Obsession

 

Courtesy of Focus Features
© 2026 FOCUS FEATURES LLC. ALL RIGHTS RESERVED.

Human behaviour is always a fantastic place to mine for the next horror story. Mix in a traditional horror element, add some paranoia, finally, some mystery and you have the makings of the next big horror film. Most likely made for a fraction of the cost a studio would spend. But Obsession could very easily have slid into obscurity if it hadn't been for a well executed idea, great performances and the fact that filmmaker Curry Barker had already gained a following on Youtube. The latter element is all everyone is talking about, that and Backrooms and how both films and the creators are challenging the status quo etc. True, both filmmakers cut their craft on Youtube and gained a following, an audience, but the main take away here is that both are seemingly original ideas. While Backrooms explores liminal space, Obsession is a combo of stories we’ve heard before.

Baron, Bear to his friends, has an overwhelming crush on his friend and co-worker Nikki. When he becomes too scared to admit his feelings to her, he decides to make a wish on what he thinks is a novelty toy, a ‘One Wish Willow’. Making the wish that she would love him more than anyone else in the world, with immediate results and the worst possible consequences.

The premise of Obsession is solid, with characters that are not quite fully developed, but we get a good understanding who these people are from context; clothes, attitude, and slight background info. More importantly, we know Bear is very keen on Nikki but even by the little time we spend with her, she doesn't exactly feel the same way about him. What unfolds is a haunting, possession and lack of morals. Bear knows something is immediately wrong and yet his own desperate need to be with Nikki overpowers the need to understand or even fix the issues. Only when Nikki starts to act completely unhinged does he question his safety as well as others around him. Though Nikki is the one who acts obsessed with Bear to the point where no one is safe, it is really Bear’s own obsession with Nikki that leads him down this path. But, he can’t be blamed for not believing the wish willow was real, at first. Bear’s obsession is why this story feels familiar.

We’ve seen stories about stalkers and relationships gone terribly wrong. We’ve also seen plenty of possession stories, which this is in the realm of. Nikki has indeed been possessed by something, we don’t know exactly what. Bear does try to find out more about the wish willow and who made them but all we seem to get is one disturbing phone call that doesn’t really shed any light on anything. This mystery is placed at a perfect time in the story, and it may be frustrating to have no answers, it works far better that we don’t find out more. The wish willow is also a monkey’s paw, an omen that screams be careful what you wish for. This horror trope we have seen in films many times as well, just look at all the Wishmaster films. It doesn’t matter what you wish for, it won’t turn out like you hoped and there is always going to be a sinister twist. Despite the familiar stories that are blended together, 

Obsession still manages to provide unique scares and really does burrow under your skin. Its an intriguing horror story that isn’t so easily explained and ends on a very bloody uneasy note. Just hope that studios don’t try to replicate, as that would not look good.

Strictly Ballroom

 

Courtesy of Vertigo Releasing

When Baz Luhrmann arrived on the film scene with Strictly Ballroom, an adaptation of a play he had been involved with and had staged back in 1984, there were no expectations. The film had its world premiere at Cannes in 1992 as part of Un Certain Regard and was an instant hit with the audience. The film went on to become one of the most successful films in Australia of all time as well as becoming a legacy for Luhrmann as he continued making his Red Curtain trilogy and cementing himself as one of the most commercially successful directors to come out of Australia. This romantic comedy set in the world of ballroom dancing is more than just a two-step down memory lane, this is a chance to watch the film in all its ‘flashy crowd pleasing steps glory as its re-released in cinemas.

Full review over at Filmhounds.

The Christophers

courtesy of Picturehouse Entertainment

 

The art world is brutal. Art is only considered art once someone else has deemed it worthy, let alone worth anything. The difference between creating art and making a living in the art world becomes clear very quickly in Steven Soderbergh’s latest. There is no heist, no grand plan, but there is most definitely a crime taking place. This near two-hander story about two artists confronting truths, whether they sound pretentious or not is beyond what is comprehended. This Christophers is an intriguing and beguiling story with Ian McKellen and Michaela Coel taking centre stage, capturing our attention with every word and stoney glare.

Full review over at Filmhounds.

Thrash

 Shark movies have long been considered a sub-genre, whether its action, thriller or horror, sometimes even reducing films that aim to be something more substantial to just another shark film. Thrash is a survival thriller, bringing in severe weather and focusing on various characters in peril, but once the sharks start to appear the film very quickly enters the sub-genre as characters not only have to contend with mother nature on the weather front but also from vicious sharks taking advantage of the situation.

