Pan’s Labyrinth 20th Anniversary 4k Re-release

 

It was 20 years ago that Guillermo del Toro made us believe in dark fairytales again. As the spiritual sequel to The Devil’s Backbone (2001), the audience opened up to the fantasy that is Pan’s Labyrinth. Still a fan favourite amongst any film student, cinephile and those who adore the works of del Toro, the film has been celebrated worldwide. Now, the film 4K restoration is being released in cinemas so that anyone can relive this spectacle on the big screen or experience it for the first time. The intricate detail and the craftsmanship that has gone into every aspect of the design of the film can now be further appreciated with this restoration. Despite being 20 years old, Pan’s Labyrinth feels as if it could have been made yesterday in spite of the use of CGI, the film does not feel dated in the slightest.

Full review over at Filmhounds. 

Wicker

 

On paper Wicker may have seemed like a bizarre folktale complete with soliloquies, a mixture of modern and olden time dialogue (that works), strange wedding customs and a basket weaver who has a magical ability that is never really explained. Thankfully, all these elements on screen work harmoniously together, culminating in a surprisingly and deeply romantic story that is never short of a laugh.

In a village, a Fisher Woman is mocked by the townspeople for being unmarried and for her fishy stench. She commissions the Basket Weaver to make her a husband. Within a month the Fisher Woman and Wicker Husband are wed, their marriage causes quite a stir, as they seem happy with each other, but this is not how most marriages usually work.

Full review over at Filmhounds.

Bunker - London Film Festival

 

Florian Zeller’s latest lays out a question, what makes a marriage last, Penelope Cruz’s character, Sofia, responds that only when something is treated as fragile is it taken care of, its when something is treated as stable is when it breaks. This could be used to describe the marriage within the story, the home for which they live in or even the divides that are created throughout this strangely structured film. Though with two great central performances from real life couple Javier Bardem and Penelope Cruz, Bunker tries to cram into the story many subjects and ideas that could each have been their own stories.

A married Spanish couple, along with their two daughters live in London, Miguel is an award winning architect and Sofia is a publisher. A sequence of events kick starts when the family’s neighbour breaks a hole in their back garden wall with the intention of putting in a window that looks directly onto and into their home. Miguel is offered a commission to design a bunker for a tech billionaire and Sofia makes a connection with a new author at work. Tensions run high with the neighbour and between the couple as their loyalty, trust and patience is brought into question, culminating in a dramatic climax.

Full review over at Filmhounds.

Mouse - London Film Festival

courtesy of IFC

 

The impact of losing a friend at a time in your life when you need them the most can scar you, even altering who you may become, but losing a child, that is irreplaceable. Mouse is an emotionally tender portrayal of what happens after someone who was your whole world leaves. With quietly heartbreaking performances from Sophie Okenedo and Katherine Mallen Kupferer, directed by Kelly O’Sullivan and Alex Thompson, Mouse is a story we may recognise but haven’t seen before.

After the sudden death of her best friend Callie, Minnie’s world is upturned and nothing feels the same again. At the same time Helen, Callie’s mother, is finding it hard to try and move ahead. The two end up forming a tentative complicated friendship stemming from their shared grief.

Full review over at Filmhounds. 

Primetime - London Film Festival

courtesy of A24

 

From the minute Primetime starts, we know we aren’t going to enjoy what we witness. Every second puts a bad taste in your mouth, especially as we know how this scene plays out. We see a man arrive at a house to hook up with an underage girl, while the camera crew and the decoy teen, really a fresh faced woman, get ready for the man to come inside the house. The situation is unsettling, how the scene plays out is uncomfortable, and we can’t tear ourselves away from this.

There is a disturbingly fine line that runs throughout between justice and exploitation. While the vigilante group believe they are doing the right thing and Chris Hansen acts as if he’s a saviour, the show’s producer Andie is probably the only one who is honest about what they’re all doing. This is for TV, she wants to make a great TV show, no matter the cost. The others just enjoy the chase, the entrapment and Hansen, the glory. Primetime hones in on the sensationalism that viewers seem to crave. Reality TV became popular for the same reason. Anyone who believes Reality TV is about reality is lying to themselves.

