Tag Archives: drama

Cinema, Comedy, Reviews

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

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Directed by Bong Joon Ho

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

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

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

Cinematography by Darius Khondji

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

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

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

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

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

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

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

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

Mark 7.5 out of 11

Cinema, New Releases

Cinema Review: September 5th (2024) – an inside-out snapshot of tragedy at the 1972 Munich Olympics!

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Directed by Tim Fehlbaum

Written by Moritz Binder, Tim Fehlbaum and Alex David

Produced by Philipp Trauer, Thomas Wöbke, Tim Fehlbaum, Sean Penn, John Ira Palmer and John Wildermuth

Main cast: Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch, Jim Mckay (archival footage), Zinedine Soualem, etc.

Cinematography by Markus Förderer

Edited by Hansjörg Weißbrich

*** MAY CONTAIN SPOILERS ***

The events of September 5th, 1972, during the Munich Olympics are deeply connected to the tragic and harrowing story of the attack by the Palestinian group ‘Black September’, which targeted the Israeli Olympic team. This day is crucial in understanding the impact of the attack, as it marks the beginning of what became known as the ‘Munich Massacre’. The documentary One Day in September (2000) directed by Kevin Macdonald, offered a detailed account of the events providing chilling footage, interviews with survivors, and insights from those who witnessed the attack and as a moment that deeply altered the course of history, influencing global politics, the perception of terrorism, and the nature of security at international events.

Steven Spielberg’s fictionalised film Munich (2005) dramatized the aftermath of the ‘Munich Massacre’, focusing on Israel’s covert response to the attack. The film based on the book Vengeance by George Jonas, told the story of a team of Israeli agents tasked with assassinating those involved in the planning of the massacre. The plot of Munich (2005) unfolds as these agents track down and kill individuals connected to ‘Black September’. The film, criticized for a series of inaccuracies, portrayed the moral complexities and psychological toll of vengeance, showing the personal conflict faced by the agents as they carry out their mission. Now, covering the same event, we have September 5th (2024), a drama-documentary that snapshots the conflict from the perspective of the ABC Sports crew and their coverage of the events.

Director, Tim Fehlbaum, and his talented production team effectively utilize constraints in geography, time, space, and structure to craft a highly claustrophobic thriller, drawing viewers into the escalating crisis as it unfolds. From the moment the athletes are taken hostage the ABC media team headed by Peter Sarsgaard as Roone Arledge, the president of ABC Sports, John Magaro as Geoffrey Mason, the head of the control room in Munich and Ben Chaplin as Marvin Bader, the head of operation at ABC Sports are on red alert striving to capture the story and prevent it being taken from them by the ABC News team. Fehlbaum makes use of limited settings, “real-time” structure, and confined spaces expertly as the audience find out information of the hostages plight and subsequent runway killings at precisely the same time as the crew do.

The films’ use of psychological space, close-ups, shadows and screens, creates a claustrophobic atmosphere, starving the audience of air and making them feel the increasing emotional pressure on each character. Like the world’s population today witnessing the brutal events unfold between Israel and Palestine on the news, they ultimately have little power over the situation as news of tragedy bleeds through to them. Further, the cast are uniformly compelling with Peter Sarsgaard, John Magaro and Leonie Benesch, as a translator for the ABC crew, stand out amongst an impressive ensemble. Lastly, special mention for the editing team led by Hansjörg Weißbrich, who skilfully weaved in actual footage from the ABC archive, creating a seamless and powerful cinematic experience.

Mark: 8 out of 11

Cinema, Reviews

Cinema Review: Hard Truths (2024) – an unflinching look at a family struggling with depression.

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CINEMA REVIEW: HARD TRUTHS (2024)

Directed by Mike Leigh

Written by Mike Leigh

Produced by Georgina Lowe

Main Cast: Marianne Jean-Baptiste, Michele Austin, David Webber, Tuwaine Barrett, Ani Nelson, Sophia Brown, Jonathan Livingstone, etc.

Cinematography by Dick Pope

*** MAY CONTAIN SPOILERS ***

Mike Leigh’s career has been defined by an unflinching exploration of everyday existence, shaped by a commitment to realism and a deep understanding of human behaviour. His films, whether contemporary or period pieces, dissect the nuances of ordinary lives, often capturing the struggles, aspirations, and quiet triumphs of working- and middle-class individuals. His signature improvisational approach—where actors develop their characters through extensive rehearsal—allows for an organic authenticity that makes his work resonate with honesty and emotional depth.

