• Eyes Without a Face

    Eyes Without a Face


    Pierre Brasseur gives a wonderfully melancholy performance and Édith Scob is haunting and heartbreaking in equal measure.

    Despite that, I was left somewhat underwhelmed by this. It has a handful of brilliantly brutal and/or atmospheric scenes but I found it to plod along in places. Perhaps I was frustrated that it never really escalated into thriller mode, it’s certainly more interested in understated horror/drama than providing thrills despite some clear opportunities to do so.

    I was also slightly distracted by…

  • Everything Everywhere All at Once

    Everything Everywhere All at Once


    I can think of few films I found as exhilarating, hilarious and moving as this. Such an amazing achievement. The whole thing is a complete rush from start to finish, I didn’t want it to end. It’s a rich, decadent existential epic. 

    Michelle Yeoh completely owns every scene, she has so much on her shoulders and the film is a testament to her gargantuan talent. Just one of the best performances I’ve ever seen in a single film.

    She is…

  • Come Clean

    Come Clean


    Definitely one of there more sitcomy/farcical shorts but the gags are so fun and rapid fire and the plot moves along so briskly, I always enjoy revisiting this one.

    It’s a shame these actresses playing their wives didn’t make more appearances through Stan and Ollie’s films (or at least, more English language films in Stan’s case).

    One of Mae Busch’s strongest roles. She’s clearly having a blast shrieking her head off.

  • The Ghoul

    The Ghoul


    Has atmosphere to spare and it’s interesting to see a British film attempting to emulate a lot of what Universal horror films of the era so great but goes downhill after the first 20 minutes. 

    Every time Karloff is on screen it excels and Ernest Thesiger is his usual delightfully camp self. It’s beautifully shot too. 

    Story becomes weirdly talky and cluttered with some very annoying/wooden characters. I feel like there could have been something really special here had it been streamlined and the focus remained on Karloff, Theisger and Hardwicke.

  • Roadgames



    If Spielberg's ‘Duel’ and Hitchcock’s ‘Rear Window’ had a baby it’d be Franklin’s ‘Roadgames’.

    I actually sought this out on the basis of it being a Jamie Lee Curtis thriller from her scream queen heyday but in actuality she’s not in it all that much. It’s a testament to Stacy Keach that this realisation didn’t hinder my enjoyment at all. Keach is brilliant in this and along with the writing crafts a really fun and intriguing character.

    There are a couple of suspense set pieces that are perfectly pieced together. Some genuinely haunting shots/scenes. Overall just a really well crafted thriller.

  • House of Gucci

    House of Gucci


    Must have cigarettes and espresso. Must have cigarettes and espresso. Must have…

    Absolute camp fest and I love it for it. Everyone is giving wild performances (with the exception of Adam Driver who seems to be the resident straight man) and chewing scenery left and right but tonally it comes together and really works as a complete package. 

    Gaga is fantastic and the film excels when she’s on screen. I also really enjoyed Pacino and Irons. I have no idea…

  • High Noon

    High Noon


    While I love the real-time element of this and it’s an impressive build of suspense towards the inevitable climax, I came away a bit underwhelmed.

    Perhaps in large part because I *hushed voice* don’t find Gary Cooper all that compelling *end hushed voice*. I like his performance being subtle and muted but at the same time I guess I just find him a bit wooden generally?

    To say the whole thing was building towards a confrontation at the end, I…

  • Heartbreakers



    I never think of Gene Hackman as a particularly comedic actor but damn he’s hilarious in this. Almost every line, every reaction, every cough sent me.

    Heartbreakers has me genuinely chuckling out loud more than most American comedies. It’s directed by someone who was a Simpsons show runner so maybe that’s why?

    It’s a fun set up, great dialogue, farcical set ups and a great pair of leads with Weaver and Love-Hewitt. Has a great supporting cast too.

    It’s definitely…

  • Copycat



    I love 90s serial killer thrillers and this one is certainly elevated by a pair of cracking lead performances from Weaver and Hunter. Both play compelling characters and their scenes together are full of chemistry and sparks.

    I really like how Weaver’s characters agoraphobia is accentuated through the camera work in a few scenes. Some of the most tense moments in the thing are when she’s just trying to grab a newspaper that’s a little distance from her front door…

  • Downhill



    I wasn’t expecting to find this as compelling as I did. Starts out seemingly setting up a bit of a love triangle scenario but takes a turn at the end of the first act and I was really interested in seeing where the story went.

    Ivor Novello is so brilliant here. He nails the comedy bits he has to do while also progressing his performance gradually as his character slips further and further into despair.

    Some great Hitchcock touches throughout,…

  • Spider-Man: Far From Home

    Spider-Man: Far From Home


    I like Tom Holland an awful lot and his SpiderMan is probably my favourite of the bunch. The story here is just a little plodding for me. Like the globe hopping aspect and I think the high school relatable aspects of these films work really nicely. The action was a bit underwhelming though and it glossed over me for the most part on my second viewing.

  • X-Men: First Class

    X-Men: First Class


    No easy task to replace the fairly iconic cast of the first three films but this bunch really succeed well. Fassbender in particular just nails every scene he’s in. 

    Love the 60s spy-flick vibes of this one and it’s directed with such effortless flair. Dialogue zips and a large amount of characters with arcs are handled with great economy while never sacrificing emotional impact or badassery. 

    The final 30 minutes or so are pure brilliance. One of the best climaxes to any superhero film I’ve ever seen.