For It Is Man's Number

Tuesday, 27 January 2026

Sisu: Road To Revenge (2025)

Not only was Sisu a great film, it was a great film that revolved around the idea of someone hurting and killing large numbers of Nazis. It felt so much more satisfying in light of recent events, and I was happy when they announced a sequel. Sisu: Road To Revenge is, frankly, ridiculous. It's even more ridiculous than the first film. That's not necessarily a bad thing, but it does stop it from being as good as the previous Sisu adventure.

Jorma Tommila returns in the main role, Aatami Horpi, and this time he is determined to dismantle the home where his family was murdered, hoping to rebuild it elsewhere. Other people don't want that to happen. Aatami is an embarrassment to them, a real stain on their fake big book of achievements. And that's why Yeagor Dragunov (Stephen Lang) is tasked with stopping our hero, by any means necessary.

With Jalmari Helander back on writing and directiung duties, and his leading man as comfortable and capable as ever with whatever he's asked to do onscreen, Sisu: Road To Revenge is, in some ways, everything you could want from a sequel. It gets moving that bit quicker, it escalates the situation sooner, and it builds and builds to a finale that is entertainingly bonkers. As a character, Aatami is almost equal parts Road Runner and Wile E. Coyote, but without the consistent failures of the latter. He's quick, ingenious, and happy to strap himself to a rocket if it means it will give him an upper hand.

If you liked the first movie then you're going to have a lot of fun with this one. It has a few moments that are glorious in their gleeful violence, one involving planes and one involving a train carriage full of bad guys, but it doesn't quite work as well. Maybe that's due to the new villains (it's a load of Russians this time, portrayed as evil and lacking any conscience, but still not as satisfying to watch be maimed as Nazis), or maybe it's just harder to keep thinking up set-pieces that will top the ones we've already seen.

Tommila is fantastic, and Lang is an excellent personification of the army that is out to kill our hero, but there aren't enough other characters to help keep viewers engaged in between the kills. Richard Brake appears onscreen just long enough for people to figure out that it's actually him, and there's a lovely dog portraying a very good boy, but that's about it. Maybe next time, and I do hope there will be a next time, give us someone else for Aatami to protect, because we know that the film isn't going to end prematurely with his death. IF the unkillable one is killed, it's going to be somewhere close to the end credits.

An easy one to recommend, but I know that I'll end up revisiting the first film many times before I choose to revisit this one. Mind you, the two together make for a hell of an entertaining evening, which is maybe the best way to experience the full journey of this unstoppable and determined whirlwind of vengeful violence.

7/10

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Monday, 26 January 2026

Mubi Monday: Die My Love (2025)

I can easily see why director Lynne Ramsay wasn't initially keen to work on this film, which looks at the disintegrating mental health of a young woman after the birth of her child. Ramsay previously gave us the ultimate look at that kind of thing in We Need To Talk About Kevin. That also had an exploration of nature vs. nurture though, whereas this is all about someone losing their own identity, and healthy love of life, piece by piece. It has motherhood in the mix, but it's really more about how we can sometimes give too much to other people in relationships that then leave us without enough energy to properly take care of ourselves. Sometimes that is the fault of the other people, especially if they keep demanding too much of your time and attention. Sometimes it is a fault with the person who wants to keep busy and serve others while avoiding any time that could lead to some introspection.

Jennifer Lawrence and Robert Pattinson are, respectively, Grace and Jackson. The two of them move into a home left behind by Jackson's deceased uncle. It needs a lot of work done to it, but it at least feels like a good home for them to start their family. Jumping forward slightly, Grace is left at home a lot with their young son, Jackson is often working away, and things start to sour quicker than a carton of milk left on the windowsill on a scorching summer day.

Based on a book by Ariana Harwicz, Ramsay has done well to collaborate with Enda Walsh and Alice Birch on the screenplay, but quite possibly did even better to assemble a cast who all had faith in her process and were up to the challenge of portraying their characters in a convincing and natural way. The screenplay works well in terms of the structure and the strong thematic core running all the way through it, but the film works as well as it does thanks to the lack of vanity shown by Lawrence and co.

LaKeith Stanfield isn't given much to do, sadly, but is as welcome as ever in his supporting role. Nick Nolte and Sissy Spacek get moments that easily remind you of how great they are, but everything steps up a level when either Pattinson or Lawrence are onscreen, with the latter particularly strong delivering a performance that could arguably be considered the best of her career. It is, however, a performance much better than the film that she's in.

I really like the work of Ramsay. She's been delivering one fantastic film after another for almost the entirety of her directorial career. Die My Love is good, and it tries to walk a line between the many clouds and the infrequent silver linings, but it doesn't ever do enough to become great. Whether due to the source material (which I am unfamiliar with, sorry) or her own choices, Ramsay feels a bit undecided about where exactly she wants to take the characters. She also blurs reality and fantasy in a way that works against the potential impact of various moments in the third act, which is a stark contrast to the way she has handled such a blurring in her previous features.

There's still a lot to enjoy and appreciate here, and many others have heaped a lot of praise on this already, but it feels like the weakest film yet from Ramsay. Perhaps she was right to be hesitant when initially offered this opportunity. It certainly feels as if she doesn't have the confidence and instincts here that have served her so well elsewhere.

6/10

Sunday, 25 January 2026

Netflix And Chill: Train Dreams (2025)

I made some time for Train Dreams this weekend because it is one of the few films nominated in the main categories at the 2026 Academy Awards. There was no other reason. I didn’t even really know what it was about, but I suspected it might be one that didn’t impress me. Joel Edgerton is someone I am still wary of, despite the fact that he has quietly delivering brilliant performance after brilliant performance now for at least the better part of ten to fifteen years. And even people who praised the film seemed to avoid mentioning what it was actually about, which made me think it was going to be less than captivating.

Happily, I was wrong again. Edgerton plays Robert Grainier, a man who just happens to be born at a time when American is starting to build railroads and hurtle towards a momentarily gleaming and awesome future. But the hard work must be done before the celebrations can begin. Rail tracks are laid, gangs of men are left in the wilderness to work hard and risk death every day, and few of the jobs helping to create a transport infrastructure are without major risk. Robert can keep thinking about his wife (Gladys, played by Felicity Jones) while he sees the pain and death around him, but it isn’t long until his own life starts to be overshadowed by tragedy.

Adapted from a novella by Denis Johnson, this screenplay by Greg Kwedar and director Clint Bentley (who also co-wrote Bentley's first feature about five years ago) is an enjoyable look at the many changes one man can see happening in a particular lifetime. Robert may seem to be a background character, in many ways, but he is a witness to a very interesting chapter in history, as well as being an important part of the machinery used to build and shape the USA, in more ways than one. Bentley takes in everything around the main character, but the narrative and Edgerton's presence, as quiet and still as he is, stops viewers from forgetting who is the essential jigsaw piece completing the big picture.

