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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

Apple TV, BBC, Cinema, New Releases

Apple TV+ Film Review: Blitz (2024) – A fine testament to the Human Spirit during Wartime!

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Apple TV+ Review: Blitz (2024)

Directed by Steve McQueen

Written by Steve McQueen

Produced by Tim Bevan, Eric Fellner, Steve McQueen, Anita Overland, Adam Somner, Arnon Milchan, Yariv Milchan, Michael Schaefer

Main Cast: Saoirse Ronan, Elliott Heffernan, Harris Dickinson, Benjamin Clementine, Kathy Burke, Paul Weller, Stephen Graham etc.

Cinematography by Yorick Le Saux

*** MAY CONTAIN SPOILERS ***

Officially classed as acclaimed filmmaker Steve McQueen’s first feature since the release of Widows (2018), Blitz (2024) is a WW2 drama of extremely high quality. But before I get into the review, lest we forget the series of films Steve McQueen delivered to the BBC a few years. The ‘Small Axe’ anthology should and shall be revisited as one of the most important documents of British history, such is its searing power, dramatic drive and the stunning rich tapestry of characterful moments. So, I urge you to watch, if you haven’t, what I consider to be Steve McQueen’s masterworks. I have reviewed the first one Mangrove (2020) here and the remaining of the collection here:

BBC FILM REVIEWS: SMALL AXE ANTHOLOGY (2020)

Blitz (2024) is a bigger budgeted production when compared to the ‘Small Axe’ anthology. But, similarly, it is a period piece, focusing on the working class and Black experience, this time set during the brutal bombing of London in 1940. McQueen shoots very much from the perspective of George (Elliot Heffernan), his mother, Rita (Saoirse Ronan) and grandfather, Gerald (Paul Weller). George, like many war children, is packed on a train to the relative safety of the countryside, while parents live in the hope of surviving the incessant German bombs.

After establishing the close family bond between the Hanways, and the wrenching emotion of sending her son away, Rita continues working in a munitions factory and sings beautifully on a national radio show. At the same time, George, finds trouble with a gang of child bullies on the train, before fighting back and jumping off. A tough and resourceful boy, George, makes the perilous choice to return to battered and burning London to reunite with his mother. The city, scarred by the relentless ‘Blitzkrieg’, is a treacherous labyrinth of collapsing buildings and choking smoke, but George’s determination burns brighter than the fires raging across the skyline.

Like a modern Oliver Twist, Blitz (2024) George’s journey through the devastated capital is both a physical and moral odyssey, with each encounter shaping his understanding of loyalty, survival, and the fragile threads that bind people together in times of crisis. George becomes trapped by his own choices, the bombs, bricks, buildings and characters he meets on the way. Some are friendly, but others exploit George preventing his return home. McQueen’s script also finds time to flashback to show Rita meeting George’s father, providing significant context to his mixed race background. Indeed, through George, McQueen explores themes relating to race and his emotional journey to find his place in the world as a person of colour.

Blitz (2024) is a superbly shot and designed film, with Yorick Le Saux’s cinematography rendering war torn London with an almost mythical beauty. However, Hans Zimmer’s overblown soundtrack is too much for me. Further, Steve McQueen’s hagiographic and episodic approach does somewhat diminish the raw drama and bloody horror of war. Notably, the under-use of Kathy Burke and Stephen Graham’s gutter snipe thieves. Plus a thrilling action set-piece during a flooded tube station that cuts away from George’s almost-demise, denying us suspense and dramatic catharsis. Thus, at times, the film sacrifices potential complexity during George’s journey, making his survival seem almost predestined rather than hard-fought. Still, Steve McQueen remains one of the country’s most important cinematic artists and Blitz (2024) is yet another fine testament to the strength and resilience of the human spirit.

Mark: 8 out of 11

Apple TV, Articles, music, New Releases

APPLE TV FILM REVIEW : FLORA AND SON (2023)

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APPLE TV FILM REVIEW: FLORA AND SON (2023)

Directed by John Carney

Written by John Carney

Produced by: Anthony Bregman, John Carney, Peter Cron, Rebecca O’Flanagan and Robert Walpole.

Main Cast: Eve Hewson, Jack Reynor, Orén Kinlan and Joseph Gordon-Levitt.

Cinematography: John Conroy

Edited by: Stephen O’Connell

John Carney is a brilliant and honest filmmaker who is attracted to outsiders and people with real emotional turmoil. They tend to be at crossroads in their lives and are struggling with their dreams and relationships. He also loves musicians, flaws and all. In Begin Again (2013), a washed-up musical executive, portrayed by Mark Ruffalo, meets unhappy singer-songwriter, Keira Knightley and their first-world romance is played out to bittersweet consequences. Similarly, in Sing Street (2016), a troubled teenager comes of age through his 1980’s pop band and bittersweet romance with a rebellious and equally-troubled schoolgirl. Notice a pattern? Well, this style of music, gritty city backdrops and salty romances were established in Carney’s breakout hit, Once (2007) and are continued in his current underdog musical comedy, Flora and Son (2023).

