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The Day of the Jackal (2024)
Quite good, and quite bad
The cast is generally strong. Redmayne delivers, at times, a quite chilling performance, capturing the character of an assassin perfectly. Quite sublime. Lynch is full of energy, even if her character is a little unbelievable.
Overall, the story has a nice theme. Assassin is desperate to retire and live a normal life with his wife and kid. But... there are plot holes and some huge issues that make zero sense. To the extent that it breaks submersion. Why, for example, would a woman who has been married to someone for over two years, gave birth to their first child, never once wondered what her husband does for a living? Why does a super secret assassin, who tries to keep his and his contacts identities a secret, carry around a notebook into which he writes names and addresses? Why has no one ever noticed the super secret room in his family home where he keeps all his guns and paraphernalia?
It's a nicely made miniseries, there are some genuinely excellent moments, but it is let down by budget writing.
The Walking Dead: Daryl Dixon (2023)
The Dead are Walking... and Acting
The first few seasons of The Walking Dead were top telly. Then it slowly died and became nothing more than a husk of it's former glory. Fear the Walking Dead was just stupid. And amongst the other spinoffs, we now have The Walking Dead: Daryl Dixon.
I get why Daryl Dixon is a favourite character. But he was always just one character in an ensemble. Basing an entire season around Daryl Dixon is purely cashing in on fan expectations.
What we have is a frankly bizarre story based in France. Some characters speak French. Some speak English with a French accent, even when they are only talking to other French characters. And the story is as formulaic as it could be. And the dead play no role, they are simply background gore. They're there to raise some tension when the dialogue falls flat.
If the first season of the original Walking Dead is a 10/10, The Walking Dead: Daryl Dixon is lucky to get a 4/10. It is a tired, stale, wooden shell of what was.
Caddo Lake (2024)
Slow, complicated start with a neat ending
The film starts slowly and gently builds. In hindsight, I should have paid a bit more attention to the earlier scenes. Some of the earlier scenes seemed like a gentle meander around the plot, but instead foreshadowed the main theme of the movie. Thing is, you don't realise this until you are knee-deep in the movie. It is hinted at in the film's description, "a series of past deaths and disappearances begin to link together, altering a broken family's history". So, it is a quite complicated and clever movie with tangled potlines, and one that you need to concentrate on. It is a little bit creepy and has a satisfying ending that rounds it all off quite nicely. I'd say it's just about a 7/10.
The Shadow Strays (2024)
Non-stop action
What The Shadow Strays lacks in coherence, depth and story is made up by the relentless, almost non-stop, action. There's plenty of blood squirting out of bodies, impossible fight scenes wrapped up in a rollercoaster of guns, swords and an occasional explosion.
If you desire intellectual stimulation, look elsewhere. The characters are two-dimensional, singularly focused on... in fact, I don't think we were even introduced to the characters' motivations. I'd go as far to suggest that the dialogue wasn't necessary, subtitles in my case as it is a non-English film.
Anyway, if a hypnotic opera of blood and action will help you relax, then sit back and enjoy.
Speak No Evil (2024)
Too much McAvoy
McAvoy is a great actor. But the film was almost entirely carried by his character. And while McAvoy turned in a solid performance, it did turn it into a bit of a McAvoy-fest. His character put everyone else in the shade. And for this film, that's a bit of a problem. It wanted to develop character relationships, and could have layered in a lot of additional subtlety. Instead, many of the non-McAvoy interactions come across as quite bland and uninteresting.
Plot holes: there are many. So many. Best not dwell, it is a fictional film after all.
It has a slow, meandering start. The only memorable aspects were the locations. They found some nice spots for the growing friendship between the two families. There's a bit of character and plot development, not much. And it's at about 60% of the way through the film, things start to pick up. The final scenes bring everything together nicely.
It's not a film I regret watching, but it is not a film I'd want to see again.
The Lord of the Rings: The Rings of Power: Doomed to Die (2024)
Bad Sauron
This series is really beginning to hit its stride. It is unapologetically full of Middle Earth lore from across Tolkien's works. Morgoth get's a mention, Faenor's Silmarils were brought in earlier. The downfall of Khazad-dum is being nicely played out (Owain Arthur is a perfect Durin). The writers, I think, have done a great job. This episode, Doomed to Die brings together a lot of strands from the Silmarillion and gives us an epic battle. Anyone not familiar with Tolkien's books might struggle to put things in place. I'm loving it, though.
Where there is a mismatch is between the inspiration Tolkien took from Celtic and Finnish tales and the portrayal of his stories in the Rings of Power. It wants to be a historical docudrama, albeit fictional, but feels modern with at times a closed set feel when characters are standing on battlements.
