The Cinema Fix presents: 12 Favourite Films of 2024!
Good day and I hope you are well. I am slightly late to the party with these but happy new year nonetheless.
Here are my favourite films of 2024 that I watched at the cinema and on streaming platforms. The majority would have been released last year, however there were quite a few that crossed the last eighteen months or so. I cheated slightly with The Quiet Girl, but I watched in 2024, so there you go.
If I have missed any films then please let me know in the comments. I have either NOT seen them or did not enjoy them as much as you. Remember these are my FAVOURITE films seen in 2024 of new(ish) releases. So all purely subjective and am happy if you agree or disagree. Have a wonderful 2025!
Oh, for control and interest, I include my favourite films of 2023!
ANATOMY OF A FALL (2023) ASTEROID CITY (2023) BROKER (2022) MAY DECEMBER (2023) OPPENHEIMER (2023) PAST LIVES (2023) SALTBURN (2023) TAR (2022) TOTALLY KILLER (2023) THE WONDER (2022)
Based on the musical, Wicked by Stephen Schwartz & Winnie Holzman and novel by Gregory Maguire.
Produced by Marc Platt and David Stone
Main Cast: Cynthia Erivo, Ariana Grande-Buter, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh and Jeff Goldblum etc.
Cinematography by Alice Brooks
Edited by Myron Kerstein
Music by John Powell (score) and Stephen Schwartz (score and songs)
*** MAY CONTAIN SPOILERS ***
I truly believe my love of cinema began when I was aged five. Or was it six? Picture the scene. Christmas Day circa 1976 and the living room of a Battersea tower block. A television emits a classic musical fantasy called The Wizard of Oz (1939). Shades of grey with a flickering light and shadow, drew me into its spell. I sat wide-eyed, cradled by the screen’s soft glow, unaware that something wondrous lay just beyond the monochrome.
And then it happened—like a magician’s flourish, the black and white world I had known melted away. Dorothy opened that door, and the screen burst into life, a kaleidoscope of impossible hues. Emerald greens, ruby reds, a yellow road that glowed with the promise of adventure. My eyes widened. Hang on! It was black and white and NOW the images are in colour! This was magic. This was film. This was Oz!
Forty-eight years later and back to the present. In 2024, I am sat in the cinema intrigued to watch the musical prequel, Wicked (2024). Based on a successful novel, then a spectacularly successful stage musical and now a big-budget Christmas cinema extravaganza indulgently split into a two-parter, does Wicked (2024) capture the cinematic sorcery I experienced in my youth? Of course it possibly cannot live up to my warm and fuzzy childhood memories, but it is a well-crafted, superbly choreographed and energetically performed Hollywood product with Cynthia Erivo and Ariana Grande on majestic form.
The film, based on Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire, is a brilliant twist on the “what if” storytelling lens—a speculative reimagining that turns a villain into a deeply human, complex protagonist. The novel takes the flat archetype of the Wicked Witch and asks: What if we misunderstood her? What if the “wickedness” she’s condemned for is not inherent, but the result of a life shaped by prejudice, politics, and pain? Indeed, the journey of Elphaba Thropp (Cynthia Erivo) powerfully drives the story, and in some fashion Wicked(2024) works brilliantly as a Breaking Bad-meets-Mean Girls-type-rites-of-passage musical.
Unfortunately, such strong narrative bones with weighty themes of identity, morality, and the price of power are adorned in a dazzling, over-the-top spectacle. While its core narrative explores profound questions about destiny and the nature of “wickedness,” these ideas often get buried under an excessive parade of well-designed production numbers that stretch the running time and tested one’s patience. The powerful emotional arcs of Elphaba and Glinda, rich with potential, are interrupted by TOO MANY songs that (Dancing Through Life is one such culprit), while entertaining in isolation, often feel like detours from the story’s heart.
By the final curtain, the spectacular musical embellishments, though undeniably crowd-pleasing, can leave the story feeling bloated. I am probably the wrong demographic for the production, given the cinema was full of children and parents. So, while there is much to enjoy in comparison with the original film’s genius, notably the invention of the flying monkeys, Wicked(2024), for all its glitter and showmanship, finds the greedy desire for a two-parter ultimately draining Oz of pace and magic.