Despite the choices made throughout the film, and how they ultimately make us feel, Primetime aims to shock but not to surprise us as we the audience know full well what to expect. For those who aren’t aware of the real events may be slightly shocked by the climax of the film, leaving you with mixed feelings. But for certain, Pattinson is eerily fantastic as Hansen, slipping into this character, despite being based on a real person, Pattinson wears him like a second skin. Merrit Weaver also deserves praise (as always) as Andie the put upon questionable producer, as well as Skyler Gisondo as the decoy Dan who also rather serves as the most human amongst the crew and gives us another view on the madness he has to witness and partake in.

Primetime is vivid, upsetting, disturbing and not without fault. It would make a disturbingly good double bill with Nightcrawler. One hell of an evening that would be.

Wildwood - London Film Festival

 

Laika Studios has always made extraordinary films, giving us the slightly more scary stories that a younger audience could still enjoy and the older could relish for their style, atmosphere and of course the story, always the story. Adapting as well as creating original works, Laika Studios has proved it is a contender on the animation playing field. But with the Missing Link (2019) not being the success their previous films were, there was a concern about what Laika would deliver next. With development beginning not long after the novel was published in 2011, it wouldn’t be until 2021 that Laika would confirm they were in production on Wildwood. This is years in the making and every single frame has been worth the wait.

After her baby brother is abducted by a murder of crows, young Prue and her friend Curtis embark on a dangerous adventure into the impenetrable woods just outside their home of Portland, Oregon.

Every great story starts with a mystery and the opening scenes from Wildwood not only immediately make you gasp but grab you, pulling you into this world. The atmospheric woods loom of Portland and feel present before we even step inside. The mist, the ivy that hides the magical hidden world becomes more and more fascinating as we are introduced to more characters and the different factions of the woods. From the lair of the villain in residence’s lair, to the bureaucratic South Wood, to the avian municipality, the bandits ancestral grounds and the North Wood whether the mystics converse with the community tree. There are so many details to absorb, so many great characters to meet and yet, Wildwood never feels overcrowded. The world building is so inviting, making everything vital to the overall outcome.

We feel for every faction, even the coyotes to a point, as they are just puppets for one person. The battle scenes are not for the faint hearted as we even see (with clever editing) someone being beheaded. With blood spilled throughout, you do have to wonder if this should be seen by very young children, but I suppose that is up to the parents taking them. Its quite exciting to watch a film, especially a children’s story, where the stakes are high and there are a lot of casualties to characters that we care about. Getting emotional over a rat is something that only an animated film can generate, thanks to how it was beautifully made and the voice performance, here being Awkwanfina, who has a very distinctive voice but channels a completely new character. This is the power that Wildwood holds.

As a story based on grief and the lengths someone will go to firstly, have a family and what they would become if they lost it. With truths about Prue’s parents being revealed, the story takes on more layers and this is probably along the lines of more adult themes. The dowager governess’ sadness has taken on a monstrous form, her obsession with finding her son has cost so many lives. Even in the climatic dramatic end, Prue pleads with her to let her son go, but grief is all this woman knows. This is the sadness at the core of the story, as well as the determination of a young girl who just wants to bring her brother back home. Simple things can tear worlds apart and that is what Wildwood captures so darn well.

Fantasy has always been a difficult genre to capture successfully. Usually a genre reserved for children in various forms but there have been attempts to reignite interest in adults as well. But with the reboot of Masters of the Universe not quite gaining traction earlier this year, there was also the highly successful Magic Faraway Tree in the UK and of course Mortal Kombat 2 which is technically a mix of action and fantasy, that enjoyed a warm audience and at least turned a profit. Wildwood definitely has the potential and scale to bring back the love of fantasy to all ages.

It's quite clear that blood, sweat and tears went into the making of Wildwood, the animation and craftsmanship of this film, as well as the storytelling is something to be in awe of. It's rare that a film, such as this, can enhance so many emotions on screen. It's an absolute marvel of a film and even more so on a big screen.

California Schemin’

Courtesy of Magenta Light Studios 

 The true story of Silibil N' Brains, the hip-hop duo who hailed from Scotland but told the world, California, had been presented previously in the 2013 documentary, The Great Hip Hop Hoax. But here in California Schemin’ we are given the glazed over version with some edits to make the story more snappy and easier to swallow for those seeking a ‘based on true story’ vibe. While the documentary goes into detail and offers a more truthful account, the fictional narrative actually makes us believe that fame really can be at one’s fingertips after a few phone calls and a big lie.

