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Articles, Cinema, New Releases, Reviews

CINEMA REVIEW: CIVIL WAR (2024)

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CINEMA REVIEW: CIVIL WAR (2024)

Directed by Alex Garland

Written by Alex Garland

Produced by Andrew Macdonald, Allon Reich, Gregory Goodman

Main Cast: Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Sonoya Mizuno, Nick Offerman, etc.

Cinematography by Rob Hardy

*** MAY CONTAIN SPOILERS ***

Alex Garland has an impressive literary, cinema and televisual curriculum vitae. He gained acclaim as the writer of the novel, The Beach, before moving onto screenwriting duties with fine films such as: 28 Days Later (2002), Sunshine (2007), Never Let Me Go (2010), and under-rated Dredd (2012). He made his directorial debut with Ex Machina (2014), which earned him an Academy Award nomination for Best Original Screenplay. His second film, Annihilation (2018), garnered further acclaim, so much so, FX bypassed a pilot and went straight to series for his science fiction TV narrative, Devs (2020).

While I am a massive fan of Garland’s work, I wasn’t too enamoured of Annihilation (2018). I found it brilliantly made with some fantastic concepts and incredible moments, yet overall it was too slowly paced. With eight superlative episodes of Devs (2020), Garland delivered a story which really connected with me by merging a compelling technological espionage plot to an intelligent exploration of philosophical thought and human behaviour. Where Devs (2020) presciently examined the impact of artificial intelligence, Garland’s new political thriller, Civil War (2024), prophetically imagines an apocalyptic America in the throes of war between combined California and Texas state rebel forces and the current President’s (Nick Offerman) retreating army.

With the ‘January 6 United States Capitol attack’ in mind, Garland opens up a “what if” narrative where the whole of America is conflicted and consuming itself from within. At the heart of the violence is the war photographer, represented by Lee Smith (Kirsten Dunst) and Reuters journalist, Joel (Wagner Moura). Their journey to Washington to photograph the President reveals confusion, destruction and further bloodshed. Generically speaking, a road movie meets dystopian thriller, Civil War (2024) contains thought-provoking themes and incredible cinematography, but with shaky writing in places.

Films about war photographers and/or journalists can be problematic for me. Such characters lend themselves to heroic and the anti-heroic. The writing has to be right because I can lose empathy between such crusading journos and the narcissistic adrenaline junkies looking to deflect their own loathing and self-destructive tendencies. Civil War (2024) struggled to get me onside with the lead characters, although Dunst’s characterisation of Lee Smith is superb. However, her mentor-apprentice relationship with Cailee Spaeny, Jessie Cullen, was under-developed. Spaeny’s “innocent” being used more as a suspense device as opposed to learning the true horrors of humanity and war. Perhaps Garland intended for her to be a sociopath without depth just looking for blood? She finds it!

Moreover, Jessie’s journey from a political perspective was weak as there was no real sense of development in her character. That’s where the decision not to overtly take political sides causes a lack of sociological depth. War films such as Salvador (1986) and The Killing Fields (1984) are more successful as Civil War (2024) loses political impact by not choosing precise sides. But I guess whether they are Democratic or Republican is the whole point. Garland is saying that political parties are all as bad as each other, with human beings their own worst enemy. Politics, like football, gender, sexuality, and religion, are propellants for humans to fight each other.

For a film about photographers, the images on show are incredible and Rob Hardy’s work is genius. Fire, blood and war have never looked so brutal and aesthetically impressive. As well as Dunst, Wagner Moura and Stephen McKinlay Henderson are terrific in their respective roles. Further, there are some nail-biting and suspenseful scenes, notably one involving a film-stealing performance from Jesse Plemons. However, many of the characters’ decisions were weakly written for me. This is surprising given Garland’s prodigious literary and screenwriting talent. Civil War (2024), however, remains another stunning addition to his oeuvre and for all my perceived script weaknesses, the hell of war has never been so artistic and artful.