Edgerton is a calm and stoic lead, as good here as he has been in any other role he's had throughout his career. He has the right face for showing endurance and growing tiredness. Jones has a lot less to do, in many ways, but works perfectly as the woman so beloved by him that her presence is felt reverberating through everything else that he does. William H. Macy is delightful in a bittersweet supporting role, and there are great moments for Clifton Collins Jr., Paul Schneider, John Diehl, and Kerry Condon. Everything is also helped by the superb narration from Will Patton, who has the perfect voice for this story.

At once both small and vast, this is an epic tale told through the prism of one "bystander". It's a timely reminder that, however much we want to participate or stay out of things, we are all a constant part of history. We can add something worthwhile, we can allow horrible things to happen without intervening, but we all play our part. And if that isn't something that everyone needs reminding of right now then I don't know what is.

9/10

Saturday, 24 January 2026

Shudder Saturday: Mother Of Flies (2025)

Another horror movie written by, directed by, and starring John Adams, Zelda Adams, and Toby Poser, Mother Of Flies is another interesting use of the genre to explore something a bit more thought-provoking and relevant than some of your more straightforward fright flicks. The Adams Family, as they are often affectionately known, excel in using their limited resources and budgets to present something that has a bounty of ideas to make up for the relative lack of polish. Let's not be unfair to them though, they're also bloody good when it comes to the technical side of things.

John and Zelda play Jake and Mickey, a father and daughter who are on a journey to visit a witch (Solveig, played by Poser). This is all to do with a medical diagnosis that Mickey has received, one that doesn't give her a very good chance of survival, and she decides that she may as well give something else a go, something other than science and medicine that may simply postpone the inevitable.

While describing and discussing Mother Of Flies, there doesn't seem to be that much to it. My plot summary covers everything well enough, although we also get some backstory about Solveig and her place in the local area, and there aren't really any big shocks or surprises, despite some effectively unnerving imagery used here and there to show the ongoing cycle of life and death, as well as the battle between good health and various ailments. It feels more substantial when you're watching it though, and not just because it is based on the real experiences that the family have had with cancer throughout the past few decades. While horror can entertain, while it can make you tense and scared, while it can have you impressed by gore gags and fun kill scenes, it also provides a fantastic backdrop for many conversations that we should strive to make less discomforting for ourselves. Death is never far away in horror movies, of course, but it's good to take the more fantastical elements of the genre and juxtapose it alongside the everyday pains and horrors that so many endure in their lifetimes, either inside themselves or while helping loved ones.

I don't think anyone here is at the top of their acting game, certainly not in comparison to some big names who would never do this kind of thing nowadays anyway, but they have the bonus of being a family unit who can act around one another in a way that lacks any nerves or self-consciousness. Poser gets to have the best moments, which tends to happen when you play a witch known for your witchy ways, but all three leads to a decent job.

There's also another very good selection of music here, also from the family, and, overall, this is yet another worthwhile genre film that rewards those who have (like myself) decided to try and keep up with every feature that these talented creatives put out there. It's not quite up there with their very best, but it's absolutely one to make time for. You might even spend some time after the end credits have rolled considering what beliefs are generally supported by the masses and what aren't, and what difference that really makes to those who live their lives with enough personal faith to ignore whatever others say about them.

7/10

Friday, 23 January 2026

American Gigolo (1980)

"What are you doing this evening?" my partner asked me.

"Watching a prime slice of sexy Richard Gere in glorious 4K," I replied.

"Ewwwwww, he's not sexy," she then said.

"Many would disagree with you. Especially in the 1980s," I told her.

Whether you view Gere as a sex symbol or not, and it's hard to argue with his possession of that status for at least a number of years, American Gigolo is a film that has writer-director Paul Schrader firmly in the "he definitely is a sex symbol" camp. And the way he films his star, it's hard to disagree. Unless you're my partner, I guess.

It's embarrassing that I took so long to get around to this that I reviewed another Paul Schrader movie, The Walker, a few years ago, describing it as a film that may not be too similar to other Schrader films. The Walker is about a male escort who finds himself mixed up in a murder. I didn't really like it. American Gigolo, as many are already aware, is about a male escort who finds himself mixed up in a murder. I really liked it.

Gere plays Julian, a classy escort who wears all the right clothes, has all the right moves, and says all the right things to keep his clients happy. His life starts to get a bit complicated when he starts a relationship with Michelle (Lauren Hutton), the wife of a senator. It's complicated further when a client turns up dead, bringing him to the attention of Detective Joe Sunday (Hector Elizondo). But at least his life is soundtracked by Giorgio Moroder and a repeated Blondie track.

While it's obviously a bit dated nowadays, American Gigolo feels as if it was always a magical blend of the cool and the uncool. Gere is suave and sexy, his life is full of great accessories and treats, but he's also surprisingly emotionally available for many of his clients. He's shown as a very capable man, but is also rendered useless as he becomes more and more tangled in a web that could lead to him serving some serious time in prison.

A lesser film in comparison to the others that Schrader directed between the late 1970s to mid-1980s, it's still an interesting way to make use of some of his usual themes with material that feels more "sellable" than some of his other works. The runtime - just under two hours - passes by quickly enough, and the stars have enough fun to ensure that nothing ever gets too grim and unenjoyable. It's a bit lacking in depth, but that's in line with the world that viewers are shown around, which makes it a nice marriage of content and form.

Gere enjoys a few iconic moments, something that he did remarkably well in his biggest cinema hits, and Elizondo is an entertainingly tenacious, but generally polite, detective. There's also a fantastic turn from Bill Duke, playing a pimp named Leon. Hutton is lovely in the role of Michelle, Carole Cook and K Callan are two other women who get to enjoy Gere's company when the opportunity presents itself, and Nina van Pallandt is very good as the woman who connects our lead with the women who want to, well, connect with our lead.

The Moroder music helps, but the big plus is Gere being able to anchor the film with what would most commonly be referred to nowadays as BDE. It all depends on how you feel about him though. I'm a fan, especially when he's used as well as he is here. My partner, on the other hand, is not.

8/10

Thursday, 22 January 2026

The Bridge On The River Kwai (1957)

Okay, look, hear me out. I know that I can't add much to the amount of praise already heaped upon The Bridge On The River Kwai. All I can do is agree that it's a masterpiece, praise the cast (especially Alec Guinness giving what I consider to be one of his very best performances), and remind everyone that it was based on a book by the same author who gave us Planet Of The Apes. So there you go. Job done.

Well . . . I guess I could say a bit more.

For those who have yet to experience the majesty of The Bridge On The River Kwai, it's essentially about a group of British POWs forced to build the titular bridge for their Japanese captors. Colonel Nicholson (Guinness) butts heads with Colonel Saito (Sessue Hayakawa), who doesn't believe in abiding by the rules of the Geneva Convention, but he also believes in keeping his men busy, and giving them a sense of achievement. Meanwhile, a lone escapee (Shears, played by William Holden) is ordered to return with Major Warden (Jack Hawkins), and one or two others, on a mission to destroy the bridge.

