Blu-Ray review: A quiet place-Day One

When A Quiet Place announced a third instalment, I was cautiously optimistic. The first two films—especially the original—stood out despite a few flaws and a hefty reliance on suspension of disbelief. What made them shine was their tight storytelling, with action that felt like it followed a logical thread, not just a spectacle for spectacle’s sake. So when I heard the new movie would be a prequel—and, worse, John Krasinski wasn’t directing—I was worried. You know how prequels go in Hollywood. They rarely end well.

But A Quiet Place: Day One did what I didn’t expect. It completely won me over. Not only is it the best film in the series, but it might just be one of the best films of the year. What’s clever is that it manages to be different in tone, style, and scope while still feeling like part of the same universe. Credit for that goes to Michael Sarnoski, who directs the hell out of this movie. He knows how to balance the big spectacle with the intimate moments that make this franchise what it is.

The film expands the world in a way we haven’t seen before, throwing us right into the chaos of an alien invasion in New York City. You’ve got these massive set pieces, people running for their lives, and the tension is dialled up to 11. It’s hard not to be blown away by the scale of it all. But Sarnoski doesn’t let the action overwhelm what matters most—the characters.

Where this film shines is in the quieter moments. It’s not just about aliens attacking; it’s about the people trying to survive. The chemistry between Lupita Nyong’o and Joseph Quinn is unreal. They don’t need many words to convey what they’re feeling, and that’s what makes their performances so powerful. It’s in those moments of silence, of stillness, where the film finds its heart.

Sure, there are jump-scares—they’re effective—but this film is more than just about making you jump. It’s about building suspense and making you care about the people on screen. And that’s why this film works. It takes a story that could have easily been another forgettable prequel and turns it into something smart, emotional, and thrilling. A true standout, not just in the franchise, but in the genre.

Few survival stories hit the sweet spot of action, horror, and character development like this. Day One reminds us that, in the end, it’s the people that matter more than the monsters.

A Quiet Place: Day One is out on 4K, Blu-Ray, DVD and Digital Download now.

⭐️⭐️⭐️⭐️

Film review-Transformers One

Let’s be honest, with the exception of Bumblebee-the Transformers movies have never exactly been known for their subtlety. Michael Bay gave us five films that were loud, chaotic, and full of explosions, but not much else. So, when they announced Transformers One, an animated origin story for Optimus Prime and Megatron, I wasn’t exactly expecting Shakespeare. But I was wrong.

This film is a breath of fresh air for a franchise that’s always been stuck in second gear. Directed by Toy Story 4‘s Josh Cooley, Transformers One has something that its predecessors often lacked – heart. Don’t get me wrong, there’s still plenty of the metal-on-metal action you’d expect, but this time, there’s actual thought behind it. And the one-note jokes from the trailers? They land.

Set long before the Autobots and Decepticons started wrecking Earth, the film dives into the origins of Optimus Prime (or Orion Pax, as he’s known here), a simple Energon miner with dreams of a better life. Teaming up with hisfriend D-16 (Megatron), Orion sets off on a mission to find the Matrix of Leadership, the lost artefact that could save their dying planet.

Now, I know what you’re thinking: “The Matrix of Leadership? Energon? Really?” Yeah, it sounds ridiculous. But the film knows it’s a bit silly and plays into it with a self-aware, tongue-in-cheek tone that works. It’s a fine line between taking the mythology seriously and poking fun at it, but Transformers One nails it.

Visually, it’s stunning. The underground city of Iacon, where most of the action takes place, looks incredible – all jagged, metallic skyscrapers that stretch up and down like something out of a nightmare. The animation style feels fresh, with a hyper-realistic, shiny sheen that somehow manages to make this world of sentient robots feel grounded.

But where the film really surprises is in its world-building. Transformers One delves into Autobot society, which turns out to be a lot more complex than I gave it credit for. It’s a world divided by a rigid caste system – the “Primes” at the top and the miners like Orion at the bottom. It adds some real stakes to the story and makes the eventual rise of Optimus Prime feel earned.

