JoshuaMercott Reviews

Sasquatch Sunset (2024)

A Benchmark in Experimental Improv

[7/10 · 27 May 2024]

As art movies go, "Sasquatch Sunset" stood out not for being original but for being bold. It also had a distinct film-school vibe - actors are often asked to pretend to be different animals or birds.

This family story was just that. It involved a family of Sasquatches, actual versions of which resemble the Tibetan Yeti and are rumoured to roam secretive forest regions in the USA.

The way in which David and Nathan Zellner captured that secret life, using adequate dramatizations and fictional flourishes, made "Sasquatch Sunset" run like a wildlife documentary at times.

I especially liked the attention to primate-lifestyle detail - especially gorillas and chimps - that further enriched this script and gave it a primal yet relatable sheen.

The Sasquatches' experiences also featured the looming threat of human encroachment via logging, highways, camps, traps, and townships. These elements were especially telling.

Jesse Eisenberg (as the male Sasquatch), Riley Keough (as the female Sasquatch), Christophe Zajac-Denek (as the kid Sasquatch), and Nathan Zellner (one of the writer-directors himself as the alpha-male Sasquatch) were so natural, for lack of a different word, that they made their beastly characters seem compelling instead of caricatured.

The experimental design of these four core characters and the wilderness they called home evoked distinct feelings of simplicity, freedom, and honesty. The creatures also possessed sufficient intelligence to make their motives feel credible.

Outstanding practical effects and makeup added to the wonder in "Sasquatch Sunset". The team seemed to have used educated guesswork to re-enact a small chapter in the life of a Neanderthalic 'missing link' species that was humanoid enough to behave human.

Some of the scenes were so raw and disgusting, but that was precisely what made those scenes work. The movie went to some intriguing places I didn't quite expect, resulting in shameless (in a good way) storytelling that crossed the right boundaries to tell this tale.

Near the finale, I couldn't help but feel the word 'Sunset' in the title was referring to the end or extinction of the Sasquatches and, in close connection, the forests they called home.

Feud: Phantasm Forgiveness (2024) Season 2, Episode 8

Deadly Truths, Deeply Introspective - Season 2 Review

[8/10 · 26 May 2024]

The 1950s, 60s, and 80s were brought into crisp focus in season 2 of "Feud", particularly the schemes and scandals featuring the 'Swans' and Truman Capote.

The story was based on Laurence Leamer's book "Capote's Women: A True Story of Love, Betrayal, and a Swan Song for an Era". That title reveals plenty of what one can expect to find in this dramatized adaptation.

I liked what they did in the first season, showcasing the rivalry between Joan Crawford and Bette Davis, played exquisitely by Jessica Lange and Susan Sarandon, resp. In this season, it was all about a bunch of New York City socialites whose beauty, grace, and power stirred Capote's captivation and curiosity.

Tom Hollander did exceptional work getting into character and bringing the mysterious yet famous Truman Capote to life. I have always enjoyed watching Hollander act, and he delivered big-time in season 2 of "Feud".

From his devious secret-gathering tendencies to his same-sex exploits, Capote indulged in a lot of risks in his own life aside from the many lives he went on to risk with his writing.

The 'Swans' in question did stellar work. They each brought something significant, empowered, and consequential to their respective roles.

Naomi Watts (as Babe Paley), Diane Lane (as Nancy "Slim" Keith), Chloë Sevigny (as C. Z. Guest), and Calista Flockhart (as Lee Radziwill) gave outstanding performances that proved how easily power could be given and taken, with some planning and privilege. Together, those women proved that no man was above their law. It made for fascinating, and at times unnerving, viewing.

Molly Ringwald (as Joanne Carson), Demi Moore (as Ann Woodward), Treat Williams (as William Paley; RIP), Russell Tovey (as John O'Shea), and Chris Chalk (as James Baldwin) brought some captivating moments to the show.

"Feud" season 2 went to all the right places a show like this should. It combined deadly glamour, political finesse, and sexual exploits in some interesting subtextual, almost educational, ways.

Based on actual people, the dramatization was compelling and intricate, though I can't be sure if everything they portrayed can strictly be termed accurate.

Aside from the Rockefellers, the show had some captivating character-moments worth watching. Marin Ireland (as Katharine Graham) springs to mind.

Jessica Lange (as Lillie Mae Faulk; Capote's mother) was an extraordinarily pleasant surprise. It was great to see her in a new role, after watching her brilliant work in "Feud" season 1 where she played the one and only Joan Crawford.

What I found stunning in season 2 "Feud" was how they took petty, even silly, 'white people problems' and made it feel relatable, portentous, and spark-to-fuse suspenseful. The scripting genius lay in devilish details like those.

The relationship between Capote and the 'Swans' whom he caroused with in society gradually soured and turned venomous.

In the later episodes (E05, especially), Capote's darker observations - which he hadn't written yet - about his white-privileged 'Swans' shed a bright light on what was really simmering behind the veil of self-victimhood those high-society ladies wrapped themselves in, particularly after he wrote something scandalous about them and broke their trust in so doing.

It became a true revenge saga when his writings - as some writers are known to do - about their secrets (published as an excerpt in Esquire Magazine, and then some) became the bloody battlefield over which they fought and failed, at least in part, hoping to retrieve some measure of their pride and prestige.

But, to paraphrase a famed rhyme, all the queen's girls - rather all the queen's 'swans' - couldn't put that cracked egg back together at all.

Near the end, I couldn't help but feel Truman Capote was unwittingly searching for the mother he'd always wanted, but from among a set of socialites who were themselves unfit mothers. He seemed drawn like a moth to the same old flame in ways that Freud would've found intriguing.

In season 2, it felt like the real "Feud" was between Truman Capote and his inner demons.

--- --- --- Special shout-out to Rebecca Creskoff (as Happy Rockefeller), Roya Shanks (as Louisa Firth), Joe Mantello (as Jack Dunphy), Hudson Oz (as Jimmy Woodward), Pawel Szajda (as Albert Maysles), Ella Beatty as (Kerry O'Shea), Jeffrey Grover (as Richard Avedon), Dennis Staroselsky (as Stanley Siegel), Jared Reinfeldt (as Nick), and Dean Allen Williams (as kid-Capote).

The Ministry of Ungentlemanly Warfare (2024)

Fierce, Fiery, Fantastic!

[8/10 · 23 May 2024]

I'm still surprised this movie was based on a true story. The historical non-fiction book after the same name was written by Damien Lewis and published in 2015. "The Ministry of Ungentlemanly Warfare" movie adaptation made a compelling case to go read the book while also providing superb star-studded entertainment.

Going behind enemy lines during Nazi-Germany times, the story (set in the 1930s) captured some interesting contributions from the likes of historical personalities like Winston Churchill (exceptionally played by Rory Kinnear) and Ian Fleming (suavely enlivened by Freddie Fox).

It was Churchill - as expected - who came up with the idea of a 'suicide squad' of sorts, which the UK Parliament at the time would've frowned upon. This secret military team would go where no other could tread and were tasked with plugging Nazi war plans in the Atlantic.

The Special Operations Executive (SOE) unit gained the duty, nay burden, of choosing from among a group of skilled but crazy weirdos, including criminals and survivalists, to ensure mission success.

The movie established interesting subtext and delivered on characterisation. Seamless flow, alluring dialogues, and crisp scene connections all added up to a great story well told.

Henry Cavill (as Gus March-Phillips) was an inspiration to watch. He brought some nuanced acting to this role and plenty of wild amusement besides. Then there was that subtle but distinct thread connecting a potential James Bond idea, Gus, and Fleming.

Alan Ritchson (as Anders Lassen) was surprisingly funny. He also turned brutal in the blink of an eye, which made his character a focal point in the story.

Henry Golding (as Freddy Alvarez), Babs Olusanmokun (as Heron), Alex Pettyfer (as Geoffrey Appleyard), Hero Fiennes Tiffin (as Henry Hayes), and Eiza González (as Marjorie Stewart) all brought excellence to bear on their respective roles.

Til Schweiger (as Heinrich Luhr), the big-bad villain in this movie, was dastardly and doubly captivating. He had a certain gravitas about him that was equally familiar yet unnerving. Shame he wasn't given more screen time, though.

This whole crazy story was found in one of Winston Churchill's secret files, which were declassified in 2016. "The Ministry of Ungentlemanly Warfare" certainly lived up to its name - and Damien Lewis' book, am guessing.

I'm sure the movie was heavily dramatized, but the fact that such a squad even existed and that they helped support the Allies made this script turn like a charm. Less is more, indeed. But not when it comes to sequels, I may add.

High-octane action and silent-but-deadly kills met realistic suspense and blended into a wild ride behind enemy lines where a group of questionable Brits decided to let the Nazis know that not everyone from the little island were gentlemen.