Produced by Jacques Audiard, Pascal Caucheteux, Valérie Schermann, Anthony Vaccarello
Main Cast: Zoe Saldaña, Karla Sofía Gascón, Selena Gomez, Adriana Paz, Mark Ivanir, Édgar Ramírez etc.
Cinematography by Paul Guilhaume
*** MAY CONTAIN SPOILERS ***
“There’s such a thing as having too much going on.” Howard Moon from The Mighty Boosh.
I am a big champion of the films of Jacques Audiard. When his eccentric Western, The Sisters Brothers (2018), was released I wrote a positive review and tribute to several other fine films he has directed here. Audiard likes to take risks representing human beings on the edge of society and perhaps struggling with life; people who often make left-field decisions to improve or escape their existential plight. With his latest film Emilia Perez (2024) the filmmaking master challenges the audience again with a multi-blended genre film that also contains powerful themes of transformation, redemption, violence, crime and family values. Oh and there are songs too.
The narrative begins strongly as Rita Mora Castro (Zoe Saldana), a fiercely talented yet overlooked lawyer in Mexico City, finds herself thrust into the spotlight when she defends the wife of a prominent media mogul in a controversial murder trial. Despite her misgivings, Rita crafts a chillingly persuasive argument that frames the death as a suicide, securing an unexpected victory in the case—one that leaves her both celebrated and haunted.
As the dust settles, Rita’s restless dissatisfaction with her life grows louder. Then comes an anonymous phone call: an enigmatic voice offers her a chance at something extraordinary—and extraordinarily dangerous. Intrigued and desperate for change, she agrees to a clandestine meeting. The mysterious client turns out to be none other than Juan “Manitas” Del Monte (Karla Sofía Gascón), a ruthless and feared cartel kingpin. But the request they make isn’t what Rita expects from a crime-lord. Manitas dreams of living authentically by undergoing gender-affirming surgery and becoming a woman. Rita must decide: will she help Manitas rewrite their story, or will she risk becoming the next chapter in a tale of betrayal and bloodshed?
This fascinating set-up draws you in and I believe if Audiard’s narrative had concentrated mostly on the relationship between Rita, the transitioned, Emilia, then the film would have retained much emotional and thematic power. Yet, after Emilia’s operation the screenplay introduces several other story strands and characters to take in, including Selena Gomez’ feisty Jessi Del Monte, Manitas’ ex-wife who thinks “he’s” dead. This development works initially but then Audiard hurls so many more ideas and genres at the audience wall, not all of them sticking.
Admittedly, the film’s audacious blend of melodrama, crime, thriller, musical, and comedy creates an unpredictable and frenetic narrative that keeps viewers on their toes. However, this constant genre-shifting can undermine the weight of its core themes—gender and identity—by overshadowing them with spectacle and tonal inconsistency. The story’s rapid turns and refusal to settle into a single emotional or narrative groove risk, arguably trivializing the profound struggles and triumphs of its trans-protagonist. Moments that could serve as deeply reflective or cathartic explorations of gender identity are sometimes undercut by abrupt pivots into slapstick humor or hyper-stylized action. While these shifts might aim to reflect the disarray and fluidity of identity in a chaotic world, they can also dilute the thematic resonance.
At the same time, it’s clear Audiard is deliberately embracing this chaos and analysis of human flaws. The fractured tone might symbolize a world where stability and clarity are illusions, mirroring the internal and external conflicts of someone navigating personal transformation in an unyielding environment. This approach, while conceptually intriguing, can feel alienating. Nonetheless, the cast’s stellar performances anchor the film, ensuring that the characters remain compelling even when the story spirals into excess. Lastly, Emilia Perez‘ (2024) relentless energy often leaves little room for introspection, and whether this genre-chaos enriches or undermines the narrative depends largely on the viewer’s tolerance for Audiard’s embrace of choral disorder in a world seemingly allergic to calm and pattern.
