Ben has written 217 reviews for films during 2020.

  • Evil Eye

    Evil Eye

    I hate to show any underserved enmity towards Blumhouse but surely they realised how mis-marketed this is. Evil Eye contains excruciatingly lazy and inept storytelling, not only is it incredibly indecisive within it’s narrative but most of the scenes contain characters talking on the phone to each other, in what was one of many confusing decisions made within the production of the film. 

    It begins with a tone that feels welcoming and airy, like something that you’d expect from a…

  • Citation



    Citation is a hefty film, which may even prove too much for certain people, it handles a lot of serious issues which ultimately deserve a better effort behind the camera involving a more sensitive approach. 

    The first notable flaw is the film’s length, it’s 2 and a half hours which proved tedious clarified by a number of scenes which added nothing to the narrative. The film has a lot of tonal issues, as previously mentioned the sheer heft of the…

  • The Postcard Killings

    The Postcard Killings


    It’s quite absurd how perfunctory the constant twists are here, for a film that’s quite ambitious in terms of homicide detail, it’s weirdly unconcerned about connecting a story with realism and the given budget isn’t enough to make for a showy gore fest. There’s one homicide scene in particular where the goriness of the death is off putting and resembling of the 90s detective thrillers that could actually afford to have reasonable set pieces as well as the practical effects.…

  • The Craft: Legacy

    The Craft: Legacy


    I’m not a huge fan of the original so this didn’t have much to live up to for me and yet even I can recognise the tarnishing of this concept and these characters. First of all, this being a “soft sequel/reboot” is emblematic to the fact that they had no real concrete ideas for what they wanted to do with this material. 

    The craft: Legacy’s attempt at rejuvenation fails on many levels, not only does the film feel overt and…

  • Operation Christmas Drop

    Operation Christmas Drop

    This was antithetical of what I thought it was going to be, instead of being a presentable family movie suitable for kids, it was a boring hallmark movie disguised inside of Netflix’s catalogue. 

    Not only is this entirely predictable and annoying, it also lacks the ingredient that made me watch it in the first place, Christmas, it’s more of a romantic comedy which just happens to be set in December. The offhand and seemingly impromptu characterisation was immediately off-putting, the…

  • On the 12th Date of Christmas

    On the 12th Date of Christmas


    I had no reason to watch this other than personal festive cravings and deprivation, and maybe a slight bit of curiosity to see what Hallmark movies actually entail, it’s safe to say that I no longer carry the curiosity and am now comfortable in never having to watch another Hallmark movie ever again. The film completely met my expectations, so I’ve got nothing to really complain about. 

    It started off quite nicely, the leads had some solid chemistry, the acting…

  • Holidate



    As anticipated, Holidate adopts every overused trope commonly used in rom-coms, making it not only completely predictable but also accredited to constant innuendo and implied references to other films. Emma Roberts and Luke Bracey struggle to find chemistry as the leads, they haven’t got much to work with, the script is of course very inconsistent and the jokes aren’t funny. Neither of the lead characters are particularly likeable, Roberts’ character is overwhelming and whiny, Bracey’s character is prosy and uninteresting…

  • Happy Halloween, Scooby-Doo!

    Happy Halloween, Scooby-Doo!


    One of the more seamless and creative entries into the Scooby franchise. Happy Halloween, Scooby-Doo in a way continues the franchises drift from the archetypal structure usually found in the classic Mystery tales, it’s probably the least nostalgic I’ve felt watching one of these in a while, and although that creates an upfront bitter taste for me personally, this outing is one of the most creative and well written in recent years. 

    It’s predominately senseless fun with a fragment of…

  • Vampires vs. the Bronx

    Vampires vs. the Bronx


    I was surprised to see how critically acclaimed this was becoming, Vampires Vs the Bronx is an entirely watchable, fun blend of horror and comedy that fits well inside of Netflix’s catalogue. Although, I couldn’t quite get behind the film’s story, the aberrant mix or storylines doesn’t work well for the film tonally and the film is paced badly. 

    On one front we have some fun slender back and forth between the characters, but when the film tries to be…

  • Hubie Halloween

    Hubie Halloween


    I can personally find enjoyment in certain Happy Madison productions, but I mostly find them incongruous, annoying and lopsided, all of which are accurate descriptions of Hubie Halloween. 

    Adam Sandler returns to his traditional act of playing a simple minded man child, the character of Hubie has a small degree of charm but there’s almost no believability in his choices and in the way he’s treated. There’s a lack of reason for occurrences, not that it’s necessary for a film…

  • Borat Subsequent Moviefilm

    Borat Subsequent Moviefilm


    Borat 2 may not be as funny as it’s predecessor but it’s arguably more cohesive narratively. Sacha Baron Cohen’s creative prowess in comedy never fails to amaze me, the gags that are set up are hilarious, with Cohen as presumed, making fun of many American tropes. The presumably unscripted antics, most of which take place in the final act, are shocking and cringey, to the point that some careers will be (rightly) put to bed altogether. It feels much more…

  • Rebecca



    Rebecca fails to get out of the shadow of it’s beloved original and source material (which I haven’t read but I do own). Ben Wheatley doesn’t make any inexplicable mistakes or choices, but the film doesn’t have the bite of the original nor does it effectively utilise the thrills of the source material. 

    Instead it staggers for 2 hours, dipping in and out of many tonal efforts as it tries to differentiate itself from what we’ve seen before (mainly by…