In South Carolina, when a Category 5 hurricane is predicted to hit coastal towns, residents evacuate. A few people remain behind, either because they believe they can ride out the storm or just too late to escape the wrath of the hurricane. Dakota, a young woman who has become agoraphobic since her mother died decides to stay home., Lisa, a heavily pregnant woman left by her fiance tries to leave town only to be swept up in the initial wave of damage and young siblings Dee, Ron and Will are forced to shelter by their foster parents.

With most survival stories, we usually focus on one or two people and watch them struggle to make it through whatever disaster is thrown at them. But here, Thrash follows various people through the storm and later, the sharks. This could have worked if the characters had been linked somehow or eventually ended up in the same place together, at least. Instead we get a disjointed fractured story, that is predictably surrounded by deaths of smaller characters that only provide blood and gore. The little information we have on each character also isn’t really enough for us to care who makes it to the end. Everyone is reduced to a stereotype, resulting in a lazy set up and making our real concern the sharks.

Aside from a very basic storyline, the effects are quite impressive and the stress factor is turns up to the max, especially during a rather horrific birth scene. As the water rises, so does our anxiety but at the back of our minds, we already know how this ordeal will end. Rescue is on the way, a predictable conclusion with no worry of a sequel looms.

Soldier

courtesy of Arrow Video

 

A science fiction action film from the 90s starring Kurt Russell as a military grade highly skilled soldier seems like a long forgotten gem that should be the cult film its been labeled as. However, all these elements only look good on the surface, beneath the shiny intriguing logline, is a script that was left in development for 15 years and is trying to be a spiritual spin off to Blade Runner. The fact that Soldier was released a year before the likes of The Matrix shows just how out of date the film was when it was being made.

Full review over at Filmhounds.

Couture

courtesy of Signature Entertainment

 

There is a never ending fascination into the creative worlds, fashion being one that mesmerizes many on the outside. Though Couture isn’t necessarily for those keen to get a glimpse into the fashion world, but maybe for those looking to see who are the artists that make the glitz and glamour happen and see the very human struggles that they experience.

During Paris Fashion Week, three women; filmmaker Maxine, make-up artist Angèle and new model Ada, all intersect in the lead up to a fashion show.

Full review on Filmhounds.

Madfabulous - BFI Flare

 

courtesy of Icon distribution

The famous quote from Oscar Wilde, “be yourself, everyone else is already taken”, rings true and is often said throughout the historical drama, Madfabulous. The story, based on the notorious Henry Paget, 5th Marquess of Anglesey, follows the young lord as he precariously navigates his family, his fortune and above all his theatrical dreams and desires, going completely against what is expected of someone with his position. With a cast that sparkles, costumes to evoke the past and some fantastic locations, Madfabulous captures a personality in history that we haven’t seen before. 

The 5th Marquess of Anglesey seems like a completely fictional character, brought to life for story purposes. His personality, his behaviour towards the peerage, his blatant disrespect for the stuffy old fashioned rules, all add to the strange character that was indeed a real person. Though Madfabulous does take quite a bit of artistic licence, which makes sense to bring the story to life, the truth runs through, capturing moments that did take place.

Full review over at Filmhounds

Snubbed, Baby

Courtesy of Picturehouse Entertainment and Late Nite Picture Show

Last month I wrote about those films snubbed by the Oscars this year. Though there are many, a few stand out. Snubs happen every year, not every film released can be considered for awards. I go into detail about the subject in Late Nite Picture Show.

Ben-Hur

 

Courtesy of Warner Bros. Home Entertainment

Being produced, filmed and released towards the end of Hollywood’s golden age, Ben-Hur was an MGM studio film of epic proportions. The film took nearly 9 months to shoot on the biggest studio in Europe, Cinecittà in Rome, used over 10,000 extras and over 2,000 horses. The film was nominated for countless awards, winning 11 Oscars, including Best Picture and is stapled in people’s mind for the myths surrounding on set deaths, as well as the sight of a caravan in the infamous chariot race scene.

Full review is over at Filmhounds.

