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Assassination attempts, plane crashes, and a strained father-daughter relationship make up Wes' new Del Toro the tycoon picture. The Phoenician Scheme has the usual *just go with it* quality of Wes' recent work, and the plot isn't the easiest to follow. However, there's some notable character exchanges that deliver on the comedy 💣. Threapleton's deadpan and cutting remarks make her a breakout here. However, the best thing about The Phoenician Scheme is Cera who is perfectly cast. The scene with the dynamite...easily the funniest moment. Elsewhere, Ahmed looks sooo dapper in this.

Also as somebody who is such an irer of design and aesthetic, I have to mention the stunning sequence at the opulent jazz nightclub, Marseille Bob's...the pillars, the stage, the booths, the champagne cocktails...ooh la la. I also loved the hieroglyphics / Egyptian revival hotel in the film's third act. Although my appreciation does not extend to Cumberbatch's facial hair.

Cruise chooses the mission, clings onto planes and plunges into the deep depths. The Final Reckoning is an incredibly somber affair and this franchise finale(?) is short of the winning dynamic pacing, zippy energy, and globe-trotting appeal. Despite a third act that has a truly impressive flipping and gripping aerial set piece (plus a refreshing ensemble-wide costume change), much of what comes before is quite a slog...which I hate to say because I love these movies. Ghost Protocol is easily my favourite. However, in this, the submarine sequence alone was as long as the 72 hours that Ethan was given to complete the mission. I nodded off for a brief moment, and awoke thinking, "is this still going!?!" The third act's South African natural landscape was a stunning backdrop though.

Unlike previous instalments, the collective aren't given enough space to showcase their spark and quippy remarks. Coming off the back of Dead Reckoning, there is a noticeable shift here. The intermittent "previously on" flashbacks that happen in the opening third feel really dumbed down. Unless rewatched since, the film's audience would have only waited two years since watching Dead Reckoning. Not an especially engaging entry, but it might improve on a rewatch or two. I'll come back for Cruise any day though.

"Have you tried not being a mutant"

A mutant must-see that betters the original, X-Men 2 set the benchmark for superhero movies. This is a blockbuster full of quotable lines ("you should've killed me when you had the chance!"), compelling themes, and strong characterisation within the ensemble. I still can't get enough of Ottman's iconic "Suite from X2".

Nightcrawler, a genuine standout, is a welcome addition to the team - his BAMF-ing visual effects still hold up. At the time of the film's theatrical release, I reading an article in a Catholic newspaper commending the film for including the character of Nightcrawler and his positive relationship with faith. As a young churchgoer at the time, this writing felt like approval for me, especially as a guy who religiously worshipped superheroes (on the side). It got the church's vote you guys...we're all good!

Elsewhere in X2, Mystique's mischievous arc entertains - that infiltration scene, followed by a teasing wave as Cox, makes playful use of her shape-shifting ability. On this rewatch, I found myself particularly pining over Pyro. It's funny, I was always an Iceman guy growing up with this. As for the climax, it is so incredibly bold. That final frame with Janssen's voiceover truly ups the anticipation.

There's a load more death-dodgers to do away in this human-squishing sequel full of sick and twisted ways to go. Final Destination Bloodlines is tense, gnarly, and wince-and-flinch-inducing. The film generally serves up more of the accustomed gore, but Watts' story has a slightly altered approach that enriches the overall narrative of the franchise. That's not to say that there aren't holes as you try to process the history of all this though.

The film's retro futuristic, Space Needle-esque opener is appealing and a lot more care is paid to the characterisation in this entry. Harmon is the standout performer, clearly enjoying his time here. And who'd have thought that an MRI could be SO menacing. That one goes hard. While the momentum runs short come the third act, Bloodlines is a return to form for the franchise.

Palmer and SZA are down on their luck roommates with financial woes in this wacky and appropriately messy buddy comedy. Palmer and SZA are just vibing in this and the two have an unapologetically silly energy to them.

Mayhem ensues with (to make matters worse-type) escalating incidences and there's a number of ing characters that are generally quite bonkers. This is an enjoyable watch with a screwball script from Singleton. Although the ridiculousness of it all perhaps gets the better of One of Them Days in the final third, this is a good time.

Watched on Monday May 12, 2025.

Watched on Monday May 5, 2025.

An abstract post-apocalyptic romance between a buoy and a satellite voiced by Stewart and Yeun respectively. Evocative of Wall-E at times, Love Me is well-voiced and acted by the two stars, but the film is an odd viewing experience in how it takes a deep dive into exploring humanity. It completely lost me every time it ventured into a bitmoji-esque sequence. There are moments that do delight though, including Stewart and Yeun going through an influencer phase and singing along to the Friends theme song. Much of this is early in the film though, so my level of engagement drifted off as the buoy floating on the ocean.

