The Odyssey is Nolan’s adaptation of Homer’s epic poem, one of the oldest surviving works of literature. It follows Odysseus, king of Ithaca, embarking on a perilous voyage home, and on the way, he faces various Gods and monsters. This adaptation was amazing to see on the big screen, it was visually strong and performances were incredible all around. My favourite performance had to be from Robert Pattinson, his parts were so entertaining with real memorable line deliveries (I’m still thinking about his enunciation of “beggars”, there was some real hate behind that). Although it got a little loud at times, the sound design was fantastic and I loved the score. I’ve heard from others that the film looked washed out, but I didn’t think so, I thought the cinematography looked stunning. Some may find the 3-hour length off-putting, but the pacing was excellent and it didn’t feel drawn out at all.

What struck me most about this film is that Nolan demonstrated he clearly has the capacity to convey horrifying visuals, as shown with the Cyclops and my favourite part, the Circe sequence. The practical effects used for the Cyclops were mind-blowing and the final result was incredible. The way Circe distorted the men’s faces and bodies was also sickening, and I mean that as a compliment. Yet unfortunately it feels like Nolan held himself back, in a way. We only get small glimpses of Circe’s craft, and since such a huge, unnerving puppet was created for Cyclops, I really wish those scenes were a tad more gruesome. Nolan gave me a taste of some Cronenberg-isms and unexpected horror elements, and I wanted more. Just imagine if Nolan went all-out body horror in his next project; maybe as a horror fan, I’m a little biased, but the potential is obviously there. Some of my favourite parts of this film were the scenes involving the Cyclops, Circe, the sirens, and Scylla, and it would’ve been shocking yet brilliant if these monsters were fully committed to, allowing us to really immerse ourselves in this mythological world.

Now, it’s probably worth mentioning, I don’t know a lot about Greek mythology. It’s not that I dislike it, it’s just not something I really got into. So, that may be why this film didn’t move me the way it did for others. The extent of my Greek mythology knowledge is from video games, and even then, it’s limited. That said, I still feel like one of the things holding this film back is Nolan’s inability to let go of realism. Don’t get me wrong, there were some scenes where the immersion was intense, particularly the storms on the boats. But when a film is described as a “mythological epic”, I’m expecting something grand and magical. The film was great, but it didn’t reach the heights I felt I was promised.

Learning about the production and editing of this film was fascinating. This is one of the most expensive features Nolan has ever made, and I can see why. It is the first feature film to be shot entirely on IMAX cameras, resulting in over 600km of IMAX 70mm film being used overall. The commitment to practical effects and producing realistic props and set design is so impressive, including a 36-foot tall, 8,800-pound model of the Trojan Horse and a real 115-foot long Viking warship that was transformed into the Greek warship for the film. Also, I mentioned the practical effects used for the Cyclops, but there were a number of other practical effects used throughout that were basically unbelievable until I saw the behind-the-scenes images, particularly the way they shot the scenes with the Laestrygonians. Filming took place all around the world and at points the film is even shot at sea. It really was an ambitious project, and I have got to give Nolan some respect for that.

Overall, I had an exciting time with The Odyssey. Despite my few critiques, this film deserves to be experienced on the big screen. More than anything, it convinced me that Nolan has the ability to create genuinely unsettling horror, and I can only hope he leans fully into that with a future project.

My score: ★★★★ (4/5)

Miyazaki’s inspiration for creating Spirited Away came from a dissatisfaction with media aimed at young girls. He noticed that the manga being read by his friends’ daughters was mainly centred around cheap romance and didn’t feel it was appropriate or meaningful for 10-year-old girls. So, he set out to create a story where the main character is a brave and kind-hearted young girl making her way through a mysterious and surreal setting, a setting different to the usual backdrops of manga aimed at young girls. That’s how Spirited Away came to be, and the film was a huge success. It surpassed Titanic as the highest grossing film of all time in Japan and was the first Japanese animated film to win an Academy Award in the US.

The film follows Chihiro, a young girl begrudgingly moving to a new town with her parents. Her parents try to be encouraging around this move, but Chihiro is stubborn and a bit of a grump. It’s totally understandable, what 10-year-old wouldn’t feel even a bit unwilling to move away from the friends they know and the familiarity of their home, school, and hometown? After a rocky detour down a road of shrines, the family encounter a gate and decide to explore this unusual area. At first, Chihiro was reluctant to follow, but she ends up giving in and joining her parents, noticing the wind pulling her in. I love this subtle detail of the wind pulling Chihiro in, alluding to a greater force at play to guide Chihiro into what is at the other side of this gate.

As they pass through the gate, the surroundings completely change. They’ve gone from a bumpy road surrounded by woodlands to an open field with bright blue skies, and as they continue walking, they find what Chihiro’s dad assumes is an abandoned amusement park. Chihiro still isn’t convinced that they should be there, but the parents become intrigued by the smells of hot food. They find the feast and to Chihiro’s dismay, they take a seat. It’s not clear who the food is for, and the fact that it is fresh and steaming hot indicates this place might not actually be abandoned. Chihiro’s parents ignore this, saying they will be able to resolve any issues with credit cards and cash, and tuck right into the feast before them. This mentality of solving everything with money felt like a critique on consumerism and capitalism, especially as this turned out to be a feast for the spirits, so the dad’s “credit cards and cash” would not have solved anything, and this mentality gets immediately punished.

