Releases from 2023

11.11.23 Immaculate precision beset by an almighty cockup. The Killer has all the hallmarks of David Fincher’s technical, ice-cold approach. Full of memorable high points and great monologues from Michael Fassbender, the relatively simple narrative reflects a curious, morally ambiguous worldview. The backdrop of melancholic songs from The Smiths also lends the right amount of edginess to a film which impresses but doesn’t end on the high note it seems to be arriving at. The first 30 minutes in particular are riveting, plunging straight into the sleek, stylised world of Fassbender’s methodical killer. Later down the line, we’re treated to one of the most visceral and well-choreographed fight scenes I’ve seen in years. Even Tilda Swinton manages to make her mark as a rival assassin, scary without being threatening, totally capable yet slight of frame, and intense yet oddly likeable in her screen presence. However, the film unfortunately loses steam in the final act. The climactic confrontation between Fassbender and the main ‘villain’ lacks punch, while the ending feels rushed and unsatisfying. This is a shame, as Fincher’s razor-sharp direction and the charismatic leads had me gripped for much of the running time. While not a new genre classic, The Killer ultimately provides solid entertainment value, making it a decent addition to Netflix but not so impressive when you consider Fincher’s legendary back catalogue. 

26.12.23 The Flash isn’t an awful film, but it feels awfully pointless. It’s clearly been made by a group of people who know that DC’s extended universe is breathing its final gasps of air, so it brazenly throws in an embarrassing number of stars in minor roles for one last chorus before the new Aquaman movie likely nails the coffin shut in 2023. But for all its creative faults, cheap-looking CGI in several action sequences, and trying so hard to emulate the MCU whilst failing again and again to do so, a lot of the elements in The Flash did work for me to some extent. Ezra Miller does a decent job portraying a few different iterations of Barry Allen, displaying some acting talent mainly through silly humour and physical goofiness. There’s also a fun, nostalgic appearance from Michael Keaton, reprising his iconic role as Batman which shouldn’t work given his acclaimed and masterful performance in Inarritu’s Birdman. Yet, it delighted me to see him don the classic black and yellow Batsuit and shoot some baddies with the grappling gun.   I also moderately enjoyed the new take on Supergirl, played committedly by Sasha Calle, despite the reappearance of rather tedious, poorly developed villains like General Zod and a few pointless callbacks to other lacklustre DCEU characters which feel shoehorned in likely due to financial and contractual obligations. More controversially though, I prefer this to Guardians of the Galaxy 3, just because I didn’t find the humour in that film, nor the animal abuse entertaining or enjoyable. As usual with DC movies, The Flash is easily 30 minutes too long, with drawn-out, slo-mo action scenes and weak plot threads that offer nothing memorable for viewers. Ultimately this film hasn’t encouraged me to see the new Aquaman movie, especially after Jason Momoa’s boring performance in Fast X earlier this year, or to dip my toes into the Flashverse or Arrowverse.  I have no problem bidding a not-so-fond farewell to the mostly disappointing DCEU experiment and hope new DC leadership alongside James Gunn can course-correct these much-loved characters going forward.

5.9.23 Satisfying and reliably entertaining, although a bit undercooked, The Equalizer 3 delivers exactly what you would expect from the third film in the franchise. It’s fair to say that the series has always been carried by ‘The Man’ Denzel’s commanding presence, and now nearing 70, Washington’s Robert McCall is older and more vulnerable but still undeniably capable. A messiah-like figure living amongst the mafia-downtrodden citizens of Altamonte, Italy.  His ruthless pursuit of justice remains as captivating as ever. However, the fade transitions and odd ending structure do give the film a slightly cheap feel. While Washington is as smooth, confident and watchable as ever, the lack of a truly hateable lead villain or final moment of proper retribution keeps this entry from reaching the dramatic heights of the first two films, as well as the excellent Italian show Gomorrah which it echoes in tone and style.  Man on Fire fans will delight in the scenes reuniting Washington and Dakota Fanning, now a very capable and intelligent CIA operative, and their chemistry remains spirited. However, big names like David Denman are wasted in functional, underwritten roles. A silly inserted romantic subplot also feels incredibly unnecessary. Still, fans of the franchise should find plenty to enjoy in what is probably McCall’s last crusade. The action sequences and violent kills deliver a dose of adrenaline, and some of the mafia goons, although thinly written, generate enjoyment when they get predictably ‘equalized’. Ultimately, The Equalizer 3 brings little new to the table and probably closes the trilogy without forging new ground. Washington fans will surely revel in his effortless charm and sheer force of will, however those seeking a fresh action thrill ride may be disappointed.