The Scala Cinema, nestled in the heart of London, was more than just a film theatre; it was a refuge, a haven for anyone with a passion for films that didn’t fit into the mainstream mold. I can still feel the sticky floors, the cats in the dark, hear the muffled sounds of the trains passing overhead, and see the hazy red glow that filled the theater. In the 1980s and 1990s, going to the Scala wasn’t just about watching a film; it was about being part of a community that celebrated the bizarre, the boundary-pushing, and the boldly artistic.
During those years, the Scala felt like my second home. It was where I could disappear into films that I couldn’t find anywhere else – obscure horror flicks, campy B-movies, gonzo-pornos, arthouse selections, and controversial classics from around the globe. It was my church. Films by David Lynch, John Waters, Yuen Woo-ping, Derek Jarman, Werner Herzog, Sam Raimi, Lucio Fulci, Russ Meyer, Kathryn Bigelow, Alex Cox, John Woo, Stanley Kubrick, Jane Campion, Orson Welles, Dario Argento, Alejandro Jodorowsky and many more – each screening felt like a small rebellion, a discovery that I’d carry with me. The Scala didn’t just show movies; it curated experiences. All-night marathons, double bills, and surprise screenings became a staple of my weekends, filling my mind with scenes that blurred the line between reality and the outrageous.
When I watched the Scala documentary on BFI Player, a flood of memories came rushing back. It was as though I’d been given a ticket back to those wild, late nights. I remembered how Scala regulars would shout lines at the screen or break into laughter at inopportune moments, making each viewing unique and unpredictable. The documentary captured not only the films but the spirit of the place – the staff who loved cinema as much as the patrons did, the strange but welcoming crowd, and the sense that Scala wasn’t just a venue but a movement. Watching it felt like reconnecting with a part of myself, an era when cinema was raw, thrilling, and unpolished.
The Scala in King’s Cross is a legend, and for those of us who were lucky enough to experience it, it’s a chapter we’ll always cherish. I was even there when they showed A Clockwork Orange (illegally), which led to the ill-fated court case which forced it to close. This documentary is both a valuable historical document and a joyous sharing of stories from those who worked there and attended the films shown, including: Mark Moore, Mary Harron, Isaac Julien, John Waters, Ben Wheatley; Barry Adamson, Matt Johnson, Adam Buxton, James O’Brien, Stewart Lee, Lisa Power and Graham Humphreys. Overall, the Scala Cinema wasn’t just about the films we watched; it was about finding a place where film became more than entertainment – they were a way of life.
Looking for something horrifying to watch during Halloween. Well you could do far worse than getting a Shudder subscription.
A few months a year I sign up and binge bloody disgusting and scary films as my previous reviews testify. Check them out here!
This year I have done the same and watched some really good, terribly bad and hideously ugly horror films via Shudder. Peruse my short reviews below. In alphabetical order with marks out of eleven.
Host (2020)
A terrific low-budget British indie film that explores the dangers of angering ghosts during a Zoom call. While the mildly irritating characters don’t realize they can simply end the online séance, it’s still a spooky, suspenseful, and fast-paced horror flick. I’m not usually a fan of the found footage genre, but this was very well made and highly creepy. Mark: 8 out of 11
In A Violent Nature (2024)
This director will probably have an amazing career. But this film was, despite some wonderful practical-effect driven gore, SO slow and boring. The film satirizes classic horror tropes, mocking their clichés with a heavy hand. The director’s pretentious style and inflated sense of artistic ego drain the audience of any real suspense or tension. The attempt at highbrow genre obfuscation creates a hollow spectacle. Shot from behind, the killer stalks twenty-somethings in the woods in the style of Son of Saul (2015) meets every slasher film ever. Ultimately, suffering from atrocious dialogue, bad plotting and weak characterization, the visual flair fails to save a film which feels more like an exercise in intellectual vanity than a gripping thriller. Mark: 5 out of 11
With echoes of the recent Inside No. 9 (3×3 quiz show episode) and BBC show Ghostwatch (1992), and of course The Exorcist (1973), Late Night With the Devil (2023) is one of the most enjoyable and imaginative horror films I have seen in sometime. One of the best horror films of the decade. Check out my longer review here. Mark: 9 out of 11
Pyewacket (2017)
Nicole Munoz’ isolated teenager summons a witch via a ritual and unleashes something not particularly scary or even present. All set-up and no catharsis! A waste of everyone’s time. Mark: 4 out of 11
Revealer (2022)