Action fans won’t be disappointed either. Whether it’s an underground street race through Iacon or a daring rescue in the Energon mines, there’s plenty of metal-on-metal mayhem. But unlike the Bay films, it never feels overwhelming. There’s a balance here that the live-action movies often missed.

So, is it perfect? No. But for a Transformers movie, it’s as close as we’ve ever come. It’s funny, it’s smart, and it’s got just the right amount of heart. If you’ve ever found yourself rolling your eyes at this franchise, Transformers One might just change your mind.

⭐️⭐️⭐️⭐️

Transformers is released in the Uk & Ireland on 11th October 2024.

Listen to our interview with Josh Cooley and Lorenzo di Bonaventura.

Review-The Crow

In Rupert Sanders’ 2024 adaptation of “The Crow,” the boundary between the realm of the living and the dead is depicted as perilously thin, a concept made evident from the film’s opening moments. Loosely based on James O’Barr’s iconic comic, the movie explores the concept of evil within a mundane and cruel world. However, the film struggles to find a coherent voice, resulting in a confusing mix of styles and tones that undermines its potential. Despite its efforts to blend darkness with messages of love and redemption, it ultimately fails to capture the spirit of the original work.

The screenplay by Zach Baylin, inspired by the famous 1989 comic, strips the story of its unique elements, transplanting it into a dark, gang-ridden setting that adds little to the concept of an extraordinary anti-hero with a broken heart. This shift brings the story closer to the superhero genre than necessary, causing Eric Draven, originally a tragic icon immortalised by Brandon Lee, to lose much of his depth and identity. Bill Skarsgård’s portrayal of Eric is but a shadow of the complex character found in the comic, and the character’s return to the big screen feels more like a generic action hero than the mysterious, grief-stricken figure fans remember.

This disconnect is further compounded by the film’s stylistic choices. In an attempt to imitate the French Cinéma du look, Sanders prioritises visual flair over narrative substance. The result is a film that swings wildly between different tones and aesthetics, failing to establish a coherent atmosphere. Vincent Roeg (played by Danny Huston) is introduced as a potential enigmatic figure, but the film lacks the depth or interest to explore his origins, reducing him to a mere plot device.

The tragic origins of “The Crow” franchise only heighten the disappointment of this new adaptation. The original 1994 film, directed by Alex Proyas, was haunted by the real-life tragedy of Brandon Lee’s death during filming. The movie became a cult classic, not just for its gothic atmosphere and Lee’s charismatic performance, but also as a posthumous tribute to the actor. Proyas’ film successfully mixed elements of Japanese anime, Hong Kong gun-fu, and a brooding industrial aesthetic, creating a moody, memorable cinematic experience.

In stark contrast, Sanders’ version lacks the emotional and visual resonance of the original. His decision to distance the film from Proyas’ work is understandable, given the weight of the original’s legacy, but his execution leaves much to be desired. The film’s industrial aesthetic, with its blurry camera work and twisted angles, feels more like a superficial imitation of other action films, particularly “John Wick,” than a meaningful continuation of “The Crow’s” legacy.

The performances in the film also failed to elevate the material. Skarsgård, known for playing brutal villains, struggles to imbue Eric with the necessary depth, reducing the character to a muscle-bound anti-hero devoid of the tragic weight that made him iconic. FKA Twigs, portraying Shelly, fares even worse, as her performance lacks the ethereal quality needed to make the character compelling.

As the film plods along, it becomes clear that Sanders’ “The Crow” is a missed opportunity. The script quickly abandons any attempt to delve into the rich mythology of the comic, opting instead for a barrage of explosions, gunfire, and violence that becomes tedious rather than thrilling. Gone is the haunting image of Eric Draven standing in the darkness, wounded and grieving; in its place is a hollow action figure devoid of the mystery and pathos that made the character a cult figure.

Overall, “The Crow” (2024) is an underwhelming reboot that pales in comparison to both its source material and the original film. It’s a reminder that not every story needs to be remade, especially when the remake fails to capture the essence of what made the original so powerful. The film’s missteps in tone, style, and character leave it as a forgettable entry in a franchise that should have been allowed to rest in peace.





