face of dehumanizing systems, something seen in his earlier films, such as Snowpiercer (2013) and Okja (2017). Bong’s protagonists are often ordinary people facing systems designed to strip away their individuality, and Mickey’s repeated resurrections emphasize the fragility of life within these systems.

Another prominent theme in Bong’s films is the exploration of class and social inequality. In Parasite (2019), he delved into the gap between the wealthy Park family and the impoverished Kim family, using the home as a microcosm of societal hierarchies. In Mickey 17 (2025), the corporate-driven space mission echoes the exploitation seen in these films. Mickey’s status as an expendable worker mirrors the broader economic systems that exploit individuals for labour without regard for their well-being. The fact that Mickey is repeatedly discarded without consequence is an unsettling reflection of how capitalist structures often devalue human life for the sake of profit.

Bong has always critiqued the alienation of labour, especially how working-class individuals are treated as replaceable cogs in the machine. In Mickey 17 (2025), this theme is amplified as Mickey’s life is literally expendable, offering a stark commentary on the commodification of labour within the context of futuristic colonization. The struggle for survival and dignity, against an uncaring corporate entity, will likely resonate with themes Bong has previously explored. Likewise, in Memories of Murder (2003), the search for truth is tied to the characters’ understanding of themselves and their roles in society. Such societal and existential crises fit perfectly with Bong’s broader thematic preoccupation with the fragility of the human experience in the face of overwhelming, often oppressive, external forces. The question remains: is Mickey 17 (2025) any good?

Robert Pattinson, who plays various versions of the titular character Mickey, brings his signature range of brooding intensity and offbeat charisma to the role. His performance is a key part of what makes the film such an intriguing watch. Pattinson excels in portraying Mickey’s emotional journey—a man repeatedly resurrected after dying in increasingly perilous circumstances, struggling with his own identity, and questioning the morality of the system that disposes of him so easily. However, Pattinson’s performance also contributes to the film’s unevenness. While his portrayal is captivating, the character’s arc and motivations can occasionally feel too vague or inconsistent, leading to moments where it’s unclear whether Mickey is supposed to be a tragic figure, a comic relief, or something in between.

The visual effects in Mickey 17 (2025) are nothing short of stunning. Bong Joon Ho, along with his team, creates a visually immersive universe, blending futuristic technology, the planet landscapes of Niflheim, quirky alien creatures and mind-bending visuals to evoke a sense of awe. The digital photo-copying resurrection process that Mickey undergoes is a feat of visual storytelling, with the film using cutting-edge effects to show Mickey’s multiple deaths and resurrections in creative and striking ways. The film’s alien planet, with its strange, luminous terrain and exotic creatures, also adds a surreal and fantastical quality to the narrative. Indeed, the theme of environmental and indigenous protection is vital, but does eventually clash with that of the existential worker.

Where Mickey 17 (2025) truly shines—and stumbles—is in its wacky, unpredictable storytelling. Bong Joon Ho has always been a director unafraid to blend genres and tones, and here he creates a narrative that swings wildly between dark comedy, sci-fi absurdity, and existential dread. One moment, you’re laughing at Mickey’s off-kilter interactions with his fellow colonists, and the next, the film veers into dark, serious territory as Mickey grapples with his own mortality and the ethical dilemmas of his existence. Moreover, the film’s narrative structure itself is erratic. There are moments where the plot careers off course, lost in the chaos of its high-concept premise.

As Robert Pattinson’s charismatic, multi-faceted performance anchors the film, the performances of Mark Ruffalo and Toni Collette—as the grotesque antagonists—topple the tone too far into bad theatre. Finally, Bong Joon Ho’s trademark brilliance is evident throughout, but Mickey 17 (2025) ultimately suffers from the very risk-taking that makes it unique. It’s a thrilling, uneven ride that fascinates, frustrates, makes one laugh and leaves you with a lot to think about—once the space dust has settled. Perhaps I should have had what Bong Joon Ho and his production team were drinking before I watched it. If so, I should certainly of made it a double!

Mark 7.5 out of 11

Cinema, Reviews

Cinema Review: Black Bag (2025) – Christie meets le Carré in this stylish, sexy and witty spy whodunnit!

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CINEMA REVIEW: BLACK BAG (2025)

Directed by Steven Soderbergh

Written by David Koepp

Produced by: Casey Silver, Gregory Jacobs

Main cast: Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, Pierce Brosnan, etc.