--- --- --- Special shout-out to Cary Elwes (as Brigadier Gubbins), Tim Seyfi (as the German R Boat Captain), James Wilby (as Viscount Algernon), Simon Paisley Day (as Admiral Pound), Babs Olusanmokun (as Heron), Danny Sapani (as Kambili Kalu), and George Asprey (as Commander Hopkirk).

Fallout (2024– )

Consistently Nostalgic Entertainment - Season 1 Review

[7/10 · 20 May 2024]

Capturing the essence of the hit video games from Bethesda Studios, season 1 of "Fallout" wisely didn't stray too far from the original look, feel, and vibe of this iconic and unnerving storyline.

From the threat of nuclear war - something which we're facing today - to the actual manifestation of it, the series delivered on the high notes, or should I say mushroom clouds.

The literal fallout of what would happen to society and civilization in case of nuclear destruction played out in earnest, as first seen through the eyes of the game developers.

Having played the game on PC, and thoroughly enjoying it back in the day, this series made me feel nostalgia and intrigue in equal measure. Intrigue, because there were some subtle yet dramatic liberties, plot-twists, and character modifications. Cold-fusion energy, for instance, was new to the show.

All in all, I was far from disappointed. Though I'm admittedly not a diehard fan of the franchise, I liked the games enough to appreciate what they did with this live-action adaptation - T-60 suits, Pip-Boy wrist-monitors, and all.

The setting was the same as in the original, namely Los Angeles. Post-apocalyptic themes and tropes unravelled with each episode, carried on the backs of amazing performances both inside and outside the underground nuclear bunkers.

An incredible amount of empathy prevailed in the tale, which fast-forwarded 200+ years into the future after LA was nuked. The plot gradually started filling out in earnest, aligning with the game's original vision in beautiful (meant artistically) ways.

Kyle MacLachlan (as Overseer Hank MacLean) had an enviable screen presence. I've been a fan of his work, from "Dune" (1984) to "Desperate Housewives" (2004-2012), so seeing him give another great performance in another Sci-Fi universe was amazing.

Ella Purnell (as Lucy MacLean) was the actual protagonist of this TV series. She did great work, held her own, and established a remarkable character arc. Her evolution from an innocent young vault-citizen to a confident explorer was worth watching.

Moises Arias (as Norm MacLean) was both amusing and mysterious. His work in other projects are worth noting, because only then will you appreciate how nuanced his acting was in this one.

Villainy with purpose... Sarita Choudhury (as Lee Moldaver) brought plenty of outstanding moments to the series. I didn't like the way things ended for her, because I was so looking forward to watching more of her in season 2 "Fallout". The character and the artist brought rebellious brilliance to bear on season 1, though.

Aaron Moten (as Maximus) brought several notable elements to the script. His emphatic acting blended well with his more idiotic moments and lucky turns, making Maximus feel like a true survivor.

Michael Emerson (as Wilzig) was amazing. I adored his work in "Lost" (TV series, 2004-2010). His subtle yet portentous performance was great to see in this one. The Belgian Shepherd dog he'd saved, CX404 (real name Lana 5), was a memorable addition.

Michael Rapaport as Knight Titus was great, despite his brief screentime. His casual cruelty left an impression. I remember seeing Rapaport's online videos and sundry commentaries. He brought a lot of that wit and penchant for sarcasm to his limited role in season 1 of "Fallout".

The Ghoul was my favourite character in the game and Walton Goggins didn't make me change my mind in the latest "Fallout" series when he expertly tackled the role of Cooper Howard. The man became one of the mutant humans called ghouls, with incredibly extended lifespans. He gave a riveting performance, blessed with swagger and suave, that made me enjoy every scene in which he showed up.

"Fallout" season 1 made me admire the game even more, especially how ahead of its time it was. I liked how they sustained a vintage-American playlist, which again was similar to the game in which we could play such songs over the radio on those wrist-bound Pip-Boys.

Despite a few rushed and contrived moments, "Fallout" lived up to its hype and delivered some amazing, and consistently nostalgic, entertainment. All the characters were regaling. The ending of season 1 set the stage for extraordinary things to come.

"Fallout" succeeded in capturing a cinematic vibe and bottled some essential truths, particularly the one that we are all facing today, namely the consequences of war and potential nuclear fallout.

--- --- --- Noteworthy performances from Sarita Choudhury (as Lee Moldaver), Annabel O'Hagan (as Stephanie Harper), Leslie Uggams (as Betty Pearson), Cameron Cowperthwaite (as Monty), Xelia Mendes-Jones (as Dane), Jacinto Taras Riddick (as Cleric Felix), Michael Cristofer (as Elder Cleric Quintus), Mykelti Williamson (as Honcho), Joel Marsh Garland (as Biggie), Michael Abbott Jr. (as a farmer), Jon Daly (as a snake-oil salesman), Bari Hyman (as a Filly vendor), Frances Turner (as Barb Howard), Johnny Pemberton (as Thaddeus), Dave Register (as Chet), Matt Berry (as Mr. Handy / Sebastian Leslie / Snip Snip), Leer Leary (as Davey), Michael Esper (as Bud Askins / Roomba-Brain), Cherien Dabis (as Birdie), Chris Parnell (as Overseer Benjamin), Dallas Goldtooth (as Charles Whiteknife), Glenn Fleshler (as Sorrel Booker), Russell Ewing (as Sheriff Troy), Erik Estrada (as Adam), and Charlie Besso (as Tommy).

The Woman in the Wall (2023–2024)

Both Heartwarming & Heartbreaking

[7/10 · 19 May 2024]

Creepy Catholic secrets and sleepwalking-related twists kept me on the edge of this thrilling Irish TV series set in Kilkinure (Ireland).

With the immensely talented Ruth Wilson in the lead, playing Lorna Brady, the show established a high note from the get-go. Wilson's performance made the script in the mini-series "The Woman in the Wall" feel doubly compelling.

Daryl McCormack as Detective Colman Akande contributed plenty of noteworthy moments to the plot. His calm demeanour belied a sharp cunning. They also wove in some interesting empathy angles for his character that were worth watching.

He himself was an adopted kid, with ties to a Catholic-run adoption agency that was secretly connected to the goings-on at a certain convent (secretly a laundry) where a pregnant Lorna Brady suffered in her younger years under the Sisters Of The Seven Joys.

With Lorna going about committing crimes, apparently, though she never intended to, the early portion of the story took on a glaze of suspense. Her sleepwalking tendencies were rooted in similar challenges faced by actual people, but given a sinister twist in the show.

However, they barely explored the actual origins of Lorna's sleepwalking tendencies. A large portion of the plot was directly entwined with that habit, so to simply imply as to what that chapter in her life was all about felt a tad unusual.

Long-term abuse in the Magdalene Laundries and Lorna's youthful memories of the time she was pregnant and forced to 'hide' her shame in that establishment connected some riveting and heart-breaking dots in the script.

As the story progressed, Lorna was getting no closer to finding her daughter, Agnes, whom the nuns at the Magdalene Laundries had stolen from her. This suspenseful and empathic element grew into crisper focus in the final few episodes.

"The Woman in the Wall" was an interesting exploration of real-life cruelties and the struggles mothers who are put in this kind of position experience.

Missing children, falsified records, odd 'private donations', simple yet elegant twists, and great performances kept the entire mini-series going steady and finishing on a high note.

--- --- --- Great performances from Simon Delaney (as Sgt. Aidan Massey), Cillian Lenaghan (as Conor Skelly), Philippa Dunne (as Niamh), Hilda Fay (as Amy Kane), Abby Fitz (as younger Lorna Brady), Aoife Fitzpatrick (as Tabitha), Ciara Stell (as younger Clemence), Caoimhe Farren (as Clemence), Frances Tomelty (as Sister Eileen), Aoibhinn McGinnity (as younger Sister Eileen), Ardal O'Hanlon (as Dara), Mark Huberman (as Michael Kearney), Alexandra Moloney (as Leslie / Olivia), Chizzy Akudolu (as Lola), Aoife McAtamney (as Brida), Brian Doherty (as Thomas Cochlan), Fiona Bell (as Aoife Cassidy), Barry McGovern (as Dr. Gabriel), and Dominic Anglim (as the 'cruelty man').

Ghostbusters: Frozen Empire (2024)

Ice, Ice, Spooky!

[8/10 · 18 May 2024]

Supernatural nostalgia and haunting-good spooks defined this latest instalment in a most beloved franchise. "Ghostbusters: Frozen Empire" soared in more places than it dipped, delivering appreciable moments especially for fans (like myself) who've been with these characters and stories for a long time.

This time too, the discovery of an ancient artefact ended up unleashing a great evil onto the world. The entity in question aimed to freeze all of New York, and then some.

The supernatural ice that gradually took over the city threatened more than just a chill, it promised extinction. This demon was apparently capable of unleashing a second Ice Age.

The latest "Ghostbusters" movies already established the entry of young players to take over from the old guard. But it came as an enormously pleasant surprise to see that old guard return to action in "Frozen Empire".

