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Cinema Review: The Long Walk (2025) – a compelling adaptation of Stephen King’s anti-war allegory!

Cinema Review: The Long Walk (2025)

Directed by Francis Lawrence

Screenplay by JT Mollner

Based on The Long Walk by Stephen King

Produced by Roy Lee, Steven Schneider, Francis Lawrence, Cameron MacConomy

Main Cast: Cooper Hoffman, David Jonsson, Garrett Wareing, Tut Nyuot, Charlie Plummer, Ben Wang, Roman Griffin Davis, Joshua Odjick, Judy Greer, Mark Hamill etc.

Cinematography by Jo Willems

*** MAY CONTAIN SPOILERS ***



This compelling and moving anti-war film was adapted from the Stephen King novel, The Long Walk (1979), originally published under his pseudonym, Richard Bachman. The story is set in a dystopian alternative version of the United States ruled by a totalitarian regime; a new military-driven world order. The plot follows the fifty young male contestants of a gruelling annual walking contest, who must follow a set of rules or face the grim consequences. Ultimately, most of their fates are doomed as only the last boy standing gains the prize.

As an aside, I often wondered why King published under a pseudonym and after a quick net search I found that the author was limited to publishing one book per year, since publishing more would be “unacceptable” to the public. King therefore wanted to write under another name in order to increase his publication without saturating the market for the King “brand”. So, there you go. But what of The Long Walk (2025)? How does it compare to the plethora of other King film adaptations?



Grim, unrelenting, and devastatingly poignant, The Long Walk (2025) transforms a brutal endurance contest into an unmistakable anti-war allegory. Fifty young men, each plucked from a different state, march forward under the banner of national pride and promised glory — but what unfolds is the slow annihilation of their bodies and spirits. The premise, simple on the surface, becomes a searing critique of how nations sacrifice youth for power, money, and hollow ideals.

The film thrives on the camaraderie and conflict between the boys: fleeting alliances form, bitter rivalries crack open, and in moments of exhaustion or terror, we glimpse the fragile humanity beneath their forced bravado. Echoes of The Hunger Games franchise, also directed by Francis Lawrence, are impossible to miss. However, this story clearly influenced The Hunger Games and other examples of survivalist literature. Yet, The Long Walk (2025) is way more rawer, more intimate, and ultimately more scathing in its indictment of systemic cruelty.

Among the excellent ensemble cast, Cooper Hoffman as Ray and David Jonsson as Peter emerge with standout performances. Their characters, drawn together in unlikely connection, add emotional depth to the carnage, grounding the relentless attrition in genuine feeling. As their bond develops, the horror of the “Walk” feels sharper, the futility more unbearable. Overall, aside from slight repetition of action and an ending I’d have preferred to have gone a different way, The Long Walk (2025) carries hypnotic and bloody power. It is both a war story without a battlefield and a coming-of-age tale without the promise of adulthood — a haunting testament to how societies can destroy their own sons in pursuit of an impossible prize.

Mark: 8.5 out of 11


Cinema Review: Wolf Man (2025) – short changes both fans of Leigh Whannell and the horror genre alike!

CINEMA REVIEW: WOLF MAN (2025)

Directed by Leigh Whannell

Written by Leigh Whannell and Corbett Tuck

Produced by Jason Blum

Main Cast: Christopher Abbott, Julia Garner, Matilda Firth and Sam Jaeger

Cinematography by Stefan Duscio



Leigh Whannell’s Wolf Man (2025) brings a fresh twist to the classic tale, grounding the werewolf transformation in a visceral metaphor for illness. The concept has undeniable merit, with the protagonist’s physical deterioration mirroring deeper themes of paternal guilt and the crushing weight of family responsibilities. Whannell’s knack for melding genre thrills with human drama is evident, as he did so effectively in Upgrade (2018) and The Invisible Man (2020). In fact, along with Predestination (2014), and the recently released, The Substance (2024), Upgrade (2018) is a low-budget masterpiece which SHOULD appear in many best-of-the-millennium-film lists, as opposed to over-rated, art-house garbage like Joanna Hogg’s, The Souvenir (2019).

