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Cinema, horror, Reviews

Cinema Review: Bring Her Back (2025) – a powerfully disturbing study of grief, obsession and matriarchal mania!

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Cinema Review: Bring Her Back (2025)

Directed by Danny and Michael Philippou

Written by Danny Philippou and Bill Hinzman

Produced by Samantha Jennings, Kristina Ceyton

Cast: Billy Barratt, Sora Wong, Jonah Wren Phillips, Sally Hawkins, Sally-Anne Upton, etc.

Cinematography by Aaron McLisky

*** MAY CONTAIN SPOILERS ***

It’s become something of a cliché to lament the state of theatrical cinema: superhero fatigue, endless sequels, spin-offs and reboots, streaming overflow. Original stories—particularly in multiplexes—feel increasingly rare. Yet one genre has bucked the trend and, against all industry logic, placed original visions front and centre: horror. In an era of IP dominance, horror’s persistence as the great innovator is growing. It thrives on shadows, but in today’s cinema landscape, it’s also the brightest light.

Across the last few years, titles like Barbarian (2022), Pearl (2022), Skinamarink (2022), Nope (2022), Talk to Me (2023), Infinity Pool (2023), When Evil Lurks (2023), Late Night With the Devil (2023), Totally Killer (2023), Heretic (2024), Longlegs (2024), Sinners (2025), and the soon-to-be-reviewed, Weapons (2025) have proved again and again that audiences crave fresh nightmares. Even 28 Years Later (2025), though technically part of an ongoing series, represents a rare franchise event grounded less in brand synergy than in directorial reinvention and raw cultural appetite.

Unlike superhero spectacles or sci-fi epics, horror thrives on modest budgets and audacious ideas. A film like Skinamarink (2022), shot for a reported $15,000, can turn experimental textures into a viral theatrical moment. Personally, I found this film difficult to digest, however, the more commercial, Talk to Me (2023), made for $4.5 million, earned nearly twenty times that worldwide. These aren’t just hits; they’re validations of originality as a business model.

Horror is also a proving ground where young or unexpected filmmakers leap into the cultural spotlight. Zach Cregger (Barbarian (2022) twisted narrative structure into something memorable. The Philippou brothers Talk to Me (2023) translated YouTube viral adrenaline into terrifying cinematic language. But, what of their latest film, Bring Her Back (2025)? Well, for me they have surpassed their debut feature not only in genuinely sickening moments of dread, but also in terms of powerfully emotional horror scenes.

The narrative of Bring Her Back (2025) begins as it means to go on with a rapidly series of unsettling scenes. After discovering their father dead in the shower, 17-year-old Andy (Billy Barratt) and his partially sighted step-sister Piper (Sora Wong) are placed in the care of Laura (Sally Hawkins). Laura is an eccentric former counselor living on the outskirts of town and suffered the loss of her teenage daughter to drowning. In her home, the siblings encounter Oliver (Jonah Wren Phillips), a mute foster boy who seems terrified of the house’s locked outhouse. Andy eventually realizes Laura’s obsessive behaviour is far more threatening than he could imagine and they are all in danger.

Like Toni Collette in Hereditary (2018) and Lupita Nyong’o in Us (2019), Sally Hawkins delivers a powerfully intense performance that pushes horror into the realm of high drama. She carries the film with raw, nerve-shredding vulnerability, shifting from fragile grief to volcanic fury with startling precision. Every gesture—whether a whispered plea or a full-bodied breakdown—feels lived-in and emotionally scalding, grounding the supernatural terror in something painfully human. Also, Billy Barratt and newcomer Sora Wong offer excellent support as the in-peril ‘Hansel and Gretel’ siblings. Barratt is especially good carrying the audience’s fearful perspective.

The Philippou brothers draw on a potent brew of horror traditions—satanic ritual, grief, abduction, parental abandonment, and matriarchal hysteria—to craft Bring Her Back, a haunting and gut-wrenching descent into obsession. The film thrives on its willingness to plunge into emotional extremity, channeling raw pain into sequences of near-operatic dread. Several knife-in-the-teeth jolts of terror punctuate the story, as everyday necessities such as water, food and parental love are twisted into deathly hazards.