Leigh’s early films, such as Bleak Moments (1971) and Nuts in May (1976), established his interest in the mundanities and disappointments of daily life. His later films, such as High Hopes (1988) and Life is Sweet (1990), continued this trend, portraying ordinary people navigating personal and societal challenges with humour and pathos. Secrets & Lies (1996), one of his most acclaimed works, epitomizes his fascination with human vulnerability, as it dissects family relationships, race, and identity in a way that feels raw yet tender.

Leigh’s career trajectory has also included excursions into period dramas, notably the heart-wrenching, Vera Drake (2004) and arguably his most political film, Peterloo (2018). But rather than abandoning his focus on the intricacies of human experience, he applies the same observational precision to historical subjects. Topsy-Turvy (1999), about the creation of Gilbert and Sullivan’s The Mikado, examines the creative process with the same detail he grants his modern-day working-class protagonists. Mr. Turner (2014), a biopic of the painter J.M.W. Turner, similarly explores the artist’s struggles, eccentricities, and societal context without falling into the clichés of the genre. These films reveal that, for Leigh, the past is not a grand spectacle but an extension of the same human complexities that define his contemporary work.

His latest film, Hard Truths (2024), follows in this tradition, delving into the stark realities of its characters with the same empathy and directness. Set in London in the present day, it focuses on the Deacon family unit and extended relations, notably two personality-divergent sisters, Pansy Deacon (Marianne Jean-Baptiste) and sibling, Chantelle (Michele Austin). Pansy is a middle-aged London housewife whose relentless irritability and sharp tongue mask a deep-seated inner turmoil. Her acerbic interactions—whether berating her husband Curtley, chastising her son Moses, or lashing out at unsuspecting strangers—serve as both a source of dark humour and a window into her dissatisfaction with life. Indeed, some of her rants are absolutely laugh-out-loud hilarious.

Leigh’s nuanced direction ensures that while Pansy’s outbursts may elicit laughter, they simultaneously reveal the tragic underpinnings of her character. Her vitriolic remarks, often delivered with biting wit, are symptomatic of her internal struggles, painting a portrait of a woman grappling with unarticulated pain. This duality is evident in scenes where Pansy’s caustic rants thinly veils her profound sense of isolation and despair. The film delves deeper into Pansy’s psyche during interactions with the more upbeat, Chantelle. A pivotal moment occurs during a Mother’s Day visit to their mother’s grave, where Chantelle confronts Pansy about her pervasive anger. Pansy’s anguished admission, “I don’t know!” encapsulates the bewildering nature of her depression, highlighting how her defensive humour serves as a barrier against this insidious mental illness.

Marianne Jean-Baptiste’s absorbing portrayal brings emotional depth to Pansy’s character, capturing the delicate interplay between her abrasive exterior and the fragility it conceals. Similarly, Michele Austin brings light and optimism to the screen, along with her effervescent daughters, somehow striving to combat the all-pervasive cloud of depression. Some of my favourite scenes of the film were with Chantelle in conversation with customers in her hair salon. Thus, in essence, Hard Truths (2024) presents a compelling character study that intertwines humour with the sombre realities of depression. Through Pansy Deacon, Leigh illustrates there are no easy answers to the pain of an affliction that remains silent and invisible but is ever-present within everyone’s lives.

Mark: 8 out of 11

Cinema, Oscar Bingo, Reviews

Cinema Review: The Brutalist (2024) – There will be Concrete!

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CINEMA REVIEW: THE BRUTALIST (2024)

Directed by Brady Corbet

Written by: Brady Corbet & Mona Fastvold

Produced by Trevor Matthews, Nick Gordon, Brian Young, Andrew Morrison, Andrew Lauren, D.J. Gugenheim and Brady Corbet.

Cast: Adrien Brody, Felicity Jones, Guy Pearce, Joe Alwyn, Raffey Cassidy, Stacy Martin, Emma Laird, Isaach de Bankolé and Alessandro Nivola.

Cinematography Lol Crawley

Edited by Dávid Jancsó

*** MAY CONTAIN SPOILERS ***

A new wave of American filmmakers—directors like Todd Field, Robert Eggers, and Brady Corbet—have emerged as some of the most technically proficient and ambitious voices in contemporary cinema. Their work is marked by rigorous formal control, deep thematic ambition, and an almost obsessive dedication to craft. These filmmakers, arguably influenced by auteurs like Sofia Coppola and Paul Thomas Anderson, demonstrate an understanding of film language that is both deeply referential and boldly experimental. Whether it’s Eggers’ meticulous historical recreations, Field’s austere and cerebral storytelling, or Corbet’s overtly intellectualized narratives, they all exhibit an undeniable mastery of their medium. Their films, often dense with literary and philosophical allusions, cater to cinephiles who relish formal precision and narrative audacity.