I loved this movie the first time I saw it, and that love has never diminished with any subsequent viewings. It's a masterpiece. You can feel the heat and the dirt on the POWs, and the battle of wills between Nicholson and Saito is legendary. This puts human nature under a microscope while maintaining an epic backdrop, paying very careful attention to the world-renowned stiff upper lip that seems to be a vital component of the British army. The screenplay by Carl Foreman and Michael Wilson is wonderful, Michael Arnold's score equally so (even if it is incorporating the very familiar "Colonel Bogey March), and Jack Hildyard's cinematography is, while not on a par with the visuals delivered when Freddie Young was working with director David Lean, at least as lush and expansive as you could hope for. Especially in the astounding final sequence.

If you haven't seen this already then you should really make time for it ASAP. There's a decent smattering of humour throughout (particularly in the scenes involving Holden trying to enjoy his freedom, but also in the wry exchanges between Guinness and Hayakawa), there's not one mis-step in the lead performances, and the 161-minute runtime moves by far quicker than expected.

You should also watch many other Lean movies though, and this is what prompted me to take the plunge and review The Bridge On The River Kwai here. Feel free to argue the point, but I find myself worrying that Lean seems to be at risk of being forgotten nowadays. People will still take time to discuss the Ealing films, there's always room for Powell & Pressburger to be included in conversations, and we've seen a very talented crop of British directors gain prominence and platitudes throughout the past few decades, but Lean seems to have fallen slightly out of fashion. Perhaps it's the epic runtimes of his most well-known movies. Perhaps it's the fact that they're not being put front and centre on any of the major streaming platforms (let's face it, Netflix is as likely to promote Lawrence Of Arabia as it is to ask you to turn your phone off while you watch their content). Whatever the reason, or maybe it's just me missing/forgetting some obvious celebrations of his work, Lean deserves his flowers. And he may as well get them for The Bridge On The River Kwai as for anything else he did. It's glorious cinema.

10/10

Wednesday, 21 January 2026

Prime Time: Death Of A Unicorn (2025)

Despite the general negative reviews I saw for Death Of A Unicorn, I held out hope that I would enjoy it. There's a decent idea at the heart of it (some people hit a unicorn with their car, and it's not long until some mono-horned revenge seems to be on the cards) and a great cast. In fact, my hopes would have been even higher for this if I'd known in advance that it not only included Paul Rudd, Jenna Ortega, Téa Leoni, and Richard E. Grant, but also Will Poulter, Sunita Mani, Anthony Carrigan, and Jessica Hynes.

Rudd and Ortega play Elliot and Ridley, a father and daughter heading to an important weekend event which could improve Elliot's earning potential. He has to schmooze his super-rich boss (Grant) and his family (his wife, played by Leoni, and son, played by Poulter). Things are complicated by the fact that Elliot hits and kills a unicorn on the drive there. Well . . . he THINKS he has killed it. There's no time to mourn for the beast though, nor appreciate the majesty of it, when the assembled rich folk realise that unicorns have magical healing properties.

The first full feature helmed by writer-director Alex Scharfman, this is full of amateur errors, although it must also be said that Scharfman does well with the visuals and his ensemble cast. He cannot nail down the tone though, starting things off with an emphasis on black comedy, trying to then deliver some scenes of tension and gore, and then swerving back to the comedy, but not without shoe-horning in some unearned emotional moments in the third act. The 107-minute runtime makes the whole thing feel a bit baggy, most of the dialogue lacks a required sharpness, and the very end scenes add to a feeling of the whole thing just being ever so slightly pointless.

Rudd is good, even if he is asked to dull his light slightly, while Ortega strives to make more of her part than just being "moody girl who sees the truth ahead of everyone else". Grant and Leoni are effortlessly enjoyable in roles that they could do in their sleep, and Poulter has the most fun of anyone onscreen, playing his part with a hilarious mix of selfishness, stupidity, and attempted menace. Hynes is an interesting choice for her character, and I must admit to being so delighted to see her in such an unexpected role that she didn't have to do any more than be present onscreen to keep me happy, and both Mani and Carrigan are used to highlight the huge chasm that exists between the haves and the have-nots (aka the employees).

This could have been so much more. Some decent creature design aside, it's a visually unappealing film, the main message running through it has been conveyed so much better in a number of better movies released in the past few years, and I would even say that the music by Giosuè Greco and Dan Romer is sadly lacking something. All of the ingredients are here, but only one or two can still be tasted by the time the lacklustre end result is served up.

4/10

Tuesday, 20 January 2026

28 Years Later: The Bone Temple (2026)

It's strange to find that every new instalment in what is now a fine horror franchise comes loaded with worry and curiosity about where things are going next. I was relieved when I ended up enjoying 28 Years Later as much as I did, but that wild ending had me wondering about how the next instalment would be handled. And then finding out that it was being directed by Nia DaCosta made me uneasy. I like DaCosta, I always want her to do well since she did such great work with Candyman, but "The Bone Temple" seemed to be moving further into dark territory that was also quintessentially British.

Whether or not DaCosta knew about every disturbing detail in her own movie, and I would hope that writer Alex Garland gave her a primer on one or two key elements, she proves to be a fantastic choice to helm this middle section of what looks set to be quite a brilliant and intriguing horror trilogy. It's already two for two at this point. Now I have worry and curiosity about how the final part will play out.

For those wanting a very brief plot summary, as long as you've seen the previous film, we rejoin this dangerous world as young Spike (Alfie Williams) is being initiated into the gang of Jimmys that saved him at the end of the last film. The leader is Sir Jimmy Crystal (Jack O'Connell), and they are on a mission to serve Old Nick. Meanwhile, Dr. Kelson (Ralph Fiennes) is still tending to his ossuarium, and he's also hoping to find a way to communicate with, and perhaps even cure, the infected alpha known as Samson (Chi Lewis-Parry). Kelson and Crystal have very different ways of dealing with the world around them, but fate may bring them together in a way that might force them to find some common ground.

If you enjoyed both Williams and Fiennes in the previous movie then you're going to find their performances equally enjoyable here, although Fiennes gets to do a bit more than the younger cast member. It's arguably O'Connell who steals the show though, embodying absolute evil with a smile and a winning way with words . . . and a real affinity for the antics of the Teletubbies, but Lewis-Parry continues to cast a hell of a large shadow in the role of Samson, particularly when in numerous scenes that have him interacting with Fiennes. Nobody disappoints, but the others worth highlighting are Emma Laird and Erin Kellyman, both standing out as the two female members of the Jimmy gang (named Jimmima and Jimmy Ink, respectively).