It was all I could do not to leap for joy when I saw Dan Aykroyd (as Ray Stantz), Bill Murray as (Peter Venkman), Ernie Hudson (as Winston Zeddemore), and Annie Potts (as Janine Melnitz) come on the scene.

They brought back a bucketload of memories and goosebumpy moments in "Ghostbusters: Frozen Empire". Part of me wished Sigourney Weaver would've been a secret cameo surprise, but alas, that was not to be.

However, Slimer's presence was much appreciated. Seeing the New York City firehouse again gave me an intense burst of nostalgia, too. And rest in peace, Harold Ramis (the OG Egon Spengler), you're still being missed.

The other Spenglers suited up and got into the fray. I enjoyed everything the youngbloods brought to the mix, especially Finn Wolfhard (as Trevor Spengler) and Mckenna Grace (as Phoebe Spengler). Both Paul Rudd (as Gary Grooberson) and Carrie Coon (as Callie Spengler) were engaging in every way.

Emily Alyn Lind (as Melody), James Acaster (as Lars), Patton Oswalt (as Dr. Hubert Wartzki), and Kumail Nanjiani (as Nadeem Razmaadi) were amazing in their respective roles.

The early 1900s 'Manhattan Adventurers Society' flashback was well-detailed. It set an interesting tone in "Frozen Empire" and tied in nicely with how far back the evil in this script went. The prehistoric entity was called Garraka. He soon became a fascinating puzzle-piece in "Frozen Empire".

The ghost-containment tank at the Ghostbusters' iconic Manhattan firehouse was full to the brim. This created an unstable rift to the 'other side', opening the way for all sorts of spooky-scary possibilities.

The existence of a new paranormal research station - thank you, Winston - added to the thrill factor. I loved everything about it. It blended supernatural academia and ghost-hunting passion in a bigger well-equipped place where other Ghostbusters were making multifarious progress.

Spectacular ghost-busting sequences, intense nostalgia, desirable spectre-hunting gadgets, and spooky objects (starting with that inscribed brass sphere) added to the memorable value of this latest instalment in the "Ghostbusters" franchise.

By this point, I'm certain everyone knows who to call in case of spooky spectral supernatural sightings. In my case, though, I'd have called and asked to go with! If this story was anything to go by, the Ghostbusters seem open to new recruits.

The 'For Ivan' gratitude note at the end followed by that expected post-credits scene further enriched this movie. Ivan, for those who don't know, refers to Ivan Reitman, the director of the original 1984 "Ghostbusters" movie that started it all.

--- --- --- Special shout-out to Vinnie Coppola (as an NYC cop), William Atherton (as Mayor Walter Peck), Logan Kim (as a podcaster), and Celeste O'Connor (as Lucky)

Godzilla x Kong: The New Empire (2024)

Krazy Kaiju Extravaganza!

[7/10 · 18 May 2024]

Let me get one thing out of the way... Pink is the highest energy wavelength, meaning Godzilla was at his most powerful in that scene with Kong.

Now for the review... "Godzilla x Kong: The New Empire" took great liberties to tell a story that felt like a typical take on what this captivating franchise is known for.

If you believed, at any point, that something looked non-credible or felt silly, then you haven't seen some of the classic-era movies featuring Godzilla.

This mutated radioactive lizard has had his good, bad, and crazy days in movie-land, so watching him pull a few weird moves in "Godzilla x Kong" didn't come across as altogether strange.

Much the same could be said of Kong who was essentially a smart kaiju-gorilla who managed to survive in conditions that no human ever could. With all we know so far about his journey, Kong has a bizarrely balanced intellect. Just short of speaking, he seems capable of higher thought, something I saw a lot of in this movie as well.

Not only did "New Empire" live up to its name, it captured iconic kaiju-grade team-ups between Godzilla and Kong. And it didn't stop there! Even Mothra came on the scene and delivered some goosebumpy thrills.

A prophecy connecting Skull Island manifested through Jia, the last of the tribe that once lived there. She reawakened kaiju-Mothra who was key to helping Kong and Godzilla realize their joint-guardianship potential.

The Sci-Fi plot next saw Godzilla and Kong teaming up to take on a ruthless foe, the ape-chief known as the Scar King. He was part of Kong's species but not as keen on co-existence. The back-stories were engaging in this regard.

Some hitherto unknown secrets cropped up in the story. There were some intriguing connections that linked the Scar King, Godzilla, and Kong in ways that were primal and memorable.

They also went a step beyond Hollow Earth and showcased a previously uncharted sub-subterranean realm. The Iwi Tribe (an unknown prehistoric human civilization) soon became another thrilling addon to the script, not to forget other apes similar to Kong - who, up to this point, was the last of his kind.

Monarch too played a vital role in the movie, one that made me see them in a new light. They continued to monitor all things anomalous, especially in regard to keeping Kong and Godzilla's paths from crossing. Then there was that outstanding freeze-powered Shimo titan!

Territorial battles were still in focus, implying how the kaijus in question were more attuned to their animal instincts than anything genuinely evolutionary.

I loved all the creature designs in the movie. They deserve their own bestiary - book merch recommendation. Speaking of books, John Scalzi's 2022 novel "The Kaiju Preservation Society" contained so many unforgettable moments, similarities to which I enjoyed watching in "Godzilla x Kong".

The movie retained the idea of using Kong to go up against various monsters that threatened human existence. This was not new in "The New Empire", but a trope that has been covered before in the franchise.

Like I stated before, this monster-verse took plenty of liberties to create a pop-culture mashup for the fans. They also catered to the conspiracy nerds in the crowd when they explored a variety of Hollow Earth sequences.

In a lot of ways, "Godzilla x Kong: The New Empire" was both an extinction warning and an origin story. Ironically, it took two giant monsters that could've ended us all and made them save us instead.

Plenty of other noteworthy moments, glazed with extraordinary CGI and garnished with generous action sequences, made "Godzilla x Kong: The New Empire" a triumph in Fantasy-SciFi entertainment.

Nobody in their right minds can call this a strictly credible plotline, but credibility is not why we root for a giant radioactive reptile that once had a fondness for destroying half of Tokyo but has since taken his travel plans global.

As for Kong, even he'd have been surprised if someone told him he'd finally leave that dang island and go see the world - only to end up inside it.

"Godzilla x Kong: The New Empire" was an anthropomorphized crossover-style extravaganza that captured numerous nuanced bits and bobs that have rendered its iconic kaijus famous among fandoms all over the world.

In this monster-verse, they took a super-intense duo and let them indulge in a super-insane duet, with other dancers contributing their own jigs in a show that was literally too big for Broadway.

--- --- --- Noteworthy performances and contributions by the humans: Rebecca Hall (as Ilene Andrews), Ron Smyck (as Harris), Rachel House (as Hampton), Kaylee Hottle (as Jia), Brian Tyree Henry (as Bernie Hayes; timely hilarity), and Dan Stevens (as Trapper; weird heroics).

La Chimera (2023)

Cinematic Beauty Meets Grave Robbery

[9/10 · 17 May 2024]

This movie gave me intense nostalgia, mainly because I recall the time I wanted to study archaeology and pursue a career in it. "La Chimera" took me down the dark lanes of that academic pursuit.

The story was set in the 80s and riddled with subtextual elements that evoked real-life truths and facts about what goes on within this seemingly ordinary field when nobody is watching.

Most of us are aware of rare or precious artefacts being smuggled through black markets. In "La Chimera", that very idea became the focus of the plot.

They also highlighted the use of a common folk-origin technique called dowsing, which helps the seemingly skilled dowser find buried treasure; not necessarily of the metallic kind.

The story - told mostly in Italian, with some English - explored a fictional take on how historical artefacts made their way through illegal circles and how a handful of archaeologists dug up all sorts of lies to cater to the underground demand.

Josh O'Connor's performance as Arthur was engaging to a fault. He became the cynosure of every scene in which he featured. As the story progressed, his natural charm and nuanced emotiveness wrapped him in an aura of intrigue with a splash of repressed rage.

Vincenzo Nemolato as Pirro was amazing. He soon became one of the most engaging characters in this movie, which was already packed with them. Between his casual comedy and sharp wit, Pirro served as the brotherly heart of this story in more ways than one.

Carol Duarte as Italia was a breath of fresh air. She was so natural in every scene, lending her character innocence, cunning, and bravery in equal measure. Her budding romance with Arthur was beautiful to watch.

Arthur and his "tombaroli" went about their work with vim and vigour in this script. It was hard not to admire the hard work they put into such thievery. Then again, it was hard to accept it as correct, either.

A bard (or cantastorie, played by Valentino Santagati) gave a rousing rendition of what their work was all about. His verses defined the motives of the core characters in interesting ways. One of them went something like this: "What's the point of judging them. The 'tombaroli' are just a drop in the ocean." In addition to a semi-comedic tale that captured real truths, "La Chimera" was a lesson in cinematic excellence. Its flow was almost poetic, for lack of a different word. The movie also captured old-school vibes without coming across as old; if that makes sense.