Arco

 

Courtesy of Picturehouse Entertainment

In the distant peaceful future, 2932,, time travel is a normal occurrence, where anyone aged 12 and over is able to experience. Impatient to travel through time himself, 10 year old Arco steals his sister’s flight suit and sets out, only to find himself, by mistake, in 2075. Robots are common in homes and society, performing essential jobs and services. Extreme weather conditions ravage the Earth, but most homes and buildings can be kept in protective bubbles. Here is where Arco befriends 10 year old Iris who had been wishing for something in her life to change.

Full review over at Filmhounds.

Same Same But Different - SXSW

 

Courtesy of SXSW & 42 West

Romantic comedies are never just about the romance or the comedy, its all about the drama that each character can bring to the situation they all find themselves in. Same Same But Different encapsulates what it means to celebrate differences, honour your heritage and be honest about what you truly want, as well as making sure its all as chaotic as that sounds.

When poet Rana has her visa application denied again, she resigns herself to returning home to Iran, which she is looking forward to. But when Adam, the son of her wealthy employer and whom she has been secretly seeing over the summer, proposes to her. She decides to embrace this opportunity, after much deliberation and rationalising. She invites her two Iranian best friends, along with their American boyfriends, who each have their own dramas to deal with, resulting in a whirlwind weekend.

Full review over at Filmhounds.

Spaceballs

 

Courtesy of Arrow Video

Decent spoof or parody films are hard to come by these days, so much so we have to turn to the past and to one director who really knows how to tell a story, keep the jokes going and keep with whatever genre he’s chosen, Mel Brooks. Released in 1987, just 4 years after The Return of the Jedi, Spaceballs earned mixed reviews upon initial release, but like every other sci-fi film, it gained a cult following. At nearly 100 years old, Mel Brooks is still making films. Having gone back to his previous material and filmography to bring his films to the stage, he’s also involved (though not directing) the upcoming Spaceballs sequel.

Full review over at Filmhounds.

How to Make a Killing

Courtesy of Studiocanal

Though loosely based on the Ealing Comedy, Kind Hearts and Coronets, there are far too many similarities. Modernised and characters updated, some slightly changed to fit the times, it still feels very much like a copy. Very much in the vein of the Coen brothers version of The Ladykillers, but the less said about this film the better. How to Make a Killing however, tries to be it’s own story and film, but not relying on comedy as the key, which is a shame as this could have been the darkest of comedies if it had really leaned into it. Unfortunately, writer-director John Patton Ford decided to emphasise the drama and the tragedy, which, along with missing a prime opportunity to offer a different ending, is the film’s downfall.

After his mother was disowned by her own family, the insanely wealthy Redfellows, Becket decides to reclaim his inheritance by killing off his relatives, one by one.

Full review over at Filmhounds.

The Man Who Wasn't There

 

Courtesy of The Criterion Collection

The masters of the genre twist, Joel and Ethan Coen, known mostly as the Coen Brothers, know exactly how to follow up on a hit. Releasing O Brother Where Art Thou? in 2000 to critical praise and award nominations as well as box office success, they decided that their next film was to be the slow burn neo-noir, a genre they are very comfortable in, The Man Who Wasn’t There. An ironic title as this is probably one of the least talked about or mentioned films in their catalogue. Unlike O’Brother, The Man Who Wasn’t There was not a box office success, nor did it really click with audiences, though critics on the whole admired it. Joel and Ethan did actually win Best Director at Cannes the year of release, a joint win with David Lynch for Mulholland Drive, but its a fact that is quietly forgotten about. The cinematography was universally praised and definitely reflected in the nominations for their frequent collaborator Roger Deakins, yet apart from these facts, the film has remained a piece of background history. Obviously seeing something in the film and believing it deserved its turn in the spotlight, the Criterion Collection has chosen to release a 4K version, giving fans of the Coens a chance to revisit it as well as curious new viewers to witness this unusual yet straightforward film.

Full review over at Filmhounds. 

Sweetness

Courtesy of Saban Films

 

If films (and books) such as Misery and The Fan (1996) have taught us anything, we know as soon as someone declares themselves as someone’s biggest fan, we know they’d literally do anything for the object of their admiration and we can assume bloodshed to swiftly follow. This set up of a famous person meets an obsessive fan usually shows us that its the average person who is the delusional one and that the famous person was just unlucky to encounter said fan. Sweetness tries to slightly switch this well worn dynamic by throwing in some extra unpleasantries, but does inevitably fall into familiar story territory.

