Movies

As someone who is definitely not the biggest fan of scary films, I thoroughly enjoyed The Black Phone. More thriller than sinister, it may not be as terrifying as a diehard horror fan would like (even though those people are crazy), but with a terrific villain, and a twisty story, it is a must-watch for those who enjoy suspenseful thrills.

Finney Shaw (Mason Thames) is a shy but clever 13-year-old boy who’s being held in a soundproof basement by a sadistic, masked killer nicknamed The Grabber (Ethan Hawke). When a disconnected black phone on the wall starts to ring, Finney soon discovers that he can hear the voices of the murderer’s previous victims who are set on making sure he survives.

It was really refreshing that director Scott Derrickson chose to refrain from the jump scare after jump scare model and instead used suspense and dialogue to juice up the spook. Don’t relax just yet, there are still a few jump scares thrown in there, all of which are freaky and disturbing. Hawke gives a great performance as the masked killer, using subtle changeups in his voice to great effect while Thames nails his role as a young kid often balancing fear and courage. Although somewhat predictable, the story is intriguing, as you are just as excited and anxious as Finney each time the phone on the wall rings.  

If you watch The Black Phone hoping to be unable to sleep for a week you will be disappointed. As mentioned, there are some disturbing moments, but overall, it lacks that killer punch that will leave you shaking in your boots. For example, The Grabber makes basement visits in his creepy mask, saying some spooky things, but often these encounters just end with two people talking in a basement. However, suspense is instead the hero thanks to scenes that use sound (or lack of), pace, and background activity to get your heart pumping.

There’s nothing unheard of in The Black Phone, but through great performances, some creepy moments, and a captivating plot, it is one of the few ‘scary’ films I would enjoy watching again.

After seeing the dramatic lives of Elton John, Freddie Mercury, and Aretha Franklin brought to life on the big screen, it’s only fitting that the king of rock ‘n’ roll has been given his turn to shine again in Elvis. The result is a bold and dramatic musical epic that gets some things very right and others a bit wrong.

From his rise to fame to his unprecedented superstardom, Elvis Presley (Austin Butler) maintains a complicated relationship with his enigmatic manager, Colonel Tom Parker (Tom Hanks), for over two decades. Through love, loss, fame, fortune, and of course, music, the singer and some of his peers begin to question if he is truly in charge of his own destiny.

Butler’s performance steals the show. The 30-year-old stated that he felt a responsibility to Elvis and his family to live up to the icon through his portrayal. From speaking in his notable deep voice and performing his famous dance moves onstage to even singing like him, Butler nailed every single element. Hanks supported the young actor well in a rare role as the antagonist, while the casting and performances across the board were excellent.

Elvis has a unique style thanks to director Baz Luhrmann. It is told from the Colonel’s perspective even though he is clearly the villain, an element I enjoyed. However, at times it is an overload on the senses due to quick edits, comic book-style visuals, and odd mixtures of Elvis classics with modern-day pop hits. It is also a shame that not a single Elvis song is sung in full.

Even at almost three hours long, parts of Elvis’ iconic life are rushed through, but the film also never loses your attention. The ending is both sombre and powerful thanks to how Luhrmann and his writers chose to abruptly wrap up the story. It is a tragedy that the world lost Elvis at just 42, and this tragedy and the reasons are dramatically emphasised.

Elvis won’t really tell you anything new about the star, but overall, it is a captivating, exciting, and haunting feature that showcases much of Elvis’ trailblazing journey.

I really wanted to like Jurassic World Dominion. Growing up, Steven Spielberg’s 1993 classic Jurassic Park was one of my favourite films, and although the franchise has never really been able to capture the magic of the original, I had high hopes for an instalment set to close off this prehistoric universe. Instead, I was underwhelmed and to put it frankly, bored!

The future of mankind hangs in the balance as humans and dinosaurs coexist following the destruction of Isla Nublar. This fragile balance will be tested when the CEO of genetics company Biosyn, Dr Lewis Dodgson (Campbell Scott) attempts to use the power of these primitive creatures for his own gain. Will human beings remain the apex predators on a planet they now share with history’s most fearsome creatures?