Cinematography by Peter Andrews

*** MAY CONTAIN SPOILERS ***

Steven Soderbergh’s career has been nothing short of a cinematic roller-coaster, blending big-budget spectacle, indie sensibilities, and a keen embrace of genre films in ways that defy easy categorisation. What makes his career so distinctive is his ability to seamlessly navigate between these different filmmaking realms, constantly evolving while retaining a unique voice and artistic freedom. His latest film Black Bag (2025) is a striking, starry, and decent-budgeted genre effort.

Soderbergh first rose to prominence with Sex, Lies, and Videotape (1989), a low-budget indie that catapulted him into the spotlight. The film’s success established him as one of the defining voices of American independent cinema during the 1990s. His subsequent works, such as Kafka (1991) and The Underneath (1995), reflected his interest in experimenting with narrative structures and visual styles, blending genre conventions with deep, sometimes surreal exploration of characters. These works were still firmly rooted in indie filmmaking, but they hinted at a growing ambition and versatility in his cinematic process.

Then, in the late ’90s and early 2000s, Soderbergh took a bold leap into big-budget territory. His Ocean’s Eleven (2001) series stands as a perfect example of his ability to handle mainstream, star-studded films with finesse. It combined slick, fast-paced storytelling with elements of the heist genre, demonstrating that Soderbergh could not only handle massive budgets but could also bring style, wit, and substance to a genre film. However, Soderbergh was never one to be pigeonholed, and in the same decade, he also directed both Erin Brockovich (2000) and Traffic (2000), both socially conscious, multi-layered dramas, with the latter about the war on drugs. Traffic earned him an Academy Award for Best Director, proving that Soderbergh but could also tackle politically charged narratives with profound depth.

Having moved back to indie filmmaking with The Bubble (2005) and The Girlfriend Experience (2009), Soderbergh made another unexpected turn with Magic Mike (2012), which, despite its premise (a male stripper drama), was a sharp social commentary on gender, exploitation, and masculinity. This film not only tapped into a niche market but was also a critical success, further cementing his ability to bring depth to various genres, whether mainstream or niche. Even when he announced his “retirement” from directing in 2013, he still found ways to work in other mediums, such as producing and experimenting with quality television (The Knick), and in 2017, he returned to directing with Logan Lucky (2017), a heist comedy that balanced mainstream appeal with Soderbergh’s signature offbeat style.

Soderbergh’s ability to jump between blockbuster entertainment and intimate, experimental narratives has been the hallmark of his career. Yet for me his serious genre dramas like the aforementioned Traffic (2000), plus Contagion (2011), Side Effects (2013), and his most recent project, Black Bag (2025) represent the pinnacle of his narrative precision and impact, solidifying his reputation as one of the best directors in genre cinema. One could argue that Black Bag (2025) leans heavily on spy film tropes, yet it has a certain emotional and conspiratorial depth beneath the familiar beats and sheen.

What sets these films apart from the rest of Soderbergh’s career is the seamless way in which he blends his usual intellectual ambition with a masterful, almost surgical delivery of genre tropes. Whether tackling the global panic of a viral outbreak in Contagion (2011), the psychological twists of a modern Hitchcockian thriller in Side Effects (2013), or the high-stakes political intrigue in Black Bag (2025), where a deadly uber-weapon McGuffin falls into the wrong hands. Here master-agent George Woodhouse (Michael Fassbender) must track down a mole, who may-or-may-not be one of his colleagues or indeed his wife, Kathryn (Cate Blanchett).

Black Bag (2025), expertly combines spy-game thrills within a series of “who’s-cheating-on-who” twists. It certainly helps that Soderbergh is working with an exceptionally crafted script from David Koepp and a cast to die for. Fassbender, Blanchett and Tom Burke especially stand-out, with Fassbender delivering yet another masterclass in filmic understatement. Overall, it’s a viciously funny and sexy genre piece that combines Agatha Christie, classic espionage thrillers and Soderbergh’s trademark framing, lens and lighting tricks. It’s the kind of genre filmmaking where every scene, every act, every word, every frame and every moment serves a narrative purpose. It’s a handsome bit of cinema and my word is my Bond!

Mark: 8.5 out of 11