Tag Archives: Cinema

FILM REVIEW: RRR (2022)

FILM REVIEW: RRR (2022)

Directed by S. S. Rajamouli

Screenplay by S. S. Rajamouli and Story by V. Vijayendra Prasad

Produced by D. V. V. Danayya

Cast: N. T. Rama Rao Jr., Ram Charan, Ajay Devgn, Alia Bhatt, Shriya Saran, Samuthirakani, Ray Stevenson, Alison Doody, Olivia Morris, etc.

Cinematography: K. K. Senthil Kumar

Music by M. M. Keeravani



I have a couple of confessions to make before reviewing the exhilarating action-period-musical-drama-martial-arts-hybrid extravaganza that is RRR (2022). Firstly, I did not see it at the cinema. It was only a recommendation from a work colleague that there was an amazing and spectacular three-hour Indian-produced epic film on Netflix I should watch! I am so glad I did as it is a tremendous work of genre entertainment.

My second confession is, that while I call myself a film fanatic, I have not watched many films that could be classed as part of the Bollywood oeuvre. This is a massive admission of guilt because initial research reveals that Bollywood, the informal name for the vast Hindi-language cinema, is one of the world’s largest film producers. Yet, it is important to state that RRR (2022), the most expensively budgeted Indian film of all time, is not technically Bollywood, but rather ‘Tollywood’, being an Indian Telugu-language film.

Further research reveals the traditional Bollywood-style film will most certainly be a musical, full of scenes with joyous singing and dancing. Moreover, standard narratives involve family dramas, unrequited love, rich-girl-poor-boy romances, dividing settings between urban and rural landscapes. Conversely, RRR (2022) certainly has stunning song and dance set-pieces, but it is so much more than that. It is stupendously energetic and inventive, with so much amazing action I was left breathless. Arguably the songs get in the way of the high-octane brilliance, although one spectacular dance sequence at an English garden party left me with a massive cheesy grin.



The story is set in India, 1920, during the British Raj. This, if you were not aware, was part of the Empire, with the Crown ruling in India from 1858 to 1947. Safe to say that the British, aside from one main sympathiser, encapsulated within monstrous characters portrayed by Ray Stevenson and Alison Doody are the big baddies. Because, this is a film about overcoming oppression through the heroic and revolutionary acts of two larger-than-life characters named Komaram Bheem (N. T. Rama Rao Jr.) and Alluri Sitarama Raju (Ram Charan). The inventive, if at times predictably structured screenplay, is inspired to incorporate the lives of these two real-life Indian rebels, who never met, but challenged the Raj and the Nizam of Hyderabad, respectively.

RRR (2022) is not an accurate historical epic. Who cares! This three-hour behemoth is a thrill-ride that successfully establishes not one, but two, kick-ass heroes. Bheem, who takes the name Akhtar, is introduced fighting a tiger in the jungle, while Ragu, an Officer in the British Army — for reasons which are revealed in a tremendously moving flashback later in the film — is launched into the story fighting a baying crowd of insurgents. The two action men are initially on opposing sides as we get plot strands which echo Infernal Affairs (2002) / The Departed (2006). As the two form a bromantic friendship we know that the script is building to a big face-off between them. It is certainly worth waiting for as S. S. Rajamouli and his production team deliver a gob-smacking action centrepiece midpoint that involves Akhtar and Ragu battling amidst wild animals, vehicles, British soldiers, explosions and bullets aplenty!

RRR (2022) is not without issues. The boo-hiss stereotypical British colonialists simplify the complex politics of the era. Having said that, the British did asset strip India of valuable resources, essentially enslaving and murdering the Indigenous population during its rule. So, any negative emotions against the British are deserved. The female characters, aside from one, were a tad one-dimensional. Moreover, the film is way too long with one or two songs too many. Finally, the CGI, while actually impressive in its own way, did not always gel perfectly with the live action. However, the scale and ambition of the film is to be totally admired, as is the vibrant direction by S. S. Rajamouli. N. T. Rama Rao Jr. and Ram Charan, as the lead revolutionaries, are bona fide film stars. Their energy, physicality and charisma on screen really grabbed me and never let go with fight scenes reminding me of the heart-stopping acrobatics of Tony Jaa . Amidst the kinetics there is an emotional heart within RRR (2022), but where the British once ruled India, now it’s the spectacular that reigns.