Mark: 8 out of 11

Cinema, horror, Reviews, Shudder, Television

SHUDDER REVIEW: LATE NIGHT WITH THE DEVIL (2023)

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SHUDDER REVIEW: LATE NIGHT WITH THE DEVIL (2023)

Written and directed by Colin Cairnes and Cameron Cairnes

Produced by Mat Govoni, Adam White, John Molloy, Roy Lee, Steven Schneider and Derek Dauchy

Cast: David Dastmalchian, Laura Gordon, Ian Bliss, Fayssal Bazzi, Ingrid Torelli, Rhys Auteri, Georgina Haig, and Josh Quong Tart

Cinematography: Matthew Temple

*** MAY CONTAIN SPOILERS ***

Some years ago I wrote an article about how I dislike the found footage sub-genre and that article can be found here. Occasionally, found footage is used well such as in Creep (2014) with Mark Duplass or REC (2007) or Chronicle (2012). Now you can add Colin Cairnes and Cameron Cairnes, Late Night With the Devil (2023) to that list of found footage films I actually enjoyed.

Technically, one could argue it isn’t really found footage and it negates such films often “amateurish” filming methods, with a truly stylish rendition of 1970’s television chat shows. However, we are asked by the narrator to view “never-before-seen” images and sounds from a previously unreleased and infamous TV chat show presented by ‘Night Owls’ host, Jack Delroy (David Dastmalchian). So, found footage it is!

David Dastmalchian is absolutely fantastic in his role as ambitious but desperate to be number-one chat show host, Jack Delroy. Often cast in supporting roles he now grabs the chance to become much more than that scene-stealing character actor. Delroy is not unlikable, but his arrogance and ambition dominate his personality. So much so, and despite his grief at losing his wife to cancer, he is prepared to allow all sorts of creepy and inappropriate situations unfold in his desperate search for TV ratings.

Delroy pits a dubious psychic Christou (Fayssal Bazzi) against skeptical former magician Carmichael the Conjurer (Ian Bliss), before asking parapsychologist author June Ross-Mitchell (Laura Gordon), and her subject Lilly D’Abo (Ingrid Torelli) to contact a demonic presence called ‘Mr Wriggles,’ live on television. Even after Christou is rushed to the hospital and Lilly contorts and spits out growling obscenities, Delroy decrees the show must go on. The Cairnes Brothers then continue to ratchet up the tension and horror to a deadly and shocking ‘Night Owls’ televisual denouement.

With echoes of the recent Inside No. 9 (3×3 quiz show episode) and BBC show Ghostwatch (1992), and of course The Exorcist (1973), Late Night With the Devil (2023) is one of the most enjoyable horror films I have seen in sometime. The 1970’s period setting and TV studio location is impressively recreated by the fantastic production team, especially on a relatively low budget. Arguably, the plot, once you dig down into it lacks emotional depth, however, the pacy and darkly funny screenplay more than compensates for this. Overall, the film’s style, design, direction and a commanding performance from Dastmalchian ensure Late Night With the Devil (2023) is essential viewing for all horror fans.

Mark: 9 out of 11

BFI, Cinema, Reviews

BFI PLAYER FILM REVIEWS: THE BEASTS (2022) and THE QUIET GIRL (2022)

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BFI PLAYER FILM REVIEWS: THE BEASTS (2022) and THE QUIET GIRL (2022)

I watched DUNE: Part II (2024) at the cinema but was not drawn to write a review of that masterly sci-fi-behemoth and technical marvel, such was the life-draining and utterly emotionless lack of reaction on my behalf. Instead, for my latest reviews I have chosen lower budget films, in comparison, which offer compelling characters and drama which made me feel and think something.

THE BEASTS (2022)

Directed by: Rodrigo Sorogoyen

Written by: Isabel Peña and Rodrigo Sorogoyen

Main Cast: Denis Ménochet, Marina Foïs, Luis Zahera, Diego Anido,
Marie Colomb etc.

Multiple Goya award-winning drama The Beasts (2022) is an intelligent and muscular drama that reminded me of the equally compelling Jean de Florette (1987) and Only the Animals (2019). The latter also starred the sizable talent that is Denis Ménochet. Here he inhabits the character of former teacher, Antoine Denis, who along with his wife, Olga (Marina Foïs) have taken to renovating properties and farming eco-vegetables in the area of Galicia, Spain.