Review-Blink Twice

Zoë Kravitz’s (The Batman) directorial debut, Blink Twice, is both provocative and bold, captivating you from the moment the first frame flickers into life. We watch Naomi Ackie’s (Doctor Who) Frida stare at her phone with a vacant intensity that screams something has already gone wrong. That discomfort is intentional. It’s what writer/director Zoë Kravitz and her co-writer E.T. Feigenbaum want you to feel—as though the world they’ve invited you into is irrevocably tilted, and they keep you spinning from there.

Blink Twice plays with familiar beats, but with an energy and pace that keeps you fully engaged. Within the first ten minutes, Frida and Jess are whisked away to an idyllic island by the ultra-wealthy Slater King, played by Channing Tatum (Deadpool and Wolverine). Days by the pool and nights filled with hallucinogens become the norm, and Kravitz’s filmmaking keeps the atmosphere lively and immersive.

The ensemble cast enhances the film’s appeal. Christian Slater, Haley Joel Osment, Kyle MacLachlan, and Geena Davis bring charisma to King’s inner circle. The island is so intoxicating that when the inevitable downturn comes, it’s not just shocking—it’s a gut punch that leaves you questioning your complicity in the fun.

Kravitz and Feigenbaum pack the film with themes of gender, wealth, and power, along with subtle nods to race. While some of these themes are presented straightforwardly, especially in the finale, they’re not entirely novel. Yet, they resonate within the context of the story, even if the dialogue occasionally feels like it’s holding the audience’s hand a bit too much. This handholding is a common issue in major studio releases and doesn’t detract too much from the overall experience.

What may polarise viewers, however, is the film’s finale. The intense and abrupt reveal pushes the film into genuine stomach-churning territory. For some, the cruelty of the final act might feel overwhelming, toeing the line between impactful and excessively bleak. It’s a daring choice for a studio film, and whether it strengthens or weakens the experience may depend on the viewer’s tolerance for such intensity.

There’s always plenty to look at in Blink Twice, much of it important in the moment and even more meaningful as the story unfolds. Kravitz gives us all the clues but doles them out in such a way that we still feel genuinely shocked by what’s happening on Slater’s so-called “Pussy Island,” while also—crucially—never feeling as if Kravitz and Feigenbaum are toying with us.

It may not break new ground, but Kravitz’s confident direction, combined with a stellar cast and a sense of playfulness, makes it a film worth watching. Kravitz clearly has a solid career as a director ahead of her. The movie’s ability to draw you in and then challenge your comfort is a testament to its power. Whether you leave the cinema exhilarated or shaken, you won’t soon forget it.

⭐️⭐️⭐️

Review-Alien: Romulus

Written by Alvarez and collaborator Rodo Sayagues, Alien: Romulus tells a story set between the first two films, beginning with the wreckage of the Nostromo floating through space as a crew we don’t know investigates the area, eventually finding the creature expelled from the shuttle by Ripley at the end of the first film, making the mistake of bringing it aboard. From there, we move to a colony inhabited by Weyland-Yutani workers and meet Rain (Spaeny), a young woman whose parents died from mining-related illnesses, and whose only companion is the synthetic Andy (Jonsson), reprogrammed to always prioritise her well-being. Believing her contract with the corporation is about to end, allowing her to leave the colony, Rain is shocked to learn that the agreement has been extended, meaning she must stay for several more years.

It’s then that her ex-boyfriend Tyler (Renaux) reveals the existence of an old, decommissioned ship in orbit around the planet, with cryogenic chambers that could enable the escape of a group that also includes his sister Kay (Merced), his cousin Bjorn (Fearn), and Bjorn’s girlfriend Navarro (Wu).

Production designer Naaman Marshall crafts a landscape that looks like absolute hell, all whilst maintaining the aesthetic of the originals. Every piece of equipment has large, buttons and systems that load user photos slowly. Ships, tools, and weapons display dirty, old, and irregular surfaces. The colony-planet is depicted as an industrial nightmare, where life is cheap and the workers live in darkness, and exhaustion, under constant threat of illness or death.