Mark: 9 out of 11



CINEMA REVIEW: DECISION TO LEAVE (2022)

CINEMA REVIEW: DECISION TO LEAVE (2022)

Directed by: Park Chan-wook

Written by: Jeong Seo-kyeong, Park Chan-wook

Produced by: Park Chan-wook

Main cast: Tang Wei, Park Hae-il, Lee Jung-hyun, Go Kyung-pyo, etc.

Cinematography Kim Ji-yong

Edited by Kim Sang-bum

*** MAY CONTAIN SPOILERS ***



Park Chan-wook is a proper filmmaker. Like Quentin Tarantino and Martin Scorsese, he embraces the artifice of the visual and aural medium crafting intelligent, thematically surprising and stylistically dazzling works of cinema. While watching his work one can see the clockwork precision of his filmic mind devising every frame, sound, camera move, cut, character action, acting nuance, being thought out expertly. In short: Park Chan-wook’s films are always an event for me and demand attention.

Chan-wook’s only Hollywood directed film was an under-rated gem of a noir thriller called Stoker (2013), after which he returned home to direct erotically charged period thriller, The Handmaiden (2016). This was a bigger-budgeted and thematically richer affair, taking a complex con-artist-twisting-plot and interweaving an explicit feminist love story. Of course, lest we forget Chan-wook’s classic early work, notably the gonzo revenger, Old Boy (2003). I re-watched it recently at the Raindance Film Festival and the furiously inventive exploitation film retains its beautifully transgressive power.

Like The Handmaiden (2016), Decision to Leave (2022) is a romance story set within a complex genre plot. While the former was a period crime film, Decision to Leave (2022) is a contemporary set police procedural with a central premise highly reminiscent of Basic Instinct (1992). Tang Wei as Song Seo-rae is suspected of killing her husband and as investigating cop, Park Hae-il as Det. Jang Hae-jun, delves deeper he finds himself more and more attracted to her. Where The Handmaiden (2016) and Basic Instinct (1992) used nudity and sexual imagery liberally, Decision to Leave (2022) is far more subtle and cerebral. The compelling romance is built on two fine lead performances, the cunning twists in the crime plot and Chan-wook’s masterful visuals with mountain, coastal and city landscapes being employed to powerful impact.



Now I must admit after watching Decision to Leave (2022) I was left slightly underwhelmed at the end from an emotional perspective. The visuals and storytelling were phenomenal, with Chan-wook and his writing partner crafting a devious series of inventive cat-and-mouse set-pieces. The suspense and doubt instilled as to whether Song Seo-rae is a murderer, despite her cast-iron alibi, is palpable. Simultaneously, the arc of the married mid-life crisis-detective, drawn to the suspect, flirting with disaster through flawed choices, creates much tension also. However, I didn’t immediately warm to the detective’s persona and wasn’t sure if I really cared. But I suspect, due to the complexity of the passion on show, a further watch will cement Chan-wook’s specific and symbolic vision.

Beneath the melding of romance, crime, mystery and action genres, I also considered the potential subtext in the screenplay. I wondered if Decision to Leave (2022) sought to explore the socio-political relationship between the nations of South Korea and China via the characters? Song Seo-rae is a Chinese migrant who came to Korea and via marriage was able to remain. An enigmatic soul she uses her wiles to survive, serenely attracting a series of men. But death follows her as closely as the male. Detective Hae-jun is drawn to her both professionally and romantically, no doubt thrilled by the danger. Yet, Chan-wook denies displaying physical consummation, and this makes the film more erotic than endless sex scenes do.

Lastly, Decision to Leave’s (2022) examination of language, both bodily and verbal, is deftly presented as a theme within the romance. The central crime of murder creates suspicion between the Korean and Chinese characters, but there’s a mutual and irresistible pull that cannot be denied. Song Seo-rae’s use of her phone translation application during her exchanges with the Detective create both a barrier and paradoxical intimacy. It’s just one of the fascinating bits of business, as well as the chainmail gauntlet used by the Detective, which elevate an already impressive script. But did Decision to Leave (2022) need to be so evasively complex and full of radiant ambiguity? The ending especially is both poetically exquisite and frustratingly cryptic. With a Park Chan-wook film, would I have it any other way?