Honest and hardworking the Denis’ are unfortunately considered outsiders and a threat to the locals, notably the brutish Anta brothers, led by the menacing Xan (Luis Zahera). The conflict is exacerbated as Xan blames them for losing his family money when the Denis’ blocked the sale of land to a wind energy company. Luis Zahera provides a formidable performance as the intimidating bully who begins by poisoning their water before moving onto even more vile and threatening acts.

The theme of city academics versus rural folk is explored with intensity, at times evoking Sam Peckinpah’s more exploitational film, Straw Dogs (1971). But rather than containing an explosive and violent ending, The Beasts (2022) delivers a more slow-burn, riveting and moving denouement. Superbly directed, filmed, and acted throughout, this is a fine work of cinema, only let down for me, by a final act which could not deliver on the highline suspense and tension established in the first two.

Mark: 8.5 out of 11

THE QUIET GIRL / An Cailín Ciúin (2022)

Directed by Colm Bairéad

Screenplay by Colm Bairéad – Based on Foster
by Claire Keegan

Produced by Cleona Ní Chrualaoí

Main cast: Carrie Crowley, Andrew Bennett, Catherine Clinch, Michael Patric, Kate Nic Chonaonaigh etc.

Not only is this 1980’s set Gaelic drama about a quiet girl, it is very much a quiet film that is quietly devastating in mood and emotion. Centred around nine-year old, Cait (Catherine Clinch), she is a neglected outsider, and one of many siblings to a pregnant-again mother and horrible father. Worried about being able to cope, her mum “fosters” Cait to distant cousins, Eibhlín (Carrie Crowley) and Sean Kinsella while she is in the latter stages of pregnancy. Thus begins a meditative forming of a heartfelt relationship between the girl and the Kinsellas.

Initially the film’s narrative unfolds very slowly, being light on pace and exposition, but deft in mood and feeling. There is a certain poetry in the lighting and framing against the beautiful countryside landscapes. The Kinsellas and Cait, while reserved on the outside, are hiding strong emotions and even more powerful secrets. Colm Bairéad’s confident screenplay slowly reveals certain enigmas, but still plays his story cards close to his chest. Yet, the warmth of the leading characters and the interpretive dramatic subtext expertly pulls you into their lives, rather than distance you from them.

The Quiet Girl (2022) broke box office records for the opening weekend of an Irish-language film and became the highest-grossing Irish-language film of all time. Further, it received 11 nominations at the 18th Irish Film & Television Awards (IFTAs) in March 2022, and won in seven categories. It’s no surprise given the quality of the writing, photography, acting and direction that the film has achieved such accolades. Indeed, Catherine Clinch as Cait is a phenomenon. By the end I defy anyone not to be moved by the heart wrenching final scenes, as the film ultimately proves less is most certainly more.

Mark: 9 out of 11

Articles, horror, Short films

INFERIS (2024) short film POSTER and STILLS

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INFERIS (2024) – A new horror short poster and stills.

After a few years gap I finally managed to get back into the short filmmaking process last year with INFERIS (2024).

I wrote and produced it as a very low-budget psychological horror proof of concept short.

It was filmed at Raindance Film School in August 2023 and post was completed in February 2024.

Here’s the poster:

Here are some stills:

If you haven’t seen it, the trailer is here:

INFERIS (2024) – Production Details

Tagline – “They make you work like hell!”

Logline – Recent prison leaver, Joseph Mann, begins a new job at Inferis Security. Hoping for a fresh start he finds himself drawn toward a mysterious door that leads to god knows where.

Cast and Crew

Director: Philip Wolff

Writer: Paul Laight

Producers: Paul Laight and Philip Wolff

Cast: Shaun Rivers and Julia Florimo

Cinematography: Toma Iaramboykov

Sound: Delbert Grady

Camera Assistant: Jackey Limbu

Lighting Assistant: Max Wronka

Editor and Post-Production: Gary O’Brien

Music: Premium Beat & Lord Oscillator

© 2024 A Fix Films and 21st Century Wolff Production

horror, Short films

INFERIS (2024) – A new short psychological horror film trailer

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INFERIS (2024) – A new horror film trailer

After a few years gap I finally managed to get back into the short filmmaking process last year with INFERIS (2024). I wrote and produced it as a very low-budget psychological horror proof of concept short. It was filmed at Raindance Film School in August 2023 and post was completed in February 2024.