28 Years Later: The Bone Temple is two films perfectly intertwined. One is a study of evil, and also a look at how people working together can overcome the greatest obstacles. The other is a full-blooded selection of horror movie moments, with arteries cut, flesh torn, and innocent people dragged into sadistic games. And then it stops to deliver a show-stopping sequence that makes incredible use of a very well-known Iron Maiden song.

I cannot think of anyone being disappointed by this if they made it all the way through the previous film. DaCosta may struggle to put her stamp all over this, but there are choices and flourishes that are more in line with her aesthetic than the standard look of the series. It's commendable that she also maintains a consistency that allows the whole thing to feel like a natural extension of the unfolding storyline though.

I may have an obvious bias here. I enjoy every single entry in this film series. The fact that these new films have gone from being unnecessary titles that nobody seemed to want to important and fresh ways to examine the human spirit and expand the lore of the infected is incredible. And there are now three features that could easily be in contention whenever the time comes to pick an outright best film in the series. I will remain worried and curious until the third/final film is released, but that's just habit at this point. All of the evidence so far assures me that I should be optimistic and excited.

9/10

Monday, 19 January 2026

Mubi Monday: Dessert For Constance (1981)

A French TV movie from the early 1980s that looks at the immigrant experience with great tenderness and gentle humour, Dessert For Constance was yet another in a long line of movies I just decided to put into my viewing schedule because it was made available to me. I'm glad I did, particularly when considering how differently the same story might be treated today.

Sidiki Bakaba and Cheik Doukouré are Bokolo and Mamadou, respectively, two immigrant street sweepers in Paris who need to find a decent sum of money quickly in order to help their sick friend, Bono (Elias Sherif), get home to his mother. Inspired by a cookbook that they find in the trash, Bokolo and Mamadou believe that they have the knowledge required to win a TV show based around cooking knowledge.

Adapted from Daniel Boulanger's novel by Maurice Pons, this hour-long (give or take) bit of pleasantness is directed by Sarah Maldoror. If you're unfamiliar with the work of Maldoror then you're in the right place. I am also a newcomer to her filmography, but this has spurred me on to hopefully catch some of her other work one day (she seemed to mostly work on TV movies and shorts). Maldoror works with the material to keep everything far away from the pessimism and misery that could have been running through it, ultimately giving viewers something that has the qualities of a very modern fairytale. Bokolo and Mamadou are quite the double act, but they're not goofballs.

Bakaba and Doukouré are very good in the main roles, both so natural that I was surprised to see that they both stayed in the acting trade for decades. Sherif only has this one credit, and doesn't have to do too much with his screentime, while the other main role (for someone interacting with the leads anyway) is played wonderfully by Jean Bouise.

Making use of a cookbook as a central plot device is a very easy way to remind people of connections that can be made without considering geography, race, class, or any number of other factors. If the way to someone's heart is through their stomach then shared favourite foods can be about so much more than just sitting down together at the same table.

If you can see this, and I know that it will be a difficult one for you to get hold of unless you have the varied and strange options I tend to have at my fingertips, then I recommend you give it your time. It's just over an hour long, it's unexpectedly delightful, and occasionally silly, and it's a fine antidote to the deluge of anti-immigrant rhetoric that has taken over the news and media in the past few years.

8/10

Sunday, 18 January 2026

Netflix And Chill: Wake Up Dead Man (2025)

It's time for another Benoit Blanc mystery written and directed by Rian Johnson and this time around the murder mystery has repercussions that affect a small local church. There are more twists and turns, there's another stacked cast (although, with respect, maybe not as stacked as the previous two movies), and Craig feels as if he has become completely comfortable in a role that has most successfully allowed him to move further away from under the shadow of Bond. Is it any good though?

The short answer is yes. The longer answer is that Wake Up Dead Man is perhaps the most interesting and substantial Benoit Blanc mystery yet, but it's not necessarily as much fun as the previous instalments in the series.

A Monsignor is the murder victim this time, but he also might have enough belief in the idea of resurrection to make his death less permanent than some others (hence the title). The main suspects are a younger priest with a troubled past, loyal members of a small congregation, and . . . some divine retribution?

I expected to have fun with Wake Up Dead Man. I expected to enjoy the cast, which also includes sizeable roles for Josh O'Connor, Josh Brolin, Jeremy Renner, Andrew Scott, Thomas Haden Church, Glenn Close, Kerry Washington, Daryl McCormack, Cailee Spaeny, and Mila Kunis. What I didn't expect was a film that mixed a murder mystery with an exploration of organised religion, personal faith, and the good and bad aspects of both. Some of the cast members may suffer slightly as they wait on the sidelines for some of the runtime, and Blanc himself doesn't come into the movie until about the 40-45 minute mark, but it's impressive to see Johnson use the template for such a thoughtful and insightful conversation about how people can be guided, or misguided, by someone, or something, helping to direct their moral compass.

Both O'Connor and Brolin are superb in their roles, the former quiet and contemplative while the latter is keen to deliver some fire and brimstone fury in sermons designed to drive away those he disapproves of, and Close, Washington, and Scott are the highlights from the rest of the ensemble, although everyone does good work. Then you have Craig, having even more fun this time around with a character who is more comfortable in his own skin than anyone else onscreen.

Johnson knows that he has people onside by this point. That gives him the space and time to wander around some new territory, always checking back in often enough to show us what is happening with the murder investigation. Patience is rewarded, no questions are left unanswered, and Johnson makes effective use of our goodwill without squandering it.

Some have already stated that this is their favourite Benoit Blanc mystery yet. I'm sure there are others who were disappointed. I'm also sure that it has at least done enough, in terms of audience numbers and conversations, to make a fourth outing very possible. Johnson seems to be very happy helming these, Craig seems to be just as happy to star in them, and viewers tend to be happy with the end result. I'm already curious as to what song title will be used next.

8/10

Saturday, 17 January 2026

Shudder Saturday: Don't Torture A Duckling (1972)

Some people really like Don't Torture A Duckling. They view it as a great giallo, and they view it as a great film from director Lucio Fulci. I need to start this review by saying that I am not one of those people. It's generally entertaining, but not necessarily in the way that was intended.

The plot is quite simple. A number of children have been murdered in a small Italian town. The police work their way through a few suspects, including a woman who seems interested in witchcraft, while a visiting journalist (Andrea, played by Tomas Milian) and a shamed young woman (Patrizia, played by Barbara Bouchet) stumble on some information that may eventually lead them to solving the case.

Co-written by Fulci with Roberto Gianviti and Gianfranco Clerici, this is, on the one hand, a sharp commentary on hypocrisy and at least one major institution. On the other hand, it's a bit too silly and amused by the many distractions littering the runtime to be considered a real classic. I assume that those who are fans of it appreciate the sleazy vibe and the nasty edge to it, especially in the cold approach to depicting the multiple child deaths, but there's a disappointing lack of tension here, nor anything that could be considered particularly stylish or visually attractive (with the notable exception of Miss Bouchet, of course).