Mark: 8.5 out of 11


CINEMA REVIEW: THE MENU (2022)

CINEMA REVIEW: THE MENU (2022)

Directed by Mark Mylod

Written by: Seth Reiss, Will Tracy

Produced by: Adam McKay, Betsy Koch, Will Ferrell

Cast: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer, Reed Birney, Judith Light, John Leguizamo, etc.

Cinematography Peter Deming

*** MAY CONTAIN SPOILERS ***



I love cinema and films like The Menu (2022), as much as I love food and drink. Wow, some of the food shown on screen looked absolutely delicious, while some of it was that weird cuisine so gorged on by the pompous moneyed folk of this world. I must admit that I have had an unhealthy relationship with food. I have been an overeater and also overweight. I am a food addict, notably sugar and alcohol. I have attempted to control it with various dietary ventures. Low calorie, low carbohydrate, low sugar, running, gym, fasting, temperance and other (un)successful attempts at moderation have ensued. Presently, I am pretty fit from a cardio perspective, and twenty kilos lighter than I was ten years ago. But I could do much better.

I’ve always strived to eat healthily, but fine dining was never really for me. It was only when I met my wife eight years ago that I was introduced to gourmet dining and the dreaded tasting menu. Aside from the over-priced food, I just find those posh restaurants too pretentious for a working-class boy from Battersea. Yet, I would go out with my wife for a treat and eat at some wonderful restaurants in Edinburgh, Copenhagen, Cornwall, London and many more. Some were amazing and some I found were not really value for money. The personality cult of the celebrity chef continues to thrive also. Aside from enjoying Ramsay’s Kitchen Nightmares they’ve never really interested me. Yet, I was onboard while imbibing the skewered satire of The Menu (2022). Because it’s a sharply scripted horror film which comes to the boil slowly before delivering a killer set of courses throughout.



It’s best to experience The Menu (2022) without knowing too much. The surprises in the inventive script are a constant joy. The setting is an exclusive and expensive restaurant on a remote island called Hawthorne. The host, menu architect and epicurean is celebrity chef, Julian Slowik. Chef is portrayed with intense control and focus by Ralph Fiennes. Slowik finds himself worshipped by his kitchen acolytes, who adhere to his every demand. He is brilliant and to be feared, like many a charismatic cult leader before him. Eat your heart out, Gordon Ramsay.

Arriving by boat to the blighted isle are twelve restaurant-goers such as a team of rich finance guys, a once famous Hollywood actor (John Leguizamo) and his PA, a wealthy middle-aged couple, a food critic (Janet McTeer) and her yes-man assistant, plus the mis-matched couple, Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult). Tyler is a sycophantic fanboy of Slowik’s food and career, something that later comes to horrifying catharsis. Indeed, as well as the mysterious menu, many of the guests are harbouring a secret that this hell’s kitchen is more than prepared to burn.

Structured, unsurprisingly, around the courses of a tasting menu with titles separating each dish, the food delivered is both imaginative and beautifully presented. Margot’s character pushes back on what she considers to be both ostentatious and insubstantial food, much to Tyler’s annoyance. Their conflict intersperses the rising suspense that derives from Julian’s menu, which raises the stakes gradually, before events truly reach boiling point. In Slowik’s restaurant the customer is definitely NEVER right. Similar to Ready or Not (2019), The Menu (2022) is a fantastically twisted and funny genre film. Fiennes, Taylor-Joy, Hoult and Hong Chau are on terrific acting form. Further, the production design and cinematography make the visuals succulent and palatable. Ultimately, for those who love food, fear and vengeance, this film is certainly best served hot!

Mark: 8.5 out of 11


FIVE REASONS THIS COULD BE GOOD: COCAINE BEAR (2023)

FIVE REASONS THIS COULD BE GOOD: COCAINE BEAR (2023)

Every now and then a film title hooks you in immediately. Snakes on a Plane (2006) anyone? Now, another beast driven movie comes along and says, “Hold. . . My. . . Bear!”Enter the thrill-a-second trailer for – Cocaine Bear (2023)!