Here is the trailer:

INFERIS (2024) – Production Details

Tagline – “They make you work like hell!”

Logline – Recent prison leaver, Joseph Mann, begins a new job at Inferis Security. Hoping for a fresh start he finds himself drawn toward a mysterious door that leads to god knows where.

Cast and Crew

Director: Philip Wolff

Writer: Paul Laight

Producers: Paul Laight and Philip Wolff

Cast: Shaun Rivers and Julia Florimo

Cinematography: Toma Iaramboykov

Sound: Delbert Grady

Camera Assistant: Jackey Limbu

Lighting Assistant: Max Wronka

Editor and Post-Production: Gary O’Brien

Music: Premium Beat & Lord Oscillator

© 2024 A Fix Films and 21st Century Wolff Production

Cinema, New Releases, Reviews

CINEMA REVIEW: THE ZONE OF INTEREST (2023)

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CINEMA REVIEW: THE ZONE OF INTEREST (2023)

Directed by Jonathan Glazer

Written by Jonathan Glazer – based on The Zone of Interest by Martin Amis

Produced by James Wilson, Ewa Puszczyńska

Main cast: Christian Friedel, Sandra Hüller, Imogen Kogge, etc.

Cinematography by Łukasz Żal

Sound Designer: Johnnie Burns

Music by Mica Levi

Jonathan Glazer is not the most prolific of directors, so when he releases a film it provides powerful cinematic coffee to wake up the cultural senses. His last film, the mesmeric Under The Skin (2013), is one of the most original of the century for me and once again with, The Zone of Interest (2023), Glazer has determined to take a provocative approach to cinematic form, style and themes.

I usually advise near the top of my reviews that the piece may contain spoilers. However, there is so little plot in The Zone of Interest (2023), that is difficult to give anything away. The depth of the story comes from the intellectual approach to cinematic form and the wartime setting, with a narrative based on Martin Amis’ novel about the Holocaust and specifically, the concentration camp, Auschwitz. But Glazer only hints at such Nazi barbarism as the point of view of the film is presented solely from the commandant Rudolf Hoss’ (Christian Friedel) and his family’s perspective. Glazer and his outstanding production team deny us sight of the death and torture from within the Hoss house and garden.

Glazer and his sound designer, Johnnie Burns, employ powerful aural style to incredible effect as screams, tools smashing, gun shots and shouting pierce the screen throughout. Mica Levi’s minimalist score also punches through to startle too. Further, as the Hoss family, notably his spoilt children and privileged wife (Sandra Huller) go about their everyday business puffs of smoke billow over their garden as they remain unimpacted by what is occurring outside. Glazer also uses negative film processing, gliding tracking shots and metronomic editing from multi-camera set-ups to stylistic devices to break the fourth wall and to reinforce the everyday routine where all is not what it seems.

One may argue Glazer’s film is experimental and anti-narrative. I rarely cared about the Hoss family and not enough of the Auschwitz inmates is seen to raise one’s emotions. Thus, The Zone of Interest (2023) is a cold and intellectual film to absorb. Yet, I would argue that it is not experimental because Glazer is so in control of the filmmaking process. His creative choices and results are delivered in an extremely confident way. Certainly I felt that the film was more anti-drama than anti-narrative or experimental. For those looking for a more conventional addition to the war film genre could be disappointed.

Ultimately, The Zone of Interest (2023) is a horror film with the barbarism hidden. As the murder and genocide are occurring, the Hoss family unit remain unmoved by such atrocities. From a safe distance the audience watch them attend parties, tend their vegetables, feed their children, eat their dinner, play games and sunbathe. Is Glazer asking if we as humanity are complicit in our privileged comfortable homes while horrors go on around us in the world? Is this Nazi version of the Garden of Eden a metaphor for the world as a whole now? Does a lack of action or inaction to known crimes make one complicit? There are no easy answers, but it gets you thinking. Just like this highly intellectual and expertly constructed work of cinema.

Mark: 9 out of 11

Netflix, New Releases, Reviews

NETFLIX WINTER FILM REVIEWS including: MAESTRO (2023), LEAVE THE WORLD BEHIND (2023), SOCIETY OF SNOW (2023) etc.