Anyway, back to the Wolf Man (2025). The film’s decision to confine its narrative mostly, apart from a suspenseful flashback prologue sequence, to a single night, significantly undermines its potential. Once the parental unit portrayed by nervy and ticky, Christopher Abbott and woefully underwritten, Julia Garner is established, the rushed structure sacrifices emotional depth and character development, leaving its poignant ideas about illness, fatherhood and family obligations feeling under explored. The claustrophobic time frame allows for tense, kinetic set pieces and decent gore, but it stifles the broader emotional resonance that Whannell has demonstrated in his previous work.

For fans of Upgrade (2018) and The Invisible Man (2020), Wolf Man may feel like a missed opportunity. Those films balanced high-concept storytelling with sharp social commentary, whereas this latest effort feels more like a half-formed howl in the night. Indeed, there seemed to be a whole bite taken out of the second act with the film hurtling toward the underwhelming denouement with little tension and suspense. Further, if you have ever watched Ozark, then Julia Garner’s electric energy and acting power is truly under utilized. Plus, the film was SO dark. I know it’s a horror film, but it would be great to actually SEE what was going on as the characters go into the woods. Oh, and I did not like the monster design at all to be honest. Bring back Rick Baker I say. Overall, while there’s brilliance in the premise, the execution lacks the quality needed to fully transform it into something truly memorably metamorphic.

Mark: 6.5 out of 11


The Cinema Fix presents: 12 Favourite Films of 2024!

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)

THE CINEMA FIX: 10 FAVOURITE FILMS OF 2023!

THE CINEMA FIX: 10 FAVOURITE FILMS OF 2023!

Happy New Year and welcome to 2024!

Thankfully 2023 was less turbulent year on the cultural landscape than the previous years impacted by THAT virus. Nonetheless, we remain in an era where streaming platforms continue to thrive. I have lost count how many there are now and have now drawn a line under the number of subscriptions I have.

Apple TV, BBC iPlayer, BFI, Channel 4 online, Disney+, MUBI, Netflix and Sky Movies subscriptions are enough!

I still have my ODEON membership and do attend the cinema too though.

So, here are my favourite TEN films of the year containing choices watched both at home and in the cinema. If they are new releases and I saw them in 2023, they qualify.

Obviously, I have not seen every new release from 2023, so if there are any glaring omissions from my list please recommend away! 

As an aperitif I include my ten favourite films of 2022. Good luck and bon voyage in 2024!


TEN FAVOURITE FILMS OF 2022!

THE BANSHEES OF INISHERIN (2022)
BONES AND ALL (2022)
CODA (2021)
DECISION TO LEAVE (2022)
DOCTOR STRANGE AND THE MULTIVERSE OF MADNESS (2022)
ELVIS (2022)
EVERYTHING, EVERYWHERE, ALL AT ONCE (2022)
THE MENU (2022)
RRR (2022)
TRIANGLE OF SADNESS (2022)



TEN FAVOURITE FILMS OF 2023!

ANATOMY OF A FALL (2023)

“. . . Anatomy of the Fall (2023) is an extremely complex film, both intelligent and thematically powerful. The courtroom exchanges between Sandra, her son Daniel, Samuel’s psychotherapist, the prosecution and defense lawyers are brilliantly written and acted. The flashback arguments between Samuel and Sandra are gut-wrenching and all too familiar to anyone who has been in or witnessed the crumbling of a marital or parental relationship. “


ASTEROID CITY (2023)

“. . .Asteroid City (2023) proves once again Wes Anderson is one of the most original filmmakers of this generation. Will he gain some more converts to his particular set of cinematic bag of tricks? Who knows. What I do know is that I was completely immersed in the colour, movement, pace, humour, aesthetics, performances and themes with the film.


BROKER (2022)

“. . . Broker (2022) arguably has too many intertwining subplots as it strives to redeem all of the complex characters, but the wonderfully believable performances and a brilliant screenplay really grabs you and rarely lets you go. Kore-eda’s direction is, as usual, masterly and assured as he balances the various tones confidently. Overall, this film makes you laugh, cry and is really moving as it highlights that family units can be lovingly born from collective experience, as well as blood.