The Ariadne's Thread symbolism near the finale was a nice touch, in keeping with some of the themes in this movie. Arthur's labyrinthine circumstances at the time made it feel deeply meaningful.

I personally think Arthur died in that subterranean space and joined his dead lover in classic Greek-poetic fashion. But the ending remains open to interpretation nonetheless.

"La Chimera" felt like a stark reminder of how much history the world has lost up to this point in time, all because of the handiwork of tomb raiders like Arthur and his gang.

The plot also reminded me of why exactly they do what they do, and it was mainly to get out of poverty due to a lack of legal employment opportunities; for some of them anyway.

A distinct thread of ill-gotten ambition coupled with grave robbery and tomb raiding elevated "La Chimera" into a movie that was genuinely a chimaera in its own right. It showcased the way so many things happen at once to create a 'monstrous' scenario that promised to end badly for everyone involved.

--- --- --- Some captivating performances from Isabella Rossellini (as Flora), Lou Roy-Lecollinet (as Melodie), and Luciano Vergaro (as Katir).

Arcadian (2024)

A Sloppy Story, Randomly Told

[5/10 · 17 May 2024]

A family of three and a farmhouse-y countryside that became ground zero for a strange unexplainable event defined "Arcadian".

A father and his two sons seemed to have a lot on their hands at this isolated place set in a dystopian future, but it was what came after the sun went down that truly made them worry.

An unoriginal story was thus given life by the powerhouse talents of Nicolas Cage as the father, Paul. Sadly, they made THE Nic Cage sleep through most of the movie.

Along with his teenage sons Joseph and Thomas, played notably well by Jaeden Martell and Maxwell Jenkins, resp., "Arcadian" delivered okay one-off entertainment, but without any relevant back-story.

Its suspense levels were ruined as the plot progressed. Contrived moments and convenient inserts did this movie few favours.

But the characterisation - though their motives were all over the place - made me curious to know what would become of this family, especially whether or not they would survive the nocturnal monsters that were at the heart of this plot.

Speaking of which, the biggest disappointments in "Arcadian" were the supernatural beasts whose presence was duly communicated in the poster, trailer, and marketing promos.

However, the creatures were far from credible in the movie itself, affecting the single most important element that could've ensured the success of this script. It felt like a copy-paste hackjob of different yesteryear movie monsters but with none of the fear factor.

Moreover, the thing was so heavily contrived it didn't feel compelling or scary enough to align with the standards of such a movie within such a genre.

Imagine children's drawings merged with improvised shapes and given misplaced abilities. It should have been amazing, but wasn't.

That said, natural performances and average suspense added a little something to this movie's worth-watching factor.

Though they took their time playing with random ideas, "Arcadian" also revealed some dark possibilities - which had sinister modern-day parallels - which kept me intrigued.

But the sheer randomness of the plotline made the whole affair feel sloppy and rushed.

--- --- --- Special shout-out to Sadie Soverall, who did good work as Charlotte. Her sense of vulnerable confusion brought good contrast.

Wicked Little Letters (2023)

Scandal Meets Sensibility

[8/10 · 16 May 2024]

British comedy set in the 1920s, based on true events, and with a subversive yet sensible twist? Count me in!

"Wicked Little Letters" delivered hilarity and lip-sealing shocks in good measure. What made the movie even more admirable was how casual and compelling they made some of the scenes seem, which would've otherwise come across as crass.

The devil was in the vulgar details, making "Wicked Little Letters" one of the finest British comedies to grace (or rather, disgrace) this year. More than a few scenes made me laugh out loud or thump the armrest of my chair.

Between Olivia Colman (as Edith Swan) and Jessie Buckley (as Rose Gooding), every scene took on a life of its own. The story may have been straightforward, even a tad unoriginal, but that wasn't to say it was mundane.

Unpredictability was the name of this letter-game. I didn't know what was going to happen next. They added intensity upon intrigue, and delivered answers where needed.

The 1920s setting was perfect for this story mainly because the very idea of profanity being heaped on someone so callously as through those postal letters was severely frowned upon then. People do it all the time online these days, but back then it was a punishable offence to give offence.

Edith was the conservative local and Rose was the Irish migrant. Suffice to say, the blame game was one-sided. After a point, everyone started getting them wicked letters and the proverbial brown stuff hit the fan.

The known potty-mouth Rose Gooding saw her case going national. An investigation belatedly (and unofficially) got underway. Noone was ready for who the police discovered to be the actual perpetrator of the crime.

Though they intentionally revealed the 'whodunnit' part, they way the story progressed kept me glued to the edge of my seat wanting to know how it would all end, and if justice would ever be served.

Some choice secrets came to light during Rose's trial, adding fuel to an already scandalous fire in Littlehampton. The way they lent the actual letter-writer a broken psyche induced by years of emotional abuse and quiet neglect was the cherry on this witty cake.

Suffice to say, the movie proved to be a remarkable study of human behaviour. It reminded society how we still hold women up to different standards compared to men. It showcased that and more in a provocative but meaningful light.

"Wicked Little Letters" was a powerfully funny movie rife with subtext value and modern parallels. It presented all-too-human flaws in ways that were laudable and laughable.

--- --- --- Well-timed performances from Timothy Spall (as Edward Swan), Gemma Jones (as Victoria Swan), Anjana Vasan (as Constable Gladys Moss), Hugh Skinner (as Constable Papperwick), and Lolly Adefope (as Kate). Eileen Atkins (as Mabel), Joanna Scanlan (as Ann), Malachi Kirby (as Bill), Jason Watkins (as Mr. Treading), and Richard Goulding (as Mr. Scales) kept this crazy joyride going.

Baghead (2023)

Surprisingly Gripping /w A Killer Finale

[7/10 · 16 May 2024]

The story in "Baghead" was riveting despite it using more than a few clichéd formulas. The horror genre has given us too many such tropes, which made me wonder if I'd actually like this movie. But it ended up being an entertaining horror flick.

A young woman estranged from her father later found out he was dead. She inherited some of his estate, which included an abandoned pub called The Queen's Head. As if that wasn't macabre enough, the establishment wasn't home to liquor-loving patrons anymore, but a certain female entity kept locked away in the basement.

The creature apparently tricked and ended the father. But the burden of keeping the world safe from its rage soon fell to the daughter who was far from prepared for such an ordeal.

After all, this entity could shape-shift into the people one lost and let them hold a conversation with the departed as if they'd never died in the first place.

The father Owen Lark had an extremely short runtime on-screen. But Peter Mullan gave him some nice gravitas where needed, especially in the cassette-record, vivid-dream, and flashback sequences.

The daughter Iris Lark was played wonderfully by Freya Allan. I loved her work in The Witcher series, so it was a no-brainer for me to see what she did in "Baghead". She held a consistently empathic presence on screen.

Kudos to makeup and practical effects, especially in connection with Anne Müller's arresting performance as Baghead. Her captivating back-story added to the character's worth and appeal.

At first, tropes like the sudden inheritance of wealth and characters paying above and beyond just to say goodbye to a shape-shifted version of their loved ones made the story feel non-compelling.

Moreover, they could've explored the angle which established the fictional fact of souls waiting to move on and how the Baghead entity could channel them in order to give closure to their loved ones. Alas, the abrupt and implied use of that concept didn't sit well with me.

But near the finale, they wrapped it all up rather nicely and gave valid reasons as to how the entity finally won its freedom. As I stated earlier, the plot rested on a foundation of clichés but somehow continued to captivate.

Those last few minutes redeemed the "Baghead" movie in my eyes and made me feel that it was an oddly under-rated tale. I would, in all honesty, welcome a sequel.

--- --- --- Memorable performances from Ruby Barker (as Katie), Jeremy Irvine (as Neil), Svenja Jung (as Sarah), Julika Jenkins (as Neil's mother), and Felix Römer (as Otto Vogler).

Abigail (2024)

A Lush Thrill Worth Branching Out

[7/10 · 14 May 2024]

As vampire movies go, particularly ones where the fanged entity in question hunts hapless humans, "Abigail" felt at first like it was going to be a familiar over-stereotyped movie.

However, from the moment they revealed the titular character to be an actual vampira, to the part where her potential money-hungry kidnappers received a bloody lesson in babysitting, this movie took off and delivered fine thrills and twists.

It was an altogether simple story where the real chills centered around Abigail's outstanding fight choreo and the instinctive fear experienced by the human characters.

Alisha Weir did outstanding work bringing Abigail to life. Despite her youth, she carried herself with professional comportment, which was distinctly visible in the way her scenes played out.

I was pleasantly surprised to see Kathryn Newton (as Sammy) and Dan Stevens (as Frank). I have enjoyed watching their work over the years, so to see them in this movie was fun. Dan Stevens certainly stepped up to the mark when the time came.

Kevin Durand (as Peter) and Giancarlo Esposito (as Lambert) contributed noteworthy moments that highlighted their respective acting styles.