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NETFLIX WINTER FILM REVIEWS

Good day! I have spent the last week or so concentrating my viewing around some recent Netflix releases. These films could be seen to be as Oscar-worthy products from the streaming behemoth. So, here are my reviews with the usual marks out of eleven.

*** MAY CONTAIN SPOILERS ***

BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS (2022)

Directed by Alejandro G. Iñárritu
Written by: Alejandro G. Iñárritu and Nicolás Giacobone

A slightly older new release on Netflix’s roster which I avoided watching due to the close-to-three-hour-running time. Plus my instinct it could be a pretentious and indulgent arthouse project by a brilliant director, Alejandro G. Iñárritu. Centring on Silverio Gama (Daniel Giménez Cacho), a Mexican journalist turned documentary filmmaker living in Los Angeles with his wife who reflects on his own life, job, politics, relationship and past. We are very much in the realms of Federico Fellini’s 8½ (1963) and Luis Bunuel with this surrealist and intellectual existential crisis film. Containing some incredibly imaginative visual sequences and thoughtful themes, the relentless stream-of-conscious ultimately bore me down and worst of all I just did not care about the main protagonist. Ultimately this proved to be a pretentious and indulgent arthouse project by a brilliant director.

Mark: 6 out of 11

LEAVE THE WORLD BEHIND (2023)

Directed by Sam Esmail
Screenplay by Sam Esmail – Based on the book by Rumaan Alam

Brilliant cast including Ethan Hawke, Julia Roberts and Mahershala Ali star in this anxiety-building-first-world-problem-apocalyptic-drama which finds middle class winners and their kids trying to overcome a series of strange events, such as no Wi-Fi and staring deer, while staying in a posh AirBnB holiday home. All empty suspense and chatter without much of a dramatic punchline overall. This only really comes alive cinematically with a neat Tesla pile-up set-piece and a slice of Kevin Bacon. Other than that, it is essentially a stage play on the big screen with pretty bland characters suspecting and accusing each other, for various reasons, with stunning cinematography. I enjoyed the production, but I didn’t care about anybody. Why the hell Kevin Bacon’s survivalist-scene-stealer was only given one major scene in the film is beyond me.

Mark: 6.5 out 11

MAESTRO (2023)

Directed by Bradley Cooper
Written by Bradley Cooper and Josh Singer

Clearly a labour of love to bring the life, relationships and music of Leonard Bernstein to the big screen by Bradley Cooper, Maestro (2023) contains some stunning filmmaking set-pieces, imaginative scene transitions and obviously a wonderful musical score. Cooper and Carey Mulligan are cast as Felicia Montealegre and Leonard Bernstein respectively, and both give compelling performances. Mulligan’s more so emotionally when compared to Cooper’s expert mimicry. The film’s structure is mainly bullet-pointed around their blossoming and then strifeful relationship during the later years. Bernstein’s music successes punctuate the ups and downs of this first world couple who I found difficult to warm to. Several grandstanding scenes with Mulligan galvanising feeling from her sheer acting craft do not save the film from lacking dramatic momentum. It is so well crafted that it is difficult not to admire everyone involved in the making of Maestro (2023). I just wanted more about the Bernstein’s way of working rather than who he had been sleeping with.

Mark: 7.5 out 11

SOCIETY OF THE SNOW (2023)

Directed by J. A. Bayona
Screenplay by J. A. Bayona, Bernat Vilaplana, Jaime Marques & Nicolás Casariego
Based on La sociedad de la nieve by Pablo Vierci

This expertly produced survival thriller centres on the tragic events of 1972, when a Uruguayan rugby team’s plane crashed in the Andes. Claiming the lives of twenty-nine friends and family with the survivors somehow managing to cling on to dear life for seventy-two days in freezing and deadly conditions. J.A. Bayona directs the action superbly in what must have been testing conditions for cast and crew. Further, the screenplay contains a certain poetry within the soothing delivery of the Spanish language voiceover. Obviously though there is nothing soothing about what happened to the human beings involved in the plane crash and the horrific choices they had to make to survive. It’s a true testament to the strength of the human spirit and will to live despite the freezing conditions and lack of food. Not the film’s fault but while dramatically compelling, it lacks narrative surprise for anyone who has seen Alive (1993). If you haven’t then Society of the Snow (2023) will have you psychologically gripped, eating away at your very emotional core.