Chihiro wanders away from her parents and watches a train go past, another sign that this place must have some life to it, and that is when she encounters Haku. Haku warns her that she shouldn’t be here, but by the time Chihiro tries to find her parents and leave, it’s already too late. In a stunning sequence, the sun goes down and the market begins to light up, leading to mysterious spirits beginning to populate the area. This scene is so mesmerising to me, and the accompanying music piece is perfect, this is the moment where the magic begins. Chihiro’s parents have now turned into pigs, a symbol of their greed; I remember when I first saw this scene and I felt so shocked, it’s quite an unexpected transformation and I genuinely felt afraid for the parents (mind you, I was probably the same age as Chihiro when I first watched this). The spirits are designed so effectively, giving an unnerving aura as you can’t quite identify what they are.

Surrounded by spirits, Chihiro tries to convince herself she is dreaming. But this is no dream, and she realises this as she starts to disappear. This is resolved when Haku finds her again and offers her some food, advising she needs to eat something from “their world.” It’s a lot to take in at once, her parents are now pigs, there are mysterious spirits everywhere, and now it’s become clear that she isn’t even in her own world. The score stops abruptly, transitioning to a softer piece as Chihiro comes to realise her situation. I loved how the fluid movements of Chihiro as she was disappearing were animated, it was so smooth.

After Haku advises Chihiro that she will need to work to survive the spirit world, Chihiro meets Kamaji, the boiler man. Kamaji appears quite blunt and focussed on his work when she first meets him and abruptly tells her that he has no work for her. However, after Lin, a worker of the bathhouse, arrives, Kamaji quickly changes his tone from abrupt to supportive. He requests Lin to show Chihiro to Yubaba, the leader of the bathhouse, if she really wants to work. I loved this introduction to Kamaji, who may have a hard outer shell but is a softie really. Lin also appears standoffish at first but agrees to take Chihiro to Yubaba. The boiler room is dimly lit, not as dark as it was outside but still not very bright, with most of the light coming from the flames of the boiler. To me this is an indicator of Chihiro’s situation improving; it went from light to dark so quickly outside as Chihiro’s parents become pigs, and she realises she is trapped in the spirit world. But now as she is spared by Kamaji, there is a glimpse of hope.

Yubaba has the entire top floor of the bathhouse as her own apartment, the top floor reflecting her place at the top of the hierarchy in the bathhouse. The details in the corridors leading to her office are exquisite. Everything looks regal and expensive, with jewels and artefacts covering every wall. I really appreciate the attention to detail throughout this floor, from the marble floors, embossed walls, and ornate artefacts, it all looks incredible. Yubaba’s office is no different, there is an elegant atmosphere but at the same time, it feels a bit daunting. The red hues and self-portraits looming over anyone who steps in the office creates a sense of threat, that Yubaba is not to be messed with. Which is absolutely correct, as Yubaba’s introduction shows she is an abrasive, harsh character with a fiery temper. Although she is quite frightening on the outside, she stands by her word. Chihiro demands for a job repeatedly, and Yubaba tries to refuse, but since she has taken an oath (and is being deafened by the cries of her baby off-screen), she reluctantly gives Chihiro work. There is a twist however, as Yubaba takes Chihiro’s name and renames her Sen. This is part of Yubaba’s magical contract which takes names as a means of control. Forgetting one’s name implies forgetting their identity, memories, and purpose, giving Yubaba total power on binding the workers to the bathhouse. During one of my recent rewatches I theorised that Yubaba is actually a dragon disguised as a powerful witch. She displays several dragon-like qualities, like hoarding vast amounts of treasure to breathing fire later in the film, and since we know she’s capable of shapeshifting, I like to imagine she chooses to present herself as an elderly woman to command respect and appear wise.

Once Chihiro is brought back downstairs for work, we see two different sides of both Haku and Lin. Haku, who was so friendly before, is now aloof and monotone, while Lin who was quite curt is now supportive and proud of Chihiro for managing to face Yubaba. This is an interesting turn of events that completely flips expectations for the story’s progression. At first, we see Haku as someone on Chihiro’s side and Lin as a potential obstacle. But now, we question whether Haku really has Chihiro’s back at all, and if Lin will continue to support Chihiro. As Lin is helping Chihiro settle in, Chihiro pauses and is suddenly flooded with emotions. The gravity of the situation is starting to set in, as she realises she may not be able to rely on Haku after all, her parents are transformed into pigs and she isn’t sure of their whereabouts, and she is being forced into servitude in an overwhelming and unfamiliar environment. The atmosphere is quiet as Chihiro’s emotions take over, and this is the first time the audience is given space to pause and reflect in a particularly quiet moment.