Dominion is extremely lazy. It’s almost impossible to produce a film with no inconsistencies but when you create a chase scene where a velociraptor is unable to catch up to Claire Dearing (Bryce Dallas Howard) but then keeps up with Owen Grady (Chris Pratt) on a motorbike only a few moments later, that is just lazy. The film is riddled with these sorts of inconsistencies, as director Colin Trevorrow decided it would be easier than coming up with intelligent explanations for why his characters travelled great distances in mere minutes and why security cameras never seemed to be working.

The original was so good because Spielberg built suspense so well. Did you know that in Jurassic Park dinos are only on the screen 11 percent of the time? Dominion is the complete opposite. Why would audiences fear these monsters when every two minutes they see Pratt and co escape from one? The dinosaurs may look amazing but the mystery and fear that used to surround them has been lost. There was no sense of wonder, nothing was new or suspenseful. The return of Alan Grant (Sam Neill), Ellie Sattler (Laura Dern), and Ian Malcolm (Jeff Goldblum) added some well-timed nostalgia, but even they couldn’t save Dominion’s weak script and predictable plot.

As sad as it may be, as Grant suggested all those years ago, it really is time to close the park down and move on.

We have done it everyone. After some harsh (but honest) reviews over the last few issues, I have given my first five-star rating. And I can comfortably say that Tom Cruise’s latest venture Top Gun Maverick deserves all the praise it is about to get. An eye-popping blockbuster from start to finish, I would even make the case it tops its 1986 predecessor.

After serving for three decades as one of the Navy’s top aviators, Pete ‘Maverick’ Mitchell (Cruise) is called up as a last resort by his superiors to train a detachment of top graduates for a special assignment. While leading the group, Maverick must confront the ghosts of his past and his deepest fears, culminating in a mission that demands the ultimate sacrifice from those who choose to fly it.

This film is thrilling. From the very first scene, audiences are treated to sensational sounds and visuals that are some of the most realistic I’ve ever seen and heard on the big screen. It’s realistic because it is real. In a special touch, Cruise himself welcomes visitors to the film, explaining that almost everything you witness is the real deal. In a time where seemingly everything is made with CGI, this approach was so refreshing. And best of all, I actually felt like I was in the cockpit myself during the blood-pumping action sequences, low-altitude flights, and airborne dogfights.

Top Gun Maverick uses nostalgia when necessary, but it also doesn’t overdo it. We can clearly see that Maverick has lived a life during the 30-year gap, while the film connects with his past enough to take us back. Through great writing, we feel that the emotional and dramatic stakes continue to rise as the story moves, but this is balanced out thanks to perfectly timed moments of humour. Cruise delivers another fantastic and witty Cruise-like performance and other cast members such as Miles Teller and Glen Powell support the star well.

A modern-day blockbuster that actually lives up to the hype, Top Gun Maverick is an adrenaline-filled joy ride that expertly touches on ideas around family, bravado, heroism, and sacrifice. In simple terms, it will take your breath away.

Part of Doc Edge Festival’s virtual screenings, Tigre Gente is a powerful documentary that is brilliantly told by director Elizabeth Unger. Using the contrast of two completely different worlds, it provides viewers with a jarring look into the destruction caused by the jaguar trafficking industry and those willing to risk their lives to stop it.

The director of the Madidi National Park in Bolivia (Marcos Uzquiano) is determined to investigate and put a stop to a new, deadly jaguar trade that is sweeping through his park and South America. On the other side of the world, a young journalist from Hong Kong (Laurel Chor) goes undercover as she investigates the selling of jaguar teeth in China and Myanmar – connecting the dots between the trade in China and the influence of Chinese business in South America.

The strongest element of Tigre Gente is the parallel perspectives it uses to tell the story. While Uzquiano and his team tirelessly chase illegal hunters through the Amazon’s vast bush and rivers, audiences are left shocked as Chor witnesses the horrible effects of wildlife trading on the streets of Hong Kong and the attitudes that surround it. The film cuts between the two stories and as each new secret is releveled in Bolivia, its influence immediately becomes clear in China. The film showcases visually stunning cinematography. Unger captures the mystic beauty of Madidi National Park as well as the activity on the streets, markets, and cultural hubs of China.

Tigre Gente is extremely educational. In South America, the emotional connections with the jaguar are explored while it also investigates Chinese culture and misconceptions about those on the other side of the trade. It builds suspense when necessary – this element is most prominent when Uzquiano and his rangers are almost shot by a group of hunters they are pursuing. Told in Spanish, Chinese, and English, the documentary’s yellow subtitles were sometimes hard to read but this was just a small mishap in what was a compelling watch.

