Category: Film

Film review-Tetris

Taron Egerton shines in this film that ingeniously blends nostalgia with a gripping thriller. The story opens with Henk Rogers making a pitch to a bored Japanese bank executive about the true potential of what he’s selling. As Henk narrates his globe-trotting journey to acquire the rights to a video game, the audience is treated to stunningly produced sequences that are seamlessly edited by Colin Goudie, Ben Mills, and Martin Walsh. However, the constant globe-hopping can be wearisome for some viewers.

As the story moves to Russia in 1988, director Jon S. Baird expertly slows down the pace, building tension and suspense. Written by Nick Pink, the opening portion of the film sets the stage for what happens to Henk when he seeks the sales rights from the game’s creator, Alexey Pajitnov, stumbling into a dangerous hornet’s nest where Communist Party security officials, Japanese interests, a software salesman, and Nintendo all compete against each other to acquire the rights to publish a video game that would become a worldwide smash.

With multiple layers of legitimate business dealings cloaked in duplicitous and criminal activity, it is challenging to decipher how much of this “inspired by a true story” movie is, in fact, true and how much is pumped-up artifice. However, by the end of the movie, you won’t care because the story and the characters are that compelling.

Taron Egerton portrays a good-hearted family man who is married to a loving and supportive wife, played by Ayane Nagabuchi, with multiple adorable children. Henk’s desire to secure his family’s financial future is palpable, and his loyalty to his employees and his small software company in Japan is commendable. The supporting cast is equally colourful, and the film moves at a pace that slowly picks up speed, resembling a good video game that is irresistible to play.

Overall, the film is a nostalgic and thrilling ride that expertly blends both genres into a captivating story.

Tetris will be available to stream from Apple TV+ on March 31st.

⭐⭐⭐

James Gunn confirmed as Superman: Legacy director

The news was hardly surprising when James Gunn confirmed his dual role as both writer and director for the highly anticipated reincarnation of Superman.

The project, entitled “Superman: Legacy,” promises to reboot the franchise yet again and kick off the new chapter of DC films dubbed “God and Monsters.”

As per Gunn’s tweets, the film will showcase Superman’s struggle to reconcile his Kryptonian roots with his human upbringing, embodying the values of truth, justice, and kindness in a world that often neglects such virtues.

As a devoted admirer of Gunn’s previous cinematic endeavors, I am eagerly anticipating what he will bring to the table with this fresh take on the beloved superhero. Of course, let us not forget that the iconic character was created by the visionary duo of Jerry Siegel and Joe Shuster.

Mark your calendars for July 11, 2025, as “Superman: Legacy” is set to soar into cinemas, worldwide.

Review-Scream VI

Last year’s installment of the Scream franchise did not impress me much, as the approach taken by directors Matt Bettinelli-Olpin and Tyler Gillett, known as “Radio Silence,” felt like a mere repetition of 2011’s Scream 4. Nonetheless, the movie had its merits, particularly in its endeavor to uphold the legacy of the late Wes Craven. However, Scream VI, also directed by Radio Silence and written by James Vanderbilt and Guy Busick, seems to have no new ideas to present, apart from one significant exception. Nevertheless, the sixth part of the series is exceptionally enjoyable as it presents a masterful and thrilling puzzle, even if it isn’t particularly groundbreaking.

The setting of the film has now moved to New York City, where Sam Carpenter (Melissa Barrera), her sister Tara (Jenna Ortega), and their best friends Mindy (Jasmin Savoy Brown) and Chad Meeks-Martin (Mason Gooding) are starting college. Sam accompanies Tara to look after her, hoping that a bigger city means that they are safe from Ghostface’s deadly attacks.

However, this proves not to be the case, as a new Ghostface appears, exhibiting an obsession with the previous nine killers. The FBI, led by Agent Kirby Reed (Hayden Panettiere), gets involved in the case, while Gale Weathers (Courteney Cox) returns as a Ghostface expert. Sidney Prescott, the previous final girl, is absent from the story.

