Releases from 2023

28.4.23 EO is full of heartwarming exchanges and visually striking moments, but it doesn’t add up to much beyond a quirky, novelty tale.  Our hero of the story, EO the donkey, experiences the ups and downs of life encountering human cruelty and kindness along the way. Cinematographer Michal Dymek captures some beautifully framed shots, often focusing on EO’s soulful eyes. There are dreamlike sequences and surreal festive Christian imagery that create memorable scenes, however, the minimal dialogue and stark symbolism make the film feel a bit pretentious at times.  Animal lovers may connect to seeing life from the perspective of an innocent creature, without the capacity for prejudice. For me though, this doesn’t compete at all with some of the better international features at the Oscars earlier in 2023, as I think Colm Bairéad’s The Quiet Girl was the best film there by a mile, and other standout films such as Decision to Leave and Return to Seoul were not even on the final nominations list. In the end, EO is a moderately enjoyable arthouse film carried by strong cinematography and a charming, unorthodox lead. But, the simplistic storytelling needed to be more compelling to maintain my interest throughout. EO tries to say something meaningful about animal rights and human nature, but only partially succeeds. Still, there’s enough charm and imagination here for this tale to appeal to the right crowd. Maybe it will find some joy with audiences in the Christmas season…Little Donkey anyone?

2.3.23 Creed III totally delivers as a big-ticket franchise sequel, and then some. It has style, emotional heft and a leaner script than Creed II. Although it may lack the intelligence and pathos of the first film, it makes up for with the addition of Jonathan Majors, and his starring role as the film’s scheming antagonist. Although Ryan Coogler’s fingers are felt all over the script, this time it’s down to Michael B Jordan to both lead the film as the titular character and to direct it. He frankly does a brilliant job, adding a fresh sense of millionaire stardom and a tight family dynamic to the overall tone. There may be fewer fights here than in previous films, but when they come, Jordan’s persona and physicality in them is exhilarating, besting his performance from Black Panther (which honestly, is a very similar film to this). But as good as he is in it, Majors nearly runs away with the film. In Dame Anderson, we see a character that is both mysterious and at the same time, understandable. I’ve always enjoyed movie villains who appear nice at first, and slowly become more devious as the film progresses. When you add to that Dame’s charisma and his ‘nothing to lose’ attitude, he’s a sheer force. It’s one of the best ‘baddie’ roles of recent times I can think of (although I did like Idris Elba in The Harder They Fall, also starring Majors). The plot does feel familiar at times, with some of the family moments being played very straight and resolved too quickly, but the duality and manifested conflict between Adonis and Dame is what the film is all about. No sentimentality, product placement or sports drama trappings could make me lose my focus over that. I haven’t enjoyed many offerings of 2023 so far, but Creed III was the welcome gut punch that I was after.

26.8.23 I love Antony Starr as ‘evil asshole Superman’ in the disgustingly dark show The Boys, so when I saw him appear in the trailer for Cobweb, I just had to check it out. Sadly, the film doesn’t stand out in a crowded field of suburban horrors. Director Samuel Bodin just about delivers a competent and creepy tale that rises above mere knock-off status, even though the script feels like a lightweight composite of frightening but conventional conceits. The young protagonist, Peter, is played skillfully by Woody Norman (from C’mon C’mon), even though his struggles feel so familiar. The generic school bullies have obvious cause, but the vivid nightmares and eerie noises from inside his bedroom wall may not just be products of his overactive imagination. His parents dismiss concerns (played by Starr and Lizzy Caplan), but Peter’s teacher suspects threat from within the family. The script could have dug deeper into the dynamics of this family in crisis, as Starr and Kaplan simplistically play roles reflecting fairytale caricatures, walking a tightrope between benign and sinister as Peter’s parents. In minor praise, I felt that Cleopatra Coleman as the teacher brings some warmth and capacity to an underwritten role. Once the true villain emerges, the film descends into visceral chaos with a few intensely gory confrontations. While the ending feels rushed and a last-minute twist lands clumsily, the journey up to that point provides tautly chilling yet superficial entertainment. Overall, it’s a story without much logic, intriguing backstory or strength under scrutiny, but I suppose that’s to be expected from writer Chris Devlin, who also wrote last year’s awful Texas Chainsaw Massacre reboot. Cobweb reinvents nothing new and feels too safe to be anything but mildly satisfying. Last year’s premier home-based horror was Barbarian, and sadly this is miles away from it in terms of invention or scares. As well as having a tedious title that has almost no relevance to the narrative, it’s unfortunate that Cobweb ends with such a weak ‘non-ending’, which annoyingly teases a sequel whilst at the same time leaving audiences indifferent to seeing it.