MAY DECEMBER (2023)

“. . . what unfolds is a superbly acted and understated drama which really gets under the skin and into the mind. While watching the ever-shifting points-of-view and identification with the characters May December (2023) became so compelling to me. . .Acclaimed director Todd Haynes directs this tonally awkward story with a deft touch drawing on the constant grey areas of drama so expertly. “


OPPENHEIMER (2023)

“. . . Where the film truly blooms is when Oppenheimer makes his scientific breakthrough, builds his team of geniuses and the actual construction of the nuclear weapons at Los Alamos. There is palpable suspense (even though we know what happens) in the race with the Germans to make the bomb first. I mean, imagine if the Germans had won the race. It does not bear thinking about. The history of the world would have been irrevocably altered beyond comprehension.



PAST LIVES (2023)

“. . . Without explosions, or car chases, or superheroes or fast-paced cutting or extraordinary heroes defeating powerful foes, Past Lives (2023), is one of the most impactful and memorable films of this year. Celine Song achieves this with a delicate hand in the writing and direction, plus a purposeful naturalistic cinematographic palette delivered by Shabier Kirchner. Above all else Song creates two characters who you root for from the start, willing them to be together, as the one feels the romantic electricity build on the screen. ”


SALTBURN (2023)

“. . . I cannot recommend Saltburn (2023) enough for its fantastically witty script, devastatingly brilliant cast and some quite disgustingly explicit, but contextually justifiable, character moments and scenes. Fennell takes the setting and structure of Evelyn Waugh’s Brideshead Revisited and turns it upside down, spinning a devious tale of infatuation, love, privilege and social climbing. Through the character Oliver Quick, and I really don’t want to give anything away, there is a powerful and jaw-dropping character arc of upward mobility. Rosamund Pike’s and Keoghan’s performances are both amazing and award-worthy.


TAR (2022)

“Tár (2022) is a film which works on many genre and narrative layers. It is a psychological drama, an absorbing character study, a backstage musical, a complex morality play, with suggestions of hallucinatory horror during the final act of the film. It is a triumph of filmic brilliance expertly delivered by Todd Field. It is incredible to think this is only the third film he has directed. “


TOTALLY KILLER (2023)

“. . . I realise Totally Killer (2023) seems so contrived and derivative, but I found it to be an absolute blast. The script is clever and knowing with energetic and fun characters. Kiernan Shipka as Jamie is especially brilliant with great comedy timing and delivery. The filmmakers embrace the joy of time-travel and horror film tropes, and there’s also some excellent set-pieces involving the obligatory 1980’s false-faced psycho with a grudge. “


THE WONDER (2022)

“. . . Is there a better actor around than Florence Pugh? I am not so sure. She is formidably brilliant in every role I have seen her in. I think that Pugh is so clever, emotional and magnetic in her screen performances, none more so than in this intense period drama. Rich in themes including religious control, Catholic guilt and the English stranglehold over Ireland between the dramatic lines in an intimate epic, anchored by Pugh’s dominant force-of-human-nature performance.”


THE CINEMA FIX PRESENTS: 10 FAVOURITE FILMS OF 2022!

THE CINEMA FIX PRESENTS: 10 FAVOURITE FILMS OF 2022!

Happy New Year and welcome to 2023!

I am slightly tardy on the list of my favourite films of 2022 as I had a couple of latter 2022 reviews to catch up on, plus the day job has been quite hectic.

Well, I thought it was a great year for cinema releases. It started slowly but improved steadily throughout with some tremendous films released in the latter half of 2022.

I say cinema releases, but we are now in an era of the streaming platforms threatening the multiplexes with their existence. I treat them all the same now and my list contains choices watched both at home and in the cinema. As long as they are new releases and I saw them in 2022, they qualify.

Obviously, I have not seen every new release from 2022, so if there are any glaring omissions from my list please recommend away!

As an aperitif I include my ten favourite films of 2021. Good luck and bon voyage in 2023!