Yet, for all their brilliance, there’s an argument to be made that their work veers into self-indulgence, if not outright pretension. Their films sometimes feel like exercises in artistic superiority, catering to an audience that appreciates the challenge but perhaps not the emotional accessibility that cinema can offer at its best. Whether it’s the cold remove of TÁR (2022), the self-serious mythologizing of The Lighthouse (2019), or the arch, affect-laden approach of Vox Lux (2018), these works often feel encased in a layer of knowing detachment. There’s a fine line between intellectual rigor and a kind of smug, insular artistry, and some critics argue that these filmmakers, however talented, sometimes tip too far in the latter direction—prioritizing aesthetic and conceptual ambition over genuine human connection. I mean, I love a lot of these filmmakers’ work, but I was raised on the American films of Coppola, Scorsese, DePalma, Spielberg, Lucas and Friedkin; auteurs who knew their art, but also how to entertain the audience too.

In Corbet’s, and film partner’s Mona Fastvold’s, phenomenally designed and constructed film, The Brutalist (2024), Adrien Brody portrays fictional László Tóth, a Hungarian-Jewish architect and Holocaust survivor. Brody’s is an incredibly memorable piece of work, acting as a spiritual performance sequel to his Oscar-winning role in The Pianist (2002). But rather than focus on an individual attempting to escape the Nazis during the war, the narrative concentrates on Tóth, who arrives in post-war America with nothing but his talent and ambition, only to find himself trapped in a system that celebrates his work while rejecting him as a person. In America, racism is delivered with a smile, and generosity is a means of control. High society rewards Tóth but also suffocates him with subtle condescension, as he is paraded around as an artistic trophy but never fully embraced as an equal.

As an epic character study of the life of an immigrant and exploitation of the financially stricken Jew in America, The Brutalist (2024), is a powerful work. Such themes compel us to think of today and the fact that America continues to struggle with the integration of people travelling there, even though it was built with the hands of migrant families. Here the screenplay exerts true power in critiquing the United States’ treatment of those travelling to America with hope. As the narrative unfolds across the decades, Corbet, Fastfold and Brody illustrate the slow erosion of Laslo’s dreams in an America that welcomes his work but not his humanity. As the key antagonist, Harrison Lee Van Buren, Guy Pearce delivers another chilling and precise character study. Van Buren is a spoilt, rich and brattish man whose charm and refinement mask a deeply exploitative nature.

Photographically, The Brutalist (2024) is indeed a work of art. Lol Crawley and the production team immerse viewers in a stark, architectural visual language—monolithic structures, rigid compositions, and a muted, desaturated color palette mirroring the emotional and physical isolation Tóth experiences. Yet, for for all its incredible craftsmanship and bold cinematic ambition, the film is a test of endurance—an unrelenting, patience-draining experience that stretches well beyond three hours. Even the inclusion of chapters, and a self-consciously “prestigious” intermission only serve to amplify the film’s pretensions, prolonging the agony of watching layer upon layer of misery unfold like a slow-moving roller-coaster that induces motion sickness with no escape. It’s a brilliant film that demands submission rather than engagement, wielding its bleakness like a weapon against the audience’s stamina. It will probably win the Academy Award for Best Film. That or Wicked (2024).

Mark: 8 out of 11

Cinema

The Cinema Fix presents: 12 Favourite Films of 2024!

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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!

Ten Favourite Films of 2023

https://wordpress.com/post/thecinemafix.com/77015

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)

Twelve Favourite Films of 2024

ALL OF US STRANGERS (2023)

AMERICAN FICTION (2023)

HERETIC (2024)

THE HOLDOVERS (2023)

THE IRON CLAW (2023)

LATE NIGHT WITH THE DEVIL (2023)

MONSTER (2023)

POOR THINGS (2023)


THE QUIET GIRL (2023)

SPEAK NO EVIL (2024)

THE SUBSTANCE (2024)

THE ZONE OF INTEREST (2023)

Cinema, New Releases, Reviews

Cinema Review: Conclave (2024) – A Technically Brilliant, Yet Emotionally Faithless Experience (2024)

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CINEMA REVIEW: CONCLAVE (2024)

Directed by Edward Berger

Screenplay by Peter Straughan

Based on the novel Conclave by Robert Harris

Produced by Tessa Ross, Juliette Howell, Michael Jackman, Alice Dawson and Robert Harris

Main cast: Ralph Fiennes, Stanley Tucci, John Lithgow, Sergio Castellitto, Isabella Rossellini, Lucian Msamati, Carlos Diehz, etc.