Watched on Saturday May 3, 2025.

A mystical and kooky, but broad satire that tramples on, tears apart, and takes a stab at the rich. Death of a Unicorn certainly has good talent on paper, but they're ultimately wasted as they run amok fleeing fantastical equines. One note and tonally uneven, this film's comedy also lands infrequently. The mythological context could have been explored a lot more though as I felt that there was some intrigue in that regard. I honestly wouldn't mind a unicorn coming to rid me off my pollen allergies too. Poulter is probably the most notable in this, relishing his role by dialling up the delusional. Also, props to the costume designer for recognizing the short shorts potential with him.

Watched on Tuesday April 29, 2025.

This ragtag gang of reformed rogues squabble, scrap, and forge a found-family. Thunderbolts focuses on the fundamentals and addresses THAT asterix in this irreverent, thrown-together team-up. The film satisfies with a character-driven script, emotional depth, and Louis-Dreyfus being delightfully Louis-Dreyfus...she nails that fire and wit. The dynamic amongst the Thunderbolts works well and I felt a buzz with this Marvel film that I hadn't felt for sometime. Pugh and Pullman are the major players here and display some strong work.

The action is relatively restrained, and three appealing set pieces include a desert road chase, a high-floor fight, and...what I can only describe as...an Inception-y, room-bending mind-maze. The humour is good, even if Harbour hams up his role far too much. The story is a little bit drawn out in the third act too, but I've got to say, Thunderbolts is a fun time.

When your favourite movie of all time is Jurassic Park, it is hard to hate on these Jurassic World sequels. I really enjoyed how the first JW was rooted in the theme park setting and it's futuristic attractions, but the subsequent two films took the dinos-let-loose and what-ifs a bit too far.

On rewatch of Dominion, I found myself warming to it *slightly* more than I did on the initial watch. Even little Lockwood didn't bother me as much, although that whole cloning character arc could've just been done without.

The film's opening is wobbly (some of that dialogue) and the final act is silly and clumsy...the ensemble is borderline laughable on that raised platform. And don't even get me started on those Lion King parallels 🙄

And yet, beyond the first half hour there's a run of this film that I do believe has good appeal. When Neill, Dern, and Goldblum are together it's a hoot. I don't think their potential is fulfilled, but their collective presence has its moments. Meanwhile, Pratt and Howard's dino tourism abroad to the Black Market of Malta is a set piece that tries to at least justify this dinos in society departure. The underground activities of this black market have a sci-fi / Star Wars quality to them, while the location shoot and street chase sequence is a thrill. Perhaps a missed opportunity not to do more of a globe-trotting adventures though. These writers made their bed, right? Elsewhere, the Therizinosaurus and Pyroraptor scenes are notably flinch-inducing. Athie and Wise are likeable additions to the cast too. I do wish that Smith played more of a part in this though. And Not enough Mosasaurus love in this either.

A misogynistic manager meets his match when his trio of female secretaries seek to overthrow this offensive overseer. 9 to 5 is farcical, mildly funny, and generally enjoyable thanks to it's zippy central performances from Fonda, Tomlin, and Parton. The three ladies have a likeable chemistry and sport some big hair and stylish office attire.

9 to 5's script has some witty dialogue, a satirical streak, and an amusing playfulness (notably that trio of trippy sequences), but the comedy isn't always consistent (the dangling from the ceiling gag is slightly overused). The general misunderstandings in situations appealed to me though. I liked the production design of the office set and I cannot begin to think just how good barbecue food would taste high. The ladies were onto something here.

A US platoon is in peril in this pulse-pounding and bare-bones Iraq war drama. Warfare appears to capture the trauma and visceral horror of being on the frontline as a group of fired-upon soldiers have their extraction plans scuppered. The action sends a jolt to the system, especially on a technical level. Aurally, you feel the relentless gunfire, IEDs, and fighter jets soaring overhead.

The rather good-looking breakout males that make up the cast are all good here and shouty when they need to be - Joseph Quinn, I'm looking at you! That exhuberant Call On Me opening scene (maybe my favourite part) really shows the camaraderie between them.

On the surface, Warfare tells it like it is, but beyond that, not a whole lot more. With the film's lean narrative, there's no real understanding of the purpose behind this operation, or even the why. The film just gets straight to it. Despite the suspense over a short runtime, there's not a great deal to ponder over afterwards.