TEN FAVOURITE FILMS OF 2021

ANOTHER ROUND (2020)
THE GREEN KNIGHT (2021)
LAST NIGHT IN SOHO (2021)
MA RAINEY’S BLACK BOTTOM (2020)
MINARI (2020)
PIECES OF A WOMAN (2020)
THE POWER OF THE DOG (2021)
THE RENTAL (2020)
SOUND OF METAL (2019)
WEST SIDE STORY (2021)



TEN FAVOURITE FILMS OF 2022!

In alphabetical order for your consideration. . .

THE BANSHEES OF INISHERIN (2022)

“I loved everything about The Banshees of Inisherin (2022). The look, the performances, the pacing, the locations, the script, the themes, the humour, the tragedy and Carter Burwell’s phenomenal score are all absolutely first class. . .”


BONES AND ALL (2022)

Bones and All (2022) is directed with glacial majesty by Luca Guadagnino. He expertly blends the genres of horror, period drama, rites-of-passage, romance and road movie with a well-balanced approach to tone. Extracting attractive performances from Chalamet and Russell, their onscreen chemistry is potent and touching.


CODA (2021)

“Unashamedly manipulative and occasionally cloying, Coda (2021), is a big-hearted familial comedy-drama with many powerful messages. Following your dream, respecting those around you and loving your family are integral to this feelgood film. . .”


DECISION TO LEAVE (2022)

“. . . did the exquisitely directed and intelligently scripted, Decision to Leave (2022), need to be so evasively complex and full of radiant ambiguity? The ending especially is both poetically exquisite and frustratingly cryptic. With a Park Chan-wook film, would I have it any way?


DOCTOR STRANGE AND THE MULTIVERSE OF MADNESS (2022)

Doctor Strange 2 (2022) is a big, dumb, fast-paced, scary, fantastic, mystical, surprising and funny chunk of visually stunning fantasy cinema. Benedict Cumberbatch is on superb hand-waving, cape-throwing, shape-shifting, death-defying, hair-flicking, multiverse-jumping, father-figuring form magically anchoring Sam Raimi’s directorial box of tricks!



ELVIS (2022)

“I cannot praise Elvis (2022) enough as a cinematic biopic and musical spectacle. While the choppy editing style is jarring at the start, once the film settles down into a groove, Butler’s stunning incarnation shines through amidst the gospel, rhythm and blues, rap, rock, pop, ballad and protest songs throughout the scintillating soundtrack.”


EVERYTHING, EVERYWHERE, ALL AT ONCE (2022)

“. . . Kwan and Scheinert succeed with Everything, Everywhere, All at Once (2022) because as well as a machine-gun splattering of hilarious ideas and gags combined with some pretty lofty themes, this film ultimately has a hell of a heart.”


THE MENU (2022)

The Menu (2022) is a fantastically twisted and funny genre film. Fiennes, Taylor-Joy, Hoult and Hong Chau are on terrific acting form. Further, the production design and cinematography make the visuals succulent and palatable. Ultimately, for those who love food, fear and vengeance, this film is certainly best served hot!”


RRR (2022)

“. . . the scale and ambition of the film is to be totally admired, as is the vibrant direction by S. S. Rajamouli. N. T. Rama Rao Jr. and Ram Charan, as the lead revolutionaries, are bona fide film stars. Their energy, physicality and charisma on screen really grabbed me, but amidst the kinetics there is also a big emotional heart within RRR (2022)!”


TRIANGLE OF SADNESS (2022)

“. . . while the characters may not be the most likeable, that is never Ostlund’s aim. His desire is to critique capitalist hegemony through both high and low brow humour, style and form. He succeeds, making Triangle of Sadness (2022) one of the most thought-provoking and exhilarating cinema experiences of the year.”



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

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

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

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

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

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

THE CINEMA FIX PRESENTS: 10 FAVOURITE FILMS OF 2021!

THE CINEMA FIX PRESENTS: 10 FAVOURITE FILMS OF 2021!