Cinematography by Stéphane Fontaine

Music by Hauschka

*** MAY CONTAIN SPOILERS ***

When you think about organized crime families, images of the Sopranos or Godfather-esque figures probably come to mind. But, if we’re playing with definitions one might allege the Catholic Church—an ancient institution with global influence—is one of the biggest crime organisations ever historically and in the present. I mean, organized crime families are notorious for their code of silence. The Church has had its fair share of. . . shall we say, discretion? From the Vatican’s secret archives to a several public scandals they’d rather we not dwell on, there’s certainly a flair for keeping things in the family.

The Pope, aka the Holy Father, wears white, sits on a throne, and apparently has a direct line to the big “man” upstairs. Replace “Vatican” with “Sicily,” and suddenly, the resemblance to the Mafia is uncanny. Moreover, crime families thrive on wealth accumulation. The Vatican’s art collection, gold reserves, and prime real estate make even the most successful mobster green with envy. Not to forget, from Rome to Rio, the Catholic Church has an unparalleled network. Mobsters may have their territories, but the Church claims everywhere. With over a billion followers worldwide, even Don Corleone would bow to that reach. Thus, power struggles ensue within many organisations with coups and betrayals and internal competitions occur, including who is going to be the new boss. Welcome to the cinematic adaptation of Robert Harris’ novel, Conclave (2024); a beautifully constructed, serious and ultimately quite silly story.

Ralph Fiennes is majestic as Cardinal-Dean Thomas Lawrence, the individual tasked with finding a successor after the Pope dies of a heart attack. Fiennes anchors this serious faith-based drama with an intellectual depth as a series of potential candidates throw their zuchettos into the ring including:

  • Aldo Bellini (Stanley Tucci) of the United States, a liberal spirit echoing the compassionate legacy of the late pontiff.
  • Joseph Tremblay (John Lithgow) of Canada, a voice of moderation, bridging the Church’s timeless values and modern sensibilities.
  • Joshua Adeyemi (Lucian Msamati) of Nigeria, a steadfast advocate of social conservatism, grounded in enduring traditions.
  • Goffredo Tedesco (Sergio Castellitto) of Italy, an unwavering traditionalist, fiercely loyal to the ancient rites of faith.

With a narrative based on a book by Robert Harris, it is certain that the powerful developments and twists will grip the audience. Furthermore, Edward Berger’s direction is undeniably captivating, as is Stéphane Fontaine’s cinematography, which paints each scene with a reverence befitting the Vatican’s grandeur. Their collaboration crafts a visually stunning vision, pulling viewers into the cloistered rituals of electing a new Pope. Yet, for all its technical brilliance, the process itself feels devoid of emotional resonance.

Why should we, the audience, care about who becomes the next Pope? Unless one is deeply invested in the Catholic Church or its doctrine, the stakes remain distant. The election of a spiritual leader for over a billion followers is, of course, significant—but the film offers little to make this significance tangible for those outside that fold. Harris’ story spices things up with a provocative, irreverent twist in its final act. Yet, this narrative grenade lands with a thud rather than an explosion. Yes, it’s shocking, even subversive, but it doesn’t pack enough weight to unsettle an institution as colossal and entrenched as the Catholic Church.

Ultimately, Conclave (2024) is a masterclass in craft but a missed opportunity in damning the status quo of this alleged criminal organisation. Berger, Fontaine, Fiennes, plus the production design, score and sound-mixing artistry elevate the film, making it an incredibly effective cinematic version of the proverbial page-turner. But the story’s failure to connect on a deeper, emotional level found me losing my religion; what little I have left.