Melissa Barrera (as Joey), William Catlett (as Rickles), and Angus Cloud (as Dean) were pivotal. Much of the character-driven suspense revolved around those three. Special note: rest in peace, Angus Cloud, you live on through your work.

And then there was Matthew Goode, whom I did not expect to see in the role of an underworld mob boss, alias Christof Lazar, real name Dracula. The way he portrayed The Count in the few minutes he was on screen made me secretly wish they create an entire Dracula script with him in the lead.

The story in "Abigail" was far from original. But it somehow managed to entertain, amuse, and scare in good measure. The $50 million ransom was nothing compared to the fact that the 12yo they kidnapped was underworld kingpin Christof Lazar's right-hand, alias Valdez.

The daughter of Dracula was riveting and compelling. The impossibly immortal ballerina-vampire was originally turned by Dracula and she later (much later) served as his 'hitman' Valdez whose bloody reputation made it seem like he were a man.

"Abigail" was a classic case where plotlines heavily depended on situations going from bad to worse. In this case, the kidnappers received a good dance lesson in what might potentially come after 'worse'. Let's just state, it would be a bloody waste not to greenlight a sequel.

3 Body Problem (2024– )

A Stellar Portrayal Of Science Threatened - Season 1 Review

[8/10 · 13 May 2024]

From contentious China in the 60s to modern times, a deep and incomprehensible scientific truth became the focus of "3 Body Problem" season one. A major extinction-level threat was incoming, and it was up to a handful of scientists to go where their own science feared to tread.

Particle Physics wasn't functioning like it was 'supposed' to. Select experiments all over the world were showing results that went against prominent theoretical models for those self-same tests. This created divisions and tensions among varied scientists as to what it all implied for the future of humankind.

As complex as it all was, season 1 delivered great suspense and kept me on the edge of my seat, wanting to know more about what was going on, and where things would go.

The story was adapted from Cixin Liu's novels after the same name, making me want to add the books to my reading list.

The many characters in "3 Body Problem" slowly and unwittingly created a web that linked most of them to the problem in question. I thought that was outstanding screenplay, one that distinguished this show from most others like it.

All the artists did great work bringing their respective characters to life. The cast genuinely felt entwined with the script. Removing one or more of them would have unravelled the plot and done it no justice.

Strange futuristic VR headsets, a LED-style timer that appeared in the middle of the air to some people, scientists being targeted for reasons and causes unknown, inexplicable suicides, and an extensive hidden web connecting all these seemingly disparate elements into a cohesive possibility... "3 Body Problem" genuinely took storytelling to weird heights without compromising entertainment value. Though some of the relationships and romances weren't compelling enough, the series managed to check off several different boxes.

So much of this storyline tied in with the long-standing Simulation Theory and its myriad hypothetical possibilities. There was also an admirable underlayer pertaining to conservation, preservation, and balance that set a good tone throughout the series. The not-so-subtle concept of using VR to bring together some of the brightest scientific minds enriched the subtext and actual plotline of "3 Body Problem".

The title had something interesting to do with how three solar bodies could be influencing 'chaotic' and 'stable' eras in varied timelines, thereby directly affecting different civilizations - within the VR-based game, at any rate.

Each 'player' had to be exclusively invited, at which point a box containing the VR headset would be delivered to their doorstep, sender unknown.

The so-called game brought together random players with familiar in-game scientist names. I wish they explored this angle some more, because some of it came across as abrupt.

The Science-Fiction logic and Fantasy-based creativity that defined the incoming aliens' plan was compelling in ways that have to be seen to be appreciated. This was the core make-or-break factor in "3 Body Problem", and they made it work.

What I didn't like about the series was how much time they wasted catering to human vanity and weak-empathy instead of focusing on the bigger picture.

In light of a species-wide extinction event - even one that was coming only hundreds of years later, as light travel dictated - it was strange to see some of the core characters standing vehemently opposed to instances where the ends truly would justify the means and where the loss of a few to save many would genuinely matter.

Anyway, "3 Body Problem" delivered a good dose of emphatic suspense. It took a potential 'aliens may not be our friends' scenario and made it seem credible, which was a big win for a series like this in a genre that's been tweaking that very angle for decades.

Season 2 has plenty of room to deliver some high-octane shock-n-awe value. The elegant finale in "3 Body Problem" S01 has left me eager to know what our intrepid 'bugs' aim to do next.

Divinity (2023)

Extraordinary Experimental Dive Into A Mad Alternaverse

[8/10 · 11 May 2024]

Science-Fiction storytelling is not dead, as evidenced by "Divinity". This movie took an old-school B&W approach that only added to the classic Sci-Fi and erotica vibes contained in this script.

The search for immortality, a hostage situation that gradually turned worse, and some intriguing 'a-ha' moments all added to the thrills and frills in this ingenious movie.

There was nothing altogether normal or natural about this story. It was set in an alternate timeline where a similar but stranger sort of human society prevailed, one defined by its desperate need to stay young and virile.

The 'Divinity' in the title refers to the immortality serum created by one Dr. Sterling Pierce, the scientist whose legacy was propagated by his son Jaxxon Pierce. Both Scott Bakula and Stephen Dorff gave riveting performances as father and son, respectively.

But the real focus was on Star (plural), both of whom were enlivened by Moises Arias and Jason Genao, resp. These non-human, almost angelic or extra-terrestrial, entities helped elevate the madness brewing in this multi-meaningful script, which was rife with subtext and sensation in equal measure.

Karrueche Tran (as Nikita) and Bella Thorne (as Ziva) contributed essential bits to this highly experimental script. Their decisions lent their characters credit and added to the subtext-rich nature of the story.

Featuring a world that became a slave to the Divinity drug, this story felt like a more obsessed version of our own present reality, only with added craziness denoting just how low they'd fallen.

However, with some people's ongoing desperation with de-aging, some of the plot elements in this movie didn't feel too alien. Our world too is getting closer to some of the settings in this story, and not everyone is going to be on the 'chosen' train if such a time comes.

Odd alliances and curious back-stories further enriched "Divinity" and lent it all the room it needed to present various subtle twists and turns, something the Sci-Fi genre does better than most.

The foetal source of the immortality compound added a horrific layer of truth to the mix. And that 'tree-birth' scene in the finale, which for one second turned the movie from black-n-white to colour, brought its own layer of meaning to the entire script.

"Divinity" crisply showcased a potent lesson: living forever doesn't necessarily mean living well.

--- --- --- Special shout-out to Thomas Hildreth (as Tavis) and Michael O'Hearn (as Rip Pierce).

Late Night with the Devil (2023)

Gripping Mindfuc*ery

[9/10 · 11 May 2024]

Set in the late 70s, this intricately nuanced horror movie took a simple TV live-broadcast during Halloween and made it seem terrifying. That demonic possession might take place through our television screens became the silent promise of this story.

In this regard, the subliminal-messaging subtext grew more prominent as the movie progressed. But that aside, the actual horror at the heart of this story made "Late Night with the Devil" a masterpiece in chilling storytelling.

As the writers, directors, and editors of this movie, Cameron Cairnes and Colin Cairnes deserve equal praise and a world of appreciation for bringing something nostalgic yet new to the genre.

David Dastmalchian as Jack Delroy carried himself with such riveting excellence that each scene in which he featured felt portentous and promising. He was so in-character that it became a challenge not to admire his acting, in this and previous movies. Clearly, I'm a fan.

Laura Gordon (as Dr. June Ross-Mitchell) provided noteworthy contrast. As for the possessed girl Lilly, Ingrid Torelli did amazing work.

As Jack's wife, Georgina Haig (playing Madeleine Piper) was great. As his colleague, Rhys Auteri (playing Gus McConnell) was outstandingly memorable.

Fayssal Bazzi (as Christou, the spooky psychic) and Ian Bliss (as Carmichael Haig, the sceptic) both gave well-layered performances that called to mind some classic tricks and truths of old.

The way this script tackled the delusional power of herd instinct was admirable. Even today, so much of society gets easily influenced by what they see on their phones or computer screens.

This tied in nicely with the 70s-American-TV settings in this movie. Everything about the 'Night Owls with Jack Delroy' talk show was detailed and evocative. "Late Night with the Devil" created immersive time-jump storytelling that was wonderful and creepy to watch.

I liked how they mentioned the conspiratorial Bohemian Grove in this movie. If you haven't yet heard about that place in the USA, I suggest you steel yourself and go read all about it online, from reasonably reliable sources.

The twist near the end of the movie was where the real scare lay in store. It made "Late Night with the Devil" a genuine classic-style horror movie deserving of more than just TV-audience applause.

--- --- --- Special shout-out to Michael Ironside (as the narrator), John Leary (as Barry, the audience member), Josh Quong Tart (as Leo Fiske), and Steve Mouzakis (as Szandor D'Abo).