Following on from the extremely tricky global issues of 2020, the cinema saw further transitions amidst lockdowns and the rise of even more streaming platforms. Traditional timetables for film releases remain all over the place due to the effects of the pandemic on our culture. Plus, big budget productions are now going straight to the living room more often than not. Especially if the proposed cinema release date is postponed on several occasions. What studios lose in terms of cinema release profits, they are now looking to claw back with reduced marketing budgets and subscriptions to their own respective channels.

In the past my favourite film of the year lists were all films I saw at the cinema. Now they are a mixture of cinema and online releases. There is some overlap too in the given year when I watched such films due to the scheduling changes. I’m really not a fan of this as I don’t like change to routine as a rule. But if it means I still get to see my favourite films online or at the cinema then it’s hardly a trial or major issue to adjust.

List Notes

  1. There are LOADS of films I have NOT SEEN! Please comment below MUST-SEE films not on the list.
  2. The Bond film is not on here. It was fantastic entertainment, but NOT a good Bond movie.
  3. There are no MARVEL/DC films on the list as I have not watched them all. Plus, I have superhero film formula fatigue.
  4. Nomadland (2020), while good, was completely over-rated.
  5. White Tiger (2021) would be on this list, but I only watched it yesterday. So, it qualifies for assessment in 2022.

For comparison here is my list of favourite films in 2020. A starter if you will, before the main cinematic course.

Happy New Year – have a great 2022!



TWELVE FAVOURITE FILMS of 2020!

1917 (2019)
DARK WATERS (2019)
DA 5 BLOODS (2020)
I’M THINKING OF ENDING THINGS (2020)
THE INVISIBLE MAN (2020)
MANGROVE (2020)
PARASITE (2019)
PORTRAIT OF A LADY ON FIRE (2019)
SAINT MAUD (2019)
TENET (2020)
THE TRIAL OF THE CHICAGO SEVEN (2020)
UNCUT GEMS (2019)



TEN FAVOURITE FILMS of 2021!

ANOTHER ROUND (2020)

“… with Thomas Vinterberg’s expert direction, evocative natural cinematography, and Mads Mikkelsen giving yet another acting masterclass, the humorous narrative soon leaves the laughs behind to become a bittersweet, yet still uplifting, work of Nordic cinema.”


THE GREEN KNIGHT (2021)

“… David Lowery is an original thinking talent, and someone I categorise as an alternative genre filmmaker… The Green Knight (2021) certainly has scale and magic and astounding cinematic power.”


LAST NIGHT IN SOHO (2021)

“… Edgar Wright has delivered one of the most thrilling and spectacularly energetic films of the year. The nostalgic and heavenly soundtrack is to die for, with so many songs I recall growing up listening to. Likewise, the cinematography and lighting design sparkle in hues of black, fluorescence, shadow and neon.”


MA RAINEY’S BLACK BOTTOM (2020)

… Levee Green does not see the bigger picture and is sucked in by the promise of money, women and fame. He is blinded by the bright city lights and the closer he gets to them the easier it is for the record producers to pick his pocket. In such a tragic character August Wilson has created a memorably complex persona, perfectly rendered by the acting genius, Chadwick Boseman. R.I.P.”


MINARI (2020)

“… the scenes where David antagonises his unconventional grandmother are hilarious. Youn Yuh-jung as the elderly matriarch is fantastic, deservedly winning a best supporting actress role at the Oscars. Moreover, Lee Isaac Chung gets a miraculous performance from child actor, Alan Kim.”



PIECES OF A WOMAN (2020)

“… The loss of a child is never going to be an easy experience and it is something an individual will never get over. As I followed Martha’s journey intensely the smallest incremental shift in her personality is felt massively. Vanessa Kirby, in particular, is stunning as a woman cut-off from the world by this devastating grief.”


THE POWER OF THE DOG (2021)

“… I’m not always a fan of poetic cinema, especially within a narrative presented as a quasi-Western. Mostly I like to be punched in the gut, not branded slowly from the inside out. Yet Jane Campion’s expert adaptation of Thomas Savage’s novel, The Power of the Dog (2021), contains some bite. You just don’t see when and how it happens.” 


