Netflix And Chill: Voicemails For Isabelle (2026)

Jill (Zoey Deutch) is a young woman who spends her days wishing that she could realise her dreams of becoming a chef in her own establishment and spends numerous evenings navigating her way through many disastrous dates. She copes with her many disappointments by leaving voicemails for Isabelle, her deceased younger sister. Unbeknownst to Jill, Isabelle's number has been repurposed, which means that Wes (Nick Robinson) is receiving all of her calls to his new work phone. Romance, in a very complicated way, inevitably ensues.

Written and directed by Leah McKendrick, who also gives herself a solid supporting role, Voicemails For Isabelle is manipulative, predictable, and built on a central premise that makes the actions of our wannabe-male suitor even creepier than usual. It's also absolutely top-drawer rom-com stuff, with a great balance of laughs and sweetness, helped by a couple of recurring elements that show the bonds that will never be broken between Jill and Isabelle. It also does such a good job of showcasing a certain Robyn song that I am sure that will be returning to charts soon, thanks to the way streaming plays are counted when these things are calculated nowadays.

Both leads are very easy to like, which is another big plus. Deutch is better here than she has been in anything else I've seen her in (although that may just be due to me not seeing her best work) and Robinson does well enough to stay cute and well-behaved while dealing with the problematic nature of how he has fallen in love with a woman who doesn't know how much of her life he has been able to hear. McKendrick and Harry Shum Jr. are very enjoyable as friends and about-to-be-newlyweds who are also best friends with our male lead, and very quick to point out how wrong and creepy his behaviour is when he confesses to what is going on, and there are fun supporting roles for Toby Sandeman, Lukas Gage, and Nick Offerman, all playing decidedly awful men who make Jill's life much harder than it needs to be. Megan Danso seems to be playing someone determined to remain silently suffering and stoic throughout, but she benefits from the fact that her character has a believable enough transformation just in time for the final act.

While using tech at the heart of the premise, McKendrick is very smart in how she presents that as just one small way in which people can stay connected. There are so many others presented throughout the film, from that aforementioned pop song to food, from nicknames to similar past experiences that shaped who you are today, and they're all bundled together to show how people hold on to what they treasure above all else, but also how people can know when to let something go now that it has done the job of helping to define them as they continue to move forward through life.

It's hard to think of anyone not getting some joy from this, although the kind of people who point-blank refuse to acknowledge any of their own feelings will want to stay away. It's both sweet and spicy, but not too spicy, there are a lot of very funny gags littered throughout the screenplay, and McKendrick puts in a lot of very hard work to ensure that there's a good enough sense of redemption and penitence before the standard "running against the clock to hopefully reunite" finale. I was going to say that I enjoyed this despite knowing how every moment was going to play out, but there were also one or two surprises that allow it to pretend to be less formulaic and predictable than it ultimately is. 

I really wasn't looking forward to this, the title and the marketing imagery didn't instil me with great confidence, but I would happily rewatch it right now. 

7/10

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Companion (2025)

It can be very frustrating when a film comes along that a lot of people start praising, but also advising everyone to see before finding out anything about it. They tell you that there are some good twists and turns, and one or two are even given away in a trailer that should be avoided at all costs. So you end up trusting people you generally tend to share movie opinions with. That worked out well for me with Companion, but it could have been a different story.

Sophie Thatcher is Iris, the titular companion, accompanying Josh (Jack Quaid) for some time away with his friends. There's Kat (Megan Suri), Eli and Patrick (played by Harvey Guillén), and a gregarious Russian named Sergey (Rupert Friend) who made his fortune by getting his hands dirty. This isn't just a cheery get together for some friends though. There's a plan to make themselves quite wealthy. Iris is a very important part of the plan, but she doesn't know that yet.

The first feature written and directed by Drew Hancock, the important thing to clarify about Companion is that, contrary to how some people might have you believe, it's not a horror movie. I know that genre labels are flexible things anyway, and various individuals can have various interpretations, but I wouldn't like people to come away from a viewing of this feeling disappointed just because it ends up being something it never intended to be anyway. This is a subversive neo-noir with a fine vein of dark humour running all the way through it and some sci-fi touches to help it feel a step away from the many other movies it comes closest to. Hancock makes use of some cool tech to move the plot along, and the construction of the screenplay allows him to deftly hop around a number of interesting and timely thematic strands.

All of the cast do great work, but it's worth highlighting Thatcher, Quaid, and Gage, all excelling in different ways. All of them get to present more range than expected, and they all add to the fun and escalating craziness in different ways. And, yes, to say any more than that might spoil things for anyone yet to see the film, which means I have to join the ranks of people being frustratingly vague about the whole thing. Suffice it to say that Thatcher moves from passive to very non-passive, Gage likewise, and Quaid knows how to twist his sweet nature and megawatt smile into the all-too-familiar "nice guy" who genuinely believes that he is a nice guy, even as his actions start to contradict that description.