21.10.23 Brooding and unpredictable, The Beasts is an impressive psychological thriller that generates palpable tension and unease. Director Rodrigo Sorogoyen throws us headfirst into rural Spain, where the unchecked nature of human violence and hostility towards outsiders takes charge. Simmering beneath the surface tension lies thoughtful explorations of nationalism, xenophobia, and class divides. For lifelong Galician farmers Xan and Lorenzo, the financially rewarding proposal of wind turbines offers an escape from lifelong hardship and misery. But for the wealthy French expats Antoine and Olga, who have merely been “playing at farming” these past two years, the untouched farmland holds value beyond money. The Beasts exposes the primal territorial nature of man when threatened by foreign encroachment and changing times. Much of the film’s success revolves around building mundane situations into crescendos of tension. The tempo of each scene, many being extended shots with lengthy dialogue, is expertly managed to keep viewers on the edge of their seats. Mirroring sequence shots of the main characters showcase complexities between the key characters, which elevates the story above most thrillers I’ve seen this year. At the heart of the film lies the imposing physicality and remarkable performances of its stars. Denis Ménochet (the French father from the opening scene of Inglorious Basterds) and Luis Zahera (an actor who I’d never seen before, but who excels here as the rage-inducing villain) play nemeses stuck in a primal standoff, with their acting muscular and intense.  While The Beasts features some grotesque caricatures of the rural Spanish, it ultimately succeeds; the first hour in particular oozes with almost unbearable suspense. Viewers seeking a combination of thrills, nuanced characters, and cinematic craft will find much to appreciate here. With powerful performances, taut dialogue, and a surprising narrative shift in the third act, The Beasts is a memorable thriller with striking imagery and political substance which is worthy of much discussion.

1.7.23 “What happens after 90 seconds?” “They’ll want to stay.” Thanks to an inventive supernatural artefact and surprising emotional impact, Talk to Me is another impressive horror debut to join A24’s fresh catalogue of independent films. Co-directors Danny and Michael Philippou craft an atmospheric and threatening world so effortlessly, it’s hard to believe this is their first full feature. Although focusing on a cast of frankly irritating Gen Z phone-addled teenagers, the film wrings genuine frights and moving insights from the nightmarish premise. Sophie Wilde delivers an impressive range as the protagonist Mia: she convincingly reflects the loneliness, fragility and obsession for closure of someone unable to let go of grief. Though her friends feel straight out of a generic ‘young adult’ drama, Wilde’s emotional performance grounds the horror.   Through confident direction not relying on jump scares, the film builds tension through simple but precise techniques such as drawn-out silences, unanswered summons, and creative apparitions. In some ways, I was reminded of the film It Follows which does a similar trick in having the villainous presence take on many different disturbing forms. While the creepy manifestations horrify in the moment, the lasting impact lies more in the sadness fueling them.