While the script occasionally wavers and certain narrative and backstory elements required sharpening, the thematic and emotional core remains undeniable. At its best, Bring Her Back (2025) isn’t just another exercise in occult horror—it’s a powerful study of grieving obsession, of the lengths people will go to fill a void that cannot be healed. The result is a film that lingers, not only for its shocks but for the raw ache that underpins them.

Mark: 9 out of 11

Cinema, Reviews

Sky Cinema review: Anora (2024) – Sean Baker’s exhilarating indie filmmaking skills deliver yet another ensemble of obnoxious characters!

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Sky Cinema review: ANORA (2024)

Directed by Sean Baker

Written by Sean Baker

Produced by: Alex Coco, Samantha Quan, Sean Baker

Main cast: Mikey Madison, Mark Eydelshteyn, Yura Borisov, Karren Karagulian, Vache Tovmasyan, Darya Ekamasova, Aleksei Serebryakov, etc.

Cinematography by: Drew Daniels

** MAY CONTAIN SPOILERS **

The Sean Baker’s film I have seen — Tangerine (2015), The Florida Project (2017), Red Rocket (2021), and now Anora (2024) — form a cohesive body of work united by consistent stylistic and formal strategies. Across these films, Baker blends naturalistic storytelling with bold creative choices on low budgets, creating a cinema that is both socially conscious and viscerally alive. Moreover, Baker consistently foregrounds characters on the economic and social fringes of American life such as: Tangerine (2015) – Trans sex workers navigating Los Angeles on Christmas Eve; The Florida Project (2017) – a single mother and her daughter barely surviving in a motel near Disney World; Red Rocket (2021) – a disgraced ex-porn star returns to a struggling Texas town to rebuild his existence and Anora (2024) – featuring Mikey Maddison as a Brooklyn stripper who marries into a wealthy Russian oligarch family.

    Such films explore themes relating to sex work, informal economies, the American underclass, children as witnesses to or casualties of adult instability, doomed romances, infidelity, and moral ambiguity. Stylistically they often feature flawed protagonists, non-professional actors, episodic structures, bright color palettes, profane language, irreverent humour, pop culture references, real locations, improvised dialogue and a neo-realistic look delivered via a kinetic visual energy at the edges of that delusional idea, the American dream.

    So, I’ve long admired Sean Baker’s fiercely independent spirit and his commitment to telling stories Hollywood wouldn’t touch. Baker has carved out a singular path in American cinema — one rooted in realism, empathy, and a punk sense of creative autonomy. His work is purposeful, politically conscious, and technically impressive. He’s the kind of independent filmmaker I support. But watching Anora (2024), as with most of his earlier films, I find myself wrestling with an ongoing disconnect: I simply don’t always enjoy the experience.

    Baker’s protagonists — whether Sin-Dee in Tangerine (2015), Mikey Saber in Red Rocket (2021), or Anora herself — are often abrasive, chaotic, and maddeningly self-destructive. Red Rocket (2021) in fact was so objectionable as a character study it put me off wanting to watch Anora (2024), hence the delay seeing it. While I understand that these are underdog characters surviving in systems rigged against them, their relentless hysteria and lack of introspective growth make them hard to root for. I feel like Baker got it most right during the ugly-beauty of The Florida Project (2017), but Anora (2024) presents another narrative uphill struggle.

    The film is overlong despite a simple ‘Pretty Woman’ premise of the tart-with-the-heart meeting a Russian rich kid who threatens to rescue her only to be a – surprise-surprise – spoilt-drug-addicted-narcissist-controlled-by-his-stupidly-wealthy-parents. A large part of the second act is spent chasing this obnoxious c*nt after he does a runner. It’s not so much excellent writing or acting as a succession of screeching and swearing and car crash human behaviour. I’m not asking for likability, but some degree of emotional access. Yes, Anora (2024), is sexy and funny in places, but I felt pushed away by the obnoxious ensemble and the sense of anxiety experienced throughout.

    Overall, I recognize Baker’s talent. The filmmaking here is sharp, confident, and often electric. Mikey Madison is indeed amazing with an instinctively smart and energetic performance, and at a stretch, I could understand the acclaim — but Oscars? And over Demi Moore’s tour-de-force, career-resurrecting performance? No – that feels like a massive glitch in the matrix and every surrounding multiverse.

