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Juror #2 (2024)
Good, Old-Fashioned Storytelling Of The Highest Order
Possibly the final stop in the decades-spanning career of the man, the myth & the legend that is Clint Eastwood, Juror #2 is another sleek & sophisticated drama from the 94-year old filmmaker that presents him in splendid form, neatly exhibits all his directorial trademarks, and is brilliantly steered by a compelling showcase from Nicholas Hoult to deliver a moral conundrum that keeps us invested in the proceeding at all times.
Also produced by Eastwood, the premise is simple but the emotional conflict & moral dilemma it brings into play is what drives the narrative and makes the film so gripping & interesting. Adding enrichment to the story is the polished camerawork, tight editing & steady pace while Eastwood makes sure the ride remains smooth & accessible with his economical approach, maintains firm grip on all aspects, and directs with apt composure.
Nevertheless, despite Eastwood's measured direction & sound execution of technical elements, it's the responsible performances from the committed cast that steer the picture past the finish line, with Hoult impressing the most. The emotional complexity he brings to his eponymous role while navigating feelings of guilt, fear, remorse & conscience makes it one of his finest works to date. And he's finely supported by Toni Collette & the rest.
Overall, Juror #2 is one of the stronger entries in Eastwood's directorial career and it also ranks amongst the better films of the year. It's the kind of good, plain old-fashioned storytelling that's seldom seen in Hollywood these days yet will always work in the hands of an assured filmmaker. An old-school legal thriller from the giant veteran of the craft, this potential swansong wraps up a body of work that won't soon, if ever, find an equal. Don't miss it.
Furiosa: A Mad Max Saga (2024)
Lacks The Frenzied Madness Of 'Fury Road'
The origin story of the badass Imperator we were introduced to in Mad Max: Fury Road, Furiosa doesn't go as full-throttled & batshit crazy as its predecessor but it's still an adrenaline-fuelled, high-octane mayhem that explores the post-apocalyptic wasteland some more, is anchored by an impressive showcase from Anya Taylor-Joy, and comes packed with no-holds-barred action set pieces.
Co-written & directed by George Miller (Mad Max & The Road Warrior), this spin-off instalment covers the journey of the titular character from her childhood years to the renegade warrior we meet in Fury Road. Miller has a knack for choreographing mind-blowing action sequences, and he's no different here. But with more reliance on CGI than in his previous effort, the moments of action don't pack the same punch.
The VFX isn't up to the mark, for the surroundings have an artificial feel to them and they don't look fully developed either. There's an effort to deepen the mythology of its world but it doesn't always work. The main highlight is the extended action set piece in the middle of the film and it more than delivers on expectation. Taylor-Joy's performance steers the narrative but it is Chris Hemsworth's wicked act that leaves its mark.
Overall, Furiosa: A Mad Max Saga does dial its madness to the max every now n then and puts the pedal to the metal when the occasion calls for it but the film also lacks the frenzied energy, fiery execution & restless momentum of Miller's magnum opus and falls short on several fronts when compared to the story it serves as a prequel to. Longer than it needs to be & also lacking the smooth flow, this latest entry is a worthy addition yet no match to the franchise's best films.
Kingdom of the Planet of the Apes (2024)
More Insightful Than Most Blockbusters Of Today
While certainly no match to the greatness of the trilogy that precedes it, Kingdom of the Planet of the Apes still makes for a worthy sequel to the rebooted series and does enough to stand on its own. Taking place many generations after Caesar's reign, the new story & characters take a while to warm up to yet the conflicts & politics the plot weaves & unfolds along with the themes addressed make the journey worthwhile.
Directed by Wes Ball, the film creates its mythology around Caesar's legacy and also captures how history is often defiled & reinterpreted over generations to create a new kingdom of violence & injustice. The story is at its strongest when it is dealing with elements that have a universal appeal, and features enough action set pieces to keep us invested & interested in the new world order our characters find themselves in.