Mark: 7 out of 11

Cinema, MUBI, Reviews

Mubi Film Review: Hirokazu Kore-eda’s exquisite tale of love, loss and rebirth – Monster (2023)

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MUBI FILM REVIEW: MONSTER (2023)

Directed and edited by Hirokazu Kore-eda

Written by Yuji Sakamoto

Produced by: Hirokazu Kore-eda, Minami Ichikawa, Kenji Yamada, Megumi Banse, Taichi Itō and Hijiri Taguchi

Main cast: Sakura Andō, Eita Nagayama, Sōya Kurokawa, Hinata Hiiragi and Yūko Tanaka

Cinematography by Ryuto Kondo

Music by Ryuichi Sakamoto

*** MAY CONTAIN SPOILERS ***

Hirokazu Kore-eda’s Monster (2023) exemplifies his continued mastery of humanist storytelling, a hallmark of his career. As with prior works such as the classic Afterlife (1998), critically acclaimed Shoplifters (2018), and the recent, arguably more commercial comedy-drama, Broker (2022), Kore-eda demonstrates a keen ability to explore the quiet complexities of human relationships, here through themes of bullying, young love, and the tender, taboo nature of queer affection. Monster (2023) delves deeply into the fragility of human connections, revealing the pain and misunderstandings that arise when societal expectations collide with individual identities.

The story focuses on shifting narrative perspectives of two young boys, Minato (Sōya Kurokawa) and Yori (Hinata Hiragi), Mugino’s mother, Saori (Sakura Andō) and the boy’s teacher, Michitoshi Hori (Eita Nagayama). Initially, Minato begins displaying slightly disturbing behavious such as cutting his own hair and throwing tantrums in class. His mother then believes the teacher is bullying him and begins to campaign for Mr Hori’s punishment. What then unfolds is something altogether more complex and powerfully ambiguous.

With Monster (2023), crafted via a Rashomon-style structure by screenwriter Yuji Sakamoto, the narrative approach provides a formidable layer to the film’s emotional resonance. It allow the audience to revisit pivotal events from multiple perspectives. By shifting viewpoints the script highlights how perception shapes reality, illustrating the subjectivity of truth in deeply personal and often painful ways. The multifaceted storytelling reveals how moments of cruelty, compassion, and misunderstanding ripple across different lives, underscoring Kore-eda’s central humanist message: no person is simply a villain or a hero, but a complex amalgam of motives and vulnerabilities.

The script’s structural ingenuity enhances the film’s exploration of societal issues, such as the alienation of queer youth and the lasting scars of bullying. Each retelling reframes the characters’ actions, fostering empathy for even the most seemingly antagonistic figures. This interplay of perspectives elevates Monster (2023) beyond a straightforward tale of adolescent struggle, transforming it into a profound meditation on the intersection of memory, identity, and the pursuit of love and acceptance.

By marrying Kore-eda’s subtle directorial touch with Sakamoto’s intricate script, Monster (2023) achieves a rare cinematic feat: a story that is as intellectually engaging as it is emotionally devastating. Moreover, it reaffirms Kore-eda’s place as a preeminent chronicler of the human condition. Safe to say that it is beautifully filmed, cast and acted. To elicit such incredible performances from these boys is wondrous direction. It also features a fragmented but beautifully poetic final film score of the recently departed Ryuichi Sakamoto. Overall, it’s cinema that breathes pathos and humanity into each and every character, and provides no easy solutions. Monster (2023) is a film that burns, like the fiery tower block featured throughout, long in the heart and memory.

Mark: 9.5 out of 11

Netflix, Reviews

Netflix Film Reviews: Indonesian Action Maestro – Timo Tjahjanto Trilogy

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Netflix Film Reviews: The Timo Tjahjanto Trilogy

When Welsh filmmaker Gareth Evans burst on the cinematic scene with martial arts film, Merantau (2009) and followed it with the seminal action classic, The Raid (2011), he precipitated a welcome interest in Indonesian cinema and visceral fight films too. On reflection, Evans’ rise has influenced Indonesian director, Timo Tjahjanto, and their collaboration played a significant role in shaping the latter’s career. The two directors worked together on the action-packed Safe Haven segment of the anthology film V/H/S/2 (2013), which gained critical acclaim for its intensity and creativity. This partnership showcased Tjahanto’s knack for blending horror, action, and suspense, a style Evans is also known for through his work on the aforementioned The Raid series.

Thus, as a massive fan of The Raid (2011), I decided to watch Tjahjanto’s most recent Netflix releases. Their shared focus on high-octane action and stylized, bloody violence has led to comparisons between each of the filmmakers’ work and a sense of mutual inspiration. Tjahjanto has often expressed admiration for Gareth Evans’ meticulous approach to action choreography and storytelling. Evans’ ability to balance fast-cutting action, physically powerful actors and pulsating sound effects likely resonated with Timo, who has implemented similar techniques in his own films.