    Mark: 6 out of 11

    Articles, Cinema, Cult Cinema, Reviews

    Cult Film Review: Possession (1981)

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    CULT FILM REVIEW: POSSESSION (1981)

    Directed by Andrzej Żuławski

    Screenplay by Andrzej Żuławski

    Adaptation and dialogue by Andrzej Żuławski & Frederic Tute

    Produced by Marie-Laure Reyre

    Main cast: Isabelle Adjani, Sam Neill & Heinz Bennent

    Cinematography by Bruno Nuytten

    Edited by Marie-Sophi Dubus & Suzanne Lang-Willar

    Music by Andrzej Korzyński

    *** MAY CONTAIN SPOILERS ***

    Andrzej Żuławski’s Possession (1981) is a film that doesn’t just defy genre—it annihilates the very idea of categorization. Part spy thriller, part domestic psychodrama, part Lovecraftian horror, and part apocalyptic hallucination, the film barrels forward with such manic intensity that it becomes less a movie and more an exorcism of the soul. It resists structural and emotional compartmentalizing at every turn, choosing instead to implode in a flurry of shrieks, flailing bodies, and gooey, pulsing monstrosities.

    Set in a divided Berlin, the film ostensibly begins as a break-up story: Mark (Sam Neill), a shell-shocked spy, returns home to discover that his wife Anna (Isabelle Adjani, in a performance of pure, unrelenting hysteria) wants a divorce. But from there, the film spirals rapidly out of the realm of conventional melodrama and into something far more surreal and terrifying. Mark’s confusion curdles into obsession, Anna’s descent becomes biblical, and reality itself begins to warp and splinter.

    Is it a Cold War spy film? Yes, but only in fragments, and those are quickly consumed by the escalating emotional chaos. Is it a break-up film? Certainly—but filtered through an expressionist nightmare where the grief and rage of separation erupt as literal body horror. Horror film? Undoubtedly, though the fear is less about monsters and more about the abyss that opens when love dies. And as the narrative crumbles into bloody symbolism and metaphysical dread, Possession (1981) begins to feel like an apocalyptic drama—one where the apocalypse is internal, intimate, and unstoppable.

    Żuławski directs like a man possessed, matching his characters’ unhinged energy with a restless camera and wild tonal shifts. The result is a fever dream of shrieking confrontations, doppelgängers, collapsing identities, and one of the most infamous subway scenes in cinema history. Possession (1981) is not an easy film—it’s messy, abrasive, and frequently overwhelming—but it’s precisely in its refusal to conform that its power lies. Indeed, much of the dialogue is obtuse non-sequitur in delivery as the actors deliver prose-like philosophical statements that have clearly influenced the writing of Yorgos Lanthimos and Efthymis Filippou.

    To watch Possession (1981) is to witness cinema used as a weapon against coherence, comfort, and calm. I almost had a panic attack watching it. Neill, usually a calm on-screen presence looks as though he is lost in a nightmare he cannot escape. Heinz Bennent, as the lover, fully embraces Zulawski’s insane vision, while Adjani literally has a mental breakdown on screen. It is an unbelievably fearless embodiment of psychotic sexuality, arguably only matched in a commercial release by Eva Green’s Vanessa Ives from the majestic gothic TV series, Penny Dreadful (2014-2016). Ultimately, Possession (1981), is as much about the disintegration of self as it is about the end of a marriage, the failure of ideology, or the horror of being alive. One doesn’t simply watch Possession (1981)—one survives it.

    Cinema, Reviews

    Cinema review: The Phoenician Scheme (2025) – plus Wes Anderson’s Top 11 films ranked in order of favourite!

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    Cinema review: The Phoenician Scheme (2025)

    Directed by Wes Anderson

    Screenplay by Wes Anderson

    Story by Wes Anderson and Roman Coppola

    Produced by Wes Anderson, Steven Rales, Jeremy Dawson, John Peet

    Cinematography by Bruno Delbonnel

    Main cast: Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis, etc.