One of the best pitches I have read in a while – “A stripper and religious protester are trapped together in a peep show booth and must come together to survive the apocalypse in 1980’s Chicago!” does not unfortunately live up to expectations. However, there’s a decent female buddy dynamic and some imaginative gore which channels early Raimi, Jackson and Carpenter. Mark: 6 out of 11
Room 237 (2012)
For Stanley Kubrick completists, this fascinating documentary is divided into nine sections, with each one exploring a different aspect of The Shining (1980). Hidden theories buried under the surface relate to faked moon landings, Native American genocide and the holocaust are some of the ideas chucked at the wall. While some may stick and some don’t, it’s lovingly made and always fascinating. Mark: 8 out of 11
Skinamarink (2022)
Skinamarink was a major letdown for me, especially given the high expectations after its impressive financial success. With a $15,000 budget, it garnered over $2.1 million at the box office, creating a buzz around its unconventional style and promise of fresh horror. But despite its atmospheric tension and experimental approach, I felt the film didn’t live up to the hype. The slow pacing, abstract narrative, and reliance on ambient sounds and shadows left me unmoved. It’s an original, art-house horror so surprised it crossed over. Filmmaker, Kyle Edward Ball, clearly has a distinctive voice though. Mark: 6 out of 11
Stop Motion (2023)
The animation in Stopmotion (2023) showcases Robert Morgan’s genius, with his signature blend of hauntingly detailed stop-motion work that creates an eerie, tactile atmosphere. His craftsmanship brings a nightmarish quality to life, adding unsettling textures and depth that pull the audience into a world of psychological horror. However, while the animation excels, the plot—reminiscent of Repulsion—struggles to connect on a human level. The surreal visuals overshadow the character’s psychological journey, making it hard for viewers to engage with the protagonist’s inner turmoil, leaving the story feeling more distant and abstract than compelling. Mark: 6.5 out of 11
Superdeep (2020)
The Russian horror film Superdeep feels like a patchwork of borrowed elements from better-known sci-fi and horror movies, but without their finesse or originality. It mimics the claustrophobic tension of The Thing, the body horror of Alien, and the descent into madness of Event Horizon, yet fails to capture the essence that made those films effective. Derivative and ineffective, it at least has some ridiculously bad monster effects at the end that had me laughing. Mark: 4 out of 11
The Coffee Table (2022)
The Coffee Table is a twisted and darkly humorous horror film that pushes the boundaries of discomfort while delivering a sharp, satirical take on the horrors of parenthood. The film’s sick sense of humor blends with its unsettling premise, as it uses a seemingly mundane object—a coffee table—as the catalyst for an absurd but terrifying chain of events. Its pitch-black comedy amplifies the tension, making the film both deeply disturbing and strangely cathartic for those who understand the pressures of raising children. It’s a fearless examination of the darker side of family life, where humor and horror collide to expose the anxieties and struggles that often go unspoken. Mark: 8 out of 11
We All Went to the World’s Fair (2021)
We All Went to the World’s Fair (2021) falls short both as a horror film and as a rites of passage story. Its eerie, slow-burn approach creates an unsettling atmosphere, but the lack of a clear, escalating threat leaves it feeling aimless. Switching protagonists at the end does not work, and despite an excellent performance from Anna Cobb, the film spoils an intriguing premise. Mark: 5.5 out of 11
Where Evil Lurks (2023)
Where Evil Lurks(2023) skillfully employs well-known horror tropes—such as viral infection and monstrous transformations of humans—to deliver a fresh and intense experience. The film taps into the fear of contagion, using the idea of a mysterious, spreading evil that corrupts and distorts its victims. This viral-like menace is combined with disturbing body horror, as infected humans gradually turn into something grotesque and monstrous, making the familiar threat feel visceral and terrifying. The gradual, creeping transformation of people into monstrous figures is done with chilling precision, playing on the fear of losing control of one’s body and mind. By grounding these tropes in a strong narrative and unsettling atmosphere, the film elevates the horror elements, using them to amplify its emotional and psychological impact. Mark: 8.5 out of 11
Produced by: Coralie Fargeat, Tim Bevan and Eric Fellner
Main Cast: Demi Moore, Margaret Qualley and Dennis Quaid
Cinematography by Benjamin Kracun
*** MAY CONTAIN SPOILERS ***
The Substance (2024), directed by Coralie Fargeat, is a visually striking and visceral film that pushes the boundaries of body horror and psychological terror. Fargeat, known for her raw and relentless style in Revenge (2017), once again delivers an unforgettable experience by weaving references to classic literature and horror cinema into a narrative that is at once familiar and entirely original.