The Grand Tour: The Grand Tour: One for the Road (2024)
Like fine wine
At over two hours long, this could have been a chore to get through. It wasn't. And it was probably one of the best, if not the best, trips these three have taken together.
The country was Zimbabwe, and it was spectacular. The cars were classics, each perfectly suited to each of their personalities. The humour was on point, with many laugh out loud moments. These three have so many miles under their belts, it's incredible that they are bowing out with such a strong episode.
The ending was not overdone, either. It was a very heartfelt and genuine appreciation of viewers' commitment to their car show over the years. We have enjoyed some great entertainment, and they have been rewarded with success and some spectacular and unique experiences.
Thank you.
Rebel Ridge (2024)
Well crafted
This is not a mindless romp where some ex-special forces type single-handedly decimates 100s of baddies. Going in, that's what I thought that this film was about. I should have paid attention, the director, Jeremy Saulnier, created Green Room. Rebel Ridge is a very different film, but does have a lot of the same levels of tension throughout. So, although I went in to Rebel Ridge expecting explosions and near superhero levels of violence, I left feeling I had seen a very well crafted film.
Nothing is wasted, every scene contributes to the film's forward momentum. It is a small cast, but all play their role well. The story revolves around a smaller number of characters and emerges as something more believable and slightly more complex than what you might initially assume from the first few scenes. And the lead, played by Aaron Pierre, has a lot more depth than the usual monosyllabic, muscular, automaton.
What really strikes me, looking back, is how minimalistic everything was (cast, sets, special effects, and so on), but it still felt like a big production. I think this is an extremely well-made film, and I am pleased to have watched it.
Dark Star (1974)
An important film
A superficial look at Dark Star will mean you take home thoughts of it being just some goofy, low-budget, dated sci-fi. But a more careful appreciation of this film will reveal some profoundly important observations, studiously delivered performances, and what would ultimately serve as the platform for all that is great in modern space-based sci-fi.
It depicts the human condition perfectly, isolation in space even when there is company, the poor treatment of a superior being only because it looks like a beach ball, outcasts stuck in a bureaucratic nightmare not of their own making. And it's clever portrayal of annoying technology that is both controlling and more capable than the human inhabitants of the spaceship is a frighteningly accurate portent.
It's a great film, not because of what it is, but because of the important elements that presage future space sci-fi, if you look carefully.
Longlegs (2024)
Thrilling atmosphere
Not a horror film, at all. Fairly predictable. Ultimately, an okayish film.
What you get is an interesting tale that brushes up against some supernatural themes. But you get no clarity on the nature of the supernatural in this. It's just there as an unresolved mystery. A strange and unneeded accessory.
And you get no insights into the main characters, and so ultimately don't really care what happens to them. It's a fairly sparse film that pushes atmosphere over content, which is a shame. A bit more character development could have gone a long way.
Longlegs does not come anywhere close to Se7en, Silence of the Lambs and, to be honest, a rewatch of either of those would have been more enjoyable.
The Undeclared War (2022)
Smart and intelligent cyber espionage
Having cancelled my subscription to Spy Monthly, I cannot say with authority that The Undeclared War is accurate. It certainly feels plausible. At least the basis upon which the story is based.
The story itself did hold my attention, and I was generally pleased with the time invested in this short first season. But I'm fairly sure that the makers have taken liberties in some of the character decisions used to develop the plot. And some of those decisions sit awkwardly.
I'm giving this a 7/10, it would have been higher, but the many of the characters were strangely wooden. Even Simon Pegg couldn't breathe life into his character, Danny Patrick. I think this might be because they tried to depict the character traits of the high-functioning coders attracted to work in cyber-espionage. A worthy attempt that didn't quite work as intended.
As a fictional TV programme, it feels a bit too docudrama and needs a bit more life, a bit of colour to break up the sometimes monotonous tone. That said, it is a fascinating look into this world. Nowhere near Slow Horses, but none-the-less a worthwhile watch.
Inside Out 2 (2024)
Satisfying
The original Inside Out came with a lot of originality, it was a clever and unique tale of a young person's mind and one that both adults and children could access and enjoy. Being a sequel, Inside Out 2 had to find originality elsewhere, mainly in the travails of puberty and the new emotions that are introduced into the mix.
And there is enough that is new in Inside Out 2 to make it a worthwhile watch, whether you are a teenager or an adult. But I did leave with the feeling this film could have gone so much further. Perhaps there will be an Inside Out 3 where the filmmakers take a bit more of a risk? As Harry Potter grew up, the maturity of his story also evolved. The same cannot be said of Inside Out 2's Riley, and it is ultimately just a saccharine revisit to the insides of someone's head.
Oddity (2024)
Interestingly minimilistic
There's a satisfying minimalism about this horror film. It's mainly set in an old house somewhere or other (we never find out much about it). There's a small cast. And the story is really quite simple. Although it was not filmed in black and white, doing so would have only added to the slightly art-house, economy of scale feel.