One of the main highlights of the rebooted trilogy was its groundbreaking visual effects. In this latest chapter, the CGI rendering of apes & their emotions remain as faultless as ever however the surrounding VFX still feels slightly inferior to its predecessors. Also, with no formidable ape to anchor the plot or actor like Andy Serkis at helm, the drama doesn't find its footing instantly. Add to that, it is slower, longer & ponderous in comparison.
Overall, Kingdom of the Planet of the Apes doesn't meet the towering heights of Rise, Dawn & War but it does well to pave a solid foundation for a new saga of the apes universe. As before, it's the familiar themes of family, community, leadership & survival that drives the story, plus it concludes on a note that sets an interesting course for the next stories in line. Not close to the best entries in the franchise yet more insightful than most blockbusters we get today.
Les chambres rouges (2023)
A Chilling Portrait Of Our Morbid Interest In The Macabre
A downright gripping, consistently chilling & increasingly suspenseful psychological horror that only gets more twisted as it progresses, Red Rooms is an interesting examination of our morbid interest in the macabre and shows the self-destructive nature of obsession when one journeys too deep into their unhealthy fixations & allow it to bleed into their reality.
Led by Juliette Gariépy's enigmatic performance and keeping us invested in the proceedings at all times, this Canadian chiller ventures into the darkest corners of the web to capture the limitless depths of human depravity, does well to sustain its mystery until the end, and delivers an edge-of-the-seat experience to finish as one of the better films of the year.
I Saw the TV Glow (2024)
An Allegory For Trans Experience & Gender Dysphoria
Capturing the suffocating dread & existential horror that awaits anyone & everyone who refuses to live a life true to their own self, I Saw the TV Glow is a finely crafted & well-intentioned coming-of-age psychological horror that starts on a very promising note, features some striking imagery, and is steered by good performances but the film as a whole still left me indifferent in the end.
The first half of the story had my intrigue but the longer it goes on, the more muddled & convoluted it becomes before wrapping things up on an anticlimactic note which leaves an infuriating aftertaste of its own. An allegory for trans experience & gender dysphoria, Jane Schoenbrun's latest film isn't without merit but whether it will work you or not will depend on how much you are invested in the protagonist's journey.
Terrifier 3 (2024)
A New Christmas Staple For Fans Of Extreme Horror
Destined to become a Christmas staple for horror aficionados who prefer their holiday films to be a tad extreme, the third instalment in the Terrifier franchise picks up its plot from where the previous chapter signed off and makes for another gleefully gruesome addition to the brutal & barbaric franchise. While not an improvement over its predecessor, Terrifier 3 still manages to deliver the desired goods in bits n pieces.
Written, directed & edited by Damien Leone, the story further expands its world, deepens the mythology and also touches on the origins of Art the Clown but it is the space provided to a couple other characters that provides the film an added strength. Leone makes sure the plot has a sense of direction, doesn't navigate far from the premise and takes a no-holds-barred approach when it comes to the horror set pieces it has in store.
Once again, it's the practical effects, make-up magic & old-school execution that prove to be the film's main highlight. And while it revels in violence & viscera, the added camp element still adds an amusing touch to those scenes of slaughter. David Howard Thornton impresses again as Art but he isn't the show-stealer this time around, for Samantha Scaffidi outshines him with ease while Lauren LaVera does better than last time.
Overall, Terrifier 3 packs all the grisly goodness that fans of the series have come to expect from the saga and the effort that goes into its worldbuilding also makes sure that this latest offering is not just an empty exercise in endless savagery. The thrills & kills are aplenty but the drama has a certain footing as well that keeps the audience interested in where this story is headed. Also, the shift in setting from Halloween to Christmas brings a freshness of its own.
Speak No Evil (2024)
A Neutered Version Of Its European Counterpart
The American remake of the Danish psychological horror of the same name does tread a similar route for the most part, and also benefits from strong performances from both James McAvoy & Mackenzie Davis but the modifications introduced in this retelling only end up working against it. Much tamer in content when compared to the nihilistic tone of the original, Speak No Evil suffers from issues of its own makings.