Milian and Bouchet are the stars, even if they have to linger in the background as the film heads off to show us another murder or a suspect being side-eyed, at the very least. The fact that Bouchet has to act in a couple of scenes in which she teases a couple of different young boys is an odd choice, but one that all involved commit to. Florinda Bolkan is the witchy woman who becomes the number one suspect, Irene Papas and Marc Porel end up dragged into the unfolding pain and misery, and Vito Passeri is enjoyable as a character who has to convince everyone that he "didn't murder any kids, honest, it was just an opportunity to make some money by demanding a ransom in exchange for details of where a body is buried".

This doesn't have any of the Fulci treats that I find in many of his other features, personally. It's not even his best slasher movie to make use of a duck (that would be the dark and violent The New York Ripper, which has the killer being ducky during a number of phone calls). I'm not one to yuck anyone's yum though, as it were, and many others would probably recommend this. I didn't hate it, and it's too enjoyably bonkers to completely dismiss, but I can't see me being keen to revisit it as I revisit a number of other Fulci greats.

5/10

Friday, 16 January 2026

Primitive War (2025)

Like many people, I didn't expect much from Primitive War, a film easily described as part Vietnam war movie, part Jurassic Park. And like many people, I was very impressed as the wonderful end credit sequence started to roll. It's overlong, not all of the characters stand out as individuals, and the screenplay, co-written by Ethan Pettus and director Luke Sparke, is full of lines you have heard in every other war movie, but it's more fun than Jurassic World: Rebirth, on a budget of less than 5% of that franchise instalment.

Ryan Kwanten is the biggest name here (well, Jeremy Piven is also in the cast, but he's used sparingly in a few scenes that bookend the main action). Kwanten plays Baker, a man leading his platoon through a jungle valley that turns out to have a number of unexpected dinosaurs roaming around. It's all down to a military plan, and those dinosaurs may end up wanted by those in power seeking every advantage in the ongoing war.

While I don't know if this was put together in exactly the same way, Primitive War feels as if it is to dinosaur movies what Monsters was to alien movies. Although, and it's important to note this, Primitive War has an approach that is far less coy, with those involved having the confidence in the FX to pack more fun into the whole thing than expected. It takes a bit of time to ease viewers into the premise, after an attention-grabbing opener (much like the main films it is emulating), but it doesn't take any steps backward once everyone becomes aware that there are dinos on the loose.

Kwanten is decent enough in his role, he acts and looks suitably like a typically tired and dogged war-time soldier. Others acting just as tired and determined to escape the warzone include Nick Wechsler, Anthony Ingruber, Aaron Glenane, Carlos Sanson Jr., and a handful of others. While none of them really stand out, they work together well enough to feel like the unit they are. Tricia Helfer plays a woman named Sofia , someone who knows more than the soldiers about what is going on, and she does the job of delivering the exposition and reminding everyone of the stakes.

I've not seen anything else from Sparke, and I don't know if he's done anything else that comes close to being as entertaining as this, but I look forward to what he lines up next. Considering how well this has gone down with those who have given it a chance, Primitive War may prove to be the breakthrough title in his filmography. The pacing isn't perfect, and some failings make it obvious that this is the first feature produced from something written by first-timer Pettus, but the good easily outweighs the bad. You even get some pleasantly surprising soundtrack choices that help it to sit alongside numerous other Vietnam movies with the same tunes accompanying the visuals.

7/10

Thursday, 15 January 2026

Predator: Badlands (2025)

Another instalment in the Predator franchise directed by Dan Trachtenberg, fans should be very happy to hear that this is easily on a par with (and maybe even better than) his previous live-action Predator movie, Prey. In fact, between these two features and his animated side-project, Predator: Killer Of Killers, it would seem that nobody could be a safer pair of hands for the continuing success of this iconic character.

The story this time around concerns Dek (played under a whole load of make up by Dimitrius Schuster-Koloamatangi), a young Yautja who doesn't seem ready to take his place alongside many the others in his community. He's not managing to get through the standard rite of passage, despite his brother trying to help him, and his father thinks he should be killed. Which is why he ends up on a planet where almost everything is deadly, hunting a beast said to be unkillable. He soon ends up begrudgingly accepting some help from Thia (Elle Fanning), a synth who is currently missing her legs. The allies seek to get Dek his trophy, but there are others on the planet with similar aims, and they might end up also wanting to bag Dek.

It's hard to overstate just how great this is. Written by Patrick Aison, this is a film that has a mix of superbly cinematic moments, inventive action, the Predator details that you want to see, and sheer fun. It makes the union at the heart of the film feel plausible, helped by the fact that Dek is young and sorely in need of whatever advantage he can make use of as he attempts to "prove his worth", and allows viewers to become invested in the outcome, especially when the characters change direction in the third act toward a different destination.

Shuster-Koloamatangi gives a superb physical performance, and it's one that draws you in and keeps you onside throughout (contrary to the many dissenting voices who were critical of the look of his character when the first trailer was released). Fanning is equally good, helped by make up in a different, but just as effective, way. Her upbeat manner juxtaposed alongside the rough and straightforward nature of her new "friend" makes for most of the fun in the first half of the film, and she also gets herself involved in some great action sequences. The fact that she also gets to show another side of herself later on is a bonus, and allows her to feel like a very worthwhile new addition to the ever-expanding WYCU (Weyland Yutani cinematic universe).

All of the flora and fauna design is impressive throughout, the different environments all feel real, CGI is generally on point, accompanied by Jeff Cutter's superb cinematography, and Trachtenberg also helps lift everything up by making use of a frankly brilliant electro-infused score from Sarah Schachner and Benjamin Wallfisch.

This is what a modern Predator film should be. This is what a fun sci-fi action flick should be. If only they could do the same now with the Alien franchise then we could eventually look forward to a much better attempt to showcase both creations in one feature.

9/10

Wednesday, 14 January 2026

Prime Time: Bride Hard (2025)

If you want an action comedy with a talented female comedian in the main role then I could direct you towards one or two options. If you want an action comedy set against the backdrop of a wedding then I know of at least one that I would tentatively recommend. Bride Hard gives you a bit of both, although it depends on how talented and funny you find star Rebel Wilson. I would say that this is one of her best vehicles in the last decade, but that's damning it with faint praise.

Wilson plays Sam, a woman trying to enjoy her role as Maid Of Honour for her bestie, Betsy (Anna Camp). Unfortunately, Sam is often called away to her job, which is exciting and dangerous. Unbeknownst to most of the people around her, Sam is a spy. This makes her a bit unreliable when it comes to schedules and parties, leading to her being replaced in the Maid Of Honour role by Virginia (Anna Chlumsky), but she's very handy to have around when the big wedding day is gate-crashed by a group of mercenary robbers.