12.12.23 Bottoms is pretty bonkers as far as high-school comedies go. It’s elevated by great comedic timing, especially from Rachel Sennott, who has been excellent in both films I’ve seen her in so far (Shiva Baby and Bodies, Bodies, Bodies). What I like most about the film though, is how it manages to capture one of the universe’s most powerful feelings so well: horniness. It’s also pretty accurate, although in an over-the-top way about how high school can be such an intense landscape of closed cliques and social hierarchies. There’s a boisterous energy to the story and a sense of mayhem that attempts to blend the best parts of Heathers, Superbad and Booksmart all into one. But while Bottoms tries to craft a compelling narrative amongst the chaos surrounding the characters we see, the film doesn’t quite reach the hilarious heights that the movie’s name suggests. To my taste, the jokes are mildly funny at best, relying on raunchiness and swearing rather than clever writing for laughs. Outside of Rachel Sennott’s committed performance, the young cast hustle, but don’t sell the big laughs. The absurdist ending also didn’t work for me, feeling like a bit of a cop-out and missing an opportunity to make a more meaningful statement.  Bottoms has a playful mischievous spirit and is unafraid of being ridiculous, much to the credit of its cast as well as its talented young director Emma Seligman. But for all its youthful mischief, Bottoms doesn’t come out on top as even near the year’s funniest films and instead squanders its intriguing premise.

3.12.23 Thatcher, Thatcher, the gay rights snatcher. Blue Jean offers a searing look at the challenges of living as a half-closeted teacher in 1980s Britain under the unjust Section 28 ruling. The film transports us back to the sights and sounds of the vibrant yet politically charged decade, and while the grainy cinematography and new romantic song choices aim to celebrate 80s culture, they also shine a sober light on how difficult it was to embrace one’s identity during the Tory heyday of the recent past. The lead Rosy McEwen delivers an impressive performance as Jean, a woman seeking to reconcile her sensible profession with her awakened self. She is in practically every scene and carries Jean with an emotional intensity and physical acumen that brings her conflicted character to life. She walks an emotional tightrope in embodying these dual roles and there are some great moments of sheer astonishment, such as her revelation at the birthday party and its aftermath which I found to be an incredibly tense, well-crafted moment. Aside from the marginalisation of ‘immoral’ homosexual lifestyles, we also get to feel other stressors facing the lives of socially private teachers at the time – banal staff room politics, uncomfortable student interactions, and the daily microaggressions that chip away at one’s resolve. I greatly enjoy films where the political backdrop becomes so important, sometimes almost feeling like a character in the story. I thought that Red Rocket did that supremely well last year and Blue Jean does it very well too, allowing Thatcher’s voice and the appearances of some of her party’s Members of Parliament to pop up as vitriolic enemies of self-expression. However, Blue Jean falls, disappointedly, just short of greatness. The ending feels abrupt without a clear resolution, leaning away from Jean’s social dilemma and more into the legacy of her lesbian community. Additionally, while Jean’s arc is compelling, her relationship with her conventionally unattractive partner strains believability. Their connection, though emotionally complex, doesn’t ring true on-screen despite the strong acting.  I can’t say I know anything about debut director Georgia Oakley, but she’s created another impressive female-led British feature this year which serves as a time capsule of 80’s counterculture whilst at the same time indicting Maggie’s socially oppressive government; one that today, through Braverman, Sunak and 30p Lee Anderson, seems to be creeping back in as the UK disgustingly tilts ever more to the right.

28.10.23 Blackberry plays out like a lo-fi version of The Big Short, with a punk energy and washed-out aesthetic that I found very refreshing. Like many films from the last 10 years that have tried to emulate the style of Aaron Sorkin’s work, it’s full of rapid-fire dialogue, biting humour and some sharp directing choices that give it an energised, indie spirit. Its 90’s culture nods and energised soundtrack full of bands from my youth such as NOFX, Elastica and The Strokes give the film ‘time-capsule’ appeal, and the attention to detail capturing the styles and culture of the 90s tech boom is impressive. Glenn Howerton, who I’ve only ever seen from series one of Fargo, nails it as Jim Balsillie, balancing toughness and humour perfectly. His intensity paired with spot-on comedic timing electrifies every scene he’s in, similar to what Christian Bale did with Michael Burry; a different type of character but both add to the seriousness of the narrative they find themselves in. In minor criticism, I wanted Blackberry to be longer to flesh out more of the fascinating history behind the iconic smartphones’ rise and fall. The first half focusing on Blackberry’s underdog beginnings deserves even more exploration as well. The cast of underknown big-screen actors, including YouTube’s ProZD, give smart, subdued performances that make the story seem impressively real. Blackberry would make for an ideal double bill with Steve Jobs, as while Apple continues rising to greater heights, we are reminded of the downfall of the phones that once dominated but couldn’t keep up with the times. The parallels give the ending added weight that resonates hard, especially when the percentage of Blackberry’s market share inevitably, and quite sadly, hits zero. An insightful drama and humorous study of contrasting leadership styles within business and how their actions shaped future landscapes in our tech-obsessed world.