In this spin on the Southern Gothic, MBJ steps into the shoes of the Smoke-Stack twins for this soulful, surreal, and supernatural period piece. These twins raise the roof at their stomping juke t, whilst their staff shoo off blood-thirsty dribblers looking to be invited in.

Sinners is a racy and wild ride, and features social commentary to sink your teeth into - the exploitation of black artists is notably explored. Göransson's score and the film's blues-heavy soundtrack rhythmically entrances you and Coogler's direction is assured throughout. Despite an inevitably chaotic third act, the film's final moments are mesmerizing and thought-provoking. The ensemble impresses with their performances, especially MBJ, and those prosthetics are appropriately gory.

Lucas' seminal coming-of-age movie is a complete 60s time capsule with a core diner location, sleek vehicles, and an iconic soundtrack. While my favourite character had to be the nerdy Terry (especially with his failed attempts at buying liquor), not all the characters had much of an impression by comparison. This meandering night-long story didn't totally captivate either, but the era was vividly captured on screen. That Mel's Drive-In exterior looked stunning, as did the neon signs that lit up the streets.

I maybe didn't connect with American Graffiti as well as I did because my post-sixth form / high school parting ways moment didn't quite resemble the friendships and dynamics depicted here, nor had there been much of an impact. I hadn't quite found my people back then, so emotionally it didn't feel like an end of an era. I can imagine those without a sense of direction, feeling left behind, or muddling through young love maybe relating to this more.

With the backdrop of a destination wedding, Feig's follow-up is absurd escapism with mothers, martinis, the mafia, and m-m-m-murder!

Despite the diabolical plot twists that just beg you to toss logic aside, Kendrick and Lively continue to have a blast here and it's fun to be in their company again. Kendrick has that knack for comedic timing and delivery, whilst Lively's leans into the campiness of it all and her outfit choices are just jaw-dropping. The film's definitive comedy moment though comes from a hotel maid and her housekeeping trolley. It feels like Feig mastered that one up. The sunny Capri location shoot pleasingly whisks you away too. Another Simple Favour is terribly soapy, but I was amused enough by this.

A mystical riverboat adventure along the Amazon that swishes through rapids, features a flurry of quick-fire dad jokes (and they're not good), and face-offs with some fantastical forces. Jungle Cruise is overstuffed and a tonal mish-mash, with qualities (characterisation especially) that evoke a far better viewing experience watching Sommers' The Mummy. Dwayne's endless disposal of (un)wise-cracking humour grates very quickly. He isn't the most irritating character in this film though...That crown goes to Whitehall. Hollywood, please stop giving that guy work!

The film has a zippy energy to it though which is carried along by the chemistry between Johnson and Blunt. That's not to say that it's necessarily entertaining (or consistently so). Blunt's use of a winding 35mm motion picture camera only made me wish that the film leaned into an old timey-ness with its visual presentation, especially given it's period setting. It is just awfully glossy and vibrant. The visual effects are questionable too and the film's third act is a total mess, missing an opportunity for a cruise-esque set piece. The triumphant score from James Newton Howard harks back to the melodies of classic action adventures though.

High floor dining, first date jitters, and paranoia from a pinging phone make up Landon's latest Blumhouse thriller. Drop takes the instant quick-share phone feature and adds the suspense of stalking to create a generally watchable feature.

When Drop is lean, mean, and unnervingly mysterious, it certainly works, but after a time, the manipulation through device does runs it's course. The third-act revelation spirals into a showdown seemingly driven by studio interference.

The film has a buzzy premise though and it captures the anxieties of dating in the digital world well. The cast performances, Fahy especially, are good too. Got a taste for Panna Cotta after watching this, so that inspired my desert choice at the Italian restaurant last night.

Depp portrays an ambitious and opportunistic industry wannabe who fails to finance his b-movie schlock. This flawed filmmaker has a whole lot of charm and energy as he adapts to situations (for better and worse), and Depp delivers this with complete gusto.

Ed Wood is delightfully kooky with dynamic cinematography (from dolly to dutch) and a screwball quality. Burton's affectionate film respectfully doesn't make a mockery of a misguided artist with ha distinct vision. The offbeat production features a group of quirky collaborators and these misfits commit to the whole thrown-together quality of Wood's pictures and press. Landau is utterly joyous as a washed up actor who revels in his past glory, while Parker is on great form in this too. Ed Wood's last half hour doesn't retain the winning thematic wackiness displayed for much of the first 90 minutes of the film, and Arquette's character doesn't quite fill the void left by the delightful presence of Parker. I liked a lot of the industry satire though.