The first feature to be produced from a screenplay by Shaina Steinberg, this feels like something that was very loosely plotted to allow plenty of space and time for Wilson to riff in her particular style. That could have gone badly, but the fact that the supporting cast allows for everyone else to have a bit of fun (Camp, Chlumsky, and both Da'Vine Joy Randolph and Gigi Zumbado are especially good as the other members of the bridal party). It's also good to have Stephen Dorff as the main villain, Justin Hartley being a bit of eye candy for the ladies in the first act, and a good selection of fairly familiar faces in some smaller roles.

Simon West knows what he's doing in the director's chair. While the gags aren't always as funny as they could be, nor the action as satisfying and slick as more straightforward, and more violent, outings, the ration feels just about right. This is passable entertainment for those browsing their streaming options and looking for something easygoing and fun, even if one or two moments seem determined to bring you out of the movie with the implausibility of it all.

I would definitely revisit the movies alluded to in the first paragraph ahead of this one, but I didn't mind it while it was on. The pacing is decent, a few of the running gags had me chuckling often enough, and there's some obvious messaging about the bonds of friendship being strained as life keeps throwing life stuff in the way. And it might just put you in the mood to rewatch Bridesmaids, which is always a good thing.

6/10

Tuesday, 13 January 2026

The Running Man (2025)

I am always excited for any new Edgar Wright movie, and when I heard that he was remaking The Running Man, with a starring role for Glenn Powell, I was intrigued to see how he would approach the material. For as much as I enjoy the Arnold action flick, the source material (a novella by Stephen King, published under his Richard Bachman pseudonym) was a much darker and more cynical piece of work. Wright, for all of his good points, doesn't necessarily seem capable of dark and cynical.

And it turns out that he isn't. This IS a bleaker film than the original, and there are a number of moments here that show Wright trying to add an edge that has been absent from his past features, but he still can't help aiming for a message that is ultimately a positive one, taking the ending of the novella as a starting point for a slightly different direction that should actually please both fans of the story and fans of films that don't ruin your whole week.

Powell plays Ben Richards, a man with a strong moral code and a bit of a temper, which has made things a bit problematic when it comes to his relationship with exploitative employers. Desperate to get the medicine that his daughter needs, Ben heads along to a TV studio to sign up for one of the many shows that offer cash prizes. He's happy to try most of them, except The Running Man, which sees contestants being hunted, until almost inevitably trapped and killed. Unfortunately, his attitude and capabilities make him a perfect choice for The Running Man. It's time to start running.

Powell is great in the lead role, far removed from Arnold, of course, but physically capable and suitably charismatic. He's grim and determined, but able to start having fun when he starts to figure out the best way to play the game. Colman Domingo is great value as the flamboyant host, Bobby T, Josh Brolin is enjoyably slick and shark-like in the role of Dan Killian, the head manipulator who creates the perfect storylines for viewers to lap up, and Emilia Jones turns up in time to play a pivotal role in the third act. There's also room for fun little turns from Katy O'Brian, William H. Macy, Lee Pace, and an enjoyably manic pairing of Michael Cera and Sandra Dickinson (featured in the most memorable sequence in the film).

It's been interesting to watch Wright's career as he has stepped further away from the Cornetto trilogy that proved to be so enduringly popular. I think he's maintained a remarkable consistency throughout a varied selection of treats, although I know some people have stopped being impressed by his particular style. Another attempt to show he can do more than just gags and homages, The Running Man works well, for the most part, although it's jarring on the few occasions when you do notice the standard "Wright-isms" (e.g. a Y/why gag, the foreshadowing, soundtrack choices, etc.) in the mix.

Having also worked on the screenplay with Michael Bacall, there's great care taken here to present a vision of a horribly depressing future that doesn't feel too far removed from the here and now without leaving viewers depressed at the thought of it all looming up to ruin our lives.

For as bleak and as brutal as this can be, it's also a lot of fun. Some purists may balk at that idea, considering how things play out in the Bachman book, but it's a perfectly-blended end result that proves why Wright was a great choice to bring us another interpretation of the tale. It's just a shame that he didn't hire Harold Faltermeyer to deliver another fine electronic score, which would have been the best thing to carry over from the older film.

8/10

Monday, 12 January 2026

Mubi Monday: The Piano Accident (2025)

A new film from writer-director Quentin Dupieux is always a reason to celebrate, as far as I'm concerned. His films aren't for everyone, but he consistently delivers weird brilliance for those who know what they're letting themselves in for.

While far from his best work, The Piano Accident is a VERY dark comedy that makes some obvious comments on modern life, social media, and the lengths that people will go to for their fifteen minutes of fame. The brilliant Adèle Exarchopoulos plays the main character, Magalie, a young woman who has become famous for videos that have her harming herself in a variety of painful stunts. Something has happened to force her into a temporary respite though. She only has the company of her assistant, Patrick (Jérôme Commandeur), but is approached/blackmailed by Simone (Sandrine Kiberlain), a woman who wants to conduct an interview that she hopes will somehow shed some light on exactly why Magalie does what she does.

Drawing a clear through line from the "MTV generation" to the voracious content consumers of today, as well as showing how we live in a state of wanting to please others from time spent seeking approval and attention from parents, Dupieux makes his feelings obvious about what many may class as entertainment. He has no love for the numbing effect of social media, and tries to offer up a warning to those who may find themselves chasing more and more extreme ways to temporarily satisfy an appetite in a mass audience that will just keep getting hungrier and hungrier while they know that the world is one internet connection away from catering to their needs.

Exarchopoulos, awkward and unhappy throughout, is fine in the lead role, although it feels more defined by the brace her character wears throughout and her nonchalant attitude to her self-mutilation. This isn't her at her best, perhaps just a bit too confined by how unwittingly trapped her character has become. Commandeur is enjoyable in his supporting role, but Kiberlain gets the best moments, forcing our lead to really reflect on what she is aiming to achieve with her actions.

It may say as much about Dupieux as it does about what he's being critical of, and some will view this as nothing more than an old man yelling at clouds, but The Piano Accident is certainly made more uncomfortable to watch because of knowing that it feels pretty accurate. There have been a number of other films made about the impact of social media since we started to really become embroiled in it, one or two better than this, but this feels like a desperate warning, probably far too late, to those who think they can grab their slice of fame and fortune by simply acting like an idiot on camera for a few seconds at a time.

7/10

Sunday, 11 January 2026

Netflix And Chill: Frankenstein (2025)

Everyone knows that writer-director Guillermo del Toro wanted to make Frankenstein for many years. It was already such a thematic through-line in so many of his movies (the perceived monsters overshadowed by actual monstrous humans) that maybe it was assumed that he'd managed to get it out of his system, but no. So it's good for us that people gave him over $100M to finally deliver his vision of the classic text. Maybe we will yet get his version of At The Mountains Of Madness.