Here are three short reviews of those Netflix actioners from Tjahjanto, who is soon to be directing Nobody 2 (2025). I realise scenes where characters are garroted, decapitated, strangled, snapped, shot, hung and impaled with their own splintered bones are not the most seasonal of films to recommend, but if you absolutely love fist-blade-gun-bomb-stick-knife-head-tools-led set-pieces then do check them out.

** MAY CONTAIN SPOILERS **

THE NIGHT COMES FOR US (2018)

Main cast: Joe Taslim, Iko Uwais, Julie Estelle, Sunny Pang and Zack Lee

Fans of the The Raid series will recognise Iko Uwais immediately, however, he is not the main hero in this frenetic and ultra-violent crime thriller. Not that there are not many heroes on show here. Tjahjanto is very much a genre writer and director, presenting big archetypal gangs involving the South East Asian Triads, groups called ‘The Big Six’ and characters called ‘The Operator.’ While there is an attempt to create emotion, Tjahjanto’s strength is in directing and choreographing blistering battle scenes between these various gangs.

The Night Comes For Us (2018) plot finds Joe Taslim’s, Ito, as enforcer saving a young girl’s life and trying to turn his back on crime and violence. It’s easier said than done as all hell breaks loose when various crime factions pursue him in a myriad of ferocious set-pieces. Here Tjahjanto vision of violence serves as more than just a tool for storytelling; it becomes an overwhelming, nihilistic force that shapes the film’s worldview and emotional tone. The relentless brutality and graphic depiction of human suffering go beyond entertainment, creating a numbing effect that forces viewers to confront the inescapable cycle of destruction and loss. The theme of redemption is at the heart of Ito’s journey, but ultimately it’s the high body count that stays with you.

Mark: 8.5 out of 11

THE BIG 4 (2022)

Main cast: Abimana Aryasatya, Putri Marino, Lutesha, Arie Kriting and Kristo Immanuel etc.

The Big 4 (2022) takes a sharp tonal shift from the grim and nihilistic world of The Night Comes for Us, embracing a blend of high-octane action and irreverent humour. While both films showcase the director’s trademark flair for elaborate action choreography and over-the-top violence, The Big 4 tempers its brutality with comedic undertones, a zany dysfunctional family dynamic, and a sense of fun reminiscent of The A-Team.

The film is peppered with witty banter, physical comedy, and absurd situations that lighten the mood, even during intense action sequences. The violence, while still extreme, is stylized in a way that leans more toward cartoonish spectacle than visceral horror, allowing the audience to laugh along with the chaos rather than feel emotionally drained by it. At the heart of The Big 4 is the relationship between its central group of misfit assassins, who operate more like a chaotic, bickering family than a traditional hit squad. The result is a film that retains Timo Tjahjanto’s penchant for adrenaline-fueled spectacle while delivering a more comedic and uplifting familial experience.

Mark: 7.5 out of 11

THE SHADOW STRAYS (2024)

Main cast: Aurora Ribero, Hana Malasan, Taskya Namya, Agra Piliang, Andri Mashadi, Chew Kin Wah etc.

Tjahjanto’s latest release, The Shadow Strays (2024) melds the sleek, character-driven intensity of Nikita (1990) with the mythic, stylized world-building of John Wick, resulting in a brutal and visceral cinematic experience that showcases his signature flair for action. The film blends high-octane combat with a dark, morally ambiguous narrative, creating a layered world filled with shadowy organizations, unrelenting assassins, and a protagonist caught between vengeance and redemption.

The well-worn plot shows a young trainee assassin called, Thirteen (Aurora Ribero), trying to find her own identity, at the same time of rescuing a young orphan from nefarious drug dealers and corrupt politicians. The narrative explores themes of identity, loyalty, and betrayal, grounding the hyper-stylized violence in a story of personal stakes and transformation. Her journey resonates with a sense of tragedy, as she grapples with the toll her violent profession takes on her psyche and relationships. While The Shadow Strays pays homage to its influences, it remains distinctly Tjahjanto, weaving his trademark brutality with Ribero confirming herself as bona fide film action star. The overall result is a gripping, unrelenting, if overlong journey, into a violent underworld where every choice comes with a cost.

Mark: 8 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

Cinema, New Releases, Reviews

Cinema Review: Wicked (2024) – delivers a Magical Yet Overstuffed Musical Experience

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Cinema Review: Wicked (2024)

Directed by Jon M. Chu

Screenplay by Winnie Holzman and Dana Fox

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.

Mark: 7 out of 11