Flora and Son (2023), believe it or not, is set in Dublin and centres around a single mum, Flora and her delinquent teenage son, Max (Oren Kinlan). Eve Hewson is the foul-mouthed-council-estate-joker, who uses anger and black humour to hide her feelings of insecurity and loss. A mourning for the loss of youth having brought up a child virtually single-handed. Her relationship with Max’s father, Ian (Jack Reynor) is fractured to say the least and they spit sarcastic barbs at each other as shared custodians of disaffected Max. While leaving her cleaning job at a middle-class household, Flora finds a battered guitar in a skip. Attempting to bond with Max, by giving him the guitar, Flora finds herself shunned. She then opens another bottle of wine, picks up the guitar and gives it a crack herself.

Taking online guitar lessons from charming and chilled American musician, Jeff (Joseph Gordon-Levitt), Flora initially flirts but then knuckles down to learn the plucking instrument. The stakes aren’t particularly high here, but the feelgood acoustic numbers from Carney and co-composer, Gary Clark, certainly breeze along nicely and breath gold onto the screen. Max’s white-rap-Irish-hip-hop tracks are pretty good too and the video he and Flora make is really funny. Thus, you get the theme again from Carney that music helps to connect and heal and provide salvation to the most troubled of human situations. Overall, Flora and Son (2023), is a slight but enjoyable film with enough earthy humour, strumming harmony and kicking beats to please most.

Mark: 7.5 out of 11

Apple TV, Cinema, New Releases, Oscar Bingo

APPLE TV FILM REVIEW: CODA (2021)

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APPLE TV FILM REVIEW: CODA (2021)

Directed by: Sian Heder

Screenplay by: Sian Heder

Based on: La Famille Bélier by Victoria Bedos, Thomas Bidegain, Stanislas Carré de Malberg & Éric Lartigau

Produced by: Fabrice Gianfermi, Philippe Rousselet, Jerôme Seydoux & Patrick Wachsberger

Cast: Emilia Jones, Eugenio Derbez, Troy Kotsur, Ferdia Walsh-Peelo, Daniel Durant, Marlee Matlin, etc.

Cinematography: Paula Huidobro

*** MAY CONTAIN SPOILERS ***

Simultaneously a feelgood film and tear-jerking emotional rollercoaster, CODA (2021) combines many familiar aspects from cinema including: Children of a Lesser God (1986), Billy Elliot (2000), Dirty Dancing (1987), and the more recent and arguably superior drama, Sound of Metal (2019). In fact, while it may seem progressive representing a family of deaf adults, the Rossi’s, and their hearing daughter, Ruby (Emilia Jones), the film feels like a Save-the-Cat-screenplay-template-box-ticker hitting wholly familiar beats and a well-trodden genre path. Coda (2021) is also a remake of a successful French-Belgian film, La Famille Bélier (2014). Having said all that, I loved Coda (2021). It is a terrifically entertaining, moving, funny and heart-warming story which, unsurprisingly won the Academy Award for best film.

Set in Massachusetts amidst the milieu of a working class deaf family, the Rossi’s, who run a struggling fishing boat and have to overcome the ignorance and prejudices of the hearing folk. Hitting the high notes at the heart of the story is Ruby Rossi (Emilia Jones). She is a brilliant character to root for; so human, enthusiastic and authentic. Ruby wants to sing but her family, father Frank (Troy Kotsur), mother Jackie (Marlee Martin), rely heavily on her to assist with business and family matters. Her proud brother Leo (Daniel Durant) desires the chance to take more responsibility and this makes him envious of the attention Ruby gets. Throughout, Coda (2021) spans many genres bringing family conflict, Ruby’s singing dream, young romance, everyday tribulations of a deaf family, as well as the plight of a fishing community into the mix. The fantastic screenplay balances all these elements superbly well.

Ruby’s emotional rites-of-passage arc anchors us through so many memorable scenes, proving pivotal as she ultimately finds her voice and independence. Emilia Jones gives a mature performance full of range and heart. Ruby’s embarrassment, shame, fear, anger, passion, guilt, humour, happiness and guts are all exposed on her journey as she fights against the tide of her own self doubt and commitment to family. Her family are well characterised too with Frank and Jackie providing humour, sympathy and pride as the parents who just don’t want Ruby to leave them. Troy Kostur deservedly won a best actor in a supporting role Oscar. Lastly, famous Mexican actor, Eugenio Derbez as Bernardo Villalobos, gives us a fresh take on the staple role of musical mentor.