In amongst this minimalism, the story is a quite clever tale of retribution. And it is an unsettling story, with the horror element developing from two or three key events. There is a smattering of gore, a few jump scares, and some fairly run-of-the-mill spookiness.
Overall, I wouldn't say this is a particularly standout genre defining horror, but it is worth a watch and I would like to see some of the clever elements developed in future incantations.
Alien: Romulus (2024)
Solid
Watching this was a little like watching the first Alien. There are a lot of similarities in terms of style, setting, atmosphere and so on. If you enjoyed Alien you will probably enjoy this.
Downsides, and more comparisons with the original, the cast was quite young. Which is fine, and they turned in solid performances, but we didn't get the same level of gravitas the original Alien cast emanated. None come close to Sigourney Weaver, Tom Skerritt, John Hurt, Harry Dean Stanton and Ian Holm, sadly.
The Alien franchise has a fairly standard format. Giger's charismatic xenomorphs, created from endoparasitoid larvae laid by face-hugging crab-like creatures. The xenomorphs kill a bunch of people, but usually leave a one or two alive to aid their escape from the impending doom of the moment. And so it is with Alien: Romulus. As a film, it adds little to Alien lore, which is kind of a shame.
This is a solid and watchable 7/10, maybe edging to an 8/10.
Furiosa: A Mad Max Saga (2024)
Reasonable
It does not quite hit the heights of the earlier Fury Road. As the origin story of Furiosa, a somewhat wayward young lady, it inhabits the same world as Mad Max. But there just isn't the same strong narrative running through Furiosa to glue the frankly dazzling, eye-popping action scenes together. It is a spectacle, and if you enjoy unstoppable action you will certainly enjoy Furiosa.
However, the cast was great, especially Anya Taylor-Joy as Furiosa, and it feels more could have been done with a strong cast to tell us more of main characters' origins. What we have is a non-stop visual treat, but not a lot else.
Rebel Moon - Part Two: The Scargiver (2024)
Allegorical
I think (hope) this film was an allegory of corporations dominating independent farmers, with a nod towards Kurosawa's Seven Samurai. If it isn't, then it makes zero sense.
I've watched both Rebel Moon I and II. But I started and stopped watching II twice. I really had to be in a place where I had absolutely nothing else to do in order to get back to it. Yes, the first half is that bad. The second half isn't too bad, though. There's some neat action and the CGI is great. You get to know a little more about some of the characters, which helps. And the ending clearly points towards a Rebel Moon III, which would be a tantalizing prospect if getting to the end wasn't such a relief.
Although there might be a clever story arc still waiting to come to the fore, there's just too much wrong with it.
Bad Boys: Ride or Die (2024)
Shallow
I totally get this was supposed to be pure entertainment, bringing no deep insights into the nature of the universe. But this is so shallow it protrudes a constant stream of clichéd one-liners, impossible situations, and emptiness. It's one of the worst films I've ever seen. It has no redeeming qualities. Everything seems to have been done on the cheap. It's basically a money-grab, cashing in on past success but offering nothing new.
The action scenes were stupid. The "heroes" were completely untouchable, but never missed. The story was one-dimensional and utterly banal. The humour was so staged it was predictable and frankly embarrassing. And the characters were just too over-the-top, almost clown-like.
Horizon: An American Saga - Chapter 1 (2024)
Meditative
Long, well-paced, and something of a meditation on the C19th west.
It does engage the senses. There are few different stories embedded in many sweeping panoramas. Visually, it is a treat. But it is missing a narrative that binds the various elements together, and there are no standout characters. It's like somewhat related TV episodes loosely collected together into one film.
It does not feel like the 19th century, either. It's a little too staged, with unrealistic mud and grime. Some of the characters who have been riding for days and days, are a little too well-presented.
More of the same is promised, and the last few minutes of this instalment provides a montage of scenes to come. It's a little odd. I think these films are supposed to form some visionary mural of the west. Instead, it is more like a tired historical display in an out-of-the-way town that no one visits.
Lowlifes (2024)
Unspectacular, gorey entertainment
While in places Lowlifes teeters on the brink of dismal, there is just enough to keep you watching to the end.
The storey is run-of-the-mill blood and splatter. There is a twist, which leads to an interesting finale. Beyond that, there is no noticeable character development. Which is a shame, as there is a lot of room to expand on some of the characters' motives.
Given the fairly narrow scope of the film, it is not surprising that the cast could do little more than service the script. The dialogue revolves around vignettes designed around shock or humour, rather than narratives that build a story. Because of this, the characters are quite superficial.