He Went That Way (2023)

Slow-Burn Suspenseful

[8/10 · 4 May 2024]

Between its slow pace and relatively isolated settings, "He Went That Way" didn't at first feel like a movie worth watching. But as time went, this 60s serial-killer story - based on real events - grew thick with suspense and made me want to know how it would all end.

Two men found themselves going in the same direction. A seemingly hapless entrepreneur and animal trainer named Jim - played exceptionally well by Zachary Quinto - ended up accepting a hitchhiker named Bobby - played intriguingly by Jacob Elordi.

And then there was the chimp. Called Spanky, the ape was apparently a TV star, but he and his owner were down on their luck. Neither Jim nor his trained companion initially knew that Bobby was a serial killer and thief who had already (presumably; in this movie) ended the lives of numerous people.

Just these three characters were the main focus of the entire movie. They were on the road and driving to Chicago. But somewhere along the way, truths revealed themselves and the proverbial brown stuff hit the fan.

Disturbed delinquent Bobby held Jim and Spanky hostage and didn't really know what to do with them, especially after spending all that time with the duo on the road. These portions were strangely emotional and portentous.

The script was simple and balanced by natural and nuanced performances from Quinto and Elordi. Their pitstops along the way brought a handful of characters onto the scene, each of whom did good work.

The story was set in the 60s, around the same time Elordi's real-life counterpart was going around killing people in the United States. In actual history, Larry Ranes was the murderer who'd inadvertently ended up meeting and driving with animal trainer Dave Pitts.

Quinto played Pitts and Elordi enlivened Ranes. The contrast between the two characters was elegantly balanced by the chimpanzee - who was played memorably by Phoenix Notary in an animatronic costume. She also happened to be the little girl who was smoking at one of Jim and Bobby's pitstops.

As the story progressed, some strange shade of Stockholm's Syndrome seemed to be unravelling. This only added to the enigma, especially after all those times Jim barely made any serious effort to alert people to Bobby's true nature.

"He Went That Way" was certainly not one of those movies that would've gotten everyone talking. But it managed to deliver decent entertainment and mild suspense, which gradually drove toward a memorable finale that was well worth the wait.

--- --- --- Special shout-out to Christopher Guyton (as the gas station attendant), Troy Evans (as the motel desk clerk), Patrick J. Adams (as Saul), and Roman Arabia (as a car mechanic).

Dead Boy Detectives (2024– )

Equally Engaging & Entertaining - Season 1 Review

[8/10 · 3 May 2024]

Right from the start, this masterpiece from the minds of Neil Gaiman and Matt Wagner set a memorable mark. In keeping with the title, the show portrayed two actual dead boys starting their own supernatural investigation enterprise exclusively for spectral clients, and I was all for it.

George Rexstrew (as Edwin Paine) and Jayden Revri (as Charles Rowland) were the souls (emphasis on the word) of this series. They had great chemistry on-screen and together created a contrasting inter-character friendship and partnership worth watching.

The way they went about solving demonic and ghostly cases on behalf of other-worldly clients while also trying to evade or avoid Death (played by Kirby) was intriguing and entertaining.

Intriguing, because Kirby even played Death in The Sandman series; also from Neil Gaiman. I have a feeling some nice multi-verse action is going on with these stories.

The involvement of a human psychic named Crystal Palace (played superbly by Kassius Nelson) - not to mention a range of interesting supporting characters, both living and otherwise - added to the mystery and fun in the series.

I loved everything the witch Esther Finch brought to the series. Jenn Lyon was brilliant in the role. Her crow-familiar-turned-human Monty also did good work. Joshua Colley was as deceptive as he was sinuous.

The human Briana Cuoco, played exceptionally well by Jenny Green, worked as a butcher but soon served as a friend and liaison to Crystal and Niko.

Speaking of whom, Niko Sasaki was another notable character to watch. Yuyu Kitamura did good work bringing this character - and her heart-breaking innocence - to life.

Ruth Connell (as the night nurse of the after-life's lost and found dept.) was a welcome surprise. I loved her work in the hit TV series "Supernatural" (of which I'm a fan) and to see her pull off a similar yet distinct character in "Dead Boy Detectives" was both nostalgic and entertaining.

Lukas Gage (as the Cat King) was as curious as he was creepy. David Iacono (as David the Demon) was a mysterious character whose charm belied his propensity for evil.

A little Sherlock Holmes and a dash of Hardy Boys defined the style of "Dead Boy Detectives". It had a few familiar tropes, but that's to be expected (and welcome) in such stories, which Neil Gaiman first published in the early 2000s (with other instalments coming into print over the years since).

The extensive promise and potential of "Dead Boy Detectives" can't be stressed enough. Along with The Sandman, it looks like Neil Gaiman and team have another brilliant jewel whose many facets of storytelling deserve to be explored, starting with that satisfying cliffhanger in season one.

--- --- --- Admirable performances from Michael Beach (as Mick), Caitlin Reilly (as Litty), Max Jenkins (as Kingham), Miguel Castillo (as the ghost with a migraine), Mary Ann Welshans (as the after-life notary), Jason Deline (as Brandon Devlin), BJ Harrison (as Asha), Lindsey Gort (as Maxine), Mya Lowe (as Maren), Harrison Houde (as Richie), Sarah Desjardins (as Shelby), Cheech Manohar (as Kashi), Miranda Edwards (as Iris), Donna Preston (as Despair), Gabriel Drake (as Simon), and Tamlyn Tomita (as the after-life higher-exec).

Monkey Man (2024)

Spectacularly Empathic Work of Action-Art

[9/10 · 30 April 2024]

I would hate comparing this movie to the John Wick or Karate Kid franchises, mainly because I admire the sheer attention to character-motive detail that Dev Patel created in "Monkey Man".

Unlike Wick, Kid was after justice years after a man dishonoured and murdered his mother Neela (played memorably by Adithi Kalkunte). It was a deeply empathic storyline that made his vengeful spree feel like a classic underdog story for modern audiences to root for.

More than this, "Monkey Man" was also about how Kid's actions thwarted the ongoing corruption in high circles, particularly by so-called 'god men' and land-grabbing policemen who oppressed and victimized the under-privileged, abusing their power to gain wealth for themselves. A lot of this is still happening in India.

There was much to appreciate in this movie aside from the action choreography, which itself was sublime.

The illegal wrestling matches were riveting to see. They not only featured Kid as the titular Monkey Man, but there were also popular Indian and desi character references via names like King Kobra, Sher Khan (both played by Brahim Chab) and Bhalu (played by Max Yanto). The auto-rickshaw chase scene was just as intense.

Also, the way Kid fought was not like a professional, just an average guy who was no stranger to fights. His bare-basic wrestling knowledge was all he had, making it seem like Kid could be any one of us, given the circumstances.

Some failures followed by fate and added training led to him becoming a compelling combative force who returned to his mission of seeking justice for his deceased mother. The contrast between Kid's earlier failure and his later triumphant comeback was spectacular.

The money-hungry Tiger, played by Sharlto Copley, was an amazing addition to the roster. His presence and line-deliveries were engaging. Pitobash as Alphonso added to the dastardly elements in this movie. His performance was noteworthy on multiple levels.

Ashwini Kalsekar as Queenie Kapoor was a 'queen' among villains. She was so casually ruthless, and made cruelty seem like an everyday transaction. I loved watching what they did with this character, who was responsible for helping evil men hold on to power, not to forget serving as an enabler to get them what they wanted at the cost of human innocence.

One of Queenie's top-tier clients was police chief Rana Singh, played exceptionally well by Sikandar Kher. Rana was the man whom Kid wanted to kill for what he did to Neela.

But the biggest-bad in this movie was the self-titled 'god man' Baba Shakti. Playing this divisive and at times satirical character was Makrand Deshpande, who lent great weight to all his scenes.

A pleasant surprise in this movie was when Zakir Hussain came on the scene, playing himself, namely the tabla maestro. As for the trans-woman Alpha, Vipin Sharma gave a simple yet significant performance worth appreciating.

One of the most surprising scenes in this movie was when a downtrodden transgender community helped storm the building where Kid was headed to face off against Rana and anyone else who stood in his way. The earlier scenes featuring them giving Kid shelter came full circle in many ways, enriching the gravitas of this plot.

As director, writer, and lead actor, Dev Patel has earned my respect and admiration for his work in "Monkey Man", which at times evoked the principles and power of the Indian god Hanuman/Anjaneyar.

This deity is renowned for not just his strength and will, but also his compassion, devotion, and sense of duty to Lord Ram. In this light, the way Kid went about establishing justice through force of body and mind was a nuanced reminder of the many battles Hanuman fought to ensure good triumphed over evil.

"Monkey Man" was proof that great storytelling can comfortably sit alongside great action. Even with all the hype and praise that has surrounded this movie since its release, I still believe it is under-rated and not celebrated enough.

I sat through two hours of bloody-good entertainment, where noir met cyberpunk topped off with Indian flavours. As inspiring as it was bold, "Monkey Man" contained a wealth of thrills and chills. It was thoroughly enjoyable and, dare I say, flawless.