Bookmarked by scenes set in the Arctic, this gives us Victor's Tale in the first half and then The Creature's Tale in the second, both announced by title cards. Young Victor may be played by Christian Convery, but things really get going when we meet the adult Victor (Oscar Isaac), a man consumed by the idea of conquering death, much to the dismay of many, including his own brother, William (Felix Kammerer). William and Victor aren't exactly close, but William is still excited to have his brother meet his fiancée, Lady Elizabeth Harlander (Mia Goth). This proves to be quite the fateful encounter, almost as fateful as Victor's encounter with Elizabeth's uncle, Henrich Harlander (Christoph Waltz), a wealthy man who wants to fund Victor's experiments. Then it's all body parts and lightning storms until you can cry out "it's alive, it's alive" and we get the creation of a creature (Jacob Elordi). Victor isn't actually prepared for his role as "new father" though, which makes things very difficult, to say the least.

With lovely cinematography from Dan Laustsen, a fine score from Alexandre Desplat, and great use of some well-dressed locations (it's always nice to see even a heavily-disguised Edinburgh onscreen), it's no surprise that Frankenstein is a feast for viewers. It may be a slightly overdone feast, considering the hefty 150-minute runtime and the moments that have a bit too much CGI in the mix, but it's a feast nonetheless. The biggest problem would seem to be that Del Toro is too close to the whole thing, and has been allowed to indulge himself with every decision, for better or worse. This is most obvious during the many times he seems to be pointing at a massive hand-painted sign that says "It's Victor who is the real monster, get it?", as if we haven't been reminding ourselves, and others, of this for many many years now.

Isaac is decent in the role of Victor, enjoyably single-minded and callous, and I am sure the film was helped to find some extra viewers by the moments that have him working feverishly on his creation without any care for the state of his clothing. Goth is a wonderful Elizabeth, and it was canny casting to also have her playing another pivotal role in the earlier scenes of the film. Elordi is the highlight though, giving an interpretation of the creature that shows the full range of his life, from the new-born confusion to his education, from his vulnerability to his rage. Helped by an interesting, if not altogether successful, make up job, Elordi feels as if he's giving his all to portray a definitive take on the creature that manages to feel both very traditional and quite modern. Waltz is used well, Kammerer less so, and there are good scenes for the likes of Lars Mikkelsen, David Bradley, and Charles Dance in supporting roles.

People seem to want to give us the "definitive" Frankenstein every few decades, but it hasn't really happened yet. This is certainly close though. Some scenes use too much digital trickery (let's not mention the imperfect wolves in one key sequence), and Del Toro has a strange way of turning the creature into something like a superhero at times (he's very Incredible Hulk throughout, which I'm sure we've all seen as a modern blend of Frankenstein/Jekyll & Hyde over the years anyway), but the overall feeling is one of care and quality. You know that you're in the hands of someone who really wants this to deliver on all of his promises, even if he unsubtly hammers home one or two of the key messages of the tale. Although, for all of Del Toro's good intentions, ending his own adaptation of Mary Shelley's touchstone text with a quote from Lord Byron is a major mis-step that may leave viewers slightly soured as the end credits roll.

This is very good. And there are some pleasantly surprising bursts of gore and real horror too. It's not great though, perhaps due to the fact that Del Toro put himself under pressure to cram in everything he'd ever envisioned for the project. He has, somewhat ironically, given birth to something that he explored and experimented on for many years. It's not a monstrosity, but I don't think it will ever be as beloved as some of his other "children".

7/10

Saturday, 10 January 2026

Shudder Saturday: Pabrik Gula (2025)

However you review movies, whether in writing or on video, or even just in conversations with friends, you are never just reviewing movies. You are also reviewing context, whether just focusing on what is onscreen or exploring what is outwith the movie that informs it, from the perspective of both yourself and the movie. It is why I continue to hate the likes of Rotten Tomatoes, as well as other trends that encourage people toward the binary, as opposed to anything with nuance.

This is all a lead up to telling you that I am very much aware that I may not be the best person to review Pabrik Gula, but I am going to give it a go nonetheless. While I have seen, and enjoyed, some other Indonesian horrors, the third act of this one felt particularly infused by a culture I am not very familiar with.

The starting point for the plot is simple. A group of people head off to work in a remote sugar factory for a while. They will stay on site, making some decent money for working hard. Hendra (Bukie B. Mansyur) and Wati (Wavi Zihan) hope the time will give them a strong foundation for their upcoming marriage. The others in the group want to make money while in the company of friends. It's not long until all of them are affected by supernatural happenings at the mill, with a presence there agitated by certain perceived transgressions by some of the workers.

Based (depressingly enough) on viral online tales by someone credited as SimpleMan, Sugar Mill has a screenplay from Lela Laila and direction from Awi Suryadi. I have seen at least one other Suryadi film (the disappointing Perewangan, also based on an online thread), but I am happy to say that this is much better than that outing. If you were also disappointed by Perewangan then I encourage you to still give this one a go. Suryadi does a much better job here of getting the basics right, delivering a number of fun scare moments that wouldn't seem out of place in some of the major mainstream horror movie hits of the past decade.

This is a film dripping with an impressive amount of atmosphere, almost every scene softened by low lighting and plentiful shadows, but with no detail lost (props to cinematographer Arfian for the gorgeous work here). It feels at times as if you're watching everything viewed through the eye-holes of a carved Halloween pumpkin, I don't know how else to quite describe it, and it's hugely satisfying to somehow feel both the warm glow of the bulbs and fires and the cold chill of the malevolence seeking to torment the main characters.

While I have nothing bad to say about Mansyur or Zihan, nor anything bad to say about Ersya Aurelia, Arbani Yasiz, Erika Carlina, Benedictus Siregar, Arif Alfiansyah, Yono Bakriem Azeka Putri, Budi Ros, and Dewi Pakis, I cannot say that I was interested in any one individual more than I was interested in seeing how the group dealt with everything that was happening. Different people have different roles (there are a few people here for comic relief, there are elders with a bit more wisdom, etc), but the characters essentially boil down to those who are living humans and those who are dark and demonic entities.

I enjoyed Pabrik Gula quite a bit, even if the third act felt a bit overlong, and a step down from the stronger middle section. I cannot tell how others will react to it though. Some may like it even more than I did, especially if they identify with the cultural attitudes and commentary underpinning the scares. Some may consider it a pale wannabe Wan-iverse imitator (a Wannabe, if you will). All I can do is recommend it, but with enough context for you to have some idea of what you're getting into.

7/10

Friday, 9 January 2026

Five Nights At Freddy's 2 (2025)

I didn’t like Five Nights At Freddy’s. I knew I would still watch the sequel though. And I will watch any other instalment that comes along. I have started, my k mind won’t allow me to stop.

Set some time after the events of the first film, this has Mike (Josh Hutcherson) worrying about his little sister, Abby (Piper Rubio), as she spends her time wishing to be back with some of her friends. Those friends being dead children trapped in a restaurant is a bit of a problem, but maybe some supernatural force can help them wander further afield. And maybe more animatronic mayhem can ensue. Vanessa (Elizabeth Lail) is also dealing with spirits, but that is often specifically tied to the dark legacy of her father (Matthew Lillard).