If you do make it to the end you might find yourself thinking, as I did, this is a mediocre film that could really use a better written prequel. There's novelty worth exploring, and for that reason I am glad I watched it.
Space Cadet (2024)
Bad but not bad
This movie has no redeeming qualities. Cast, script, characters, CGI, were all subpar. But I think this was an intentionally bad film. Like Attack of the Killer Tomatoes, Space Cadet wears its awfulness with pride. There's gravity in space. The main characters are all exaggerated. The story is impossible, and the plot holes are many and vast. But here's the thing. If you stick with this movie, you are forced into a meditative state where you have to suspend your sense of reality completely. You end up no longer watching a movie, Instead you are watching fish swimming around an aquarium, or bonobos frolicking in a zoo. And about three quarters through the movie I had started to laugh at some of the silliness and had warmed to the lead character. Yes, it is an instantly forgettable movie. But one that I am not unhappy I watched. I enjoyed it, just not in the usual sense.
Interview with the Vampire (2022)
Unique and compelling
It is a fairly simple, linear story of vampires through history. They could have added a lot more reference to historical events. The characters' relationships could have been explored to a greater depth. What we have, though, is too focussed on a few characters' not particularly interesting lives as vampires. And the tale itself is not engaging, delivered by a cast that is two-dimensional. Ben Daniels is a welcome exception, though. And all this is wrapped in an air of implausibility, where these brutal and bloodthirsty creatures are able to live their lives with total impunity. It's watchable, but not at all memorable.
IF (2024)
Good, not great
Ryan Reynolds plays Ryan Reynolds. Cailey Fleming, of Walking Dead fame, was superb. And the various animated creatures are inhabited by voices of other well-known actors. They all reside in a wonderfully produced world of live action and animated creatures that is a visual treat,
The story is bedded in Fleming's character, Bea, new-found ability to see others' Imaginary Friends - IF's - very enjoyable animated creatures. The foundations of this film are solid, and it could have gone in a multitude of directions. In the end, it tried to do a little too much. The script chased down and pulled all the heartstrings it could possibly find, tried to be a warm, smudgy comedy that appealed to children while trying to say something insightful about childhood grief, and pursued adults' inner children relentlessly.
The success of Inside Out was partly due to it's singular and very relatable focus. IF meanders a little too much and in the end delivers a slightly muddled story. It wanted to appeal to everyone, but in the end didn't have the depth needed to fully engage anyone.
It's a good film and very well-made. But with a little more time in the in development, this could have been a great film.
Doctor Who: The Legend of Ruby Sunday (2024)
Great writing, great acting
The characters hardly left UNIT, there were minimal special effects and other gimmicks. The entire episode was just a concentrated blast of enthusiastic actors with an incredible script.
Gatwa has found his feet. He has just the right balance of incredulous, wide-eyed wonderment with an occasional bout of anxiety, fear even. To me, this is the Doctor, a person with immense power too aware of the peril that follows in his wake. Gibson was great, delivering a warm, fun character that does not feel over the top.
My only annoyance is repetition. In a few previous episodes the same line is delivered over and over, "space babies" for example. The same happens here with "the trap." It is annoying enough to bump you out of the story's flow.
It's a two-part story, following the season arc of Ruby's origins. Although I think they might have trouble wrapping this up in one episode and expect aspects will follow into the next season. The reveal is coming too late. Either way, The Legend of Ruby Sunday sets up the next episode perfectly.
The 13th Warrior (1999)
Interesting, but tame
As far as 25-year-old films go, this isn't too bad. There are, sadly, a lot of inconsistencies and unevenness. The main one is that the mysterious enemy the Vikings face is some mysteriously powerful creature able to rip a man's head off one-handed, but which becomes weak and flimsy by the end.
Baderas plays Ahmed Ibh Fahdlan, a character based on an actual person from Baghdad who travelled north and documented the Volga Vikings. Although this is not explained in 13th Warrior. The film also borrows from Akira Kurosawa's samurai movies, but the discipline of those movies barely makes it to the 13th Warrior.
Overall, it is a film of parts that have not been integrated into a whole. It is a shame, middle eastern poets, samurai, Vikings, that's a heady concoction that could have used a better developed story.
Godzilla x Kong: The New Empire (2024)
A visual treat
If you like your oversized monsters going on a rampage, smashing stuff up, then this is your film.
The CGI was on point. In fact, it was a film almost entirely created in someone's laptop. The cast brought little to the film, other than providing some narrative that glued the various bit of the film together.
As instalments of these Godzilla-Kong films emerge, the creators seem to feel the need to iteratively develop the origin story. And so it is here, with the random inclusion of a whole new tribe of people living in a cave.
There is no story as such, other than the evolution of Kong and Godzilla's difficult relationship. The film is a visual treat, but not much else.