Sleeping Dogs (2024)

Elegant, With An Unpredictable Twist

[7/10 · 29 April 2024]

I can't imagine what memory loss would feel like to a former cop, and a homicide detective at that. Adapted from E. O. Chirovici's novel "The Book of Mirrors", this movie soon took on a life of its own, breathed in large part by Russell Crowe.

Subtle performances and attentive characterisation defined the "Sleeping Dogs" movie. It gradually became a nightmarish nostalgia trip for Crowe's character Roy Freeman, who'd retired after suffering from severe memory loss.

But a case from his past and his past itself both came back to torment him. "Sleeping Dogs" contained an arresting story, rife with suspense, betrayal, experimental meds, and well-timed revelations.

Returning to an earlier case meant Roy reconnecting with so much that was lost along with his brain's ability to process memories. He soon found himself working with his old partner Jimmy Remis (played notably by Tommy Flanagan).

Between Roy's inability to recall and the many loose ends he discovered in the 10+ year old case, "Sleeping Dogs" began to live up to the phrase it emulated. Roy ended up not letting sleeping dogs lie.

The plot picked up in earnest and demanded my full attention as I tried to piece together what happened in the case involving death-row inmate Isaac Samuel (played by Pacharo Mzembe) and the detectives who'd gotten his confession to a murder he seemingly hadn't committed.

Richard Finn, later found deceased, became the hub around which a lot of clues revolved. Harry Greenwood did good work bringing this character to life, so to speak, and connecting some clever dots to the murder which sent Isaac away.

The portions that featured Karen Gillan (as Laura Baines / Elizabeth Westlake) were intriguing. Though she only came and went every now and again, she played a potent role in this story. Her interactions with Dr. Joseph Wieder (played with Marton Csokas) raised plenty of suspicions.

But nothing was as it seemed in "Sleeping Dogs". The story was slow-paced but exceedingly clever. As detective movies go, this one had a curious gravitas that made it seem like it followed a typical genre formula but with just the right amount of creative differences to make it come across as deeply suspenseful.

"Sleeping Dogs" was one of those movies where the clues were hidden in plain sight but you'd never really guess the cause-consequence angle until the plot itself revealed them.

--- --- --- Adding to the engaging performances in the movie were Thomas M. Wright (as Wayne Devereaux), Elizabeth Blackmore (as Dana Finn), Simon Maiden (as Eddie Finn), Kelly Greyson (as Emily Dietz), Lynn Gilmartin (as Diane Lynch), and Paula Arundell (as Susan Avery).

The Three Musketeers - Part II: Milady (2023)

Intense Intricacy

[8/10 · 28 April 2024]

After being highly impressed with the first instalment, I found myself eagerly awaiting "The Three Musketeers - Part II: Milady".

It was far from average. In fact they upped the ante and delivered a plot that, though it took plenty of liberties from Alexandre Dumas' original, still managed to convey the core essence of this outstanding tale which has stood the test of time.

The French-language movie "The Three Musketeers: Milady" contained high-octane action, royal court intrigue, and a stunning twist that I'm still surprised I didn't see coming.

Exceptionally characterised and meticulously dramatized, this story and its timeless characters deserve a third round, but I'm not sure how much further the team can go after already having exhausted so much of the source material.

Set in the 1600s and capturing much of the core essence of that era, the movie made plenty of admirable creative decisions to tell the iconic tale of the titular three musketeers, who were later joined by a fourth.

Vincent Cassel as Athos, Pio Marmaï as Porthos, Romain Duris as Aramis, and François Civil as D'Artagnan gave riveting performances that were natural and compelling. They were real and un-glamourized, which was what made these characters seem credible.

As for Milady de Winter herself, Eva Green did more than simply hide in the shadows this time. She went all in and delivered a handful of laudable action sequences. Her empathy scenes were equally noteworthy.

The movie's fight choreography had a flair for old-school single-takes, which I adored watching in "Part 2: Milady". Everything about a brewing war, horses, vengeance arcs, intense romances... They all screamed France; historically.

A missing lover, a royal coup, dangerous secrets, deceptive politics, old flames, older pains... Intricacy met suspense in "The Three Musketeers - Part II: Milady" and bloomed into captivation.

This second part was somehow better than the first, which I remember thoroughly enjoying. As this movie kept going, the story genuinely felt like it captured an authentic slice of French history when in fact it was all good fiction.

Eagerly do I wait for news of part three. I don't think I'd mind if they went off-book (literally) to finish telling this curiously clever cinematic version featuring the lives and times of four of literature's most famous musketeers, and a certain spy who was also a mother.

--- --- --- Some remarkable performances by Julien Frison (as Gaston de France), Louis Garrel (as Louis XIII), Jacob Fortune-Lloyd (as Duc de Buckingham), Lyna Khoudri (as Constance Bonacieux), Ivan Franek (as Ardenza), Eric Ruf (as Le cardinal de Richelieu), Marc Barbé (as Le capitaine de Tréville), Patrick Mille (as Le comte de Chalais), Camille Rutherford (as Mathilde), and Ralph Amoussou (as Idris "Hannibal" Aniba).

The Clearing (2023)

Exceptionally Intriguing

[8/10 · 27 April 2024]

A secret cult, missing children, and one woman's attempts to connect the dots before it was too late. These and other intriguing elements defined "The Clearing", which was adapted from J. P. Pomare's novel "In The Clearing" (published, 2019).

Set in the 80s (and spanning the 60s-70s), the story was inspired by true events surrounding a cult known simply as The Family, which operated in secret somewhere in Victoria, Australia.

Their life involved dispensing spiritual practices, a touch of drugs on the side, and an unhealthy manipulation of children's innocence. Suffice to say, none of their decisions aligned with morality and had more to do with profit and influence.

One of the main reasons I wanted to watch this mini-series was because it had three artists whose work I've greatly admired over the years.

Teresa Palmer (as Freya Heywood), Miranda Otto (as Adrienne "Maitreya" Beaufort), and Guy Pearce (as Dr. Bryce Latham) were every bit as amazing as I'd expected them to be. They gave their characters a brilliant blend of intensity and empathy that I thoroughly enjoyed.

The younger talents all did great work in "The Clearing". They brought some old-school nostalgia with a touch of sadness, both of which worked wonderfully for this story.

Set in Australia, and defined by a simple yet unpredictable mystery, "The Clearing" contained a good deal of shock-n-awe value, especially around the children who were either abducted or adopted.

No sexual harm was visited upon them, but the kids did experience something...different. As the story progressed, I learned just how different. The plot twists were captivating and made me want to read Pomare's book.

The children were apparently being handpicked based on how less they'd be missed. Strange hair dyeing and oddly casual activities as part of The Kindred added to the mystery value in the story.

The presence of enablers, couples, and trainers made it all seem like a normal kids' camp or school retreat, but it was anything but. The roots of the cult ran deep and included people in high places.

I kept wondering whether the kids were being trafficked in some capacity. But the truth was not as simple or straightforward. This, more than anything else, kept me glued to the screen.

Some of the beliefs being peddled had ties to Indian spirituality and yogic practices. From life being illusory to the potential of soul transcendence, these and other inherently pure ideas were twisted out of context by some of the cultists. Moreover, the LSD connection added to the intrigue.

The drug was not only used as a potent curative during that era of medicine, it was also grossly misused by those who lost themselves to its ravages and those who used the hallucinogen to convince and control others with the promise of consciousness expansion.

Adrienne Beaufort was one such woman. She wrapped herself in charm and deception, lending the character a beautiful yet sinister presence on screen. As her story unravelled, I appreciated Miranda Otto's performance even more than when I'd hit play on episode one.

The plot shifted between the older versions of some of the characters and what precisely happened to them when they were part of The Kindred. Teresa Palmer's Freya, for instance, was Amy who suffered under the cultists' yoke before the police busted the whole operation years down the line.

Then there was Ada Smith who remade her image and became Adrienne "Maitreya" Beaufort, the leader of said cult. Her origin story was especially interesting.

The final episode brought it all together and delivered some unexpected twists. It was an engaging plotline from beginning to end.

Because it's a mini-series, expecting a second season would be wishful thinking. Be that as it may, "The Clearing" put up a noteworthy show, one based on true events.

There was much worth appreciating and deriding about this story. It was a stark reminder of how easily our delusions can drown us, only for us to call it faith as we relinquish the last bubbles of our existence.

"The Clearing" was as much about crimes that escaped justice as it was about a broken family, most of whom lived in denial about just how badly their souls were damaged.

......... Some riveting work by Kate Mulvany (as Tamsin Latham), Anna Lise Phillips (as Hannah Wilczek), and Erroll Shand as (Henrik Wilczek), each of whom amplified the creep factor.