Written & directed by James Watkins (Eden Lake), the film manages to establish the necessary aura of dread & foreboding and only gets more unsettling & uncomfortable as it unfolds. The build-up is gradual, properly done and brims with tension & suspense but when it is time to go all-in, Watkins hesitates, holds back and turns to a more hopeful & less arresting ending which in turn dilutes the effectiveness of the whole setup.
The isolated setting, disquieting interactions & increasingly volatile situations do ratchet up the uneasy feeling but the third act goes in a completely different direction and is far too generic & conventional in content. Performances keep the drama riveting, especially from James McAvoy whose sturdy presence, chilling gaze & committed act keep things palpably tense, and has the audience on edge of their seat every time he's on screen.
Overall, Speak No Evil is gripping & thrilling when it is following the original story closely but the changes made to the ending only proves to be detrimental to the whole experience, for it takes the shock, horror & provocative quality out of the equation. Those who haven't seen the Danish production may get more out of it than the rest as the film isn't without merits but for me, this Hollywood remake is a neutered version of its European counterpart.
RoboCop (1987)
One Of The Defining Sci-Fi Actioners Of The 1980s
Critiquing corporatisation, corporatism & corporate corruption with its satirical take on American business culture while also touching on themes of identity & humanity without ever sacrificing its blockbuster obligations, Robocop is one of the defining sci-fi actioners of 1980s cinema that still packs enough firepower to demolish most action films of today and has stayed relevant over the years with remarkable ease.
Directed by Paul Verhoeven, the film is intelligently directed from start to finish and presents the Dutch filmmaker in control as he delivers a full-fledged action extravaganza without diluting the thematic & satirical elements present in the script. There is not a wasted scene in the picture as Verhoeven discards all he can do without, and keeps the action-packed premise taut & gripping with the tight editing & excellent pacing.
Also enriching the experience is the steely cinematography that highlights the dystopian future the plot takes place in and the action set pieces more than deliver with their stuntwork, special effects & violence. The titular cyborg is a formidable figure of authority but what bestows swag & humanity to him is Peter Weller's measured performance and he's finely supported by Nancy Allen, Kurtwood Smith & Basil Poledouris' stellar score.
Overall, Robocop is one of the most thrilling & entertaining examples of its genre that continues to impress with its approach & execution of what would've been a straightforward action film in the hands of a lesser filmmaker. Smartly scripted & brilliantly directed, it is a clever, captivating & compelling piece of blockbuster filmmaking that's richly layered & expertly structured. A pure delight on more levels than one, this sci-fi action comes thoroughly recommended.
Deadpool & Wolverine (2024)
Fun Yet Forgettable
Maybe it's coz I got off the Marvel train after The Infinity Saga or that the post-Endgame entries have been so forgettable that it's made me completely numb to the studio formula but Deadpool & Wolverine simply failed to leave a lasting impression on me. No different from its predecessors and furthermore exacerbated by Marvel Studios' convoluted beyond repair mumbo-jumbo world & dull characters, this latest entry in the Marvel Cinematic Universe suffers from the same set of issues that plagues most of the franchise's recent efforts, and is yet another disposable offering in the long list of forgettable slop that Ryan Reynolds can't stop starring in.
Thanksgiving (2023)
Grisly. Gnarly. Gleeful.
The third fictitious trailer from Grindhouse to get a feature-length treatment, Thanksgiving is a funny, gnarly & downright wicked slasher from Eli Roth that holds nothing back in delivering its bucketloads of blood & guts to the genre's bloodthirsty fans and makes for a thoroughly silly & amusing ride if you can digest all the splattered violence it has in store. Though it fails to bring anything new to the subgenre, the horror set pieces do create moments of tension & suspense that are effective before the over-the-top killings turn those gory, grisly scenes into a riotous comedy. As brutal & sadistic as it is hilarious & fun, this gleefully gruesome delight has got everything it needs to become the titular holiday staple.