The exclusion of Sidney’s character turns out to be a good thing, as it forces the writers to focus on the other characters. Sam, Tara, Mindy, and Chad take the center stage, and they are given enough time to make an impression. Melissa Barrera shines as Sam, and her portrayal brings depth to the character. Jenna Ortega, Jasmin Savoy Brown, and Mason Gooding are also noteworthy in their performances. Hayden Panettiere’s return as Kirby is a pleasant surprise, and she adds an extra layer to the plot.

While the film’s plot is cleverly crafted, it is not particularly challenging to guess who the killer is. However, the direction by Radio Silence elevates the movie. The suspense, danger, and action sequences are spectacular, particularly the ones set in a neighborhood grocery store and a ladder between apartment complexes. The climactic sequence may not break many rules, but it is executed with precision.

Neve Campbell’s absence from Scream VI is certainly a loss for fans of the franchise, but it’s also a reminder of the ongoing issues of pay equity and fair compensation in the entertainment industry. Hopefully, her decision to turn down the role will contribute to a larger conversation about the value of women’s contributions in film and television and the need for greater representation and equality.

In conclusion, Scream VI may not have much new to offer, but it is a thrilling and entertaining addition to the franchise. The film’s focus on the four main characters, along with the brilliant direction, make it a worthwhile watch for fans of the series.

⭐⭐⭐

Film review-Creed III

Michael B. Jordan delivers a knockout punch with his directorial debut in “Creed III,” the latest installment of the “Rocky” spin-off franchise. Reprising his role as the titular character, Adonis Creed, Jordan not only commands the screen with electric swagger and emotional depth, but also directs with confidence and style. He follows in the footsteps of Sylvester Stallone, who directed himself in several “Rocky” films, as well as Ryan Coogler, his longtime friend and collaborator, who helmed the original “Creed.” Jordan carries the weight of expectation and pressure with grace, honoring the series’ legacy while pushing the story forward.

While “Creed III” takes a little while to get into the ring, with a necessary flashback to establish the shared history between the main competitors, Jordan’s eye for detail is evident throughout the film. From the minimalist elegance of Adonis’ Hollywood Hills mansion to the use of sign language within his family, Jordan paints a rich and authentic portrait of Adonis’ life outside the ring. Tessa Thompson brings a grounded and sensitive performance as Adonis’ wife and producer, while newcomer Mila Davis-Kent shines brightly in her first major role as their deaf daughter, Amara.

But the film truly heats up with the arrival of Jonathan Majors as Adonis’ childhood friend-turned-adversary, Dame. Majors’ performance is nothing short of tremendous, bringing a volatile energy to the character that simmers beneath his seemingly placid exterior. Jordan’s direction, working in tandem with cinematographer Kramer Morgenthau and editors Jessica Baclesse and Tyler Nelson, elevates even the simplest of scenes, conveying layers of subtext and meaning through framing and pacing.

Of course, “Creed III” delivers on the expected training montages and uplifting beats, culminating in a climactic showdown that showcases Jordan’s dazzling stylistic choices in sound design, camera movements, and visual effects. But beyond the sweat and adrenaline, the film is also a touching exploration of family, legacy, and the pursuit of greatness. With “Creed III,” Jordan proves himself not only a formidable leading man, but also a director to watch in the years to come.

⭐⭐⭐⭐

Film review-Cocaine Bear

“Cocaine Bear” is a riotous horror-comedy that delivers on its promise of a big bear on cocaine wreaking havoc in the woods. Directed by Elizabeth Banks, the film is set in 1985, when the actual events that inspired the movie took place. Banks and screenwriter Jimmy Warden infuse the characters with identifiable quirks and needs, making them more likable and relatable. Even the film’s villain, drug dealer Syd, played by the legendary Ray Liotta in one of his final roles, has recognisable resentments and fears.

Banks keeps the proceedings light and entertaining, balancing the gore and violence with humor and heart. The script sets several groups in motion, sometimes at cross-purposes, all heading towards the bear. Once the threat is established, we get to know the threatened. The performances are uniformly solid, with Keri Russell, O’Shea Jackson Jr., Alden Ehrenreich, Margo Martindale, and Jesse Tyler Ferguson all delivering strong turns.