Demi Moore portrays a former Hollywood star, Elizabeth Sparkle, now relegated to doing a mildy successful cable TV aerobics show. However, Dennis Quaid’s oily production executive is on the lookout for younger talent. Elizabeth soon finds herself on the media scrapheap. Desperate to regain her youth and career, Elizabeth is drawn to the hypnotic promise of a new product called ‘The Substance.’
Before you can say, “Dorian Gray”, Elizabeth is lured to a strange white room full of lockers and has committed to the process. Similar to Gremlins (1984), there are rules to follow. As she follows the steps and injects the potions, Elizabeth goes through a painful and incredibly impactful transformation process. She literally gives birth to a young and beautiful alter ego called, Sue (Margaret Qualley). Elizabeth and Sue then get seven days each to live their life before they have to swap back. What could go wrong?
The film’s core themes draw heavily from Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde, exploring duality, identity, and the monstrous potential hidden within human nature. Like Stevenson’s tale of inner conflict, The Substance delves into the consequences of scientific ambition. It investigates moral transgression but with a modern, feminist twist. Fargeat’s use of body horror, particularly in the transformation sequences, echoes the grotesque, unsettling work of David Cronenberg. The nightmarish atmosphere and surreal visuals are reminiscent of David Lynch’s unsettling dream logic. This is notably seen in Eraserhead (1977) andMulholland Drive (2001).
The film also pays homage to John Carpenter’s The Thing (1982), with its transmogrifying frights, sense of creeping paranoia and rising conflict. But rather than a group of men fighting each other Elizabeth and Sue turn on each other over ownership of their physical existence and Hollywood status. The final act descends into hellish and bloody satire echoing Peter Jackson’sBraindead (1992), with gore galore. Moreover, Stanley Kubrick’s influence is palpable in the film’s meticulous framing, production design and tension-building. The climactic body-morphing scenes, however, most clearly nod to Brian Yuzna’s Society (1989), with its grotesque depictions of class and conformity, fused with Fargeat’s unique vision of female empowerment, revenge and resistance.
The Substance (2024) feels like a bigger budget film in look and style, but you soon realise the minimal number of sets used and a lack of crowd scenes, finds the narrative effectively becoming a two-hander in the middle act by focusing on Sue and Elizabeth’s internal retaliatory vindictiveness. There are some amazing framing, colour design and cinematographic choices as showers become tombs to trap the protagonists. The book-ended Hollywood star montage and returning final shots are imaginative and unforgettable. Got to say that Demi Moore, as an actress taking on a role of an aging and neurotic former star is genius casting. While Qualley delivers a sexually charged and energetic performance, it is Moore who carries the weight of the complex themes as Elizabeth’s journey dives deeper into the stuff of nightmares.
Overall, The Substance (2024) is a postmodern classic and a film that honors its influences while forging its own path. Fargeat uses these references to enrich the narrative, creating a damned ugly and beautiful satire on those seeking narcissistic perfection through unnatural means, ultimately paying the price of those seeking eternal youth and fame.
Main Cast: Morten Burian, Sidsel Siem Koch, Fedja van Huêt, Karina Smulders, Liva Forsberg and Marius Damslev.
Speak No Evil (2022), directed by Christian Tafdrup, is a chilling psychological horror that explores the perils of politeness within middle-class sensibilities, turning everyday discomfort into a waking nightmare. The film follows a Danish family with a young daughter, visiting a Dutch family unit, only to find themselves trapped in a horrifying and twisted game of cat and mouse. All smiles and charisma at first, the ‘Alpha’ Patrick, dominates his wife and young son, who unfortunately has no tongue. Tafdrup deftly dissects how the fear of offending others—deeply ingrained in bourgeois values—leads the protagonists to ignore increasingly unsettling behaviour.
