New releases from 2024

18.3.24 Years from now, when scholars and film enthusiasts discuss films that masterfully balance the mundanity and disturbingness of evil, The Zone of Interest will no doubt be mentioned as a seminal reference. Director Jonathan Glazer’s unique approach to shooting and crafting the film, coupled with a truly unsettling soundtrack, contextualises the pure evil and ignorance of Nazis as completely detached individuals. The film’s UK release in 2024, coinciding with the gross injustices suffered by people on both sides of Israel and Palestine makes it all the more horrifying. The film’s meticulously crafted sound design is a testament to Glazer’s mastery. Seemingly random screams and gunshots are deftly woven into the fabric of the film, creating an eerie and deeply unsettling experience for the viewer. This disturbing atmosphere is further amplified by the haunting scenes of children re-enacting the brutality they witness from their windows. A prime example of this is the chilling greenhouse encounter between two brothers, which serves as a poignant and unforgettable moment in the film. The Zone of Interest serves as a stark and necessary reminder of the unparalleled evil of the Holocaust, the depths of human cruelty, and the far-reaching impact of such atrocities. In the context of 2024, the film’s unflinching portrayal of the inhumanity of state occupation and collective punishment resonates with a piercing truthfulness. By drawing parallels between the horrors of the past and the ongoing injustices in Palestine, Glazer’s film underscores the urgent need for humanity and action in the face of violent injustice. Sandra Hüller’s riveting performances in two morally complex roles over the past six months cement her status as an actress of unparalleled talent and versatility. As her star continues to ascend, I can only eagerly anticipate her future projects. On a similar note, we can only hope that the wait for Jonathan Glazer’s next cinematic endeavour will not span another ten or so years. While The Zone of Interest is undeniably challenging to watch, its uncompromising worldview and elite craftsmanship are impossible to ignore. History will indeed thank Glazer for his courageous storytelling and for using his Oscars speech to express his shame, as a British Jew, over Israel’s ongoing actions.

22.4.24 The Ministry of Ungentlemanly Warfare aims to recreate the vibes of a pulp comic book,  like a ‘diet’ version of a Tarantino film, and it succeeds. With its direct action sequences and bravado-laden dialogue, it delivers gleeful enjoyment that doesn’t take itself too seriously.  I have no shame in stating that its British charm and cartoonish violence won me over.  That said, the issue is that it’s totally without bite, and signs suggest that with each Guy Ritchie film, they’re getting more and more watered down and safer in terms of drug and sex references. It makes me cynically think that Ritchie is just making films to appeal to the biggest audience possible, sacrificing some of the sharp edges that made his earlier works stand out. Producers STX Films have continued their work with Ritchie’s foray into sensible cinematic enjoyment again here. Like their last collaboration, Operation Fortune, filmed in Doha and distinctly made with a vanilla global audience in mind, this film avoids anything too radical or sexually suggestive.  We’re left with an adventure of pamphlet depth with the stakes feeling low as no characters ever seem in danger.  Enemies die so quickly that it feels staged – villains pop up and are immediately shot down like targets at a funfair. But there’s simple enjoyment in seeing Alan Ritchson shank and Henry Cavill use his snubbed machine gun to shoot up Nazis. My highlight was Rory Kinnear’s unrecognisable but stoic performance as Winston Churchill, adding a sense of believability to the real-life story. A relatively mindless popcorn movie but sometimes that’s just what you need…. my wife and I only ended up going to see this because Dune 2 was sold out!