Best friends Gavin Bain and Billy Boyd, aka Silibil N' Brains, work dead end jobs in a call centre and dream of being hip-hop stars. While Boyd is content with freestyling lyrics on the way to work and hanging with his very supportive girlfriend Mary, Gavin spends his free time calling all the record companies repeatedly, even rapping on voice messages to get attention. When the guys believe all hope is lost, Gavin has the idea to pretend to be from the USA as no one takes Scottish rappers seriously. This lie gets them in the door, one show, gets the attention of a major label and suddenly they’re recording singles. But all this sudden attention and fame can’t last forever, soon the lies will catch up with them.

As a feature directorial debut from James McAvoy, the film is entertaining, hitting all the emotional and tense moments as a story about lies, deception and music can be. Samuel Bottomley and Séamus McLean Ross turn out genuinely great performances and really do convince us of the talent these two had with a crowd.

It’s an interesting story overall, but at the heart of it, there is a nagging feeling that the boys did lie about their background, but the writing, their performances, these were real. A smart producer could have seen opportunity here and turned the reveal into something more. But instead, the film goes the route of seeking redemption and deciding what is more important in life. Though this is probably what happened to the real Gavin and Billy, for the film, a bit of creative work could have given the film a little push to something more intriguing. California Schemin’ isn’t the most impressive film, but the true story definitely is.

Released in cinemas in the US from 9th October, with expansions 16th & 23rd 

The Face of Horror - London Film Festival

Courtesy of Embankment Films

 

As we’ve all been waiting, ever so patiently for the return of Anna Biller and her unique eye to the big screen. It's been 10 years since she gave us The Love Witch, the horror comedy with a 60’s flair and look. While it was announced that a take on the Bluebeard story was to be her next project, this was then released as a novel in 2023. But thankfully, Biller has delivered on the promise of her previous work to give us The Face of Horror, part revenge, part ghost story drenched in blood and tears, there isn’t anything quite like it.

Set in 14th Century, a brutal violent and unfaithful knight, becomes haunted by visions of his deceased wife, resulting in further blood shed and chaos.

Full review will be over at Filmhounds.

Wild Horse Nine - London Film Festival

Courtesy of Searchlight Pictures

 

Following his familiar structure and set up, Martin McDonagh’s latest, Wild Horse Nine, takes us to 1973 Chile, where two CIA agents are involved in setting up the political turmoil about to take place in the country. But this story isn’t really about the coup d'état, this is about the two American CIA agents who go on holiday to Easter Island where one has asked the other a really big favour. If this sounds reminiscent of In Bruges, you are not far off.

Chris is dying of cancer. He has been in the CIA for decades and involved in many operations including the assassination of JFK. Lee, Chris’ best friend and protege, has agreed to take Chris to Easter Island as a last request. He has also been tasked with shutting down Chris’ idea to dictate a memoir and find where the rifle is that was involved with JFK’s death. With Chris’ memory fading and his belligerent behaviour causing issues in public spaces, Lee becomes more agitated, especially when his cheating wife and kids are put in danger.

 
A change of scenery, nationality of the leads and add in the backdrop of the political situation looming over everyone, and this could be very much like some of McDonagh’s previous films. Though the writing is razor sharp, humorous with a darker edge, there are some genuinely bizarre laughs and reveals, there is nothing spectacular about the film. The showdown at the end is even played out at a leisurely pace, in keeping with the island aesthetics. Sam Rockwell as Lee and John Malkovich as Chris are entertaining, their chemistry and quick witted dialogue is to be admired, no doubt these performances may earn some awards attention. However, there is a sense of confusion as to why did McDonagh set the story to this political environment, it barely adds much to the overall story, the real story that is. There could have been a different angle brought to this part of the story, but really Chile sits as a backdrop and illustrates the reach of the CIA fuels conspiracies at most. The better part of this affair is between old friends and whether they can trust one another.

Paper Tiger - London Film Festival

courtesy of Neon

 

James Gray returns with an 80s set crime thriller, with family ties that are tested. This may sound very familiar as this seems to be Gray’s comfort zone, family and some kind of criminal conflict. Here we have Adam Driver and Miles Teller as brothers who try to start a legitimate business but become entangled and indebted to the Russian mob. With a side plot involving Scarlett Johansson, playing Teller’s wife who is going through a medical crisis. Unfortunately, the stories told here don’t feel like new and fresh but familiar and predictable. The crime is there but the thrills are missing.