Twister (1996)
Does What It Set Out To Do
From the director of Speed comes an energetic, thrilling & entertaining disaster film, this time focused on the titular weather phenomenon that swallows all in its path & leaves nothing but destruction in its wake. Featuring a series of tornado set pieces that are held together by a thinly-plotted & barely serviceable storyline, Twister may not score high on the dramatic front but the story does enough to keep the viewers engaged with its consistent delivery of visceral thrills and surely benefits from impressive special effects of its time and swift pace that never allows the boredom to set in. The ending is rather over-the-top, plus the sense of danger or excitement of storm chasing isn't entirely felt due to poor characterisation but the film as a whole somehow still manages to achieve what it set out to do.
Twisters (2024)
Blockbuster Filmmaking At Its Serviceable Best
Serving as a standalone sequel to the 1996 disaster feature, Twisters is blockbuster filmmaking at its serviceable best, for it is competently crafted, features a straightforward premise, and makes it work by letting its likeable leads anchor the narrative while exuding charm & chemistry together. Director Lee Isaac Chung (Minari) provides just enough depth to his characters to make us invest in their expedition and then allows the spectacle segments to carry forward the protagonist's emotional arc. While the picture is loaded with technical jargon, it doesn't affect the experience with Daisy Edgar Jones & Glenn Powell at helm. In short, the film remains a fun, breezy & enjoyable ride and does a sufficiently satisfying job at fulfilling its entertainment obligations.
The First Omen (2024)
Delights & Disturbs In Equal Measure
Serving as a prequel to Richard Donner's 1976 horror classic but also sharing strands of DNA with Immaculate in its setting, themes & premises, The First Omen is an ominous offering that comes packed with shocking imagery, scary implications & sinister surprises while embracing its R-rating in ways most mainstream studio horrors of today never dare to. Brimming with a chilling sense of dread, splendidly photographed from start to finish, and also led by excellent performances, Arkasha Stevenson's debut feature delights & disturbs in equal measure, takes a body horror approach to render its supernatural story, and features more positives than negatives. Definitely worth a shot.
Immaculate (2024)
Immaculate In Conception But Not In Execution
Anchored by a fantastic lead performance from Sydney Sweeney, Immaculate features a promising premise and sustains the interest with its foreboding secrecy & topical themes but all the good that was expected from it don't surface until the final minutes. The film benefits from its hint of dark & disturbing revelation, mystery surrounding the religious institution its plot takes place in, and Sweeney's committed input but the genre elements it employs are predictable from afar & also tame in their shocking appeal. In short, Michael Mohan's horror outing packed potential but the overall execution unfortunately leaves much to be desired in the end.
Abigail (2024)
Had More Potential As A Full-Fledged Horror
From the directors of Ready or Not & Scream V comes a horror comedy that had more potential as a full-fledged horror than the campy ride it silently turns into. Abigail does embrace all the trappings & tropes of its genre to deliver a mostly fun & entertaining vampiric delight but the lighter tone it demotes to undermines the promising setup of the first act and makes the ride bit less investing. Alisha Weir gets to have ample fun in the titular role and the rest play their roles well as a unit in this gleefully amusing blood-soaked ballet that's more than aware of its strengths & limitations.
Gladiator II (2024)
Pales In Comparison To Its Predecessor
From the director of Gladiator, Kingdom of Heaven & The Last Duel comes yet another historical epic, this time serving as his follow-up to the grand & impressive fable of strength & honour that was Ridley Scott's Oscar-winning masterpiece. Gladiator II packs a similar premise and features a nearly identical protagonist journey but this sequel also fails to measure up to the magnificent legacy of the original classic and suffers from not having a commanding figure to anchor all the emotional beats.