Mark: 8 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: ANATOMY OF A FALL (2023)

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CINEMA REVIEW: ANATOMY OF A FALL (2023)

Directed by Justine Triet

Written by Justine Triet and Arthur Harari

Produced by Marie-Ange Luciani and David Thion

Main cast: Sandra Hüller, Swann Arlaud, Milo Machado Graner, Antoine Reinartz, Samuel Theis, Jehnny Beth, Saadia Bentaieb, Camille Rutherford, Anne Rotger, Messi (the Dog), etc.

Cinematography by Simon Beaufils

Acclaimed director Justine Triet defies the old advice of not to work with children and animals to deliver a compelling courtroom, domestic and psychological suspense drama in Anatomy of the Fall (2023). Indeed, the performances of teenage actor, Milo Machado Graner and Messi the dog are of terrific quality. The dog’s acting is only surpassed by a formidable tour-de-force portrayal by Sandra Hüller. She excels as a wife accused of murdering her husband in the French Alps town of Grenoble. Did she? Well, there are no easy answers as the script dissects the crime and the couple’s marriage with forensic intensity.

Triet and her screenwriting partner, Arthur Harari, do not waste any time setting up the mystery element of the drama. The film opens as we follow visually impaired, Daniel Maleski (11 years old) taking his dog for a walk in the snow. At the same time his mother, an author, Sandra, is being interviewed by a research student in the chalet. But we never see the husband, Samuel, who plays thumping music from upstairs. When Daniel returns, the student has left and his father is found dead on the hard white, but blooded, ground. Sandra is upstairs unaware of her husband’s demise. Or is she? Herein begins the did-she-or-didn’t she kill him question? It’s a brilliant opening sequence where Triet and her production team demonstrate impressive filmmaking skill, an adroitness which continues throughout.

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. As well as the central mystery, Triet and Harari also skilfully weave in thematic subplots relating to literary plagiarism and mental health. While slightly overlong with mild pacing issues toward the end, Anatomy of the Fall (2023) is overall an absorbing thriller about what happens when the love between two people runs its tragic course and the shock and grief that can follow.

Mark: 8.5 out of 11

Cinema, horror, Reviews

13 HORROR FILMS FOR CHRISTMAS – Some alternative festive reviews!

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13 HORROR FILMS FOR CHRISTMAS!

Dear Reader,

As an alternative to the usual Christmas films that are on our TVs, streaming platforms and cinemas now, I have spent the last few weeks watching many recent horror film releases. Like a big, black Christmas stocking I present to you some quick reviews of said bloody entertainment with the usual marks out of 11.

Merry Christmas and a Happy New Year to you and your family!

BIRDBOX BARCELONA (2023)

Spanish sequel to the Netflix original and it’s not quite as good. Some excellent filmmaking and deadly set-pieces are hamstrung by poor structure and over-familiarity with the central alien-suicide concept. The themes of religion, sacrifice and guilt are well explored and the pacey death rate make it worth watching though.

Mark: 6.5 out of 11

BULL (2021)

Brutal British B-movie with Neil Maskell on deadly form as a vengeful career criminal killing off his former gang members after they left him for dead. There are better revenge films out there, but there is some bone-crushing gore to please horror fans like me.

Mark: 6 out of 11

THE CLOVEHITCH KILLER (2018)

Slow-paced but suspenseful rites-of-passage-horror with Charlie Plummer’s teenager suspecting his father (Dylan McDermott) may be a notorious serial killer. Inspired by the evil crimes of BTK murderer, Dennis Rader, this compels throughout until the slightly unbelievable ending.

Mark: 7.5 out of 11

CONTAINMENT (2015)

Low-budget British horror-thriller set in a tower block during a viral outbreak and deadly lock-down. A prescient and chilling film which finds authorities attempting to stop the contagion by all means necessary. Some nail-biting suspense ensues and decent ensemble cast drive a film where chaos and paranoia feel all too familiar to recent global events.