Somehow all of Gray’s stories centre around achieving a dream, whether it is the archetypal ‘American Dream’, the dream of success, or the dream of a happy life. Paper Tiger tries to explore chasing a dream here with the two brothers Gary, the ex-cop turned businessman and Irwin, the family man with moderate business and content life. To begin with, the dream that Gary brings Irwin into seems achievable, starting their own business venture together but as soon as it means working with suspicious people, everything is thrown into chaos. The dream they are chasing quickly becomes unattainable and impossible, their lives implode and far more dramatic than what you would expect from the start.

Both Teller and Driver give us decent performances, particularly Driver who seems in his element as the confident ex-cop Gary. Johansson does what she can with her wife from New Jersey role with her side plot feeling like an add on just giving her something to do. Gray hasn’t taken any risks with the story or the characters, but those who enjoy the slowed down pacing, the thick tension and impending doom laid upon this family will get something out of the film. But overall it doesn’t feel as if much happens though the stakes are high. Save from the impressive ending scenes and shoot in the long grass, there isn’t much to take up from Paper Tiger and it won’t be a film that stays with you for long.

Julian - London Film Festival

 

Cartoon Saloon always creates the most atmospheric and heartwarming stories, even if the story is as simple as a young boy wanting to dress up as a mermaid. The Irish animation studio has transported us to fantastical places through their folktales, the Wild Island in My Father’s Dragon and the stories told by Parvana in The Breadwinner. For the next adventure, we are taken to Brooklyn, New York where Julian stays with his grandmother over a hot summer. There he makes friends with a group of mermaid obsessed girls and learns about the Coney Island Mermaid Parade. Fascinated by the ocean, Julian decides that he wants to dress up as a mermaid and take part in the parade.

Full review over at Filmhounds.

I Love Boosters - London Film Festival

 

Courtesy of Universal Pictures

For anyone who saw the science fiction dark comedy Sorry to Bother You (LFF 2018) or the weird and wonderful comedy series, I’m a Virgo (2023), knows a little of what to expect from a Boots Riley story. The filmmaker has very quickly developed a recognisable style with only two films and a TV series under his belt. But if you thought that Sorry to Bother You was a layered political absurdist comedy with a threateningly dark tone, I Love Boosters will absolutely convince you that Riley is all about style and substance, he just delivers it in the most bizarre way possible. I Love Boosters finally makes it to UK shores, with the International Premiere at the London Film Festival and we are ready to embrace what Riley has to throw at us.

Full review over at Filmhounds. 

The Fox - London Film Festival

courtesy of Signature Entertainment

 

Playing out like a dark folktale entwined with a moral tale, except no one really learns any lesson, The Fox’s comedy is found in both the sheer mundane existence of all the characters as well as witnessing the most bizarre situation. Having been on the genre festival circuit, Dario Russo’s directorial debut makes its way to the London Film Festival and when you have British treasure Olivia Colman voicing a devious and quick witted fox who convinces a cuckolded Jai Courtney to push his cheating girlfriend down a hole, you have to sit up and pay attention.

Full review over at Filmhounds.

Lady

 

courtesy of Met Film distribution

This mockumentary about an eccentric aristocratic character could have taken a familiar path of absurdity and predictable flaws, however, Lady has more to offer than the usual lark exploring how and why the wealthy behave, especially with a camera in their face. With a bizarre and dedicated central performance from Sian Clifford as the eponymous Lady Isabella, the film manages to stand apart from anything that could be remotely considered in the same vein of story.

Full review over at Filmhounds. 

The Last Boy Scout

 

courtesy of Arrow Video

It's more than official that we are really far into our 90s nostalgia era and that’s translated across to the home entertainment sector. More gems from the 90s are being brought back to the light and given the restoration treatment or 4K transfer that older films have. Leading the charge on this is Arrow Video that knows when a film needs to be given a spotlight. Directed by adept action connoisseur Tony Scott, bringing that touch of grit and violence, coupled with a razor sharp and darkly humorous script from Shane Black, The Last Boy Scout should have a runaway success, especially with Bruce Willis in the lead fresh off Die Hard 2. But the film did not perform as well as expected at the box office, nor did it get a welcome response from critics. However, with most films that didn’t do so well when they were released, The Last Boy Scout found its audience, earning that coveted status of ‘cult film’, years later.