So here are five reasons, Cocaine Bear (2023) could be good!

  1. The title of the film is Cocaine Bear (2023)!
  2. It has a kill crazy bear high on cocaine in it!
  3. It is amazingly inspired by a TRUE story!
  4. It’s Ray Liotta’s R.I.P, final film.
  5. The trailer is amazing – check it out here:

Cocaine Bear (2023) releases on February 24th 2023 in the US, UK and most of the world exclusively in movie theatres.

CINEMA REVIEW: TRIANGLE OF SADNESS (2022)

CINEMA REVIEW: TRIANGLE OF SADNESS (2022)

Directed by Ruben Östlund

Written by: Ruben Östlund

Produced by: Erik Hemmendorff, Philippe Bober

Main cast: Harris Dickinson, Charlbi Dean, Dolly de Leon, Zlatko Burić, Henrik Dorsin, Vicki Berlin, Woody Harrelson etc.

Cinematography: Fredrik Wenzel

Edited by: Ruben Östlund, Mikel Cee Karlsson

Music by: Mikkel Maltha, Leslie Ming

*** MAY CONTAIN SPOILERS ***



Ruben Ostlund is fast becoming one of those go to directors who can be relied upon to deliver cinema of the highest quality. His latest film, Triangle of Sadness (2022) is his finest to date. Having said that, his Force Majeure (2014) was one of those excellent films I hated.  Technically, it was beautifully shot, performed, and directed, however, I just found the characters too irritating. Personally despising ski holidays probably didn’t help either. I actually wished the characters had been killed in the avalanche to save on all the middle-class matrimonial moaning.

Ostlund’s next film The Square (2017) was bravura arthouse storytelling containing wonderful digs at the nature of modern art and how rich people will buy any old crap if it is put in a gallery. While a tad overlong, it was wonderfully funny with hilarious mocking of the bourgeoisie, art and the rise of social media. With Triangle of Sadness (2022), Ostlund has moved up the social strata and focussed his satirical eye on the uber-wealthy, combining socialist dialectic with gross-out comedy, as Das Kapital meets Monty Python’s The Meaning of Life (1983).



The film opens with Carl (Harris Dickinson) and Yaya (Charlbi Dean), a model and Social Media influencer, as a couple whose relationship is fraught with problems. Through Yaya’s connections she secures them free passage on one of the most luxurious yachting holidays on the ocean. While they aren’t short of money, they have nothing compared to the wealthy millionaires and business types on the boat. As Carl and Yaya act as our conduits in the story, Ostlund uses them to explore the petty first world problems which impact many romances. The staff are also introduced as key players in the “Upstairs, Downstairs” character dynamic, notably Woody Harrelson’s drunken socialist Captain Thomas Smith, and Vicki Berlin’s staff supervisor, Paula. Lastly, the money is represented essentially by lonely tech millionaire, Jarmo (Henrik Dorsin), obnoxious Russian, Dimitry (Zlatko Burić) and stroke victim, Therese (Iris Berben) and her husband.

Throwing these disparate, and latterly desperate personalities, into the trapped spaces of a superyacht is great writing by Ostlund. What unfolds in the second act of the film is an extended set-piece of riotous fun. As the yacht becomes battered by the stormy sea and weather, the guests all become violently ill to devasting impact. While it may not be to everyone’s taste, I was laughing for twenty odd minutes straight at this sickening skewering of these privileged people. At the same time the drunken Dimitry and Captain Smith argue relentlessly about the differences and merits of capitalist and Marxist ideologies. It’s easily one of the funniest and impressively directed sequences of this cinematic year.

But Ostlund isn’t finished yet. These characters have not suffered enough for him, and the final section of Triangle of Sadness (2022) drenches the story in another hilarious and satirical direction. I won’t spoil the events which unfold, but Carl and Yaya’s relationship issues come to the fore as a darkly comedic peril strikes the yacht and passengers. Here Ostlund strikes a further blow against capitalism, exploring the nature of survival of the fittest and true values of human currency in a savage indictment against the obscenely rich. Overall, while the characters may not be the most likeable, that is never Ostlund’s aim. Ostlund’s desire is to critique capitalist hegemony through both high and low brow humour. He succeeds, making Triangle of Sadness (2022) one of the most thought-provoking and exhilarating cinema experiences of the year.