A unique look into the global jaguar trafficking trade, Tigre Gente is a fantastic take on a modern nature documentary that uses raw storytelling and breathtaking cinematography to touch on several important issues.  

Marvel’s latest film Doctor Strange in the Multiverse of Madness has again proven why the franchise should have started fresh after Avengers Endgame in what was a fantastic, emotional, and natural end. However, the unfortunate reality in the movie world is that money talks, meaning that Marvel will continue to pump out mediocre movies that hide behind a popular overarching storyline for as long as… well possibly forever. 

Doctor Stephen Strange (Benedict Cumberbatch) is swept up in a journey across the multiverse as he looks to protect his newest powered companion America Chaves (Xochitl Gomez) from fellow superhero Wanda Maximoff (Elizabeth Olsen). Witnessing the power of the multiverse, Wanda has embraced her evil identity as Scarlet Witch, taking extreme measures in her pursuit of America’s power.

My problem with Multiverse of Madness is that it is not a good movie. Now that may sound like an unimaginative statement but hear me out. Marvel is such a beloved franchise that they don’t seem to need to make, or care about making, a good movie anymore. Instead of pushing the boundaries as they did for the original Iron Man, Black Panther, and Endgame, recent films like Morbius, Eternals, and Multiverse of Madness are cursed with uninspired effects, disappointing performances, and nonsensical stories. Sadly, the simple act of inserting a superhero from days gone by is enough to get crowds clapping and cheering for more.

Director Sam Raimi couldn’t even decide what genre Multiverse of Madness is – horror, action, family? We have also reached the point where CGI is not just overused, but it doesn’t even look great. Another issue is that you need an overwhelming knowledge of the Marvel universe to even understand what is going on. Gone are the days when you could enjoy most Marvel films as standalones, no, you now need to watch five films and a couple of TV shows to have a chance.

Half a star for some entertaining fight scenes and the odd funny joke but overall, Doctor Strange in the Multiverse of Madness had the chance to step away from the mediocre, run-of-the-mill films Marvel has been pumping out – it didn’t.

Anyone heading to see Daniel Kwan and Daniel Scheinert’s new sci-fi comedy adventure Everything Everywhere All at Once should be prepared to walk away with their head spinning, their eyes sore, and their mind questioning everything they just witnessed. In other words, this film is utter madness! However, although I often found myself lost down its endless rabbit hole Everything Everywhere All at Once is also extremely original, funny, well acted, and a fun ride from start to finish.

Feeling as if she didn’t accomplish any of her dreams, an ageing Chinese immigrant (Michelle Yeoh) is trying to pay her mountain of taxes when she is suddenly swept into an insane adventure by her husband from another universe (Ke Huy Quan). She alone can save the world by exploring other universes, fighting bizarre dangers, and connecting with the lives she could have led.

Led by Yeoh’s outstanding performance, the acting throughout was a highlight. You truly feel that her character, Evelyn Wang, is just as confused as you when the adventure begins. This is supported by some fantastic interplay with the other cast members, great editing, and a well-written script. It is also hilarious, and although I don’t want to spoil the fun, you won’t ever look at a hotdog or bagel the same. This original movie is also touching, with overarching themes that many of us can really relate to.

Everything Everywhere All at Once loses points for its drawn-out ending and sometimes hard-to-follow storyline. Running for almost two and a half hours, it feels as if the film is coming to a close for the last hour and I often didn’t really get what was happening, who was bad, or even who it was following. However, in a film like this I think it’s best just to roll with it.

Like nothing I have ever seen before, Everything Everywhere All at Once is a bit like a roller-coaster. Make sure you’re hydrated and well feed, strap in, and prepare for an insane ride where by the end you’re not quite sure if you want to hop straight back on, or if you never want to see a roller-coaster again.

The Lost City isn’t a perfect film, but by sticking to its genre and utilising the on-screen chemistry of its cast, I never found myself bored during this star-studded action-comedy. In fact, it was a heck of a lot of fun!  