    Reviewing films for me is a form of study—a way to sharpen one’s eye, expand one’s perspective, and gain insight into the craft of filmmaking. It’s a dialogue between the film and the viewer, where curiosity, analysis, and empathy fuel a deeper appreciation for the storytelling process. Yet, Wes Anderson’s films often feel unreviewable in the traditional sense because they exist entirely within their own meticulously crafted universe—one governed by its own visual grammar, emotional tone, and narrative rhythm. His work defies conventional cinematic benchmarks not because it fails to meet them, but because it invents new ones.

    His films are stylized to the point of abstraction: symmetrical compositions, pastel palettes, theatrical performances, deadpan dialogue, and storybook framing devices. These are not aesthetic flourishes added to conventional storytelling—they are the storytelling. Every element is calibrated to serve a singular artistic vision that prioritizes mood, irony, and emotional restraint in a way that often bypasses mainstream emotional cues. As a result, trying to evaluate Anderson’s films on the basis of relatability or realism can feel like trying to critique a painting for not being a photograph. You either enter his world and accept its rules, or you don’t.

    The Phoenician Scheme (2025) is a whimsically convoluted tale of betrayal, bureaucracy, and buried emotion, anchored by a surprisingly tender pairing: Benicio Del Toro and Mia Threapleton as an estranged father and daughter navigating a pastel-hued world of espionage, assassination attempts and eccentricity. Del Toro brings his signature quiet intensity—filtered through Anderson’s signature deadpan—as Anatole “Zsa-Zsa” Korda, a controversial businessman seeking backing from an array of peculiar business types. Threapleton, in a breakout performance, plays Sister Liesl, a guarded young nun.

    As always, Anderson’s aesthetic is immaculately controlled—every frame a still life, every line delivered with just-so detachment. But where the plot sometimes meanders through its own labyrinth of quirk, the film’s emotional core remains grounded in Del Toro and Threapleton’s quiet push-and-pull: a relationship built on misread intentions, half-kept promises, and a strange kind of inherited stoicism. Michael Cera is on splendid form too as Bjørn Lund, a Norwegian entomologist, tutor, and Korda’s administrative assistant.

    Overall, The Phoenician Scheme (2025) is best enjoyed as a moving art installation and while thematically strong in terms of the father-daughter-reconciliation theme, doesn’t reach the narrative heights of Anderson’s best work. It’s a visually charming and emotionally sincere entry—proof that even in a world of plane crashes, quirky business deals, weird relatives, religious fervour, eccentric guerrillas, the arc of connection between a father and daughter can still feel radical.

    Mark: 7.5 out of 11

    Wes Anderson’s Top 11 films ranked in order of MY favourites!

    1. Rushmore (1998)

    2. The Grand Budapest Hotel (2014)

    3. The Royal Tenenbaums (2001)

    4. Bottle Rocket (1996)

    5. Asteroid City (2023)

    6. Isle of Dogs (2018)

    7. Moonrise Kingdom (2012)

    8. The Darjeeling Limited (2007)

    9. The Phoenician Scheme (2025)

    10. The Life Aquatic with Steve Zissou (2004)

    11. The French Dispatch (2021)










    Amazon Prime, music, Reviews

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

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    Amazon Prime Film Review: Kneecap (2024)

    Directed by Rich Peppiatt

    Screenplay by Rich Peppiatt

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

    Produced by Jack Tarling and Trevor Birney

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

    Cinematography by Ryan Kernaghan

    *** MAY CONTAIN SPOILERS ***

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

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

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

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

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

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

    Mark: 8.5 out of 11

    Apple TV, Reviews

    Apple TV+ Film Reviews – Part Two

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    Apple TV+ Film Reviews – Part Two

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

    AppleTV+ Film Reviews – Part One

    Coda (2021)

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

    APPLE TV FILM REVIEW: CODA (2021)

    Ghosted (2023)

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

    The Gorge (2025)

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

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

    The Greatest Beer Run Ever (2022)

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

    Greyhound (2020)

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

    The Instigators (2024)

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

    Killers of the Flower Moon (2023)

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

    CINEMA REVIEW: KILLERS OF THE FLOWER MOON (2023)

    Luck (2022)

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

    Napoleon (2023)