Mark: 9.5 out of 11



SIX OF THE BEST #37 – FOOTBALL FILMS!

SIX OF THE BEST #37 – FOOTBALL FILMS!

With the World Cup beginning in Qatar on Sunday 20th November 2022, I thought it was the perfect time to jump on the bandwagon and consider six of the best football films ever made.

Now, when I say “best” I say this cautiously. The relationship between football and cinema hasn’t always delivered the highest of cinematic art. However, there have been some highly entertaining films set in and around the world of this great game. A sport that involves human beings kicking a sphere into a net. A game I love!


ESCAPE TO VICTORY (1981) – Directed by John Huston

Wow! What a cast! This prisoner-of-war film starring Michael Caine, Sylvester Stallone, Max Von Sydow, Pele, Bobby Moore, Osvaldo Ardiles, John Wark and many more football stars of the era, shouldn’t really work. Yet, it somehow successfully combines football and WW2 prison break subgenres in a beat-the-Nazis-boy’s-own adventure of stirring derring do.


THE FIRM (1988) – Directed by Alan Clarke

An unflinching and gritty exploration of the football hooligan subculture so prevalent in the English game in the 1970’s and 1980’s. Gary Oldman and Phil Davis portray rival gang-leaders of opposing football teams, highlighting how football was used as a substitute for urban warfare up and down the cities and motorways of our green and pleasant land.


GRAHAM TAYLOR: AN IMPOSSIBLE JOB (1994)

Firstly, I must say that Graham Taylor was a great man and exceptional football manager at clubs teams including Watford and Aston Villa. This soul crushing fly-on-the-wall documentary covers in painful depth the ill-fated attempt by the England football team to qualify for the 1994 World Cup. Brutally honest, poignant, funny and embarrassing all at the same time, this is one of the most absorbing sports docs of all time.


SHAOLIN SOCCER (2001) – directed by Stephen Chow

Combining football and martial arts is a master stroke of the highest order. In the turbo-charged, Shaolin Soccer, we get both an underdog story and a litany of incredible kung-fu action set-pieces with scorching goals at the end of them. Brilliantly choreographed by Stephen Chow and his production team, this is a funny, kicking and net-busting classic!


THE DAMNED UNITED (2009) – directed by Tom Hooper

This exceptional adaptation of David Peace’s classic novel scores on many levels. None more so than Michael Sheen’s eloquent portrayal of top manager, Brian Clough and the excellent Timothy Spall as his assistant, Peter Taylor. Dramatically picking apart Clough’s disastrous tenure at premier football club, Leeds United, it shows even genius can get it utterly wrong. Clough would last 44 days at the damned United, but would later prove at Nottingham Forest what an incredible manager he was.


DIEGO MARADONA (2019)

Asif Kapadia’s documentary is arguably one of the finely crafted sports films of all time. Here he takes his razor-sharp filmmaking focus to the massive highs and eventual lows of Diego Maradona’s time at Napoli following his move from Barcelona in 1984. Maradona is regarded as one of the greatest footballers of all time, but had not hit expected heights at the Catalan Kings before moving to Naples. Here Maradona elevated a mostly unsuccessful team to the top of the Italian league. After becoming a footballing god to the Napoli fans, off and on-pitch behaviour would subsequently sour the romance in a powerfully thrilling documentary drama.

The 30th RAINDANCE FILM FESTIVAL!

Raindance 30th Film Festival

Discover. Be Discovered.


Raindance Film Festival is the largest independent film festival in the UK. Holding the 30th festival in 2022, Raindance is based in the heart of London’s buzzing West End film district.

Raindance Film Festival is officially recognised by the Academy of Motion Picture Arts and Sciences USA, the British Academy of Film and Television Arts and the British Independent Film Awards. Selected shorts will qualify for Oscar® and BAFTA considerations.