Director Emma Tammi returns, but has left the screenplay fully in the hands of Scott Cawthon this time around. That might have been a bad decision. I am sure there are a lot of details and imagery here that will please fans of the game series, which (lest we forget) was created by Cawthon, but there’s not enough here to please anyone else. Despite my dislike for the first film, it at least felt like a decent enough gateway horror for younger movie viewers who had already been experiencing a number of the scares via the games. This, on the other hand, is just a mess. It often needs the characters to act like idiots. And, worst of all, it’s horrible dull.

Even the cast seem resigned to the fact that their presence is only getting in the way of the animatronics that everyone paid to see. Hutcherson has no energy in his performance, Lail feels one eye-roll away from just sidling her way towards the exit, and it’s only Rubio who does decent work, benefiting from the fact that she is a young child who doesn’t necessarily recognise the danger in her actions. Lillard isn’t used enough, which is understandable, but Freddy Carter, Wayne Knight, and McKenna Grace also feel sorely wasted.

I assume that those who loved the first film will at least enjoy this, but I wouldn’t be surprised if even the most die-hard FNAFers didn’t at least wonder why they were given something that feels so lazy and more like a place-holder than a fully-developed feature. This doesn’t even feel like a videogame, which might not have been so bad. It feels like a hurried trial/patch, thrown out to keep the IP at the forefront of gamers who might soon start to outgrow the series, if they haven’t already.

3/10

Thursday, 8 January 2026

The Family Plan (2023)

It is frustrating for me that my dislike of Mark Wahlberg appears to be in inverse proportion to how often I watch his features. Whatever you think of him, or of his acting skills, he often ends up in entertainment that appeals to those after some silly and fun distraction.

The Family Plan is interchangeable with a whole heap of other movies we have seen in recent years about family men forced to confront a past in which they were super-skilled and deadly. Wahlberg is that man, of course, and he has a whole family unit (his wife, Michelle Monaghan, two teens, Zoe Colletti and Van Crosby, and a baby) completely unaware of his dangerous history. Can Wahlberg keep his family in the dark as various people start trying to kill them while they head off on an unexpected road trip?

Writer David Coggeshall knows what he needs to do here, and he does it. This is a take action comedy, but it’s equally a star vehicle for Wahlberg. If you think that Wahlberg isn’t going to emerge victorious then you haven’t seen any other Wahlberg movies recently. While there aren’t any truly memorable exchanges, nor any surprises in the plotting, the screenplay sets everything up and moves along quickly enough to stop viewers from asking too many questions.

Director Simon Cellan Jones has, as of today, made his most recent three films with Wahlberg in the lead role, which would make him appear to have been favoured by the one-time head of the Funky Bunch. He shows an affinity for the decidedly average, ensuring that everything here will be forgotten mere days after you have watched it. And I speak from experience, having already watched the sequel (stay tuned, review pending) while constantly confusing this with Back In Action.

Wahlberg is as Wahlberg is. I am not sure anyone would consider themselves a big fan of the star nowadays, aside from maybe his immediate family, but he at least feels like a decent casting choice here. Monaghan is unsurprisingly left with a bit less to do, but she is still able to have fun in a few scenes that allow her to actively participate. Colletti and Crosby are both okay, Maggie Q plays a character unable to surprise viewers due to the fact that she is played by Maggie Q, and Ciaran Hinds is effectively heavy-handed and gruffly menacing as the villain with a very strong motivation for getting his best employee back.

I can’t deny that I had some fun with this, and a couple of the action beats were more fun than any of the attempts at comedy. I won’t ever rewatch it though, and it is just one more piece of Mark Wahlberg “streaming content” to put in the big pile that already includes the likes of Spenser Confidential, Arthur The King, and Play Dirty, to name just the first lot that sprung to mind.

6/10

Wednesday, 7 January 2026

Prime Time: Locked (2025)

A remake of an Argentinian thriller, 4x4, that I haven't seen, Locked was a film that ended up reminding me that, no matter how much older I get I can always be suckered in by a decent trailer. I was convinced that I was going to have a good time with this. Then it soon became clear to me that there was a big problem at the heart of the story that couldn't be overcome.

Bill Skarsgård plays Eddie Barrish, a petty criminal who is trying to get part of his life in order. Unfortunately, he needs money that he doesn't have to get his van repaired. He thinks there may be something valuable in a luxury SUV that he finds unlocked in a quiet parking lot though, and that's when his troubles really begin. The SUV is owned by William (Anthony Hopkins), a man who has rigged the whole thing with surveillance equipment, remote-controlled systems to make life as comfortable or uncomfortable for whoever is inside, and a whole lot of reinforcements on the body and windows. Eddie is trapped, and his only way out is to convince William that he's not the criminal that he appears to be.

Although I am not sure how closely this sticks to the screenplay by Mariano Cohn and Gastón Duprat, writer Michael Arlen Ross shows no real imagination or care, and he probably thanked the day that both Skarsgård and Hopkins signed on to play the two leads. Director David Yarovesky has kept me highly entertained with his last couple of features (Brightburn and Nightbooks), but he obviously needs a decent script to work from. This isn't it, mainly due to the fact that once Eddie is in the SUV everything becomes a series of circular moments until we get to the inevitable final act in which our anti-hero has been shown to have just enough goodness within him to allow a potential reprieve . . . depending on who the movie sides with in the final scenes.

Skarsgård tries his best here, and it's the kind of role that he has done in a few other movies from the past few years, but he's as trapped by the script as his character is trapped by William. Hopkins is allowed to have a bit more fun, as expected, but even he is let down by a screenplay that is forced to give too much baggage to both leads, steadfastly aiming for a middle ground between the two that should allow for viewers to enjoy some self-reflection and conversation after it's all over, but sadly just leaves it feeling like it was neutered to appeal to the widest possible range of opinions. We know Eddie is a bad guy, but he wants to become better for his daughter. We know William is a bad guy, but he's doing all of this in the name of someone he once loved. The more potentially interesting conversations that could be had, about the growing chasm between the very rich and those living in poverty (for example), are given brief lip service before we get to another sequence showing Eddie trying to outwit his tormentor. I understand why this was done, it's a thriller and not a social commentary piece, but I think adding more commentary would have made it more worthwhile. At least it would have felt as if it had something to say.

It can be difficult to make a movie all set in one location. While this isn't exactly that, the fact that so much of the runtime involves Skarsgård stuck in a car and talking on the phone to Hopkins makes it feel like a one-location film. And all of the added tech contained within the car cannot make up for the fact that it's not a very good one. The engine goes flat after the first 15-20 minutes, and any attempt to jump-start things before the end credits roll is just too little, too late. I give it a generous bonus because of my appreciation for the two star names.

4/10