Embarrassed to say that it took me four attempts to finish this 90-something-minute 50s sci-fi. ittedly, I watched this post-work and post-cardio, so not the most ideal time 😴.

Forbidden Planet is slow, but visually ahead of its time. A young Leslie Nielsen is almost unrecognisable and I really liked Robby the Robot and it's character design. I did not find the story to be especially absorbing and the climax was underwhelming. However, I can see how some of the concepts here were considered influential on the genre. Glad to say I finally watched this after countless visits to the megastore in London of the same name.

After a witness protection programme crumbles, a couple of exes cross paths by chance and are chased across the country by criminals.

Gibson and Goldie goof around across land and skies in this frantic and frivolous action-comedy. Not all of the laughs land, but Gibson, and an especially on-form Hawn, elevate the sub-par material with their chemistry and entertaining line delivery. Their general squabbling and teasing is what works best. The action is notably shot with the camera in the thick of the action. As a story though, the plot and dialogue is awfully hit-and-miss. On a separate note, I was injected with a shot of nostalgia upon seeing a floppy disk featured as a portable storage device. I have to give a mention to the energetic score from Zimmer here too.

Kneecap is undeniably sharp, expressive (those doodles), and notably edited. Even the fourth wall breakage adds a playful touch.

At the heart of this hip-hop comedy is a very valid campaign to preserve a local dialect (and nobody should have their culture erased), but the boisterous, unapologetic, noisy, sex-crazed, and drug-fuelled artists depicted here simply aren't music to my ears. The hedonism and wrecklessness is just a bit too much. However, Kneecap's quieter moments say just as much as the imioned statements. The final frame, for example, is gentle but impactful. Maybe I just wasn't in the right mindset to feel the energy here.

This Hong Kong crime thriller features nuanced characters, sweeping wide shots, and a narrative which takes some big swings. Leung and Lau are engaging leads as informants with a conscience, working either side of the law to suss out who's who.

The film's second half is better than the first and some scenes go a bit harder than absolutely necessary. Infernal Affairs feels very much of the time though being a product of the early 00's (for better or worse). Some of the song choices are quite jarring too. However, beyond the hour mark, Infernal Affairs amplifies the tension and ups the stakes. Utterly captivated by the third act. Thank you to James Wilson for gifting me the Criterion box set of this like over a year agooooo and it's taken me this long to watch the first film! Officially rubbish, I know.

A video game adaptation that looks like it's made in the same vein of a Resident Evil film. Kurzel's talents in making assured and unsettling thrillers are out of place here. Sure, he brings his trademark grittiness, but given that this is a time-travelling-themed film, Assassin's Creed is both visually dull and a soulless viewing experience. The dialogue is dreary and there's simply nothing fun about it. The plot doesn't really have any imaginative turns either.

That "leap of faith" scene should've been thrilling and breathtaking, but instead it is choppily edited (along with much of the action here) and cut to the clunkiness of it's virtual reality technology. The film's period chase sequences have a ducking and diving snappiness to them though and there's some notable gliding camerawork over Spain's historical landscapes.

Posey begins a new professional chapter as she goes from party-hard IT girl to organised librarian. She turns a new page (leaf), swapping out the dancefloor for bookshelves, and even falls for the local falafel street food vendor.

Party Girl is an absolute time capsule for the hedonistic 90s party scene. The fashion, especially Posey's, is dynamic and designer chic. It's a joy to see her just frequently voguing away. The character has a self-destructive, carefree, and scatty quality to her though (which sometimes gets the better of the film), but Posey brings some wit and charm to the role. Party Girl works best as a character portrait than an actual story and Schreiber's cockney accent is wince-inducing - I forgot that those Kangol flat caps were actually a thing once too.

A murder suspect and her truth-seeking lawyer dissect the events that led to her lover being bludgeoned on her bathroom floor. Intriguing, suspenseful, and a little bit trashy, Badla is an unravelling film which keeps its cards close to its chest.

Ghosh's screenplay cleverly (re)contextualizes scenes as it slowly feeds details through, but also has a tendency to be predictable and preposterous (mostly when the character of Rani is in the frame). It feels like a TV-movie, but is is enjoyably watchable nevertheless. The film has an especially riveting final half hour that is let down by a silly final reveal. Bachchan, as you'd expect, is very good in this, picking apart the BS of a BS-er, and that is fun to see. I appreciated the Glasgow backdrop in the film too.