Festival Sections:
World-renowned programme of the best UK and international independent films.
– House of Raindance – talks and panels at Genesis Cinema
– Raindance VRX programme for virtual reality and new media
Networking events
– Attracting 16,000 visitors including 500 industry professionals into London.



The 30th Raindance took place between October 26 – November 5 2022 in Central and East London. I attended many of the amazing events.

Opening Night Gala and Film – Corner Office (2022)

The opening night Gala at the Waldorf Hotel, was a fantastic event and Jonathan Pryce and Vanessa Redgrave deservedly received Raindance icon awards.



The opening gala was preceded by the opening film. Starring the cast-against-type, Jon Hamm, Corner Office (2022) is a fine surreal comedy. He portrays an office worker who finds a room in the office which no other worker can see. Is he crazy or the sanest person in the company? Joachim Back directs a stylish and offbeat indie cinema treat!



House of Raindance at Genesis Cinema

At the wonderful Genesis Cinema, near Stepney Green in East London, the Raindance Film Festival created the House of Raindance and Backyard cinema marquee full of fantastic industry events and screening. These included: panels with industry professionals from TooFar Media, Paus TV, and Celtx; masterclasses with filmmaking experts and retrospective screenings of classics such as Pulp Fiction (1994), Memento (2000) and Old Boy (2003).



Closing Party and Film – Pinball: The Man Who Saved the Game (2022)

After watching over 15,000 feature and short film submissions, the Raindance programmers delivered an array of amazing cinematic works. Films screened from all over the world included: Erin’s Guide to Kissing Girls (2022), Iguana (2022), Pantafa (2022), Karaoke (2022), Little Axel (2022), Swallow (2022), Razorlight: Fall to Pieces (2022); and many shorts programmes including Raindance Film School Student Showcase, Queer, Horror, Radical Agendas and Transient Venture strands.

Having opened with a brilliant film, Raindance 30th Film Festival closed with another entertaining one too. It was the romantic, heroic and comedic 1970s period film, Pinball: The Man Who Saved the Game (2022). It’s the story of Roger Sharpe, the young midwesterner who overturned New York City’s 35 year-old ban on pinball machines. Influenced stylistically by Martin Scorsese, it is a niche but fascinating and bumping slice of American legal historia. Safe to say to the closing party at Genesis Cinema was flipping marvellous too.



See you next year at the 31st Raindance Film Festival!


CINEMA REVIEW: THE BANSHEES OF INISHERIN (2022)

CINEMA REVIEW: THE BANSHEES OF INISHERIN (2022)

Written and Directed by Martin McDonagh

Produced by: Graham Broadbent, Peter Czernin & Martin McDonagh

Main Cast: Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan, etc.

Cinematography: Ben Davis

Edited by: Mikkel E. G. Nielsen

Music by: Carter Burwell

*** MAY CONTAIN SPOILERS ***



The Banshees of Inisherin (2022) is Martin McDonagh’s latest cinematic masterpiece. Not only is it one of the best films of the year he has, as with Three Billboards Outside Ebbing, Missouri (2017), constructed one of the most formidable screenplays of many a year. As a playwright McDonagh has won many awards for his works. His debut film, In Bruges (2008), was a deceptively simple story of two hitmen on the run which, with rich thematic power, became a darkly hilarious existential cult classic. His follow-up Seven Psychopaths (2012), a heady mix of criminals versus writers in a meta-fictional Hollywood-based narrative was brilliantly written and acted, if slightly lacking thematic clarity. Like Three Billboards Outside Ebbing, Missouri (2017), The Banshees of Inisherin (2022) is a highly emotional human drama which contains intelligent allegory, incredible characterization, and cracking dialogue.

Set in 1923 on an island off of Southern Ireland called aptly Inisherin, the film opens by focussing on genial everyman farmer, Pádraic Súilleabháin (Colin Farrell) and his daily routine. After tending to his animals, he usually calls for his friend, Colm Doherty (Brendan Gleeson) to go to the island pub, the J.J. Devine or Jonjo’s. In England there is an idiom called, “sending someone to Coventry.” This means to ignore or ostracize an individual or individuals. So, basically Colm chooses to do this to his long-standing friend, Pádraic. This shunning completely bemuses Pádraic and despite Colm’s pleading for Pádraic to respect his wishes, he continually seeks an answer to his former friend’s decision.