A film more about the dialogue and ideas than any gorgeous visuals or major set-pieces, although there are a number of shots that are impressively composed, Companion is smart and witty throughout, and it makes great use of some potential near-future tech to put a new coat of paint on some refurbished classic furniture. As long as you're not too squeamish when it comes to the occasional moments of bloodshed, this is fun, fun, fun. And, yes, you should see it before you find out too much about it.

8/10

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Smile 2 (2024)

Despite the fact that one of the best scare moments was unwisely shown in the trailer for the movie, Smile was a horror movie that I quite enjoyed when it was released a couple of years ago. I haven't ever revisited it, and I didn't think it needed a sequel, but I was more than happy to get to Smile 2 whenever the opportunity arose. It took a while, but the opportunity finally arose.

Naomi Scott plays Skye Riley, a pop star about to embark on a major world tour after some time spent recovering from some major troubles (including a car crash that left her scarred, but lucky to be alive). Things start to get tricky when she ends up as the next in a chain of people who have all been targeted by the demonic entity that drives people insane as they see sinister smiles everywhere.

With Parker Finn back for the writing and directing duties, and making use of one main character from the last film to create a solid continuity leading into this story, this should have been a way to take things in some interesting and creative directions. Sadly, Finn seems more interested in ensuring that there's a bottle of Voss water visible in every main sequence. I wish I was joking. Take a shot of your preferred strong spirit of choice every time someone grabs or drinks a Voss and you will be lapsing into unconsciousness by the halfway point, easily. Are there some good moments here? Yes, but there aren't enough of them to warrant the lengthy runtime, considering how many other moments are disappointingly predictable and staid.

A couple of impressive death scenes will make most viewers jump and wince, and there's a sequence that has a large group of people performing an evil and twisted riff on a dance routine shown much earlier in the movie, but this thing clocks in at 127-minutes. That's too long, especially when the third act feels far too close to the third act of the first film.

Scott makes it watchable though. She's absolutely fantastic for every minute of her screentime, convincing as a pop superstar, and just as convincing when offstage and struggling to keep her celebrity responsibilities at bay as she becomes more vulnerable and scared. Rosemarie DeWitt is also very good, playing her mother/manager, and there are solid performances from Miles Gutierrez-Riley, Lukas Gage, Dylan Gelula, and Peter Jacobson.

This should have been something special. It should have been wild, it should have been a big step up from the original, and it should have left you feeling that Finn had a clear reason, aside from money, to revisit this territory. Sadly, it's just toothless. And that's not usually a good thing for any smile.

4/10

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Prime Time: Road House (2024)

I was looking forward to Road House since I saw the first trailer for it, a trailer that showcased just how much time star Jake Gyllenhaal had been putting in at the gym. Yes, the original film is a beloved bit of cheese, but it’s no untouchable classic. Let’s not forget that it already has a sequel that very few people care for.

Gyllenhaal plays Dalton, a legendary figure who is hired by Frankie (Jessica Williams) to help sort out the trouble she has been having in her Florida bar. Dalton rolls in to Glass Key (the name of the area, and one of many fun little nods to other films) and starts cleaning house, but it isn’t long until he realised that there’s something more going on. Frankie’s bar is being targeted by thugs who work for a rich douchebag (Ben Brandt, played by Billy Magnussen). And if his thugs keep failing to achieve the desired result then it will soon be time for the much more dangerous Knox (Conor McGregor) to swagger in and start smashing everything up. A storm is brewing, but that doesn’t stop Dalton from making time to enjoy the company of a local doctor, Ellie (Daniela Melchior).

There are things to pick at here, and plenty of things that viewers may dislike, particularly when it comes to the way of staging and shooting some of the fight scenes, but I cannot think of any way this could have been a better remake/reworking of the original film. The tone is similarly fun, punctuated with brutal violence (of course), the lead character is always looking to defuse any situation before things get physical, and the plotting manages to replicate what we’ve seen before without feeling like a carbon copy.

Well done to relatively new writers Anthony Bagarozzi and Charles Mondry for crafting a script that changes enough to modernize the idea while also remaining respectful and admiring of the original film. The central concept may be nonsense, and our lead spends a lot of time smirking at people who don’t realise what is about to happen to them, but at no point are viewers made to think they are watching something outright laughable. Everyone is kept safe alongside a confident main character, but the danger keeps piling up around them, and his own darkness is something he doesn’t want to tap into.

Director Doug Liman handles the whole thing quite well. Aside from some computer trickery that doesn’t always work in the fight scenes, and a frustrating handful of night-time moments that don’t seem to be lit as well as they should, it’s generally slick entertainment, helped massively by Gyllenhaal being so committed to his role.