Losing or not using one’s voice is inherent within the text. Further, what begins as awkward social tension escalates into something far more sinister, as the family is manipulated through their desire to maintain decorum. This dynamic plays on the anxieties of modern, polite society, where confrontation is often avoided at all costs. The film’s climax delivers a shocking, almost biblical punishment for their inability to break free from these conventions, suggesting a moral reckoning for those who allow fear of impoliteness to override survival instincts.
Subtle, creeping dread makes Speak No Evil (2022) a disturbing meditation on the dangers of middle-class complacency, and the terrifying consequences of choosing politeness over personal safety. Lastly, the film also explores the theme of toxic masculinity as the muscular ‘Alpha’ threatens the ineffective ‘Beta’ male, proving one should always stand up to bullies or face the consequences.
(Note: for those seeking out the film in the UK, it is currently screening on Shudder.)
Mark: 8.5 out of 11
SPEAK NO EVIL (2024)
Directed by James Watkins
Screenplay adaptation by James Watkins Main cast: James McAvoy , Mackenzie Davis, Scoot McNairy, Alix West Lefler, Dan Hough, and Aisling Franciosi
The English remake of Speak No Evil (2024) delivers a faithful and unnerving adaptation of Christian Tafdrup’s original, with James McAvoy’s chilling performance at its heart. McAvoy, playing the charming yet menacing antagonist, brings a sinister edge to the character that heightens the tension and discomfort throughout the film. His portrayal effortlessly captures the unsettling power dynamics, making each of his polite gestures and subtle manipulations all the more terrifying. McEvoy relishes every moment of this characterful performance.
What truly stands out in this remake is how it retains the meticulous craftsmanship of the original. The film carefully balances tension, awkwardness, and psychological dread, maintaining the slow-burn atmosphere that made the Danish version so unsettling. Director James Watkins ensures the pacing and visual style honour Tafdrup’s vision, with each shot and interaction loaded with unease. Watkin’s adaptation also provides further exposition and fleshes out the character dynamics and motivations, notably with the children, whose actions are integral to propelling the narrative thrills.
The Cape Fear (1991)-style climax veers away from the original’s more subtle, thought-provoking and bleak ending. However, it further amplifies the anxiety, offering a nerve-shredding confrontation that feels both inevitable and brutal. The remake pays homage to the original’s themes of social etiquette, hidden danger and finding one’s voices against bullies, while delivering a climactic showdown that mirrors the power struggles found in classic thrillers. Overall, like the original Speak No Evil (2024) successfully inverts the home invasion dynamic, making it a worthy, terrifying and almost necessary remake.
Produced by Bruce Cohen, Tiffany Persons, Garret Levitz, Zoë Kravitz and Channing Tatum
Cast: Naomi Ackie, Channing Tatum, Christian Slater, Simon Rex, Adria Arjona, Kyle MacLachlan, Haley Joel Osment, Geena Davis and Alia Shawkat etc.
Cinematography by Adam Newport-Berra
*** MAY CONTAIN SPOILERS ***
The theme of toxic masculinity is almost becoming a sub-genre of itself in the wake of the #MeToo movement. Films such as The Royal Hotel (2023), How to Have Sex (2023) and Men (2022) are powerful genre films which take the manipulative, malevolent and violent aspect of men, utilizing it as both nemesis and a destructive force the main protagonists must contend with. WhileShe Said (2022) dealt specifically with the Harvey Weinstein legal case, Zoe Kravitz’ energetic blend of genres in Blink Twice (2024), takes a more fictional and heightened route while exposing the horrors surrounding the potential happenings at the notorious Epstein Island.
Frida (Naomie Ackie) and her friend Jess (Alia Shawkat) work at an exclusive event where Frida meets Slater King (Channing Tatum), a billionaire tech mogul who recently resigned as CEO after a public scandal. Despite the scandal Frida and Jess gladly accept an invitation to his private island, where his assistant Stacy (Geena Davis) confiscates their phones. The island hosts Slater’s friends and business partners along with three glamorous guests including Sarah (Adria Arjona). The men and women are treated to lavish rooms, gift bags, gourmet meals, cocktails, and party like hedonistic rock stars drinking champagne and taking hallucinogens.