After this intriguing premise is established, what follows is a tremendously original, darkly funny and emotionally penetrating succession of scenes. The exchanges between the two characters begins as bickering but then descends into some seriously disturbing acts of recrimination. Attempting to make them see sense are various eccentric characters on the island who provide many witty and absurd exchanges that McDonagh specialises in. Further, Pádraic’s sister Siobhán (Kerry Condon) is almost the one voice of reason as the feud escalates. As she tries to diffuse the conflict, even Barry Keoghan’s young idiot, Dominic Kearney, the initial comic relief in the film, attempts to make these two men see sense.

Visually, The Banshees of Inisherin (2022), is incredibly rich. The territory displays gorgeously photographed shots of the rocks, the sea, the stone roads and the lush green countryside. But while there is a sense of expanse and freedom initially, the feeling of isolation pervades. As the story continues the characters feel more and more segregated by the sea and their own or other’s decisions. None more so than Farrell’s Pádraic. A simple man who just wants to do his work and get drunk with his friend, he finds he is sequestered by Colm’s desire to self-isolate and concentrate on his music. Here, Farrell and Gleeson give tremendous character work. Farrell especially has rarely been better as Pádraic’s attitude turns initially from shock to bitterness over the journey of the narrative.



A film director’s job is for me about making key creative choices. Martin McDonagh makes brilliant choices while working from his own exceptional script. I loved everything about The Banshees of Inisherin (2022). The look, the performances, the pacing, the locations and Carter Burwell’s phenomenal score are absolutely first class. I haven’t even mentioned Barry Keoghan’s memorable supporting turn. He surely is one of the most naturally gifted actors of his generation. Not to forget other striking characters in the ensemble such as the creepy, Mrs McCormick (Sheila Flitton), an old harridan who acts as a portent for death on the island.

Martin McDonagh expertly combines a superb ear for dialogue, a psychologically absorbing analysis of the human condition with elements from Waiting For Godot and Channel Four situation comedy, Father Ted. Above all else, The Banshees of Inisherin (2022) is a darkly, spectacular cinematic experience which works on many levels. On one level it is about the isolation of island life and its inhabitants. On another it’s about the death of a friendship. While on yet another level it is about the analogous absurdity of civil war and how conflict can start for the merest of reasons. While the best cinema is certainly about showing and not telling, McDonagh proves again that dialogue-driven films can produce cinematic theatre, comedy and tragedy of the highest order.

Mark: 10 out of 11


CINEMA REVIEW: SMILE (2022)

CINEMA REVIEW: SMILE (2022)

Directed and written by Parker Finn

Based on Laura Hasn’t Slept by Parker Finn

Produced by: Marty Bowen, Wyck Godfrey, Isaac Klausner, Robert Salerno, Gabby Olivera

Cast: Sosie Bacon, Jessie T. Usher, Kyle Gallner, Caitlin Stasey, Kal Penn, Rob Morgan, etc.

Cinematography: Charlie Sarroff



If you search YouTube by typing ‘short horror film’ you will find hundreds of really good and often scary, surprisingly enough, short horror films. A great majority of them will have a lengthy suspenseful set-up, before ending on a startling jump scare. The model itself is arguably overdone, however, it is an excellent set-up-punchline structure for new filmmakers to learn film techniques and scare the viewers. Many such short videos go viral and, in the case of Laura Hasn’t Slept by Parker Finn, get picked up for feature development. Hence, we have Parker Finn’s film debut, Smile (2022).

Smile (2022) opens with a suggestion of childhood trauma for lead protagonist, psychiatrist Doctor Rose Cotter when a child. The action then moves to the present day and brings us Rose’s confrontation with the disturbed patient, Laura. What follows is an expertly crafted and incredibly disturbing sequence, which plunges Rose into major threat from a nefarious force. Parker Finn then slowly builds Rose’s psychological breakdown as she experiences hallucinations, frights and memory loss as her partner, family and friends find her behaviour to be disturbing to say the least. A particularly grisly scene at a child’s birthday party was especially deadly and memorable.