Mark: 7.5 out of 11

EL CONDE (2023)

Pablo Larrain’s horror-comedy-satire is based around a very funny one-joke premise. The gag is Chilean dictator General Pinochet was in fact a blood-sucking vampire draining the life out of the common people. After a really powerful and amusing opening twenty minutes, the film devolves into a Pinochet family drama that runs out of steam until the frankly insane ending which has to be seen to be believed.

Mark: 7 out of 11

EVIL DEAD RISE (2023)

Some fantastically horrific and bloody gore cannot save this Evil Dead reboot/sidequel from feeling both redundant and unnecessary. Contrived plot, paper-thin characters and so badly lit I could hardly see anything. I recommend you watch the original films or the series Ash versus Evil Dead instead, with the awesome Bruce Campbell kicking Deadite ass!

Mark: 6 out of 11

INFINITY POOL (2023)

Another off-the-chart offering from Brandon Cronenberg after the spectacularly grim sci-fi horror of Possessor (2020). Infinity Pool similarly deals with themes of alienation, identity and duality as a writer, portrayed by Alexander Skarsgard, ends up on the holiday from hell. With obnoxious characters and a screeching Mia Goth going full gonzo I almost turned this film off, but such is the misery heaped upon the privileged James Foster, I eventually felt sorry for this tortured narcissistic soul. Trippy and bloody thrills contrast the luxury of the beautiful coastal resort with Cronenberg convincing us there is only ever trouble in paradise.

Mark: 8 out of 11

LUTHER: FALLEN SUN (2023)

Idris Elba returns in this big budget Netflix film version of the BBC maverick cop drama. Stylish, moody and effective thriller with a scenery-chewing turn by Andy Serkis as the nemesis from hell. Favours pace and action over plot consistency, Elba is always excellent value for money even if the Luther character has always been quite slight. Serkis’ fiendish plan is written for shock value rather than actually making any sense.

Mark: 7 out of 11.

PEARL (2022)

Prequel to Ti West’s porno horror X (2022) (see mini-review below), this establishes the early years of Mia Goth’s eponymous anti-heroine, Pearl. As a young woman in 1918 she dreams of escaping and becoming a silent movie star. Yet her dominant mother cannot contain the passionate darkness within Pearl. I much preferred this stylish period and character horror to the exploitative and nasty X (2022). There remains much gruesome violence here but Mia Goth finally convinces me as Pearl, delivering one the best film monologues I have seen in some time.

Mark: 8 out of 11.

RENFIELD (2023)

This vampire story from the point-of-view of the familiar, Renfield, contains the most horrific filmmaking in the very worst way. With a hopeless script, terrible acting and bad CGI it wastes the talent of Nicholas Hoult and Awkwafina. While I expected Nicolas Cage’s Dracula to be over-the-top, the film direction is so tonally awful that I have to say this is one of the worst films I have seen all year.

Mark: 3 out of 11

THANKSGIVING (2023)

A very effective by-the-numbers grind-house slasher film from Eli Roth. Set around the eponymous American holiday period, a masked killer starts murdering a small town’s occupants a year after a Black Friday sale turns into a mall riot. The functional script and generic teenagers lack the spark of the classic Scream (1996), however, Thanksgiving (2023) has some highly imaginative murder scenes, with Roth respecting both the genre and audience. A bit more social satire about greedy capitalism would have raised my mark.

Mark: 7.5 out of 11.

VIOLENT NIGHT (2022)

Die Hard (1988) is NOT a Christmas movie, but a film set AT Christmas. Here Norwegian genre movie director, Tommy Wirkola, unofficially remakes Die Hard/Die Hard 2 (1990), with Santa (David Harbour) replacing John McClane fighting criminals and mercenaries robbing a rich businesswoman’s house. Wirkola made an even better version of the violent home invasion comedy in The Trip (2021). But this rattles along, rings a lot of bells and crunches enough calcium and funny bones to make it worth a watch. David Harbour as Saint Nick sleighs us with his usual fine character acting work.

Mark: 7.5 out of 11.