Reclusive author Loretta Sage (Sandra Bullock) uses her knowledge and passion for anthropology to write about exotic places in her popular adventure novels that feature a handsome cover model named Alan (Channing Tatum). While on tour promoting her new book, Loretta gets kidnapped by an eccentric billionaire (Daniel Radcliffe) who hopes she can lead him to an ancient city's lost treasure. Determined to prove he can be a hero in real life and not just in her books, Alan sets off to rescue her in what turns out to be an adventure the pair will never forget.

You never really know if an action-comedy is going to be funny, but in the case of The Lost City, it definitely nailed the comedic side of things. Although Bullock and Tatum have their moments, it was surprisingly the film’s minor characters who I found the most amusing. Whether it was Brad Pitt’s brilliant 10-minute cameo, the exploits of Loretta’s tour manager (Da'Vine Joy Randolph), or a slightly inappropriate pilot (Oscar Nuñez) and his goat (yes there’s a goat), the supporting cast all played their roles to perfection. 

Bullock and Tatum’s on-screen chemistry was also a highlight. The two bounced off each other throughout the film while playing to their strengths. The film didn’t overdo it – there was action when it needed action, and a little bit of emotion when it needed a little bit of emotion. A small let-down was Radcliffe and his evil billionaire character Abigail Fairfax. The villain lacked any real depth – it would have been nice to learn about something other than his endless hatred for a younger brother we never meet.

Visually stunning throughout, The Lost City does a fantastic job of recreating the magnificent world Loretta describes in her books. The film never tries too hard, and the holes in the pretty-predictable plot are quickly filled with the many humorous moments, all of which are portrayed terrifically by a fantastic cast. The perfect word to describe The Lost City? Fun!

Whether or not you’ve seen its prequel Murder on the Orient Express, Kenneth Branagh’s newest rendition of the famous Agatha Christie murder-mystery Death on the Nile is well worth a watch. With a star-studded cast the likes of Annette Bening, Gal Gadot, Armie Hammer, and Kenneth Branagh himself as the inimitable detective Hercule Poirot, this movie will keep you on the edge of your seat.

Poirot is happily enjoying his holiday in Egypt when he is interrupted by his friend Bouc’s (Tom Bateman) invitation to join the wedding party of Linnet and Simon Doyle (Gadot and Hammer) down the Nile River. However the honeymoon takes a turn for the worse when death makes a not-so-surprise appearance aboard the cruise.

Utterly glamorous, Branagh’s rendition fully embraces the vintage aesthetic this period piece permits. From costumes to props, and even setting, the film itself is so indisputably beautiful that it comes as a shock to find it was filmed entirely in a London Studio and not along the sultry shores of the Nile herself.

The score is beautifully crafted, featuring jazz music that would have been at the height of fashion in 1937. Unique however is that the score is seamlessly woven into the story itself through the character of Salome Otterbourne (Sophie Okonedo), a famous jazz singer of the novel’s era who happens to be invited along on the cruise.

The editing style wholly embraces the murder-mystery genre of the film. With wide slow exposition shots interspersed with quick cuts in moments of tension, the editing leaves you on edge and desperate to uncover the killer. Similarly, the cinematography guides the viewer’s eye exactly where it needs to be, hiding clues in plain sight and revealing just enough to formulate conjectures and accusations. Interrogation scenes characterised by chiaroscuro lighting denote a sense of paranoia, whereas sweeping circular shots of Poirot pacing around his suspects create unease and restlessness, making even the viewer feel a little guilty.

Glamorous, classic, and undoubtedly fun, Death on the Nile delivers precisely as promised.

It’s interesting but when it comes to The Batman the story is probably my least favourite element (apart from Robert Pattinson’s Batman voice, but more on that later). That’s not to say I didn’t like the story but when other elements such as the sound engineering, lighting, fight scenes, and score are so good, those are the things that make me come back for more. 

Bruce Wayne, known by some as Batman (Pattinson), ventures into Gotham City’s underworld after a sadistic killer who calls himself the Riddler (Paul Dano) leaves behind a trail of cryptic clues and high-profile murders. As the evidence begins to lead closer to Wayne’s family, the scale of the killer’s plans become even more devastating. Batman must forge new and unlikely relationships as he attempts to unmask the culprit and bring justice to the corruption that plagues the city. What he uncovers will have him questioning everything he ever believed. 