Alvarez and cinematographer Galo Olivares have learned from the originals that horror is often heightened by what we don’t see, plunging parts of the sets into heavy shadows. The filmmaker also brings new ideas to the franchise, such as the terrifying X-ray image and the zero-gravity sequence. The sound design is also flawless, opting for silence at key moments.

If I have any criticisms, it’s that apart from Rain and Andy, the rest of the group feels a bit one-dimensional, though an extended cut on Blu-Ray could potentially address this. Despite this, every actor delivers an outstanding performance, with special mention to David Jonsson, who masterfully adjusts Andy’s character throughout the film without losing its essence.

This is the best Alien instalment in nearly 40 years, although your enjoyment may hinge on how you feel about the use of CGI to resurrect a dead actor. However, it is worth noting they had full permission from his widow, who loved and thought her husband would be happy with the result.

⭐️⭐️⭐️⭐️

Review-Deadpool & Wolverine

It’s no secret that the MCU has fallen by the wayside lately, with even its most die-hard fans losing interest. A lot of pressure and expectation rest on “Deadpool & Wolverine,” and while it’s a fun ride, it’s not quite the fix Marvel needs.

That’s not to say it’s a bad film—far from it. “Deadpool & Wolverine” is a very good “Deadpool” film, certainly better than “Deadpool 2.” Ryan Reynolds’ love for the character and source material shines through, and everyone involved cares.

The setup is intriguing: a TVA suit, known as Mr. Paradox (Matthew MacFadyen), has been tasked with tidying up all the dead-end timelines. He either lets the universes fade away or puts people into The Void, where these discarded souls come under the power of Cassandra Nova (Emma Corrin), the telepathic evil twin of Charles Xavier.

We catch up with Wade Wilson, who has long since retired as Deadpool and is working as a used car salesman with Peter (Rob Delaney). Wade is then kidnapped by Mr. Paradox, who offers him a place in the MCU if he helps him close Wade’s universe. With this universe’s Wolverine having died in “Logan,” Wade decides to find another version of Wolverine (Hugh Jackman) to help him defeat Mr. Paradox and save his world.

The film is fast-paced, foul-mouthed, and an absolute joy. As a lifelong comic book fan, it had me grinning from ear to ear. Team-ups happened constantly in the comics, and “Deadpool & Wolverine” is filled with familiar faces from the MCU and Marvel-adjacent stars. Even some fan-casted actors jump in for a slice of the action.

Every few minutes, the audience in my screening burst into cheers and applause as another famous face appeared. It was like “Spider-Man: No Way Home,” but with an added 26 years’ worth of nostalgia.

The problem with stuffing all that fanservice into a 2-hour movie is that it doesn’t leave much room for the story to breathe. Balancing all those cameos in a 2-hour film makes them feel underserved. Giving each character the time they deserve would result in a 4-hour movie, which would feel too much.

I’ll end my review here, as I don’t want to spoil any surprises. If you want to see this spoiler-free, do yourself a favour and see it this weekend.

“Deadpool & Wolverine” is in cinemas now.

⭐️⭐️⭐️⭐️

Transformers One Competition

The lovely people at Paramount have given us a set of 10 tickets to give away for a fan screening of Transformers One, happening on 25th of July in London. Exact location and time to be confirmed.

To be in with a chance of winning answer the question either on Twitter or via email info@badwilf.com

Question:
In the Transformers universe, what is the name of the ancient artifact that can harness and control the power of the Transformers and is sought after by both the Autobots and Decepticons?

**Terms and Conditions**

1. **Entry:** To enter the competition, participants must correctly answer the competition question. Only one entry per person is allowed.

2. **Prize:** Each winner will receive one (1) ticket to the screening of Transformers One. A total of ten (10) tickets will be given away.

3. **Winner Selection:** Winners will be selected at random from all correct entries received. The draw will take place on Monday 22nd July 2024.

4. **Notification:** Winners will be notified via X/Twitter. If a winner cannot be contacted, we reserve the right to withdraw the prize from the winner and pick a replacement winner.

5. **Prize Claim:** The prize must be claimed as instructed in the notification message.

6. **Conditions:**

– One ticket per winner.

– Travel and accommodation are not included.