Paul Mescal delivers a fine showcase in the lead role but it is unfortunately unable to escape the imposing shadow & eternal echoes of Russell Crowe's memorable performance as Maximus that lingers the frames at all times, and he's also outshined by Denzel Washington who proves to be the real show-stealer here. There are impressive battle segments & gladiatorial combat scenes, plus Scott's mastery of set pieces helps keep things sufficiently entertaining but the film does pale in comparison to its predecessor.
Despicable Me 4 (2024)
Another Disposable Offering From Illumination
The 4th entry in the Despicable Me series finds Gru & his family forced to go on the run after a new nemesis threatens their safety. More or less the same as its predecessors except lesser in quality, thanks to the tired formula it utilises, and also failing to bring anything new to the table, Despicable Me 4 doesn't really have much to offer when it comes to Gru & his family but finally figures out a way to keep the freshness alive when it comes to minions madness, which the film does by parodying the superhero genre. The yellow henchmen's slapstick gags & antics remain hilarious but that isn't enough to sustain the main plot which is bland, generic & full of narrative shortcomings. In short, yet another disposable offering from Illumination.
Kung Fu Panda 4 (2024)
Lacks The Warmth & Vibrancy Of Its Predecessors
The 4th chapter in the Kung Fu Panda saga finds Po tasked with finding a successor to take his place as Dragon Warrior after he is tapped to become the next Spiritual Leader of his valley but decides to undertake one last mission to stop a sorceress who's capable of conjuring evils from the past surfaces. Lacking the freshness of the first film and the emotional depth of the second, Kung Fu Panda 4 does play it safe by taking a risk-free route to tell its story but still manages to deliver a fun, amusing & lighthearted delight. Despite its new setting & plenty of new characters, the film is missing the warmth & vibrancy of its predecessors but the new villain is as impressive as the ones before although not explored to full potential. Not the sequel we needed but not one that hurts the series either.
Rukku Bakku (2024)
An Ode To All The Artists & The Art They Make
Here's to the ones with a creative spirit who can't help but continue their passion for making art despite the labour-intensive & seemingly unrewarding nature of the creative process. Look Back is a wonderfully crafted & emotionally resonant coming-of-age delight that navigates life, death, art, jealousy, obsession, grief, despair, friendship & the pure joy of sharing a passion while reminding us about the absolute necessity of doing whatever it is that makes our heart sing even if it feels unworthy & meaningless in the course of our life journey. Beautifully animated & brilliantly told, this anime is only 58 mins long yet delivers a roller-coaster ride of emotions and is destined to strike a personal chord with those who do what they love for the sheer pleasure of it.
The Wild Robot (2024)
One Of The Better Films In DreamWorks Animation Canon
While not as great as the hype around it would have you believe, DreamWorks Animation's latest offering nonetheless carries a heartfelt charm & welcome freshness about it and definitely ranks amongst the better entries in their oeuvre. With creativity in its animation, heart in its storytelling and packed with themes that resonate with the soul, The Wild Robot keeps the story & narration simple & effective and weaves the imagery with an emotional complexity that elevates it beyond an average children's fare.
Neatly directed by Chris Sanders and expertly anchored by Lupita Nyong'o whose voice imbues the titular droid with love, tenderness & motherhood, the film touches on parental care, coming-of-age journey, maternal hardships, value of community & power of kindness but what prevents it from greatness is the inconsistent pace and not letting its quieter scenes to breathe & simmer. Its 102 mins runtime is longer than it needs to be, most characters are forgettable and although there is a sweetness to it, the picture as a whole is slightly overhyped.
Joker: Folie à Deux (2024)
An Excruciatingly Boring & Utterly Forgettable Mess
Possibly the strongest contender for the most disappointing film of the year so far, Joker: Folie à Deux attempts to undo all that was good about its predecessor and is so lazy & uninspiring in its approach & execution that it makes for an excruciatingly boring ride for the most part. As lifeless as it is unnecessary, this sequel never finds its footing plus the decision to take the musical route only backfires, for it doesn't go well with the story that it actually wanted to tell. Tediously paced & dancing around in circles for 138 mins, the picture simply goes nowhere while underutilising its actors, which is a shame coz Joaquin Phoenix & Lady Gaga do have a hint of chemistry together and could've conjured magic with a better script. Forgettable, frustrating & failing to measure up to the expectations, Todd Phillips' latest neither delivers as a follow-up chapter nor delights as a musical.