The beginning of the film was brilliant. I won’t spoil all the fun, but the new-look Riddler’s entrance sets the tone for what is going to be a grim, dark, and gritty three hours. I think Pattinson did a great job as Batman considering the pressure that comes with any such role. He delivered audiences a refreshing take on the hero, one who is clearly scarred from the nightmares of his past. His ‘regular dude’ Batman voice was a let-down, but overall Pattison was a worthy successor of the role thanks to his sombre, methodical, and engaging approach. 

Movies don’t need to be three hours to be good and that is the same for The Batman. If director Matt Reeves had shaved off 30 minutes, the story would have felt tighter as some unnecessary scenes could have been cut. It was also awesome to see Batman wasn’t perfect, often taking his fair share of punches in a fight. Everything sounded amazing, and the weaving in of Franz Schubert’s Ave Maria throughout the film was both brilliant and sinister. 

Although The Dark Knight still stands atop of the podium, The Batman has begun a new era for the famous franchise. It is a dark, haunting, and intense tale told with brilliant elements and fresh characters.  

Drive My Car has not only won 37 awards, but it has also been nominated for four Academy Awards, including best picture. However, there is always one big question that surrounds any film nominated for that quintessential award – is the film actually good, or is it just kind of boring? When it comes to Drive My Car, my answer is it’s a bit of both. 

Drive My Car is a 2021 Japanese drama about a renowned stage actor and director, Yūsuke Kafuku (Hidetoshi Nishijima), who after his wife’s (Reika Kirishima) unexpected death, receives an offer to direct a production in Hiroshima. There he meets Misaki (Tôko Miura), an introverted young woman appointed to drive his car. In between rides, secrets from the past and heartfelt confessions will be unveiled and despite their initial misgivings, a very special relationship develops between the unlikely pair.

The film is a piece of art. Director Ryusuke Hamaguchi has defiantly stepped away from the modern pressure of creating a film that needs to be fast-paced, funny, or full of action. If the film’s three-hour run time wasn’t already bold enough, the opening credits don’t even appear onscreen until about the 40-minute mark. The pace gave me time to reflect on the sombre events that occur during the film, however, some variety would have been refreshing, as I did also find myself wondering when something a bit more exciting was going to ‘happen’.  

The cinematography in Drive My Car is amazing. Cinematographer Hidetoshi Shinomiya uses majestic symbols to convey meaning throughout the film. There are plenty of beautifully framed shots of the actors and landscapes but perhaps what is most engaging, is the way in which deep topics and meaningful relationships were developed. This was both powerful and emotional and the outstanding performances from the cast also helped convey these deep meanings.

I wouldn’t call Drive My Car the Mona Lisa of the movie world, but it is a work of art that I enjoyed. A film that won’t be for everyone, it could have been thirty minutes shorter, however, it is still a hauntingly beautiful feature and a refreshing take on the drama genre.

I am a big believer in judging a film for what it is. For example, if I watch Dodgeball, a comedy about grown men throwing dodgeballs at each other, I’ll be completely satisfied if I walk away having laughed a bunch of times – I’m not looking for a masterpiece. The Adam Project does its job. Director Shawn Levy has created a fun adventure that families can enjoy for a few hours before likely forgetting about the film a few weeks later. 

In a dystopian 2050, fighter pilot Adam Reed (Ryan Reynolds) steals his time jet and escapes through time on a rescue mission to 2018. However, he accidentally crash-lands in 2022 instead where he meets his 12-year-old self (Walker Scobell). The duo team up on a mission to save future Adam’s wife (Zoe Saldaña) but in doing so the pair must come to terms with their past while saving the future.

The story was decent but what really impressed me was Scobell's performance. Anyone who has seen any Reynolds movie in the last five years knows exactly what they are going to get from the star who seemingly plays the same character in all his latest films. However, Scobell, who also had the added pressure of it being his first big role, did an awesome job. He nailed 12-year-old Adam by being cheeky, funny, and emotional when needed. And even though Reynolds again stuck to what he knows, I can’t say he didn’t do a good job. 

The film had me laughing out loud at times and I did feel a little something when things got a bit more serious and emotional towards the end. Some of the CGI was average, especially the de-ageing ‘deep-fake’ used on Catherine Keener who plays villain Maya Sorian – it looked terrible. And I still have no idea how time travel works despite Adam’s father (Mark Ruffalo) explaining it a bunch of times. The Adam Project did what it needed to do. Will I watch it again? Probably not, but it was still an entertaining ride that I think most people will enjoy.