Full review over at Filmhounds. 

Idiots

 

courtesy of Vertigo Releasing

Recently fired lowlife Mark is sent on a job with well meaning Davis to transport an obscene wealthy teenager, Sheridan, to rehab. But along the way the trio find themselves in various terrible situations, mostly caused by Sheridan who believes himself invincible due to his high status online. But when he finds he’s taken things too far, Davis and Mark will do anything they can to deliver this kid to rehab.

Full review over at Filmhounds.

Amélie

courtesy of Curzon Films

 
Celebrating its 25th anniversary, Amélie was re-released in cinemas early this year by Curzon Film. Giving a chance for those who have adored this film since it was first released out into the world and ensnaring a whole new audience. It’s strange to think that Amélie was rejected by the Cannes Film Festival, despite director Jean-Pierre Jeunet having a prior connection with The City of Lost Children which opened the festival in 1995. There was also overwhelming support for the film from audiences, with near universal praise. This rejection caused quite a stir but nevertheless, Amélie has become synonymous with French cinema as well as breaking the barrier between arthouse and mainstream cinema audiences. What better time to celebrate the film’s anniversary with a new exquisite limited edition home entertainment release, while simultaneously commemorating Curzon’s own 50th anniversary.

Full review over at Filmhounds. 

Idiotka

courtesy of Utopia

 

How does one film embody the struggle of an artist, the very real crisis of trying to pay bills when you have no money, the bond of family, the repercussions of getting out of prison, and exposing the hypocrisy of reality TV while also not being able to stop watching. Idiotka is a fantastically concise film (82 mins) that manages to cover many topics, with different perspectives though this is Margarita’s (Anna Baryschinkov) journey and triumph.

Idiotka is Nastasya Popov’s debut feature film, as writer and director, she brings all her characters to life without turning them into caricatures despite the fact that the main plot is about Margarita trying to win a reality TV show so she can pay off her family’s debt and avoid eviction from their home.

There is no avoiding the reality TV stereotypes throughout the story but instead of making it feel like just another satire, these are embraced and used to mostly comedic perfection, including some of the bizarre outfits that the ‘celebrity’ judges wear. But to show that this making of is based in reality itself, Camila Mendes’ (who is making the balance between indie and blockbusters) TV producer Nicol is never outlandish, always dressed in muted tones and despite asking for ridiculous things from the contestants, also offers a few pieces of wisdom. It may just seem this is all for the benefit of the show, but she knows that Margarita really needs this break.

Alongside the reality TV show where Margarita gets to showcase her real talent for fashion, we see every other scene how close knit her family is. Her grandmother who inspires her, embarrasses her but knows exactly how to play off their situation in order to get attention from the cameras. Her brother who is working for free so their family can pay off some debt to the landlord, but also is a musician himself. And finally her father, a doctor who broke the rules and went to prison for fraud and can’t seem to get back to his own reality, dealing with the shame for not being able to provide for his family himself. Each family member has something to prove and gain. It all comes to a head in the form of a fashion show that will either make Margarita a star or empower her to do more.

Idiotka is a rare gem amongst other films that are too afraid to embrace the chaos, not wanting to be too abrasive and playing it safe with stereotypes and its funny while doing all of this.

Leviticus

 

Courtesy of Neon

It's bizarre to see that not all original or rather new stories within the horror-sphere have succeeded at the box office. So much has been said about Backrooms and Obsession and how well they have been received by critics and audience alike. But there were two other prominent horror genre related releases that came out over the summer, One premiered at Sundance, the other at Cannes, both important film festivals, both receiving high acclaim and favoured reviews from critics and the audience who has seen the films. But Leviticus and Teenage Sex and Death at Camp Miasma make under $9m each at the world wide box office. Of course these two films were both not sold or released in as many territories as Backrooms and Obsession, but they are also about LGBTQ+ characters and themes. These two observations may go hand in hand sadly. But it's still frustrating nonetheless, especially as both films are so spectacular in their own way.

With the simplest of hooks; Leviticus follows two teenage boys, Ryan and Naim, who must escape a violent entity that takes the form of the person they desire most - each other.

Leviticus had been on the radar of many leading up to and after its Sundance premiere. Reminiscent of other supernatural stories mixed in with religious cult tendencies, the film manages to generate real terrifying scenarios mirroring genuine experiences of fear. Some might say this film is just an allegory for conversion therapy but that selling the film short of all that it accomplishes. We witness these two boys’ real fear of their own desire, manifesting in the worst possible way.