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

    CINEMA REVIEW: NAPOLEON (2023)

    Palmer (2021)

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


    Sharper (2023)

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

    Tetris (2023)

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

    Apple TV, Reviews

    Apple TV+ Film Reviews – Part One

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    Apple TV+ Film Reviews – Part One

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

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

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

    A Charlie Brown Thanksgiving (1973)

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

    Argylle (2024)

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


    The Banker (2020)

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

    Blitz (2024)

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

    Bread and Roses (2023)

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

    Causeway (2022)

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

    Cherry (2021)

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

    Emancipation (2022)

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

    The Family Plan (2023)

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

    Finch (2021)

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

    Fly me to the Moon (2024)

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

    Cinema, Film Festivals, horror

    Romford Horror Film Festival 2025 appreciation post!

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    Romford Horror Festival 2025 – review and thanks!

    The Romford Horror Film Festival in Essex has quickly become a key destination for both emerging and established voices in horror cinema. With a mission to champion independent filmmaking talent, the festival provides a crucial platform for new directors, writers, and producers to showcase their work to enthusiastic audiences and industry professionals.

    One of the festival’s standout features is its dedication to fresh, original horror storytelling. By curating a diverse lineup of indie horror shorts and feature films, the event serves as a launchpad for up-and-coming talent, offering them exposure, networking opportunities, and even awards that can propel their careers forward. The festival frequently hosts Q&A sessions, panel discussions, and filmmaker meetups, giving creatives a chance to engage directly with fans and industry insiders.

    Alongside its celebration of new talent, the Romford Horror Film Festival also pays tribute to the classics of the genre. Screenings of beloved horror films from the past ensure that attendees not only experience the latest innovations in horror filmmaking but also gain an appreciation for the genre’s deep roots. By blending the past and future of horror, the festival fosters a sense of community among horror enthusiasts, creating an environment where cinephiles, filmmakers, and genre veterans can connect.

    I attended on the Saturday and watched my short film Inferis (2024), plus a stream of other amazing short films. I then got to see Lucio Fulci’s gore classic, Zombie Flesh Eaters (1979) on the big screen. A very entertaining Q & A featuring cast members including Ian McCulloch followed. The programme also contained several more Fulci horrors, Threads (1984), The Evil Dead (1981), Metropolis (1927), Man Bites Dog (1992), Razor Blade Smile (1998) and many other vintage classics alongside the best of new indie releases. If you love horror films then check out their website for future events here!

    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

    Film Festivals, Short films

    FIX FILMS PRESENTS: SIN – EPISODES 4 – 7

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    SIN – EPISODES 4

    Last year I wrote and produced seven monologues inspired by the deadly sins. With careful planning, myself and a quality cast and crew shot them all in one day at Raindance Film School. I’m now releasing them online via YouTube. They are in essence a proof of concept project with an aim for myself to develop them into a feature film screenplay. Below are episodes 4 to 7!

    PITCH

    “Let those without sin cast the first stone.”

    An anthology of 7 monologues based around the seven deadly sins. Moments, drama, humour, character studies and themes exploring the darker side of human nature. Influenced by: Alan Bennett’s Talking Heads, Inside No. 9, Tales of the Unexpected and Amicus/Hammer horror film anthologies.

    PRIDE starring Myles Horgan

    Bishop, a retired spy with a gun in his face, delivers a powerful monologue as he attempts to deduce the identity of the assassin that faces him.

    LUST starring Tom Cavendish

    Danny, a police officer racked with guilt, confesses as to why he thinks he cheated on his beloved fiancé with her sister.

    ENVY starring Malcolm Jeffries

    Len, a covert photographer, reveals how his obsession with a client’s wife brings back haunting memories from his past.

    WRATH starring Julia Florimo

    Sadie describes in detail how and why she plotted revenge by poisoning her cheating ex-boyfriend, Stephen.

    CREDITS

    Writer and Producer: Paul Laight
    Camera and Post-Production: Gary O’Brien
    Sound: Ali Kivanc
    Camera Assistant: Maka Natsvlishvili
    Music by: Epic Violin Music NO Copyright royalty free music  
    Special thanks: Raindance Film School and Universal Video