Banks’ affection for the bear is evident throughout the film, even as it wreaks havoc on the hapless humans. The tension-filled sequences that have little to do with the bear add to the film’s overall sense of fun and unpredictability. The film has the structure of a slasher movie from the ’80s, but it owes a lot to the animals-attack subgenre of the ’70s. “Cocaine Bear” is a winning mix of heart and gore, skillfully threaded by Banks, who proves herself to be a deft hand at comedy and horror. The film’s success at the box office is a testament to its word-of-mouth appeal, as audiences flock to see the film again and again. With “Cocaine Bear,” Banks has earned her place as a director to watch, and I can’t wait to see what she does next.

⭐⭐⭐⭐

Film review-Ant-Man and the Wasp: Quantumania

Ant-Man and the Wasp: Quantumania, the latest installment in the Marvel Cinematic Universe, attempts to continue the saga of Scott Lang, aka Ant-Man, and his allies as they venture into the Quantum Realm. However, the film struggles to find its footing, suffering from a lack of narrative direction and inconsistent pacing. While the movie retains some of the humor that made the first two Ant-Man films so enjoyable, it also becomes bogged down in attempts to tie into previous Marvel movies and remind viewers of past events.

The film’s reliance on green screen technology to create its fantastical worlds is unfortunately marred by poor editing, resulting in distracting inconsistencies and uncanny character renderings. Despite this, the movie does have its moments of charm and heart, particularly in the subplot involving Scott’s relationship with his daughter Cassie. However, the broader narrative struggles to find a balance between the intimate family drama and the larger-than-life action sequences.

Perhaps the strongest aspect of Ant-Man and the Wasp: Quantumania is the introduction of Kang the Conquerer, played with menacing brilliance by Jonathan Majors. Majors’ portrayal of the villain injects a much-needed dose of gravitas and terror into the Marvel Cinematic Universe, making Kang a worthy adversary for the heroes to face off against.

Overall, while Ant-Man and the Wasp: Quantumania may please diehard fans of the Marvel Cinematic Universe, it falls short of the high expectations set by its predecessors. The film’s attempts to expand beyond its titular hero and its reliance on callbacks to previous movies ultimately detract from the potential for a standalone adventure.

⭐⭐

Film Review-Clerks III

Kevin Smith, the once-indie film-making prodigy, has made his entire career not from his film Clerks, but from the tale of its production. In 1993, Smith famously used multiple credit cards and raised $27,575 to create a charming, dialogue-driven film during his off-hours at the New Jersey convenience store where he worked during the day. 

As a fan of Clerks and Clerks II, I gave Kevin Smith’s latest film, Clerks III, a chance despite his recent lacklustre output. While it is marginally better than Tusk and Yoga Hosers, it falls short in many ways. The movie is a meta-comedy that heavily relies on references and recreations of scenes from the original film, which can be expected, but the execution is so lazy and uninspired that it left me in disbelief. The film fails to expand on the source material in any meaningful way, making it one of the laziest sequels I have ever seen.

Kevin Smith seems to have made a deliberate decision to cater solely to his podcast subscribers, which I am, and alienate everyone else, which is unfortunate. The movie is filled with callbacks and references to the original, but the way it was written — by simply rehashing old material — ensures that it will never be as quotable as its predecessor. While the original film was endlessly quotable, this one falls short due to its lack of originality.

⭐️⭐️

Episode 268: Doctor Who am I?

Martyn and Pete are joined by Matthew Jacobs and Vanessa Yuille, who discuss their excellent documentary ‘Doctor Who am I?‘

Doctor Who am I? follows Matthew Jacobs, writer of the 1996 Doctor Who TV movie, as he is reluctantly dragged back into the American Whoniverse, in this funny and moving documentary about finding family in the unlikeliest of places.

Doctor Who am I? is currently screening in the UK, with American dates to follow. Check out Twitter and Facebook for more info. The Blu-ray and DVD are due for release on November 28th.

