• Scream 3

    Scream 3


    Far better than 2. One of my favourite things about the original is how well it invites you to believe that pretty much every character could be the killer, and this achieves that to a degree as well. The voice changer gimmick is a little much here but they do enough with it to keep it fun. One thing I have noticed though is that these sequels have no idea who the main character is. Sidney goes missing for absolutely…

  • Belfast



    A beautifully tragic film about the destruction of communities that’s a little bit too taken with it’s own nostalgia. It’s a quite tough to criticise something so obviously semi-autobiographical for this, but the near constant barrage of pleasantly soundtracked family days out really does start to grate, even if they are intended to present a rose-tinted view of the directors own memories. I feel like the point would have been better served by more of a focus on the broader…

  • Scream 2

    Scream 2


    Pacing is baggy as fuck and compared to the original the self-referential stuff is very surface level, but it’s still fun more often than not. All felt a bit contrived (intentionally so?) but the last 30 minutes really shed all that excess fat and fuckin’ ripped. Side note: I absolutely love how clumsy Ghostface is in these. The guy just crashes into doors, gets rammed into walls, sometimes he does a fucking flip and he does it all with the sweetest look on his face. My man.

  • Shiva Baby

    Shiva Baby


    Excruciatingly awkward and delightfully unpleasant. Not every thread gets fully fleshed out, but what does get given attention is great. I particularly liked the contrast between Danielle’s personal and family lives, and for me the best comedy and drama came out of that. The score, which at times is a few notes away from sounding like it belongs in a horror, is cool as well and contributes to some of the funniest moments in the film. I didn’t quite feel the tension…

  • The French Dispatch

    The French Dispatch


    As someone who generally hates Wes Anderson’s more stylised films (Grand Budapest Hotel, Fantastic Mr Fox) and appreciates his at least slightly more grounded offerings (Life Aquatic, Moonrise Kingdom, Darjeeling Limited), I was absolutely shocked to love this one. For the first time I thought the super heightened aesthetic informed the story and didn’t just feel like a choice made to invite screenshotting and best cinematography nominations. Maybe that’s me being harsh on other films of his but this is the first that…

  • Encanto



    Feels like Disney’s attempt to make a Pixar film on their own. Looks great and it’s cute but the conclusion rings absolutely hollow.

  • Licorice Pizza

    Licorice Pizza


    I just don’t think me and PTA speak the same language. I never come away from his films with anything other than mild confusion. It’s hard not to talk about the age gap but it’s just so oddly handled. The film doesn’t really seem to have anything to say about the relationship, just that it’s kinda cute? I don’t think the film should be criticised for simply depicting such a relationship, but it just doesn’t take anything remotely resembling a…

  • The King's Man

    The King's Man


    Trades the bonkers energy of the first two instalments for more drama with mixed results. Didn’t love the massive stakes of the plot, would have preferred if it had chosen one villain and done something smaller scale with them (preferably Rhys Ifans’ delightful Rasputin). Pacing is a bit ropey due to a half an hour interlude when it becomes a full on war film which seems hell bent on reminding you that 1917 is a much better film, right down…

  • Venom: Let There Be Carnage

    Venom: Let There Be Carnage


    Undeniably a film that I have watched.

  • Don't Look Up

    Don't Look Up


    It’s not bad? It’s nothing groundbreaking but it sets its targets in the right places and is very entertaining. The storytelling is certainly a little clunky and on the nose at times, but I really can’t get too mad at that given the hugely frustrating context that produced it.

  • The Matrix Resurrections

    The Matrix Resurrections


    Fully can’t fathom the hatred for this. I know people are finding the meta-themes quite jarring, but that stuff is kinda limited to the first act and honestly I wouldn’t have minded a little more of it? I’ll admit I missed the old visual style somewhat but the action, although not on par with what came before, really did work for me especially towards the end. I appreciated the relatively small scale stakes as well. Not everything is explained in the clearest way, but I was fully wrapped up in it and I bought every emotional beat and to be honest I kinda loved it.

  • Last Night in Soho

    Last Night in Soho


    Imperfect, but I enjoyed this a lot. It’s fairly clear that Wright doesn’t have as good a handle on horror as he does on action and comedy, but there’s more than enough good stuff here. The jump scares are fairly rubbish, but the foreboding atmosphere and stylish direction combine and jar to greatly unnerving effect. Thematically it works best as a deconstruction of misplaced nostalgia for the 1960s. It’s moderately less good at exploring misogyny and patriarchy, but I can just…