14.2.23 When I was young, and my baby brother still slept in my parents’ room, if I was scared at night I would sleep on the floor in the same room, on a folding mattress. I would look up to the swirled stucco ceiling and convince myself that the faces I was imagining were not distorting and smiling menacingly at me. When watching Skinamarink, I was reminded of those times.  It’s a very odd film that tries to tap into the fears children have late at night. I have to say I have been thinking about the film since I watched it 3 nights ago and keep coming back to that old saying regarding life, and sometimes cinema, which is “you get out of it what you put into it”. Well, I tried to watch Skinamarink with the most open and vulnerable mindset I could muster, late by myself on a Monday evening. I found it to be an incredibly dull watch, with a crucial lack of characterisation, pacing and most importantly, meaning. Although the ending was mildly satisfying and took me back to those years on the folding mattress, the film makes no attempt to captivate, nor does it have the guts to make a substantial or artistic point. It harks back to obvious influences. Poltergeist, The Blair Witch Project, and even Toy Story. But it doesn’t feel like anything new or significant to the horror genre. It’s a film which doesn’t show or tell and allows the audience to let their mind be the antagonist. I think that most people will not enjoy it, but it is a unique if not shallow film that attempts to reconnect to our deepest darkest childhood fears. A distinctly unenjoyable experience.

4.10.23 Scrapper has a refreshing sharpness regarding the familiar father-daughter dramas we have seen more often in recent years. Anchored by newcomer Lola Campbell’s spiky and unsentimental performance as 12-year-old protagonist Georgie as she bonds with her absentee father played capably by Harris Dickinson, it’s a tale which starts simply but becomes deeper and more involving as we start to consider Georgie’s post-grief mental state.  Cinematographer Molly Manning Walker, known more recently for her directorial debut How to Have Sex, (which I have heard is excellent) bathes the film in a whimsical pastel palette, which illuminates a soulless council estate into a colourful playground for Georgie to roam in. However, the bright aesthetic jars against the grim working-class realities of Georgie’s world. Director Charlotte Regan shows promise in her debut, yet struggles to reconcile the tone, often coming off flippant and forced in the quest for meaning. As we sympathise with Georgie, it feels like she is held back from developing as a character, especially when the fantasy elements like her towering scrap metal sculpture feel at odds with the harsh truths that creep in.  The comparisons to Aftersun are evident, but although moments of visual imagination shine through in Scrapper – a cotton candy bedroom here, a makeshift rocket there – the emotional resonance falters despite Lola Campbell’s confident and mature performance. The fragmented tone wavers tonally between gritty drama and whimsical escape, but glimmers of promise peek through in the magnetic leads and visual flair. As an introspective two-hander, Scrapper gives us slivers of potential for Regan to fashion into something more cohesive in her future endeavours which I shall be keen to visit.

14.10.23 Hats off to a massively successful franchise with remarkable staying power, despite some previous duds in its catalogue. I have fond memories of the original Saw film, and watching the sequels 2 through 5 in the cinema with friends during university. There’s something nostalgic about the Saw movies that takes me back to those Halloween nights, and Saw X marks an impressive return to form for the series after the last few forgettable instalments lacking the twisted charm of John Kramer.  Saw 1.5 as it should be imagined, wipes the slate clean and acts as a direct sequel to the first film, presenting a simple revenge tale with Kramer at the forefront. It channels the deranged spirit that was core to Jigsaw’s oddly endearing presence in a way the other sequels failed to capture. Being driven by revenge works logically within the Saw universe in a way some of the silly, bloated plot lines of the previous films did not. It delivers exactly what is expected; barbaric death traps, twist finales and character callbacks, which all contribute to making the film unpretentiously satisfying on the big screen. However, the villains remain rather forgettable and the themes feel dated, offering no new relevance to issues in 2023 beyond the franchise’s long-running commentary on the failings of the American healthcare system. I feel like for casual movie fans this works just fine, but for horror fans wanting something with bigger teeth, perhaps it’s time to evolve the message into something more timely or provocative. By putting Jigsaw back in the spotlight, Saw X recaptures some of the twisted magic that made the original so impactful. But it’s still covering well-tread ground for a franchise that’s spawned ten films over nearly two decades. While one of the stronger instalments since the first Saw, the film plays it safe when it could have pushed the boundaries even further. Still, it’s impressive the series has come this far from its humble origins, and there may still be potential for Saw XI and beyond if its creators are willing to take greater risks moving forward.