Teenager Rylee is a devoted fan of Payton Adler, singer and songwriter for the band Floorplan. By chance she gets to meet him after a show, only to realise the recovering addict has relapsed. Her obsession with the singer becomes even more intense as she believes she can save him from his demons, even if it means handcuffing him, trapping him in her house.

Full review over at Filmhounds.

LITTLE AMÉLIE (or The Character of Rain)

 

Courtesy of Vue Lumiere

Animation outside of the major studios has been evolving. While we’ve all been slowly getting fed up with the sequels (except for Zootropolis 2) and uninventive stories being churned out, animated films have been making a huge impact. The likes of K-Pop Demon Hunters dominated last year, Flow making a historical win at the Oscars and one for the adults, stop motion animation film, Memoir of a Snail leaving an impression on audiences, animated films are evolving, or at least more are being seen by wider audiences. It's exciting to see the weird and unusual animated films alongside the more emotional and grounded stories being honoured at award ceremonies. Little Amelie or The Character of Rain is a shining beacon of hope that progress is being made.

Based on the memoir by Amélie Nothomb, the film follows Amelie, the youngest of three, born into a Belgium family living in Japan. We witness Amelie from birth, as she learns her place in the world and discovers the wonders of the world and her close bond with the family’s housekeeper Nishio-san.

Full review over at Filmhounds.

Birth

Courtesy of the Criterion Collection

 

Jonathan Glazer has carved out a niche in the film world, directed four features (so far) but each so very different as the last. Story, genre, cast and setting may divide Glazer’s filmography but the atmospheric, cold, stylised and quietly unhinged tone in each film is undoubtedly Glazer’s signature. Released in 2004, Birth, screened in competition at Venice and garnered attention, even earning Nicole Kidman award nominations. However, the film wasn’t received with open arms from the critics, citing the film suffered from a disorganised plot and rather uncomfortable scenes. With the film’s Criterion Collection release, we are offered another opportunity to re-watch this strange and melancholic psychological drama about grief and obsession.

Ten years after the death of her husband Sean, Anna accepts a proposal from her new boyfriend, Joseph. One day a 10 year old boy visit’s Anna’s family’s apartment claiming to be her deceased husband Sean and urges her not to marry Joseph. As Sean persists he is telling the truth, everyone doubts the boy’s claim, except for Anna who starts to hold out hope that maybe he really is Sean reincarnated.

Full review over at Filmhounds.

The Housemaid

Courtesy of Lionsgate

 

Whether you love it or hate, The Housemaid is a strange beast. Directed by comedy aficionado Paul Feig and starring ‘of the previous moment’ Sydney Sweeney, in what we’ve been told is an erotic psychological thriller seems like a very odd mix. From the very off kilter tone, the very basic fronting performances, not to mention the irritating voiceovers, The Housemaid feels immediately familiar especially as the tension builds to the twist we expected all along with an underwhelming climax.

Freshly paroled Millie managed to secure a job as housemaid in the up-scale home of Nina Winchester, her husband and daughter on Long Island. Almost immediately, Nina’s erratic and antagonistic behaviour makes Millie feel uneasy. On contract, Nina’s husband Andrew is patient, calm and welcoming. But desperate to keep her job, Millie puts up with Nina. Over time Millie discovers secrets the family are trying to keep hidden until it's too late for her to escape.

This film came across throughout the marketing campaign as a slice of escapism but in fact its a straightforward low-key thriller trying to be an erotic one. The very few moments where the film tries to justify this label are anything but. There is an art to creating an erotic thriller and we haven’t seen a decent one in quite some time. But concentrating on everything else in this film, there is a pattern. The angry, rude, slightly psychotic wife of a wealthy nice guy takes on a seemingly innocent blonde to work for her. Oh I wonder what the twist will be, as there is always a twist. Set up from the start as we see Millie sleeping in her car, going to parole meeting, we know what her crime was before she even says it. The nice husband who everyone loves, we have to wait quite some time for the shoe to drop on this trope. And finally the mysterious groundkeeper handy man who, oh wait, never mind, he barely speaks and is barely on screen. So in actual fact, the biggest twist is, why did Enzo even get a character poster to himself? 

 There is some entertainment to be had, Amanda Seyfried as unhinged Nina is quite fun to watch. But the voiceovers from both Millie and Nina were really not needed. Adaptations do sometimes suffer this, just to get through inner thoughts and backstories, but there are ways to get away from this.