THE RENTAL (2020)

… I’ve seen some so-so reviews for The Rental (2020), but it’s the kind of tightly plotted suspense thriller I really thrive on. What starts as an idyllic getaway for two relatively wealthy couples is carefully unravelled by Dave Franco’s well-paced direction, complimented by Brie and Steven’s committed performances, has wonderful locations and a seriously proper killer ending.”


SOUND OF METAL (2019)

“… Sound of Metal (2019) beats along steadily but with incredible purpose and rhythm. It teaches us that losing a major sense need not be the end of one’s life, but rather the beginning of an altogether different one.”


WEST SIDE STORY (2021)

“… Everything about the film screams colour, energy and movement. The dancing and editing and swinging beats take you on a breathless journey through the romance and street war. West Side Story (2021) keeps all the memorably catchy songs… and if there is a better directed, choreographed and edited set-piece all year in the Gee, Officer Krupke number then I haven’t seen it.


SIX OF THE BEST #34 – AMAZING FILMS I DO NOT LIKE!

SIX OF THE BEST #34 – AMAZING FILMS I DO NOT LIKE!

Are there box office hits, cinematic phenomena and damned fine films loved by critics which you DO NOT like? That isn’t to say they aren’t great films, but subjectively you just don’t enjoy them? I mean some people dislike much of Christopher Nolan’s work! What!? Okay, Interstellar (2014), was not his best, but hey that’s just my opinion. It’s all just opinions.

Now, I like to be positive on this blog and have critical balance when writing my reviews. In fact, some films I choose not to review because I don’t want to slag something off which is just not for me. I also generally avoid reviewing films I consider terrible because I prefer to avoid negativity.

Thus, this article is not about having a pop at classic films or saying they are over-rated for attention. The truth is – I AM IN THE WRONG HERE! But I think it’s interesting to examine why I don’t like these six excellent films. After all, many talented people have worked passionately on them, so in no way do I want to disrespect their craft. Which is why, I repeat, I am wrong!

*** CONTAINS SPOILERS ***



AVATAR (2009)

James Cameron is one of the greatest genre filmmakers of all time. He is also a technological innovator and genius. In Avatar (2009), he truly topped himself in regard to creating not only the beautiful world and inhabitants of Pandora, but by using never-seen-before motion-capture cinematic techniques. Moreover, the film would go on to make over $2 billion at the box office, so I’m not worthy enough to criticise Avatar (2009). But the script is incredibly flat and derivative. The lead characters are mostly unlikable and I genuinely found the amount of blue on show irritating to the eye. Worst of all is the hypocrisy that a film this expensive, and with a carbon footprint this big, is critiquing capitalist corporations who destroy the natural world.

Avatar' once again highest-grossing film of all time at the box office

THE BLAIR WITCH PROJECT (1999)

Yes, this horror film had one of the smartest and ingenious marketing campaigns of all time. Yes, I should be praising it because I love horror films and also get excited when indie filmmakers hit the big time with low budget films. But, The Blair Witch Project (1999) has no real story as it just a clever series of jump scare set-ups. More importantly, it has no characters you can root for as they are so stupid and obnoxious. Worst of all it wasn’t scary or suspenseful. That’s because I wanted the bickering trio to die. I mean, who throws away a map. They were morons! Plus, this expertly crafted movie committed the worst crime of all – bringing back the found footage film! Now, don’t get me started on THAT cinematically moribund subgenre!

Film Review] The Blair Witch Project (1999) — Ghouls Magazine

CLOSE ENCOUNTERS OF THE THIRD KIND (1977)

What’s not to like about an award winning, box office smash directed by arguably the most brilliant director of a generation? Furthermore, Close Encounters of the Third Kind (1977) also contains some of the most breath-taking and ground-breaking special effects. So, with the Oscar winning cinematography and majestic score, why don’t I enjoy this Steven Spielberg sci-fi masterpiece? In short, I cannot stand the choices Richard Dreyfus’ character makes. I did not believe his journey. Why would you want to go to space and connect with aliens? Why would you abandon your family and head off on some frantic search for something from the sky? Eat the mash potato! Don’t make mini-mountains out of it. I get that there is pseudo-religious metaphors going on, but why were we meant to care? Amazing spectacle, but devoid of emotional connection and an ending that didn’t make much logical sense to me.