Music by John Williams (2024)
A Heartfelt Tribute To The Greatest Film Composer Of All Time
Chronicling the life & career of inarguably the greatest film composer alive today, Music by John Williams is crafted with heart, soul & admiration and celebrates the decades spanning legacy of the artist whose memorable compositions over the years have left an indelible mark on both film & pop culture. More a tribute than an in-depth sketch of his personal & professional life, Laurent Bouzereau's documentary provides a glance into the ideas & incidents that inspired his greatest scores, his collaboration with Steven Spielberg & endeavours outside the film industry but it isn't as informative as I expected and fails to offer any new insights.
Brought to screen through interviews, behind-the-scenes footage & film clips, the documentary observes the significant impact his orchestral scores had then n now and garnered him a whole generation of fans all over the world. Perhaps, the only thing I can complain about is that it isn't long enough, for I would've enjoyed many more hours of it. Also, for no valid reason, there is too much Chris Martin in it. Nevertheless, anyone not aware of Williams' contribution to the medium is in for a treat as they finally learn about just how many iconic themes this legendary maestro has graced us with and how vast & versatile his body of work throughout the decades has been.
The Substance (2024)
A Fearless Takedown Of Absurd Beauty Standards
From the director of Revenge comes an ambitious & audacious sophomore effort that's powered by spectacular performances from Demi Moore & Margaret Qualley and offers a brutal yet biting satire on fame, beauty, addiction & ageing through its examination of the societal perceptions of a woman's body. Definitely not for the easily distressed, The Substance is crafted with care, told with confidence and makes for a vicious takedown of absurd beauty standards that plagues the entertainment industry. The film employs a clever concept and executes it spot-on for two-thirds of the story before getting carried away a tad too much in the last act. And while it doesn't quite stick the landing for me, it remains a powerful, disturbing & harrowing ride. Also benefitting from stylish camerawork, vibrant costumes & stellar practical effects, Coralie Fargeat's latest feature is funny, fearless & fascinating throughout and effortlessly ranks amongst the most grotesque & gut-wrenching entries in the world of body horror.
Pamyo (2024)
A Cursed, Creepy & Chilling Occult Horror
Drenched in mystery, suffused with a foreboding chill and revealing an even more dreadful omen on excavation, Exhuma utilises elements of occult & folklore to create a cursed, creepy & chilling horror packed with both promise & potential but fails to make the most of its resources. What at first seems to be a straightforward supernatural horror eventually transforms into an unearthing of Korea's past as it digs into the colonial remnants that haunt the nation to this day. Steered by brilliant performances yet silently losing its intensity over the course of its 134 mins runtime, this unholy blend of blood, sickness, possession, witchcraft & devilry does feature moments that are powerful & disturbing but the longer the film goes on, the more it loses its potency. Worth a shot anyway.
Strange Darling (2023)
An Ingeniously Designed Cat-n-Mouse Game Of Murder
A sleek & skilfully crafted cat-n-mouse game of murder that's told in six chapters going back n forth, Strange Darling piques the curiosity with its non-linear setup by fuelling our preconceived notion about its premise and then switches things around to deliver an electric jolt that's brutal, shocking & unexpected. A blood-soaked ride powered by strong performances from its leading duo and further elevated by excellent direction, clever editing, impressive camerawork, sinister score & beautiful songs, the film relies on its actors to deliver the thrilling goods and both Willa Fitzgerald & Kyle Gallner more than rise up to the occasion. A welcome surprise that keeps the intensity alive at all times, JT Mollner's tense & suspenseful tale of a serial killer whose twisted one-night stand spirals into a violent murder spree is a vicious offering that will delight fans of the genre.