We have Booktok to thank for the hype around the book. Mediocre books being made into anything between complete trash and predictable (not because of adaptation) stories meant to shock and please. There are no doubt great stories out there and probably more of the same to come. The Housemaid is here to entertain, and there is a very good chance that it won’t. Going into this film expecting something new and exciting, you will definitely feel short changed. But if you’re expecting schlock you can half pay attention to, then this is one for the collection.

Agatha Christie's Seven Dials

 

Courtesy of Netflix

With each Agatha Christie adaptation that is released, any fan of the author may hold their breath in anticipation or for what changes will be made. With the recent adaptations, stories that have not been given proper attention, such as Ordeal by Innocence (that was plagued with re-shoots due to an actor being ‘cancelled’), Murder Is Easy, Why Didn’t They Ask Evans? and Towards Zero, these all followed a 3 episode pattern, that is arguable too long for the novel adaptations, especially with some being changed from the source. These were also previously adapted to include Miss Marple in the ITV series, and although she’s a fantastic character, doesn’t appear in the original books, so it was great to see these novels adapted, shall we say, correctly? But The Seven Dials Mystery, having been adapted into a TV movie back in the 80s, had yet to make its more recent significant debut, making its appearance on Netflix most intriguing. Though the book did not receive high praise, this adaptation does make rather large changes, including the end and possible extension into further possible stories. We are introduced to Bundle, or Lady Eileen Brent, who discovers the close family friend Gerry Wade, murdered in his bed after a party at her family’s home. This leads her to follow a trail as to how this happened and why, getting tangled up with her friends in the Foreign Office, as well as Superintendent Battle (who appears in other Christie novels) who starts to investigate the case as further bodies show up.

The Seven Dials, unlike the more recent Christie adaptations, is indeed a murder mystery but one that is more focused on espionage. There are several characters from the government involved and hints to the coming world war two despite everyone still healing from world war one. Murder mystery is the genre but this could very well fall into the ‘spy’ genre as well.

Having read the original book, it's very clear as to why changes were made. Though this story could have been far more effective with just two episodes, a delicious cliff-hanger in between. Though the initial story is intriguing but frustratingly paced, Bundle, played by Mia McKenna-Bruce is delightful, she is perfectly cast, balancing being the pseudo-detective as well as still grieving for her close friend and lost romance. Bundle skates through dangers and equally challenging social obligations with charm and courage, stealing the show entirely. Battle, played with a little less gusto than you’d hope for by Martin Freeman, is meant to be her official counterpart but doesn’t even appear until episode 2, which was slightly disappointing. Most of the excitement (and murders) happen before he even really gets involved. The two leads have an awkward start but soon fall into a rhythm you’d expect from a Christie unlikely duo, with mutual respect to follow.

However, the story doesn’t quite know what it really wants to be and doesn’t quite pull itself off as a blend of genres. The spy elements provide intrigue but then we are pulled into a stereotypical whodunnit setting that feels jarring. Bundle’s own investigation seems to lead somewhere, only for the story to throw in red herrings precisely where you really don’t want them. This all being said, it's the over dramatic climax that was the most disappointing. With three long episodes to go through, you would hope the build up would not be so predictable.

The ultimate end to the story at least provided some hope we’d see Bundle and Battle again, maybe solving another case, who knows, but the characters being the highlight, maybe a juicier story next time too!

Digital Can't Kill The Video Star

 

Wrote a piece about the importance of physical media and how, no matter how many times we're all told that 'no one buys DVDs anymore' this statement just isn't true.

Full piece is over at Late Nite Picture Show.

100 Nights of Hero

 

Courtesy of Vue Lumiere

As the closing night of the BFI London Film Festival 2025, 100 Nights of Hero was always going to have a spotlight on it. But in truth this whimsical (on the surface) fantasy romance may be slightly too odd at first for an audience. At a glance it seems like another version of the famed Middle Eastern folktale, A Thousand And One Nights, from which it takes its inspiration, but digging deeper this is about the power a story can hold as well as a love story buried just below the surface. 

In a world not too similar to our own, a young woman, Cherry is left alone by her neglectful husband Jerome. He secretly makes a deal with a friend, Manfred, to test Cherry’s fidelity. If Manfred successfully seduces his wife, he gets the house and if he loses, Cherry will be executed, which seems win-win for Jerome. But Cherry’s fiercely loyal maid Hero has also been left to watch over Cherry. To distract Manfred from his plan, Hero tells a story each night, but how long can she keep him at bay?

Full review over at Filmhounds.