– The prize is non-transferable and no cash or other alternatives will be offered.

– The prize is subject to availability and we reserve the right to substitute any prize with another of equivalent value without giving notice.

7. **Publicity:** By entering this competition, an entrant is indicating his/her agreement to be bound by these terms and conditions. The winners agree to the use of their name and image in any publicity material, as well as their entry.

8. **Privacy:** Any personal data relating to the winners or any other entrants will be used solely in accordance with current United Kingdom data protection legislation and will not be disclosed to a third party without the entrant’s prior consent.

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10. **Disqualification:** badwilf.com reserves the right, at its sole discretion, to disqualify any individual who tampers with the entry process, and to cancel, terminate, modify or suspend the competition.

11. **General:** www.badwilf.com’s decision in respect of all matters to do with the competition will be final and no correspondence will be entered into.

Review-Twisters

In 1996, Twister stormed into cinemas, becoming the second highest-grossing film of the year, just behind Independence Day. The movie received two Oscar nominations for its outstanding sound and visual effects. Its narrative, centring on a team of storm-chasers tackling an unprecedented tornado event while navigating a complex love story, captivated audiences. With Helen Hunt and Bill Paxton at their peak, Twister heralded a new age of disaster films. It wasn’t flawless, but combined with Jan de Bont’s directorial style, an extremely talented cast, and state-of-the-art effects from Industrial Light & Magic, audiences were blown away.

Now, in a vastly different world from 1996, Twisters aims to recapture that magic. Directed by Oscar-nominated Lee Isaac Chung (Minari), this modern disaster film boasts an ensemble cast featuring Glen Powell (Hit ManAnyone but You), Daisy Edgar-Jones (Fresh), Brandon Perea (Nope), and Anthony Ramos (In the Heights).

Twisters begins with Edgar-Jones’ Kate leading a group of college storm chasers. A life-altering event in the film’s opening causes Kate to abandon storm chasing for a business career in New York City. Five years later, Ramos’ Javi, a military veteran turned entrepreneur, convinces her to return to Oklahoma to help develop a groundbreaking tornado tracking system.

Unlike Twister, co-written by Michael Crichton, Twisters features a screenplay by Mark L. Smith (Midnight Sky). While Edgar-Jones and Ramos share good chemistry, Powell’s Tyler, a YouTube storm-chasing star, adds comic relief and tension. Tyler’s social media antics contrast sharply with Kate and Javi’s scientific goals, leading to inevitable intrigue and rivalry.

Director Chung chose not to address climate change in Twisters, believing cinema shouldn’t preach. As a result, the film focuses on entertainment rather than scientific or environmental commentary, and it’s so much stronger for it. Every character is deeply flawed but yearns to be better. Powell and Edgar-Jones are a believable couple. However, Edgar-Jones’ accent slips occasionally, revealing her London roots.

Chung and his team deliver a mix of action and light-hearted storytelling, providing audiences with a whirlwind of entertainment. At just under two hours, Twisters maintains a good pace, though it peaks early with an incredible opening that it fails to top.

⭐️⭐️⭐️

Film Review-Suzume

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.

⭐⭐⭐⭐

Film review-The Beekeeper

In the cinematic wasteland of January, “The Beekeeper,” under the direction of David Ayer and starring Jason Statham, emerges as a beacon of light. Despite being an unapologetic off-brand John Wick, Ayer’s direction breathes life into a thin script, offering a refreshing escape from the usual awards-bait.

Statham fully embodies the character of Adam Clay, a beekeeper and retired assassin, on a mission to foil online scammers preying on the vulnerable.

The narrative revels in its unsubtle, unexplained quirks, injecting a layer of amusement for the audience. As Adam sets out on his vendetta, the film skillfully traces the money trail, revealing a satirical crypto bro, Derek Danforth (Josh Hutcherson).

Ayer successfully saturates the film with colour, crafting an entertaining atmosphere, but the central character retains an air of mystery. The lore may be shallow, but there’s potential for sequels. This whimsically, absurd and over the top action flick is the ideal choice for a popcorn-filled movie night.

⭐️⭐️⭐️