Film Review: Close Encounters of the Third Kind (1977) – Kieran's Thoughts,  Previews & Reviews

THE MASTER (2012)

I really love films and documentaries about cults. Especially where religion is used to control human beings and make them do crazy things. What possesses another person to want to control others? They are often extremely charismatic and talented people too, so always fascinating to explore. In Paul Thomas Anderson’s The Master (2012), and while this has been denied, he studies the relationship between a lost soul drawn to a movement that may or may not be a reflection of Scientology. Freddie Quell (Joaquin Phoenix), a World War II veteran is pulled toward Lancaster Dodd (Hoffman), a leader of a cult known as “The Cause”. But not much happens other than Quell having a series of breakdowns amidst post-traumatic stress and alcoholism. Anderson is one of the great humanist and existential filmmakers working today, but The Master (2012) was too impenetrable and alienating for me.

The Master (2012) | MUBI

MULHOLLAND DRIVE (2001)

I am a massive fan of David Lynch’s oeuvre. He is one of the most incredibly idiosyncratic and original voices is cinema. Lynch is visually, aurally and cinematically able to deliver both coherent and surreal narratives that blow your mind and heart out. After bamboozling audiences with Lost Highway (1997) he delivered an emotionally moving road movie in The Straight Story (1999). After that I’m not sure what was in his damn fine coffee when Mulholland Drive (2001) was devised. My understanding was it was a rejected filmed pilot which transmuted into a feature film. Crossing many genres including thriller, detective, horror and romance, the narrative splinters via many characters in Hollywood, notably Naomi Watts portraying an actress experiencing a career and identity crisis. That’s just the tip of an extremely enigmatic iceberg and the bottom line was I just didn’t care. Critics love Mulholland Drive (2001) and it often tops best film lists. I have absolutely no idea why.

David Lynch's 'Mulholland Drive' Explained


THE WITCH (2015)

My filmmaking and screenwriting career is more a hobbling hobby these days. Other than not getting on the right career train, or getting lost in the smoke of an overcrowded creative platform, one main reason I may not have succeeded is because I arguably don’t have an original vision. Maybe I am just too generic. One cannot say that about Robert Eggers. This is one truly talented filmmaker. His debut film The Witch (2015) was a low budget folk horror masterpiece which became a sleeper hit at the box office. Set in 1630s New England, it is an authentically designed and brilliantly acted period drama with Anya Taylor Joy standing out. But aside from the historical accuracy of the language, locations and costumes the story was SO slow. I realise The Witch (2015) is an arthouse classic, but I just did not connect with the characters and was bored all the way through. There are some occasional scares, but it’s more a film which draws horror from underlying dread and enigma rather than the classic horror style I prefer.

The Witch — Linda Muir

MEMORABLE FILM CHARACTERS #6 – MAX FISCHER – RUSHMORE (1998)

MEMORABLE FILM CHARACTERS #6 – MAX FISCHER

Directed by Wes Anderson

Written by: Wes Anderson, Owen Wilson

Produced by: Barry Mendel, Paul Schiff

Cast: Jason Schwartzman, Olivia Williams, Bill Murray, Brian Cox, Seymour Cassel, Mason Gamble, etc.

*** CONTAINS SPOILERS ***



Having recently written positively about my favourite films of Wes Anderson I was spurred to revisit my favourite work of his, Rushmore (1998). It’s a smart, funny and poignant rites-of-passage narrative which spins off from the classic Hollywood teen films of John Hughes to deliver an esoterically beautiful set of empathetic characters. Like Hughes’ best work it is witty, warm and highly memorable.