If you’ve seen the similar island-based, The Menu (2022), which I loved, plus the less than riveting 1950’s perfect suburb-set, Don’t Worry Darling (2022), one soon realises that not all is well in paradise. Amidst the sun, sea and partying the narrative slowly builds the tension until Frida and Jess begin to suspect all may not be as it seems. Kravitz carefully ratchets up the tension, with several strange discoveries heightening the paranoia and anxiety. Latterly the suspense gives way to all-out gory horror and black comedy in the thrilling final act. Naomi Ackie and Adria Arjona are impressive “final girls”, however, the script arguably throws in too many twisty reveals at the end, testing narrative credibility.
Zoe Kravitz is clearly a talented filmmaker and Blink Twice (2024), while unsubtle, is highly entertaining. But does the diversion to the horror genre dilute the power of the themes of toxic masculinity? Kravitz aims to critique the evils of men by showcasing male characters who embody arrogance, dominance, and emotional suppression. But while Kravitz may intend to address toxic masculinity, the reliance on traditional horror tropes potentially undermines this message by exaggerating characters, victimizing women, and prioritizing sensationalism over substance. Still, as a revenge fantasy, Blink Twice (2024), is both stylishly and dynamically rendered.
Produced by Ashwin Rajan, Marc Bienstock, M. Night Shyamalan
Main cast: Josh Hartnett, Ariel Donoghue, Saleka Night Shyamalan, Hayley Mills, Alison Pill, Jonathan Langdon, etc.
Cinematography by Sayombhu Mukdeeprom
*** CONTAINS SPOILERS ***
If you’re into mysterious and suspenseful genre films, M. Night Shyamalan’s most recent worksOld (2021) and Knock at the Cabin (2023)left a lasting impression on me. Both movies dive deep into the human psyche, exploring themes of time, fear, and the unknown, and I really enjoyed them.Old (2021) combined Shyamalan’s signature twisty narrative with a meditation on the passage of time. Sure, the ending was over-cooked but I thought it was a brilliant Twilight Zone infused ensemble suspense twister. Meanwhile, Knock at the Cabin (2023) was a compelling claustrophobic apocalyptic thriller finding a family faced with making a horrendous sacrifice. While he is not everyone’s cinematic cup of tea, I for one have enjoyed Shyamalan’s recent output.
His latest high concept B-movie thriller is calledTrap (2024). It stars Josh Hartnett as a loving and attentive father, Cooper Adams, who takes his teenage daughter, Riley, to see Lady Raven (Saleka Night Shyamalan) in a huge concert venue. Obviously, musical-based films such as A Star is Born (2018),Purple Rain (1984), and Bohemian Rhapsody (2018) feature gigs as part of their genre conventions. Here in Trap (2024) the concert becomes much more than that. Because Cooper is in fact a serial killer, and acting on a tip-off, the authorities and FBI profiler, Dr Josephine Grant (Hayley Mills), mobilize to turn the location into a means to ensare him. Thus, the whole concert becomes a living, breathing trap, a maze with which Cooper must avoid capture while ensuring his daughter, and the law, do NOT discover his evil dark side.
What follows is a dynamic series of situations where Shyamalan asks the audience to identify with Hartnett’s ‘Butcher’ and see if he can escape the law as they close in. As the music blares and the lights flash, you’re drawn into the tension of a manhunt. The ‘R and B’ pop music, while not my thing, is actually pretty decent as performed by Shyamalan’s daughter, Saleka Night Shyamalan. Can ‘the Butcher’ outsmart the law and vanish into the night, or will he be caught in this electrifying game of cat and mouse? The script certainly answers that in a thrilling set of scenes and confident twists. Of course, it’s all highly improbable and preposterous, but I found all the contrivances incredibly entertaining.