31.12.23 What a pleasure it was to watch my first official film of 2024, on the last day of 2023 with my family during the extended Christmas break. Ideally, The Holdovers really should have been released in the UK before the 25th, although due to the awards recognition it’s getting, it makes sense to delay it a bit more in the UK schedule. I found it to be thoroughly heartwarming but also bittersweet in relation to how it’s portrays the vulnerabilities of its characters. I don’t think its premature to recognise it’s potential as a future Christmas classic as I think it will have massive replay value due to the universal message, as well as the fantastic performances of the main trio of actors.  Again we see director Alexander Payne rely on the services of Paul Giamatti to do the heavy comedic lifting in the main role, as he did 20 years ago with his brilliant anti-Merlot comedy Sideways. Giamatti brings his signature melancholic humour to the part, prompting laughs with ease while revealing the humanity of a man lost in life’s disappointments. Meanwhile, Da’Vine Joy Randolph turns in an emotional, affecting performance as head cook of the school Mary, a saddened mother navigating her own undesired holiday obligations. Her nuanced acting gifts the film most of its heart, although Giamatti and the actors playing the younger students also do a fair bit of that, although I did find some of the themes on depression and mental illness a bit ‘on the nose’.  Where the film falters slightly is in it’s own trappings. For example, it sets up a group of privileged young male students together and sets up discussions about wealth and privilege, but very quickly those themes get ignored as we focus on the main trio of characters. Whilst I loved spending time with them, it felt like an opportunity lost, as the focus in the film simply shifts to the main storyline regarding togetherness despite the people you find yourself with. Overall, the chemistry and performances of the main trio makes the film so enjoyable. As the characters demonstrate, finding moments of connection and joy with those around us can lead to delightful, memorable outcomes. More simply, we cannot always choose how or with whom we spend Christmas. Complicated family relationships during the holidays are part of what makes the season so important to those who take part in it. With its sparkling cast and smart balance of wit and wisdom, The Holdovers should easily prove to be a Christmas film with staying power, just like Alexander Payne’s works before.

14.4.24 Scoop had the potential to be a gripping dramatisation of one of the most cringe-worthy interviews in TV history, but sadly it does little more than regurgitate the original car crash between Maitlis and Prince Andrew. Director of The Crown Philip Martin gives it the Netflix treatment, adding no new insights or depth, feeling like a lame retread of events we’ve already witnessed many times before. While Rufus Sewell fully embodies the prickly, delusional persona of the disgraced royal, his performance is hamstrung by a script that leans too heavily on minor quirks. We get copious scenes fixating on Maitlis’s dog Moody, Andrew’s tacky entrepreneurial vanity projects, and Billie Piper’s one-note turn as a caricatured working-class heroine. But none of it manages to capture the true horror of Epstein’s crimes or offer any meaningful perspective on the victims. At its core, Scoop represents a missed opportunity to pierce the veil of privilege and expose the festering rot that is so obviously core to the UK’s family in reign. We’re left with the uncanny sense that the real Prince Andrew displayed more depravity in that original interview than this fictionalised rendition could ever capture. Anyone but royal apologists can see that he is a sexual predator who has managed to evade consequences thus far, and Scoop does little to rectify that injustice.

13.3.24 In Poor Things, Yorgos Lanthimos creates a gorgeous, fantastic world of boundless energy and creative spirit. Emma Stone’s Bella, resurrected by Willem Dafoe’s well-intentioned but unhinged scientist Dr. God, possesses a novel outlook on life, untainted by the passage of time, social prejudices, or the fear of causing offence. Lanthimos’ technical prowess shines through in so many parts of the film. Whether it’s the magnificent set design or the delightful otherworldly cinematography, it all enhances the already impressive performances from the ensemble cast. Mark Ruffalo, in a role that feels tailor-made for his talents, delivers a comic performance that elevates the tone of the film to one of constant humour and originality. The opening 40 minutes are so electric that I found myself compelled to pause and revisit some of the uproarious one-liners over dinner, just to savour their brilliance once more. Emma Stone’s Oscar-worthy performance as Bella is one of unrestraint, serving as a poignant commentary on the patriarchal bonds constraining women. Initially grappling with the world’s deep-seated gender prejudices, she gradually softens to societal norms surrounding childrearing, marriage, and the repugnant aspects of ‘polite society.’ However, some moments feel uncomfortably voyeuristic, particularly when Lanthimos fetishises Bella’s encounters with elderly, hirsute, and foul-smelling clients at a Parisian brothel. Despite the brilliantly effective humour framing these scenes, Bella remains the object of a lecherous male gaze. The inescapable feeling is that this exploitation extends beyond the character and onto Stone herself, her willing participation and subsequent Oscar not negating the troubling nature of these scenes. Despite these quibbles, Poor Things manages to deliver a strong payoff as Bella’s character evolves to gain a deeper understanding of human behaviour and motivations. The film’s misguided message and hypersexualised elements may be off-putting, but it remains an impressive and often hilarious piece of work. At well over two hours long, the movie occasionally struggles to find its footing in terms of pacing and resolution. An impressive and often hilarious piece of work for those who appreciate Lanthimos’ unique brand of storytelling, even though the over-eroticism personally put me off.