There's big hair, paranoia, and conversations that don't really lead to much in this whodunnit at a regional hairdressing competition. The campy murder mystery set up should've been a surefire, but Medusa Deluxe's screenplay is in desperate need of zhuzhing up! The characters aren't particularly interesting (and rather stereotypical - especially one overly-camp performance from Pasqualino). There's moments where shots and good lighting align, but generally the one-take format here frequently feels like it's crying for a cut. The camera meanders as much as the characters do. The actual hairdos on show are appealingly wacky though. Extra recognition for the glitzy disco musical number that plays over the end credits.

A black composer rises to prominence, but faces oppression and discrimination in 18th-century . Kevin Harrison Jr (a total king!) is majestic, charismatic, and an ambitious talent playing the role of the relatively unheard of musician Bologne. While Bologne's backstory is insightful, the history-long erasure of this black artist is heartbreaking. The themes of race, privilege, and belonging which are explored in this film are absorbing.

Chevalier is a little bit drawn out and predictable, and the narrative focuses a bit too much on the scandal as opposed to the talent. Kelvin is magnetic throughout though with great range (assurance to vulnerability) in his performance. Despite the crushing humiliation and betrayal from those who orbit him, I liked Bologne's select few allies. The film's final stretch is electric too.

One of those daft, far-fetched thrillers that only could've been made in the 90s / early 00s, but is somehow strangely watchable. Denzel is the cash-strapped, in-over-his-head, desperate dad who holds an ER hostage demanding that his critically-ill son be operated on. As expected, the actor's performance is better than the entire film itself and is what keeps John Q from being a bore. His performance is especially strong on an emotional level with those father-son moments.

What you essentially have in John Q is a father with insurance woes and a hopeless situation regarding his son. This family crisis is turned into pure sensationalism and framed even more so by Dan Scott (the guy we love to hate) from One Tree Hill playing a smarmy television news anchor. The film's hostages are your typical stock characters and there's a road traffic incident that is ultimately one great big eye-roll. This is very much a one-and-done type of viewing, but I preferred this over an Unstoppable or a Pelham 123 being taken.

Levinson's film of a digital leak, spilled salacious secrets, and small-town uproar is gutsy, unforgiving, and brutal. Writer-director Levison tackles subject matter from cancel culture to transphobia to toxic masculinity, and the execution is startlingly real.

I went into this blind and was surprised by how this film treaded multiple genres but never seemed to lessen the impact. The film is shot so stylishly (from split screens to a one-take) and the synth score heightens the thrills and moods. Was pleased to see Danny Ramirez here (my boy came through), and Kelvin Harrison Jr and Lukas Gage, although both were a little underused. The focus is on the female leads though and I thought Nef's arc particularly was told with some authenticity, albeit occasionally sad.

I think the very Purge-y third act went on for longer than it needed to and it doesn't quite close things off as tidily as it could (I mean, it's a messy and especially dark final stretch). Certainly a film to make you think twice about how much you share online and with whom.

Yet another entry in the line of inessential live-action adaptations from Disney, and while Snow White's big screen poisoned apple has something to crunch on, the aftertaste isn't so sweet, with the film occasionally leaving me dozing.

Firstly, the liveliness of White herself works thanks to Zegler's sheer enthusiasm and charm, not to mention her impressive vocals on Waiting For a Wish. She really has a spring in her step as she cleans, sways, and exudes warmth. That Waiting For a Wish original song also proves that Pasek and Paul can do no wrong. I also found that Good Things Grow had an upbeat hook to it too - not all the film's songs match these though.

With many other Disney live-action adaptations, Snow White is a little more drawn out than it needs to be and some scenes/songs are ittedly dull. Gadot seems to be in a state of unease throughout, while Burnap is certainly dashing as the love interest. However, the chemistry between him and Zegler isn't particularly felt. The colour scheme for Snow White seemed a little dialled down too.

The people attacking this film for being 'woke' is slightly unfair. This is a film primarily targeted at young children and there's no harm in tweaking some of the ideas to make the messages more hopeful and encouraging for the young audience. The film is not perfect by any means, but *some* of the changes are justified.

Meanwhile, I feel that actors with dwarfism should have been given a shot to fulfill those seven billed screen roles rather than the production using CGI to do the job instead. This is meant to be live-action after all and it felt like a disservice to the dwarf community. Roles for them are few and far between as it is. There is the argument that they could be perceived as caricatures here, but as a piece of fiction, this was a missed opportunity.

On a separate note, while I was in Mexico City recently watching Mickey 17, I caught a Snow White tie-in ad campaign for Allegra (Allevia, as it's know here) which is the antihistamine medication I take for hayfever. It was perhaps one of the most baffling pieces of marketing I've ever seen, but makes sense if you've got a dwarf called Sneezy. This guy seriously repping us allergy sufferers! 🤧