That commitment can be shown in every defined muscle, with the actor displaying a physique normally shown in anatomy textbooks that display the musculature of the human body. It is a hell of a look, and Gyllenhaal backs it up with a physicality and personality that I am sure Swayze would have liked to see. It’s a winning performance, and the best thing in the film. Magnussen is a lot of fun as the villain who doesn’t like to get his own hands dirty, the kind of person you know is failing as his hair becomes more messed up in the middle of some unfolding carnage, and McGregor . . . hmmmmm, I think he is good at doing what he is asked to do. It’s definitely a difficult performance to recommend though, as he is asked to be the kind of cocky and careless menace who is unleashed in the second half of the movie like an angry Rottweiler that has been flicked in the testicles and then let off the chain. Melchior is fine in the least interesting role, and the role that feels most like the writers tried a bit too hard to keep a template from the original film, Williams is good, if a bit underused, and there are decent supporting turns from Lukas Gage, Joaquim de Almeida, Hannah Love Lanier, Darren Barnet, JD Pardo, Arturo Castro (scene-stealing and hilarious), and even a cameoing Post Malone at the very start of the film.

I never thought this was going to surpass, or even equal, the first film, but it’s not as if everyone here got together to remake Citizen Kane. A little perspective is a good thing. I love Road House, but that is just as much to do with nostalgia and the unbeatable power of Sam Elliott’s beard as it is to do with the film itself. This remake lacks both of those ingredients, and also lacks a decent selection of soundtrack choices, but I still had a lot of fun with it. I think people should give it a chance, and I think it will be judged less harshly by viewers who can separate the concept from their sentimental attachment to the original film.

7/10

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Netflix And Chill: How To Blow Up A Pipeline (2023)

While this is only the second film from director Daniel Goldhaber, he's already marked himself out as someone I am always interested. Cam was a fantastic feature debut, and this shows a consistency of form while he moves comfortably from the horror genre into more dramatic, but no less thought-provoking, territory.

In case the title of this film hasn't already made you aware of the content, this is all about a group of people endeavouring to blow up a pipeline. That may seem like a foolhardy mission, and one likely to end in failure, but certain scenes are shown in non-chronological order to illustrate the many extra provisions put in place by activists determined to succeed against overwhelming odds. 

Based on a book by Andreas Malm, adapted for the screen by Goldhaber, Jordan Sjol, and Ariela Barer (who also stars onscreen in a main role), How To Blow Up A Pipeline feels like a film that is very much needed right now. Goldhaber definitely picks a side, which you might say is obvious from the fact that he even made the film at all, but we're at a point in our lives when picking the right side seems like the obviously right thing to do. The planet is burning (sometimes literally), profits are being put ahead of health and safety on a scale that is frankly horrendous, even if that isn't a problem inherent to modern life, and a lot of the news articles and coverage of this situation, and the protesters who have been ramping up their disruption and exposure, tend to frame it as yet another issue in which both sides have valid points to make about the climate change crisis. The data points to only one side being correct, and anyone who wants to deny the catastrophic events of climate change going on around us should do us both a favour now and stop reading. 

Anyway, apologies, back to the film itself. While not exactly lauding the characters as saints, Goldhaber and co. do a fantastic job of using the non-linear narrative to show the motivating factors here, and to make you view their actions as more naive and potentially damaging than they actually are. The clear visuals (from cinematographer Tehillah De Castro, working on only their second feature in this role, I believe, having done numerous music videos and short films) are accompanied by a very good score from Gavin Brivik (who also worked on Cam with Goldhaber), helped by a script that reflects the conviction of our leads while also conveying the attitudes of those who view them as criminals and ignorant pests.

Barer is very good in her role, but I wouldn't feel right singling any one person out from the others. Kristine Froseth, Lukas Gage, Forrest Goodluck, Sasha Lane, Jayme Lawson, Marcus Scribner, and Jake Weary play the core activists, and each and every one of them has a different, but equally important, part to play in the grand plan. They are also working together for a number of different reasons that all happen to stem from the one big issue, and the performances effortlessly show the different types of relationships within the central group (whether they are lifelong friends or newly connected by the requirements of their mission) and why they are so determined to strike a blow for eco-terrorism.

There's a famous Albert Camus quote that more of us should remember on a daily basis: "The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion." That applies more and more nowadays to people who are striving to correct the balance of a world that is being shifted so far off its axis as to be unrecognisable from what it once was. How To Blow Up A Pipeline reminds us that, despite the headlines and opinion pieces, a lot of people you may view with disrespect and disdain are actually risking a hell of a lot to benefit all of us in the long run. You can apply that to the many people currently taking strike action around the world as easily as you can apply it to the eco-terorrism featured here, and I hope this film succeeds in reframing the mindset of at least a few people who sit down to watch it.

8/10

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