Category: Film

Fast X takes the Fast and Furious franchise to new heights of excitement and spectacle. It embraces its over-the-top nature, delivering a wild ride that pushes the boundaries of plausibility. The film is a celebration of sheer entertainment, inviting viewers to suspend their disbelief and revel in the exhilarating action.

The plot revolves around Dom Toretto and his crew, who find themselves entangled in a complex scheme orchestrated by the deranged Dante Reyes, son of a Hernan Reyes from Fast Five. Dante Reyes seeks to torment Dom by putting his loved ones in danger through a series of outlandish scenarios. Along the way, familiar faces and adversaries reappear, adding to the ever-expanding ensemble.

Fast X never shies away from its audacity. It showcases jaw-dropping action sequences, including car jumps, explosive stunts, and death-defying feats. The film blurs the line between homage and repetition, referencing past instalments while introducing fresh elements to keep things from feeling repetitive.

The cast delivers committed performances, with Jason Momoa stealing the show as the flamboyantly unhinged antagonist. He’s essentially playing The Joker. His portrayal adds a captivating mix of humour and madness to the proceedings. The film also introduces new characters, such as Brie Larson’s Tess and Alan Ritchson’s Almes, who contribute to the diverse ensemble.

At its core, Fast X is an escapist thrill ride. It demands that viewers embrace its over-the-top nature and surrender to the sheer enjoyment of the spectacle. The film transports audiences to a world where the laws of physics take a backseat to adrenaline-pumping action and larger-than-life characters.

While the plot may be convoluted and the characters larger than life, Fast X succeeds in delivering an exhilarating experience. It captures the essence of the franchise’s appeal: the excitement, the high-octane action, and the sense of camaraderie within the “family.” It reminds us that sometimes, it’s okay to suspend our disbelief and indulge in pure cinematic escapism.

Fast X stands as a testament to the franchise’s ability to consistently deliver entertainment that resonates with its devoted fan base. It invites viewers to buckle up, let go of their inhibitions, and embrace the wild and outrageous journey it offers. So, prepare for a thrill like no other as Fast X revs up the engines and takes you on a heart-pounding adventure where anything is possible.

Fast X is in cinemas across the UK & Ireland.

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The latest offering from acclaimed Japanese filmmaker Makoto Shinkai, best known for his 2016 fantasy film Your Name & Weathering with You, is a captivating and intriguing work of art. With its stunning art, stunning blend of sci-fi, supernatural disasters, and political commentary, with a touch of humour.

The story revolves around Suzume, voiced by Nichole Sakura. Suzume is a bright yet lonely teenager who lives with her aunt following the death of her mother. One day, while on a cycle, she encounters Souta, a mysterious young man on a quest to find a door. Curiosity piqued, Suzume decides to follow him, leading her to an abandoned ruin where she discovers a strange door in the middle of nowhere.

Like a modern Alice in Wonderland, Suzume opens the door and unleashes a series of cosmic forces and earthquakes. It soon becomes clear that Souta’s mission was to seal these destructive portals, and he needs a “keystone” to do so. However, fate intervenes, and Souta is transformed into a broken child’s chair that speaks with his voice. Meanwhile, the keystone takes the form of a talking cat called Daijin.

Thus begins their epic and quirky journey, a delightful blend of mythic and comic elements. Suzume’s story can be seen as an allegory for the tumultuous changes that come with growing up and finding one’s place in the world, but it goes beyond mere sexual awakening to explore broader themes of power dynamics, respect, and visibility.

Above all, Suzume’s mission is to protect nature itself, a powerful and timeless concept with deep generational resonance.

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The uneven quality of DC’s cinematic universe is no secret. The franchise’s films have ranged from critical darlings like “Wonder Woman” and “Shazam!” to box office disappointments such as “Justice League” and “Suicide Squad.” The constant reshuffling of creative teams, the departure of key players, and the lack of a cohesive vision have left the DCEU in a precarious position.

Unfortunately, “Shazam! Fury of the Gods” fails to recapture the spark that made its predecessor, which was a delightful addition to the DC Extended Universe. While attempting to replicate the charm and witty banter of the original, the sequel comes across as repetitive and uninspired. Director David F. Sandberg’s reliance on the franchise’s formulaic elements exposes its weaknesses, including subpar special effects, hackneyed dialogue, and underdeveloped villains.

The film follows Billy Batson, an orphan with a heart of gold, as he leads a team of superpowered foster siblings to battle Hespera and Kalypso, the daughters of the Greek titan Atlas. The novelty of kids in adult bodies quickly wears thin as the movie descends into a routine plot with little substance. Even the talents of Helen Mirren and Lucy Liu can’t elevate the two-dimensional villains beyond their clichéd roles. Although, Mirren is clearly having a blast with her indignant Hespera, and does delivers some of the film’s best laughs.

The constant switching between young and older actors playing the same characters feels jarring and hinders the emotional connection to the story. While Zachary Levi’s infectious energy as Shazam is still a highlight, the lack of character development and uneven pacing prevent the film from reaching its potential.

Despite some fun moments and a promising mid-credits scene, “Shazam! Fury of the Gods” ultimately falls short of its predecessor’s accomplishments. Its unremarkable storyline and reliance on familiar comic book tropes fail to set it apart from the crowded superhero genre.

“Shazam! Fury of the Gods” arrives at a time when the DCEU is in flux, and unfortunately, the film’s lack of originality and uneven execution may not bode well for the franchise’s future.

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In 65, Scott Beck and Bryan Woods attempt to revive the horror adventure genre with a unique and ambitious survival story set on Earth, 65 million years ago, featuring indigenous dinosaurs as hostile creatures. The premise is intriguing and promises an exciting adventure for the audience. However, the film falls short of delivering a fully satisfying experience.

While emotional stakes are established for the characters, the film struggles to break out of a repetitive pattern of encounters and evade prehistoric predators. The quieter moments attempt to develop the characters’ rapport, but the humour feels out of place, and Koa’s transformation from helpless to survivor feels rushed.

Another issue with the film is the lack of a clear sense of place and visibility during the nighttime scenes, which detracts from the experience. However, the film has some entertaining moments, and Adam Driver’s performance as Mills provides a solid anchor for the story.

The potential for something greater in 65 remains untapped. The film could have fully embraced the absurdities of its plot and leaned into the retro charm of classic films like Planet of Dinosaurs. The serious tone of the film limits its ability to fully capture the adventure and excitement promised by the premise. Nonetheless, the film offers a unique and ambitious take on the horror adventure genre, and fans of the genre may still find elements to enjoy.

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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.

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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.

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