At the heart of the story is Max Fischer (Jason Swartzman), a fifteen-year-old boy who attends Rushmore Academy. Like Ferris Bueller, he’s a maverick who drives his tutors up the wall with his rebellious behaviour. But Max is not all about looking cool, driving fast cars and singing to a crowded Chicago parade. He is far from the slacker that Ferris is, in fact he has started virtually all of the Rushmore clubs including: karate, fencing, French, and the ‘Max Fischer Players’. Their version of the film Serpico (1973), is absolutely hilarious. However, all such activities have impacted his grades causing Max to be placed on probation by the exasperated Principal, Nelson Guggenheim (Brian Cox).



Max is arrogant, confident, determined and forthright in his belief he is better than everyone, including the adults around him. But it’s a long-developed defence mechanism against one of the integral themes of Anderson’s film, grief. All the main characters including Max, Herman Blume (Bill Murray) and Rosemary Cross (Olivia Williams) are grieving the loss of a loved one. Amidst the quirky comedy Anderson therefore gives the film an air of mournful pathos, bringing us ever closer to the characters. With the theme of loss in play the Oedipal love triangle which plays out in the middle act is all the more humorous and sadder.

Max is a flawed character, but so driven that one cannot help but find him appealing. He hides his socio-economic situation, perhaps not ashamed of his working class background, but more a projection of where he wants to be. His Dad (Seymour Cassel) is a barber, not the surgeon Max tells everyone he is. Yet, there is love and respect between the two as they have clearly suffered loss together. As with Williams and Murray, Cassel gives a wonderful supporting performance.

Over the course of Rushmore (1998), amidst Max’s unrequited love for Rosemary, vengeful attacks on Herman, crazy schemes, school expulsion and hilarious plays, Max matures slowly, makes friends and finds his place in the world. Max also forges relationships with teenagers his own age and slowly releases his shield of grief. Jason Schwartzman is perfect as Max, delivering a winning combination of pathos, intellectualism and deft humour. Incredible to think it was his film debut beating, according to IMDB, 1800 auditionees to the role.


SIX OF THE BEST #33 – MEMORABLE FILM DEATHS! ***Contains spoilers and graphic violence***

SIX OF THE BEST #33 – MEMORABLE FILM DEATHS!

Who doesn’t like a great movie death? Well, people who abhor violence and gore on the screen. But I am not one of those people. Thus, if done right in terms of combining emotional context and cinematic imagination, there’s nothing I like more than revelling or lamenting a character’s end in fine bloody fashion. Lastly, I hear you ask why no Zahler, Scorsese, Cronenberg, Miike, Peckinpah, Jackson, Fulci, Roth, Romero, Argento etc. on this list? So much death and only six make it, so please suggest any of the thousands I have missed off in the comments.

*** CONTAINS SPOILERS ***


ALIEN (1979) – “Do these eggs taste off?”

I think it may have been something Kane (John Hurt) ate or maybe something that ate him? Anyway, one of the most spectacularly surprising scenes ever still holds amazing power to this very day.


THE FURY (1978) – Separated at death!

This under-rated tele-kinetic thriller is a spiritual sequel to Carrie (1976). Adding a spy conspiracy plot to Amy Irving’s rites of passage character arc, it has a whip-cracking-pace and classic DePalma set-pieces. None more so than the explosive end of the baddie-in-black.


PSYCHO (1960) – Take a bath next time!

What more can be written about one of the most shockingly original scenes in cinema history? Not only did Hitchcock break all narrative rules killing off the main protagonist halfway through, he did it with one of the most ingenious uses of montage, music and murder ever.


PULP FICTION (1994) – The original “face-off!”

Marvin never saw it coming. But let’s face it – none of us did!


ROBOCOP (1987) – Toxic Wasted!

Whoever designed this action scene, no doubt Paul Verhoeven had much to say, delivered one of the most excessive demises in 1980’s cinema. The vehicle crash, the toxic waste, the melting bad guy, the steam coming off his body and the final disintegration are just cinematic perfection.


WILD AT HEART (1990) – Bobby Peru loses his mind!

David Lynch’s vibrant adaptation of Barry Gifford’s romantic thriller contains many colourful characters. Willem Dafoe’s Bobby Peru is a particularly nasty piece of work and he gets his comeuppance in an incredibly visceral and disturbing way!