Naim’s mum Arlene knowingly puts her son through this ritual saying it will keep him safe, yet she knows the ritual is irreversible and doesn’t ‘cure’ anything. This, aside from the violence, is the darkest revelation of the entire film. His own mother wanted him to be afraid, because fear will keep him from straying, fear will control him. Naim’s own fear and most likely confused jealousy put two others in fear and pain, but he didn’t know what would happen. A terrible mistake on his part, one he regretted, but Arlene knew exactly what she was doing.

The darkness that overshadows the entire film is contrasted with the moments of hope and happiness. The use of light is carefully used to show throughout to show what Ryan and Naim are to each other. From their early encounters when Ryan seems genuinely shocked by Naim’s tenderness and responds, to the bus ride home together. After hearing there is possibly no hope of getting rid of the entities, they still take a moment to enjoy what they have. Their desire is used as a tool for fear but the acceptance of who they are and what they mean to each other is far more powerful than the fear that’s been forced on them.

Hopefully Leviticus will be given the appreciation it deserves, even if that means waiting a while for a wider audience to catch up with those who have been excited about its release for months. Same with Camp Miasma. All we can do is hope and wait.

Zip Wire - FrightFest

 

Having seen her mum die from lung cancer when she was 13 years old, Amy has been determined to find a cure. While working as a highly skilled researcher at a pharmaceutical company, she finally has a breakthrough. But no sooner has she made this discovery, her research is stolen, her partner murdered and she is left alone. Wanting to scatter his ashes in the Dolomite Mountains, she braves the trip only to be pursued by those who want her life’s work. With no escape, she finds herself on the dangerous aerial runway, in a desperate attempt to out run this mysterious enemy.

Full review over at Filmhounds. 

Buddy - FrightFest UK

 

We all know there is a sinister side to kids’ TV shows. It doesn’t matter what animal, creature, thing that leads the show, there’s always something new to learn in the episode, with a song and basic lesson learned. Buddy introduces us to the loveable orange unicorn and his group of friends who like to play, dance and sing all day. Though the intro seems normal enough, the minute the episode starts, something is not right. Just think Barney, Wizardora and the likes of Lazy Town with more blood and sharp objects.

A group of kids realise they are trapped inside a 90-style children’s television show, where their host, Buddy, an orange fluffy unicorn who slowly becomes more unhinged and violent.

Full review over at Filmhounds.

Teenage Sex and Death at Camp Miasma

Courtesy of Mubi

 

Its been an interesting year for horror so far with two unknowns crashing onto the scene with stories that haunt us in familiar and terrifying ways. Exploring liminal spaces and the dangers that one selfish wish can bring. The other two big horror films, yet to grace the UK screens but have been talked about extensively, that explore dark entities that take the form of those you desire the most and the film about horror remakes that step way beyond the realms of reality. Teenage Sex and Death at Camp Miasma, the third feature from Jane Schoenbrun is, much like their previous films, is a film that defies the one genre of horror. And they certainly have a way with coming up with fantastic titles. Camp Miasma has horror elements, but there is more of a mystery and magic to the storytelling throughout.

Queer filmmaker Kris is hired to shoot another reboot of the cult slasher, Camp Miasma. She becomes hyper focused on casting Billy Presley, the star of the original film. As the two women becomes closer and work together, they descends into a frenzied world where their reality melds with the film series itself.

There is an urgency, an explosion of queer love and passion all while looking at this through a slasher lens. Camp Miasma is a film that needs to be experienced rather than just watched casually. Miss and details, as layered as they become and you may just lose your way. Our guide through this maze of memories is Kris, who feels like she was created a little too close to the heart of Schoenbrun, played by Hannah Einbinder, who anchors the film and therefore a safe pair of hands to be in. Gillian Anderson is mesmerising as the mysterious movie star and final girl of the original film, Billy. Playing it off as a much more fun Norma Desmond, residing in the original film set of the original film, oozing sexuality with every word.