Some of the kids gave compelling performances. Great work Lily LaTorre (as Sara/Asha), Flynn Wandin (as Billy Heywood), Julia Savage as (Amy Beaufort), and Jeremy Blewitt (as Anton Beaufort).

Remarkable performance from Hazem Shammas (as Yusuf Joe Saad), Harry Greenwood (as older Anton Beaufort), Mark Coles Smith (as Wayne Dhurrkay), Miah Madden (as Max Dhurrkay), Xavier Samuel (as Colin Garrison), Ewen Leslie (as Tom Atkins), Anni Finsterer (as Evelyn Smith), Claudia Karvan (as Mariam Herzog), Kristof Kaczmarek (as Ari Herzog), and Jamie Timony as (older Adam).

Rebel Moon - Part Two: The Scargiver (2024)

An Under-Cooked Sequel

[5/10 · 22 April 2024]

The first part was a thrill-fest (surprisingly so) and became a memorable Sci-Fi intro from the mind of Zack Snyder. Yes, it had its ups and downs but the first "Rebel Moon" movie crossed the finish line on terms of good entertainment.

"Rebel Moon - Part Two: The Scargiver", however, failed to properly continue the treachery, greed, madness, and unity that prevailed in the first part. This time round, most of the characters felt stiff and uncertain. At times, it even felt like they were doing improv to keep the scenes going.

Kora had to cut off the head of the snake this time if she and the people she considered her family were ever to stay safe. Sofia Boutella gave a riveting performance, then and now. Her screen presence was laudable and she took to each action sequence like she was born for it.

The Dreadnought threat was far from over. Kora and her new friends and allies weren't yet safe. The danger was returning, and in just five days' time.

Apparently, nobody can be allowed to live after making a great inter-galactic force seem weak. Admiral Atticus Noble (played by Ed Skrein) was still alive and coming back to put Kora and her people in their so-called place.

I liked the consistent Star-Wars vibes throughout this "Rebel Moon" movie - especially that Nemesis dual-sword fight scene and Jimmy the android's face-off.

But the story was far from compelling. It felt like a recycled mish-mash of themes that were given no creative brushstrokes whatsoever.

More than a few sequences felt contrived, especially in and around Kora's back-story. Those Rome-style elements were done to death; pun intended. It did the story no favours.

Though the emotional scenes held merit, the lack of story-substance made even those heartfelt moments feel shaky and inconsequential.

The performances were on point, but without sufficient scope even they fell on the wayside. "Rebel Moon - Part Two: The Scargiver" left a scar in this fan's heart. The movie only slightly picked up after the first-half, but by that time my mind was already made up.

I expected a lot, a whole lot, going forward. Though people disliked the first part, I found something of worth to look forward to in this sequel, which ended up disappointing me to no end.

Since there's a "Rebel Moon: Part Three", I will watch it purely to see if it can redeem what happened in this one.

Immaculate (2024)

Expertly Explores The Horrors of Delusion

[8/10 · 21 April 2024]

A movie so bold as to step on all kinds of religious toes, "Immaculate" wrapped itself in powerful storytelling that did not shy from subversive themes to communicate a potent message.

Sydney Sweeney as Sister Cecilia gave an unforgettable performance as the pregnant nun at the heart of this script. But aside from her, the religious repression that sourced from various people, not to forget sheer delusion, lent this movie a wealth of subtext and modern-day relevance.

People will be studying "Immaculate" from a filmmaker's lens for some time, I'm sure. The story took a seemingly innocent occurrence and gave it a self-serving spin.

It was fascinating how Sister Cecilia's experiences evoked the relatively unknown one of the original Mother Mary, whose immaculate conception is one of the core defining elements of all Catholicism and Christianity.

The movie still needs to be taken with a pinch of salt. At the end of the day, it belongs to the horror genre. Just as we wouldn't assume all demons or spooks are real simply by watching a scary flick, we shouldn't be quick to judge the perspectives and possibilities that were explored in this movie.

That said, I can't help but state that "Immaculate" is definitely not your average horror movie. It went to some dark places, some of which were surprisingly sacred. In fact, the story took liberties to perform what could best be described as sacrilege, but it did that while colouring within creative genre lines.

I especially liked how they showcased the duties nuns perform. Much of that has been exempted from movies like this, so it was admirable to see the team give us a brief peek into what nuns do for the church and the needy.

In contrast to all this was what Cecilia went through after realizing she was with child. Every observation proved her to be a virgin, making her birth as immaculate as it was suspicious.

There was a conspiracy at the heart of the church Cecilia served. The careful way in which director Michael Mohan and writer Andrew Lobel peeled back its secrets and revealed the horrors within was an ode to masterful filmmaking and meticulous screenplay.

As I stated before, "Immaculate" is not your average horror movie. It proved to be more than the sum of its scares - an immaculate misconception, if you will. For those who have eyes to see, there were truths contained throughout this story, especially truths of the scientific kind.

--- --- --- Everyone brought their A-game, especially Giulia Heathfield Di Renzi (as Sister Isabelle), Benedetta Porcaroli (as Sister Gwen), and Álvaro Morte (as Father Sal Tedeschi).

The Taste of Things (2023)

Gourmet Perfection, From The Heart!

[9/10 · 20 April 2024]

Glazed with romance and with a generous sprinkling of culinary excellence, "The Taste of Things" proved to be one of those movies that could surprise and enthrall - and it delivered on both.

As rustic as it was charming, this French-language movie set in the late 1800s felt tangible in more ways than words could describe. It not only captured a passion for cooking but also conveyed the heartfelt phases that defined the very act.

In "The Taste of Things", Juliette Binoche and Benoît Magimel gave riveting performances as Eugénie and Dodin Bouffant, resp. The talented chef and his dedicated cook were a genuine treat to watch. Between their beautiful chemistry and natural acting, the story came alive and gained a beating heart of its own.

Special shout-out to Bonnie Chagneau-Ravoire (as Pauline) and Galatéa Bellugi (as Violette). They contributed significant moments to the movie.

The story captured the philosophy of life through food, and the people who make them. It genuinely transported me back in time to when the culinary arts were not seen as something merely avant-garde but also artistic.

Moreover, the concept of marriage came close to being redefined in "The Taste of Things". The relationship between Eugénie and Dodin bloomed gently, but commitment was still far from certain, particularly from Eugénie's side.

This gave rise to intriguing and at times concerning possibilities, especially seeing as how Eugénie often experienced inexplicable fits of dizziness. The movie patiently unfurled the truth and made it compelling, if not a tad heartbreaking.

The script was based on Swiss author Marcel Rouff's 1924 novel "La Vie et la passion de Dodin-Bouffant, gourmet". In fact, the story revolved around Dodin ('The Napoleon of Gastronomy'). The movie expanded where needed to focus as much on Eugénie - a decision worth appreciating.

The sheer food-gasm of this movie! Everything about the year 1889, in which this story was set, felt credible and tasteful.

There was a certain genius in the way writer-director Anh Hung Tran made the kitchen scenes feel captivating, even sacred. As the characters went about living their lives and preparing various recipes, each sequence felt portentous and sizzled with promise.

Eugénie and Dodin were a pair even the biggest chefs would've gone green with envy to see. The sheer empathy that revolved around those two further thickened the plot and made it feel more than just about food.

I am still surprised by how well the movie was taken. I love stories that feature cooking - the foodie in me demands as much. But despite being overly familiar with the theme, "The Taste of Things" made me feel like I was watching something entirely fresh and doubly meaningful.

In the Land of Saints and Sinners (2023)

Intensely Grim & Gripping

[8/10 · 20 April 2024]

Going back to 1974 Northern Ireland, this movie made a strong case for a script that balanced high-octane action with real-world truths. "In the Land of Saints and Sinners" contained a redemption arc, but one that didn't come cheap.

Liam Neeson as the hitman (fictional) Finbar Murphy was intriguing in every way. I was surprised to see them showcase his character as a typical guy going about his hours, when in truth he led a dark life doing grave deeds. The contrast worked wonders for Finbar and the plot certainly benefited as well.

Now, leaving such a life behind is easier said than done. Before long, Finbar Murphy found himself in a situation where he had to step in. Something secret was going on at one of houses in his area, and it didn't look good for the locals.

Finbar was on good terms with the people in the village and refused to let things slide. This dragged him into a web of rebels, some of whom had recently bombed a place in Belfast in their fight for a free Ireland.

The story grew more intense from there on out. Murder, deceit, justice, and the dual-edged sword of vengeance took flight and carried the plot across the finish line.

"In the Land of Saints and Sinners" was not a grand or original tale, but outstanding performances and a sharp focus lent the movie a gripping edge-of-the-seat flair.

... ... ... Special shout-out to Kerry Condon (as Doireann McCann), Desmond Eastwood (as Curtis June), Michelle Gleeson (as Moya), Colm Meaney (as Robert McQue), Mark O'Regan (as Bart McGuiness), Ciarán Hinds (as Vincent O'Shea), and Jack Gleeson (as Kevin Lynch).