16.4.24 Like most of Wim Wenders’ work, Perfect Days is a slow, hazy, and reflective tale that meanders at its own pace. While I typically enjoy Wenders’ contemplative style and the film’s connection to 70s rock icons like Patti Smith and The Velvet Underground, Perfect Days left me feeling underwhelmed. Apart from piquing my curiosity about toilet architecture, it’s an outing that has failed to hit my wavelength. Koji Yakusho’s performance as Hirayama is undoubtedly the film’s highlight. His muted yet powerful portrayal of a man resigned to his tedious daily routine is often sombre and occasionally compelling. Yakusho’s weathered face in the final moments is a masterclass in conveying the depths of human emotion without uttering a word. His character’s simple actions, though seemingly mundane, take on a poignant quality, inviting the viewer to find comfort in the ordinary rhythms of life, no matter how seemingly insignificant. The unique dream sequences are also impressive, although I feel like there are too many of them. But the film’s lack of context and backstory regarding Hirayama and his relationships with his sister and wider family proves to be its greatest flaw. While the narrative’s nuanced circularity and gentle pulse are admirable, I couldn’t shake the sense of frustration at the missed opportunity to delve deeper into themes of loneliness, solitude, and Japan’s ageing population. The film’s ambiguity left me yearning for more substance and a greater emotional payoff. Despite being impressed with the final moments, it’s a shame it didn’t register with me where it has for so many other lucky viewers.

17.4.24 I swear that with each year, British directors get more impressive and skilful with their debut films. Electrifying, tense and culturally rich, Monkey Man greatly balances self-aware action against a fleshed-out backdrop of Hindu nationalism, a bold first outing from one of the UK’s most promising leading men Dev Patel. Monkey Man is set in a fictional Indian city called Yatana – a sleaze-soaked urbanscape where every vice has a price tag. It’s the kind of place where money and power breed corruption, keeping the poor utterly invisible. Words like gritty and scuzzy don’t begin to describe the seedy underbelly Patel thrusts us into. He both directs and stars as the lead Kid, a human punching bag who comes up with a plan to avenge a past wrong. It’s not a wholly original concept: with themes of retribution and physical improvement through training always being seen as woven into the fabric of the archetypical revenge movie. Patel brings a fan’s appreciation of the genre to his film-making and does not attempt to hide his references. He makes light of being compared to John Wick, for example in the scene when the gun dealer says he has the same gun as from the film series but a ‘made in China’ version. In the fight sequences, Patel looks to Indonesia for inspiration. He attempts to match both the sympathetic everyman quality and the bloodbath intensity of action phenomenon Iko Uwais, star of The Raid. The highlight of the film is one of the final fight scenes, with many of them feeling like end-of-level boss fights. Kid has to work his way up to get to the big shots, including the corrupt and sadistic chief of police (Sikandar Kher), who impressed me as an incredibly imposing villain who would not be out of place in a video game such as The Last of Us. The film also refers tangentially to tribal land grabs and slum clearances, and a simmering Modi-esque culture of division and hostility, but it is all a little too vague to coalesce into actual political commentary. But that’s not so important; what is, though, is that Dev Patel cements himself both as an action star with A-list ambitions and a competent, resourceful B-movie director. Some plot points work better than others, for example, his allyship with the transgender Hijra community feels tacked on. Thus, Monkey Man is not perfect, but it does not have to be. The film feels alive, with all the rush of Drive or Uncut Gems. Just like Patel, this is a film which reflects the best of what the East and the West have to offer cinematically. A killer debut.

23.4.24 Late Night with the Devil works very well on two fronts – as a short, sharp horror movie, and as a vehicle to showcase David Dastmalchian’s leading man potential. Ever since his standout turn as Polka Dot Man in the brilliant Suicide Squad reboot, I’ve felt he deserves a chance to take centre stage. Well, now he has it. Dastmalchian imbues the role of a late-night talk show host with a calm, understated confidence that makes him a natural fit. The film takes its time with the documentary-style setup but effectively builds an eerie, Halloween-themed atmosphere. While the supporting characters are thinly written due to the short runtime, they each get a moment to shine and add entertaining flourishes to the bizarre scenario that unfolds throughout the eventful evening. I don’t want to spoil the highlight, but suffice it to say one character overshadows the others with a performance so intensely memorable it dominates the insane finale. Intriguing threads are dangled about Bohemian Grove, the real-life gentleman’s club with alleged occult links under its tall trees, as referenced by the film’s pseudo-villain. The only issue is it leaves you craving more, though that just lends the movie great rewatch value and sparks online discussions about potential satanic group involvement. It’s a very effective horror feature that again shows Shudder as a studio adept at reliably chilling features that offer many talking points.