Having a new voice direct another reboot in an age-old franchise, as pointed out in the film, is a trick studios pull all the time. But Kris is not going to just make any old film, this franchise, these characters are special to her and she wants to honour them. The layers of homage within the film for a series of films we haven’t seen, doesn’t matter, we already feel like we lived through and say through all the iterations and sequels of Camp Miasma that have come before. Schoenbrun makes us yearn for films and a place that doesn’t exist. But seeing Kris frolic with Billy through the snow, covered in blood is strangely magical rather than terrifying. We welcome the famous icon we’ve never seen, Little Death with open arms. We want more Camp MIasma and we want to see Kris create her vision.

Bill & Ted's Bogus Journey

Courtesy of Arrow Video

 

They always say, the second album is the hardest to make, but when it comes to sequels, they can sometimes outshine the original. Bill & Ted’s Excellent Adventure was a hit, with a modest box office result and ended up with a cult following to boot. The story that followed this one really had to be something special. Following 3 years later, Bill & Ted’s Bogus Journey arrived but with a slightly different vibe. With Peter Hewitt at the helm, this being his directorial debut feature and though time travel was involved, this time our unlikely heroes were going to hell and back again, with much more than a school project at stake. Getting the Arrow Video treatment in 4K, alongside the extras including EPK footage from the year of release, documentaries exploring the making of, an indepth look at the production design and the usual Arrow extras that make these release stand out, its great to see the sequel in this series get a bit more attention.

Full review over at Filmhounds. 

Home Bodies - Fantasia International Film Festival

 

Courtesy of Fantasia

Red (Emma Ho) and Blue (Ian Ho), teenages, who live alone in an automated house where they have everything provided for them. They live a naive existence, spending their days watch the video tapes of a children’s show that appear each day, colouring in pictures and playing catch ball together. They adhere to rules laid out to them by the mysterious voice behind a locked door, known as ‘Pappa’. But when one day their receive a gift, a humanoid known as PAL, the balance between Red and Blue shifts. While Red is curious of their new friend, Blue only wishes for it to disappear. However there is something more sinister underneath the arrival of PAL, one will only be discovered when one of the teens makes a drastic decision.

Full review over at Filmhounds.

Holy Days

Courtesy of Lightbulb Film Distribution

 

It's strange how a story featuring nuns trying to save their convent and a young boy still grieving the death of his mother should in some way involve prayer and a closeness to God, but there is barely a religious bearing in the entire film, and oh my it is refreshing! Nat Boltt’s script, loosely based on the novel of the same name by Dame Joy Cowley, and directorial debut feature is a film that fit very well in the genre of surprisingly uplifting New Zealand based, incredibly wholesome and funny to boot films that have been released in recent years. Through all the action packed, crime ridden, violent angry films out there, its actually a pleasant diversion to go on a journey with three elderly nuns in a nearly broken down car in search of very important paperwork.

Full review over at Filmhounds.

No Rest For The Wicked - Fantasia International Film Festival

 

courtesy of Fantasia IFF

Set in the 19th Century on the Faroe Islands, fisherman Baldur lives with his widowed mother amongst their small god fearing community. When Danish sailor Helge ends up on the islands, the two men share more than an attraction for one another. But when tragedy strikes, a darker side to their passion takes hold, one of blood, death and possession.

Full review over at Filmhounds. 

Corpus - Fantasia International Film Festival

Courtesy of Yellow Veil

 

Photographer and drug dealer Sayo is invited to a ‘party’ upstate by his longtime crush and friend Vince, a star on the rise. Whisked away from the busy haze of the city, the boys along with another friend Ross find that the party isn’t exactly what they had in mind. Hosted by three mysterious women who slowly reveal their disturbing agenda, drawing the boys in until its too late for any escape.

Full review over at Filmhounds.

Vampire's Kiss

 

Courtesy of Transmission/Radiance Films

Peter Loew, an arrogant self absorbed literary agent yuppie doesn't have much going on in his life except one night stands, terrorising his colleagues and keeping to his weekly therapist appointments. One night he brings home the mysterious Rachel who makes it a night to remember. Peter’s life from then on takes stranger and darker turns as he descends into near madness believing he has been turned into a vampire.

Full review over at Filmhounds.

Pools

Courtesy of KLA Media Group 

 On the verge of being kicked out of college, Kennedy decides that putting her head down and getting on with school work is not what she needs. Gathering together a group of random acquaintances also stuck at college over the long hot summer, she leads the group to go nighttime pool hopping throughout the lavish estates in her college town. But as she is still grieving the recent loss of her father, this spontaneous adventure becomes more of a journey of self discovery.

Full review over at Filmhounds.