X (2022)

I know he is a very well respected low-budget film director, and I should like Ti West’s work. Yet, for some reason, I have never enjoyed his previous horrors or Western that much. I feel like his previous films lack pace, contain unsympathetic characters and his horrors lack actual suspense. X (2022) finds a number of unlikable characters setting out to make a porno film on a rural farm, only to encounter danger lurking in the woods, lake and the farmhouse. I really wanted to enjoy this more than I did because Ti West has such control over exploitative material that delivers some genuinely sickening moments of horror. Mia Goth is the standout and West certainly casts her imaginatively, but I just did not connect with this expertly made Texas Chainsaw Massacre (1974) homage.

Mark: 6.5 out of 11.

** HAPPY HOLIDAYS! **


Amazon Prime, Cinema, New Releases, Reviews

CINEMA REVIEW: SALTBURN (2023)

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CINEMA REVIEW: SALTBURN (2023)

Directed by Emerald Fennell

Written by Emerald Fennell

Produced by Emerald Fennell, Josey McNamara and Margot Robbie

Cast: Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Alison Oliver, Archie Madekwe, Carey Mulligan, Paul Rhys, etc.

Cinematography by Linus Sandgren

*** MAY CONTAIN SPOILERS ***

As the awards garnered upon Emerald Fennell’s brilliant Promising Young Woman (2020) will testify, she is clearly a major talent. Fennell has also acted in TV shows such as Call the Midwife and The Crown, as well as writing and producing the second series of Killing Eve. Not only is Fennell an excellent actress, writer, director and producer, but is also now an Oscar and BAFTA winner. Thus, Fennell’s “difficult second film” arrives in the guise of the pitch black comedy, Saltburn (2023). Although to describe this hilarious, bleak, sexy, and often twisted exploration of the British class system as such evidently tests the very definition of comedy.

Saltburn (2023) is set in 2006. Oliver Quick (Barry Keoghan) attends Oxford University as a naive fresher with an inferiority complex and desire for company. While he is incredibly intelligent, coming from a lower class background places bookish Oliver as a very small fish in big water. Especially when compared to the so-called Oxford elite including handsome and wealthy, Felix Catton (Jacob Elordi) and his cousin, the handsome and not-as-wealthy, Farleigh Start (Archie Madekwe). While Farleigh is suspicious of Oliver, Jacob soon befriends him and takes the Northerner under his wing. The two connect and form an “odd couple” bromance, with Felix even going so far as to invite Oliver to his stately home, Saltburn, for the summer. There we meet the rest of Felix’s family including his flaky sister, Venetia (Alison Oliver), eccentric father, Sir James (Richard E. Grant) and effervescent mother, Lady Elspeth (Rosamund Pike).

After building Oliver and Felix’s characters carefully during their time at Oxford, Fennell’s savage and satirical screenplay gathers pace in the second act at Saltburn. Here Oliver tries to fit in and ingratiate himself into the Catton family, but it soon becomes clear that however friendly they may be, he will only ever be an outsider to them. Simultaneously, Farleigh sees Oliver as a rival for the Cattons’ emotional and financial affections and the two begin a retaliatory personal war amidst the balmy summer days, breakfasts, dinner parties and social gatherings. Oliver’s main journey is to connect as much with Felix as possible, so much so his passion veers toward obsession. But Felix is a roaming spirit and a hedonist and does not quite requite Oliver’s feelings. Yet, Felix does show compassion for Oliver, as illustrated when he drives him on a mercy mission to visit Oliver’s family. This is where the story takes an intriguing and ever deadly turn.

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. While the final act twists certainly do shock and surprise they arguably are rushed when compared with the more effective pacing of the opening and middle acts. Moreover, I am also unsure why the exquisite cinematography and stunning locations were presented in the 4:3 (1:33:1) aspect ratio. Why squeeze in Linus Sandgren’s light and framing and not expand them to the widescreen format?

Ultimately, Emerald Fennell proves herself an important voice in British cinema. Unafraid to test the boundaries of taste, genre, and audience expectations, she has crafted one of the most consistently challenging films of the year with Saltburn (2023). One could easily describe the themes presented here as a critique of the upper classes and how the uber-rich are bad people to be brought down to their knees. However, Fennell’s script is not that simplistic. It cleverly careers between love/hate for the characters and irony-bombing the class system, before becoming a damning indictment on the darkest flaws of humanity. Lest one forget the indelible one-liners throughout and THAT final dance sequence, which are both to die for!

Mark: 9.5 out of 11