Unashamedly melodramatic and occasionally cloying, Coda (2021), is a big-hearted familial comedy-drama which while predictable, contains many powerful messages. Following your dream, respecting those around you and loving your family are important missives especially in a world where political and military leaders remain hell-bent on war. Further, while I am not well versed in the world of the deaf community I felt that the representations here were sensitively managed and well-rounded. Sian Heder, as both writer and director, has adapted this story with care, humour and song. Ruby’s voice soars from her lungs, mouth and hands via the expressive sign language, culminating in a joyous experience that must be seen, heard and most importantly felt.

Mark: 9 out of 11

Apple TV, New Releases, Reviews

APPLE TV FILM REVIEW: THE TRAGEDY OF MACBETH (2021)

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APPLE TV FILM REVIEW: THE TRAGEDY OF MACBETH (2021)

Directed by Joel Coen

Screenplay by Joel Coen (Based on Macbeth by William Shakespeare)

Produced by: Joel Coen, Frances McDormand, Robert Graf

Cast: Denzel Washington, Frances McDormand, Bertie Carvel, Alex Hassell, Corey Hawkins, Harry Melling, Brendan Gleeson etc.

Cinematography: Bruno Delbonnel

*** SPOILERS ALERT ***

The Coen Brothers – Ethan and Joel Coen – are, as a filmmaking duo, one of the most original, imaginative, daring, and brilliant artists of my generation. I have watched all of their films many times at the cinema and at home, having completely connected with their distinct style and cinematic voice from their very first film, Blood Simple (1984) to their most recent release anthology Western The Ballad of Buster Scruggs (2018). As they’ve developed as filmmakers my admiration has grown exponentially over the years. They have worked within the studio system while maintaining their cinematic individuality and independent spirit.

Thus, it was a surprise when it was announced that Ethan Coen was taking a break from filmmaking, leaving his brother to venture out solo. Joel’s first production as a singular director is an adaptation of William Shakespeare’s famous Scottish play, The Tragedy of Macbeth (2021). With Denzel Washington cast in the lead and Frances McDormand portraying Lady Macbeth, Joel Coen certainly brought major talent to this prestige Apple production. Yet, given how familiar the play is to the world and the number of film, stage, radio and TV adaptations there have been, could the sole Coen breathe fresh life into this ancient tome?

If you haven’t seen or read Macbeth it is a tragedy first believed to have been performed in 1606. It deals with Macbeth’s journey from heroic warrior to murderous King to paranoiac and haunted mad person. Shakespeare’s themes are so absorbing in relation to the nature of ambition, fate and how a greedy lust for power will destroy a man’s soul and future. The play’s language is pure bewitching poetry and the gothic spirit which pervades the story clutches and squeezes at one’s organs tightly. Macbeth’s fate is sealed as soon as he believes the three witches prophecy on the battlefield. He is damned by his own hubris as well as his wife’s subtle manipulations. But how well does Joel Coen and his stellar cast capture such themes and character intricacies?

Firstly, the look of The Tragedy of Macbeth (2021) is astounding. Shot in brooding monochrome, shadows loom ominously creeping closer via Bruno Delbonnel’s striking cinematography. Moreover, the large sets dwarf the players given them a trapped feel. As though the walls are closing in on their souls as each fateful decision is made. The cast are uniformly superb too. Indeed, Coen makes a fascinating decision regarding the witches, having them portrayed in tremendously twisted fashion by one actor, Kathryn Hunter. Washington and McDormand are of course excellent. However, having such iconic actors in the leads did cause some disconnect with their respective characters. Plus, and I realise it is sacrilege to say this, but I always felt that Macbeth and his wife’s fall into insanity seemed to come too quickly in the latter acts. Lady Macbeth’s suicide in this adaptation felt particularly rushed.

My main tragedy of The Tragedy of Macbeth (2021) is that I did not enjoy it as much as many of the critics have. It is an incredibly wondrous film to look at. The sound also crackles and pops with howling wind, squawking birds, metal swords clashing and THAT sensational dialogue being delivered with majestic power by the cast. Yet somehow, despite the prodigious talent and excellent work presented by all I did not quite gel with it. I think it is probably my over-familiarity with the narrative, plus it was a very respectful adaptation. I would have liked to have seen more gore and action, rather than the restrained vision Joel Coen so expertly delivers here. Nonetheless, it remains another impressive addition to his amazing filmic curriculum vitae.

Mark: 8 out of 11