Broken Beak - Raindance

Courtesy of Raindance

Folktales are prime subjects for horror films across the globe. Every country has stories from the past that could be used to paint an image of the present. Myths and monsters are perfect to scare and set an uneasy atmosphere, even more so if these creatures take hold of someone in reality. Broken Beak easily sets the stage for something bizarre and deeply disturbing. Though the cinematography in most places is visually compelling, and the central performance from Briar Rose is commendable, Broken Beak isn’t quite the folktale inspired horror film you expect it to be.

Full review over at Filmhounds

The Dark Crystal

Courtesy of Anime Limited & Radial Entertainment

 

Straight from the mind of puppet pioneer and filmmaker Jim Henson, The Dark Crystal was a story conceived by him, produced and eventually co-directed by him alongside Frank Oz. Everyone remembers Labyrinth (how could they not?) which came out in 1986, but everyone talks about or remembers The Dark Crystal. Though the puppets are equally as fantastical, there were no human characters, or epic soundtrack, this was pure fantasy. From the world building, the design, the characters that inhabited this world in an age of wonder, this was fantasy at its most whimsical, enchanting and darkest. The world of The Dark Crystal earned its cult status and a short lived new lease of life when Netflix released a prequel series, The Age of Resistance, which received decent reviews and audience but not enough to get another season sadly. But The Dark Crystal still remains one of the highest grossing puppet films of all time and will forever be engrained in the minds of millennials as ‘that childhood’ movie that probably gave them nightmares. It's exciting to see the film receive a brand new 4K release, with a whole host of new features for longtime fans of the film to delve into.

Full review over at Filmhounds.

Lesbian Space Princess

Courtesy of Peccadillo Pictures

The animated space is far too often predominantly aimed at a younger audience, or is automatically assumed to be more for children. But thankfully the animators out there that make animated content aimed at adults or exploring subjects that are more for an adult audience are doing excellent work. The latest names to be added to this group, writer-directors Emma Hough Hobbs and Leela Varghese have created what should be the newest obsession for fans of animated films and comedic entertainment. Lesbian Space Princess is a hilarious, relatable sci-fi adventure, with a fun appealing style that feels right at home amongst the likes of Adventure Time, Tuca and Bertie and Final Space.

Introverted Princess of Clitopolos Saira, is devastated when her girlfriend, Kik the Destroyer dumps her right before the Lesbian Ball, especially as she was looking forward to not attending alone this year. Saira already feel inadequate and overshadowed by the Queens, her moms who are very popular. But when Kiki is kidnapped by the Straight White Maliens, Saira has to make the dangerous journey to save her, and then maybe this will convince her ex to take her back.

Hough Hobbs and Varghese have created such a fun world with a very entertaining variety of characters, all while exploring the themes of self worth and of course, self discovery. The LGBTQ+ themes that runs throughout are also very much appreciated. The jokes are on point, whether they are subtle or absolutely in your face, with great voice performances from a fantastically assembled comedic and dramatic cast. The setting of space doesn’t dilute any of the themes or topics and is frankly, a refreshing science fiction adventure. There is very little to fault Lesbian Space Princess, except maybe some parts of the story are rushed through and not given the proper time they deserve, mainly when some important information comes to light about why Saira may be so shy, anxious and lonely. But maybe this could be explored further in a follow up adventure? Here’s hoping there may be more to explore.

Kraken

Courtesy of Samuel Goldwyn Films

 

Marine biologist Johanne is asked to investigate a salmon farm in a Norwegian fjord after the area has experienced a series of odd events; fish jumping on land on mass, damaged fishing equipment and more recently missing people. Once at the salmon farm, Johanne discovers that they have been using a sonic device to de-lice the fish but at a dangerously high frequency. Unfortunately, the damage is already done. The sonic wave has also woken up something else.

Full review over at Filmhounds.

Virginia Woolf's Night and Day

Courtesy of Vue Lumiere

Although Virginia Woolf's Night and Day is not one of the author’s most memorable or notable works, this period drama adapted by actress Justine Waddell, seems to have all the makings of a typical story about a woman simply born in the wrong time. However, the film tries to offer far more than what is expected with unsatisfying results.

In 1910, astronomer Katherine Hilbery tries to push back against the patriarchal attitudes of the day, challenging what was expected of her as a woman and forging her own path in the field of science.

Full review over at Filmhounds.

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.