Trap (2024) has some dark and crafty humour in there too, notably in Hartnett’s committed performance. At times I almost thought he was going to speak to the audience directly. I love it when you can see an actor reveling in their performance and Hartnett has so much fun playing this OCD-controlling-complex-double-life-leading family man and serial killer. Thematically, the film is strong too as Cooper is locked in a psychological and emotional struggle against powerful matriarchal figures who inhabit his world. These are represented by his deceased mother who haunts his thoughts and the very-much-alive, Doctor Grant, the psychologist charged with stopping him.
While Trap (2024) requires the audience to swallow a huge piece of “suspend disbelief” pie, Shyamalan infuses Hitchcock levels of suspense – think Rope (1948) on steroids – that had me gripped all the way. It isn’t meant to be taken too seriously and does contain some massive plot-holes you can drive a tour bus through. But I didn’t care as Trap represents another chunk of thoroughly enjoyable genre cinema from M. Night Shyamalan.
Produced by Mike Blizzard, Richard Linklater, Glen Powell, Jason Bateman & Michael Costigan
Main Cast: Glen Powell, Adria Arjona, Austin Amelio, Retta, Sanjay Rao, etc.
Cinematography by Shane F. Kelly
*** MAY CONTAIN SPOILERS ***
Hollywood has a history of attempting to mold certain actors into the next big film stars, often casting them in high-profile projects with hopes of catapulting them to stardom. Colin Farrell was positioned as a leading man with roles in blockbuster films like Minority Report (2002), Alexander (2004) and S.W.A.T. (2003), but despite his undeniable talent, he didn’t quite become the A-list fixture studios envisioned. Having said that Farrell has proved himself an actor of high esteem, choosing to work with some of the best directors around in Yorgos Lanthimos and Martin McDonagh.
Similarly, Sam Worthington was thrust into the spotlight with Avatar(2009) and Terminator Salvation(2009), yet struggled to keep his star power afterward. Likewise, Taylor Kitsch, Hayden Christensen, Jai Courtney, Kate Mara and Daisy Ridley were also groomed for stardom. While Ridley achieved significant recognition, sustaining that momentum outside of the galaxy far, far away has proven difficult, Cara Delevingne has found the transition from supermodel to actress somewhat challenging. Enter stage centre, Glen Powell, who is arguably the latest actor the Hollywood machine is pushing for global stardom.
Powell is a handsome, charming and intelligent actor with a winning smile who certainly carries the romance and comedic elements of Hit Man (2023) extremely well. He portrays Gary Johnson, a mild-mannered professor of Psychology and Philosophy at the University of New Orleans who also assists the New Orleans Police Department in undercover sting operations. Usually working behind the operations providing advice, Gary is suddenly thrust into the action and has to play a fake hit-man to bring a suspect down. While this set-up stretched legal credulity, we eventually learn that the events are based on a “true” story. No doubt some liberties have been taken with the source material.
Gary’s character development finds him becoming very successful as an undercover operator, taking on a series of disguises and inventing precise alter egos to match the psychological make-up of those he is trying to trap. Hit Man (2023) is a kind of “ugly duckling” story where the ‘Alpha’ identity Gary invents ultimately takes over his own ‘Beta’ personality. The romantic element of the narrative comes via the beautiful and troubled, Madison (Adria Arjona), who desires to kill her abusive boyfriend, Ray. Tasked with bringing her to justice, Gary contrives to give her a second chance, but when Ray turns up dead, Gary’s whole existence and secret identity comes under threat. While this sounds like the plot to a really compelling thriller, overall there is a lighter touch to the direction and much humour. Further, Powell’s on-screen chemistry with Arjona is convincing and sizzles throughout.
I really enjoyed Hit Man (2023). It’s familiar and conventionally structured, but has a smart genre script and winning performances from the charismatic and sexy leads. Lastly, Richard Linklater is a rare filmmaker who seamlessly navigates between art-house cinema and more commercial projects, maintaining his distinctive voice across both realms. Hit Man (2023) finds him in more crowd-pleasing territory as he was with the fantastic School of Rock (2003). Yet, will Powell ultimately become a box office success and bona fide movie star? Well, I guess with this film, the recently released, Twisters (2024), the upcoming Huntington (2025) and Edgar Wright directed, The Running Man (2025), he is well on his way.
The Cinema Fix presents 