As the film continues, I could not help but be reminded of both The Ring (1998/2002) and It Follows (2014) in terms of the story beats. Rose, while being pursued by some unknown demon, faces a race against time to avoid death. Both the aforementioned films are far superior as they have more plot and characterisation to propel the running time. Indeed, one of the major issues with Smile (2022) is that 115 minutes are too long for the character arc Rose Cotter is given. By the time her character revelation is complete it has taken an eternity to get there. Moreover, I was suffering jump-scare fatigue by the end, thus rendering the scarily horrific monster reveal to feel fearfully redundant.

Yet, Smile (2022) has an impactful thematic spine. While It Follows (2014) dealt with the threat of sexual disease within the subtext, Parker Finn’s debut powerfully delves into the impact of grief, guilt and mental health. Having said that, the narrative could have dug more into Rose’s past to really reveal the trauma she suffered as a child. Personally, I think a longer set-up of her character while growing up would have increased the drama. But Parker Finn gets an excellent performance from Sosie Bacon throughout, even if her perpetual appearance on screen as the harassed and troubled victim eventually promotes further fatigue. A scene-stealing exchange between Bacon and the electric Rob Morgan suggests his character should be lead in the inevitable horror sequel.

Mark: 7 out of 11


CINEMA REVIEW: DON’T WORRY DARLING (2022)

CINEMA REVIEW – DON’T WORRY DARLING (2022)

Directed by: Olivia Wilde

Screenplay by: Katie Silberman – Story by Carey Van Dyke, Shane Van Dyke and Katie Silberman

Produced by: Olivia Wilde, Katie Silberman, Miri Yoon, Roy Lee

Main Cast: Florence Pugh, Harry Styles, Olivia Wilde, Gemma Chan, KiKi Layne, Nick Kroll, Chris Pine etc.

Cinematography Matthew Libatique

*** MAY CONTAIN SPOILERS ***



Part arthouse character study, part science fiction social satire and eventually a rushed concertinaed thriller, the Olivia Wilde directed, Don’t Worry Darling (2022) is a visual feast, anchored by Florence Pugh’s devastatingly brilliant performance. However, the ambition of the themes remains hamstrung by pacing and structure which fails to serve the story to its full potential.

Set within a utopian 1950’s sun blanched town called Victory, Wilde and her writers throw us straight into the hedonistic lives of a set of youthful and dynamic couples, drinking, partying and sexing. They work and play hard. Well, the husbands work as the dutiful women stay at home cleaning and churning out kids. So far-so-Stepford Wives! At the heart of Don’t Worry Darling (2022) is Pugh as the loyal but inquisitive, Alice. Her husband, Jack (Harry Styles) is ambitious, seeking the approval of big boss, the hubristic Frank (Chris Pine). When Alice begins to experience Kafkaesque dreams of feeling trapped by her daily life, she slowly realises all is not quite perfect in paradise.


No one does anguish and anxiety on screen like Florence Pugh. As Alice falls deeper down the rabbit hole of despair, Pugh produces true cinematic power once again. Olivia Wilde also brings a compelling image system to fully visualise Alice’s hellish descent. In comparison, the male characters are far less developed and the exchanges between Pugh and Styles, especially in the final act, are really lacking in dramatic punch. Styles himself I felt was miscast, but he does have an engaging screen presence. It’s just I didn’t feel enough threat from him.

Structurally, Don’t Worry Darling (2022) is also flawed. The major reveal comes way too late to assuage the pacing issues. While the narrative contains some striking visual set-pieces there are too many parties, barbecues and social events getting in the way of the potential thrills that could have occurred if Alice had discovered her plight much earlier. Overall, there is too much set-up and not enough punch. The longer you wait to reveal the twist, the bigger the revelation needs to be. The Outer Limits and The Twilight Zone have done this style of story with more emotional impact and better economy. Pugh and Wilde though prove once again they are major talents and thematically speaking it’s good that men get another kick in. Men are fast becoming the go-to villains of this century and long may it continue.

Mark: 6.5 out of 11