Twitter: Martyn, Pete, Sam, Gerrod,

Instagram: Martyn, Chris, Sam

 

Film review-Black Adam

Warner Bros. Discovery faces multiple challenges that threaten the success of their entertainment empire. Changes to the streaming service HBO Max, the Batgirl cancelation, and the redirection of the DC Extended Universe have all negatively impacted the studio’s reputation. Despite attempts to re-approach the model through different creative perspectives, the DC Extended Universe has yet to establish a consistent cinematic universe. The main issue seems to be the lack of consistent quality over time.

Black Adam, the latest addition to the DC Extended Universe, features a solid performance from Dwayne Johnson as the titular anti-hero. However, the chemistry between the cast members falls short, with the Justice Society of America lacking meaningful substance. The humourless, hollow screenplay fails to balance the dramatic intensity with the comedic beats that made Shazam! successful. The film’s overall aimlessness and narrative misdirection warn that CGI-ed mass destruction is not enough to rebuild a brand.

The superficiality of Black Adam contradicts any signs of progression for the DC Extended Universe, accusing them of misusing their characters. The film presents a bare-boned and uninspired “good vs. bad” narrative without much of a story to support it. There’s a disregard for audience expectations, needs, or desires, relying on expensive-looking excuses for an origin story. While the post-credits scene featuring a thrilling cameo may excite DC fans, it does not make up for the film’s overall shortcomings.

In conclusion, Black Adam’s solid performance from Dwayne Johnson is overshadowed by its aimlessness, lack of chemistry, humourless screenplay, and narrative misdirection. Warner Bros. Discovery and their DC Film team must focus on crafting comprehensive works of fiction that meet audience expectations, needs, and desires, rather than relying on high-volume talent to attach themselves to projects.

⭐

Review-The Banshees of Inisherin

In 1923, on a tiny remote island, just off the coast of Ireland. Two friends find themselves at odds. When one of them decides he doesn’t like the other anymore.

It’s as basic a premise as one can think of for contemporary storytelling. And in his wondrous, wonderful, and exquisitely contained mini-opera “The Banshees of Inisherin,” writer-director Martin McDonagh takes this straightforward premise and sets it ablaze, using it as a backdrop to explore the conflict in man, the nature of pride and spite, the significance of companionship, and the curious edges of the male ego.

It’s a darkly comic drama that packs an emotional gut punch, after emotional gut punch and consistently finds new ways to deliver brutal body blows.

After portraying hitmen in McDonagh’s 2008 cult classic “In Bruges,” Colin Farrell and Brendan Gleeson reunited for the role of the men who are no longer friends when the film opens.

Like they do every day at 2:00 p.m., the unassuming Pádraic (Farrell) stops by Colm’s (Gleeson’s) beachside cottage to see if he wants to join him for a pint, at the local pub. But this time he’s snubbed by Colm. Later, he arrives, and Colm declines Pádraic’s offer to sit next to him. Pádraic, like the other patrons in the pub, is unable to comprehend just what is happening. The following day, Colm makes it very clear. He tells him, “I just don’t like you no more.” Did they have a drunken fight? Was it something he said? It’s not really that easy. Colm, who enjoys the arts and plays the fiddle. Has come to the realisation that Pádraic is boring. He’s sick of discussing the same issues, over and over. He just wants to be left alone.

Pádraic is gobsmacked to lose his closest friend, whilst Colm desperately seeks to leave some sort of musical legacy behind. Others like Siobhán (Kerry Condon) and Dominic (Barry Keoghan) are left to choose between picking up the pieces or looking out for themselves.

Condon and Keoghan absolutely shine in the film and steal every scene they’re in. Siobhán is easily the smartest person on the Island, confined by the attitudes of the era. Whilst Dominic is a deeply troubled character. Keoghan is a shoo-in for best supporting actor at the BAFTAs.

In lesser hands, Colm may seem unreasonable in his behaviour but Gleeson plays him with such world-weary depth, it’s impossible to dislike him. Farrell is also incredible as the bemused underdog, Pádraic.

It may not be as re-watchable as In Bruges, but The Banshees of Inisherin is a masterful exploration of the complications of male friendship.  Undoubtedly one of the best films of the year.

The Banshees of Inisherin is out in the UK on October 21st.

⭐⭐⭐⭐⭐