After Chihiro’s first night at the bathhouse, Haku actually takes Chihiro to see her parents and gives her food to help her restore energy. It’s now clear that outside of the bathhouse, Haku is supportive of Chihiro. But due to being Yubaba’s apprentice, Haku takes on a different persona within the bathhouse. This subtly conveys the coercive control Yubaba has over him, leading him to compartmentalise himself. We also get a brief first look at the mysterious No-Face. In each of No-Faces appearances, we can hear Gamelan music playing in the background, a traditional Indonesian orchestra which in this case creates a hypnotic and almost haunting soundscape, which feels suitable for this unknown presence.

The bathhouse is a great depiction of real-life workplaces and Miyazaki takes an almost satirical approach with this. Everyone is completely fixated on money, there is a strict hierarchy, and it is implied that in working for Yubaba, the workers have lost their identities. However, the labour itself isn’t portrayed as a bad thing, in fact it is the meaningful work carried out by Chihiro that progresses her character development; this makes sense considering it is aimed at a younger audience and I’m sure Miyazaki didn’t want to put kids off of working forever. I also liked the detail of Kamaji being the one who is actually in control of the most important aspects of the bathhouse, the bath water. Although Yubaba has control over the workers, Kamaji is the one making the actual operations of the bathhouse happen, something that feels a bit on the nose with real life. Yubaba has all the authority while Kamaji does all the work, symbolising the invisible labour exploited by those higher up in structural hierarchies. The design of the bathhouse interior is bustling and visually busy. There is something happening in every corner of each floor and it is a marvel to look at. This can also portray a sense of overwhelm, it is so much for Chihiro to take in at once and she has no choice but to get on with it. At this point, it is raining heavily outdoors making the inside of the bathhouse seem more preferable to Chihiro despite the hectic nature and disdain from the staff, and in this moment, we see Chihiro trying to fit into her new role.

One of the scenes in the bathhouse that particularly stood out to me was the cleaning of the stink spirit. Coming in from the dreary rain, the mysterious stink spirit looks foul and unpleasant. Yubaba again shows firm morals in not wanting to offend the spirit, but her greed still shows as she instructs Chihiro to take the money. As Chihiro helps the spirit into the bath it is revealed that it wasn’t actually a stink spirit, but a river spirit covered in waste and pollution. In true Ghibli fashion, this is a direct commentary on environmental damage, and the moment the bicycle and rubbish are removed, the spirit regains its true form. This scene was inspired by Miyazaki’s own experience with cleaning out pollution from a river, where he found a number of things that didn’t belong there, including a bicycle. Humans’ detrimental effects on the environment is a common theme throughout Studio Ghibli films, other examples of this include Pom Poko, Ponyo, Princess Mononoke and Nausicaa of the Valley of the Wind. In Spirited Away specifically, the cleansing of the river spirit suggests that the damage sustained by humans isn’t irreversible and symbolises the Earth’s regenerative potential if we actively work towards dismantling unsustainable systems and repairing the damage already done. This metaphor can also be read through Haku’s identity loss; we know Yubaba took it from him, however he may have had an even harder time trying to remember it because his river was destroyed for development.

As everyone is recovering from a busy workday, including Chihiro after her first full day of work, the film slows down from the hustle and bustle of the bathhouse and embraces stillness as Chihiro looks out to the vast sea. One of the most remarkable aspects of this film is how much time it spends letting us sit with stillness and reflect on the emotions and atmosphere. Although some parts are quite visually busy, others amplify the tranquillity and allow the audience to really take in the journey the film is taking us on. The earlier pause involved Chihiro’s emotions but here, she is calm following her successful workday and praise from Yubaba. It’s a nice marker on Chihiro’s character development, and we can see glimpses of maturing. The rain has ceased, further amplifying that feeling of serenity. We also get to see more into Lin’s character as she expresses a desire to leave, alluding to a life outside of the bathhouse.

After the river spirit leaves the bathhouse, a worker is seen attempting to gather some of the leftover gold for themselves. They are confronted by No-Face who offers the worker more gold, only to eat them when they take it. No-Face’s initial introduction portrayed him as a quiet, hesitant spirit who keeps their distance. But after being allowed to enter the bathhouse, it becomes clear that his personality reflects the desires of those around him. He immediately becomes snarky and aggressive, eventually demanding a large feast and eating even more workers. Later, he resides in a room with a traditional Japanese Oni mask painted on the doors. The Red Oni mask represents raw passion, anger, and craving, and these all apply to No-Face’s personality when inside the bathhouse, so I really appreciated this detail. I loved his character design so much, the way his translucent appearance was animated and his jarring unnatural movements down the bathhouse were quite impressive and his eventual transition to a more grotesque beast is so well done. No-Face is one of my favourite characters in this film, and something interesting I recently learned is that his design is heavily inspired by a silkworm. Not just in its appearance, but also how silkworms consume endless amounts of food and appear to lack facial features. It’s so interesting to me and I just really love this unique, mysterious character.

While No-Face is feasting within the bathhouse, Chihiro witnesses a chase between Haku in his dragon form and mysterious creatures. The creatures turn out to just be paper, enchanted by Yubaba’s twin Zeniba. The twins are completely alike in appearance, but their behaviours are quite different. While they are both magical witches who make bargains, Yubaba gains power through procedural control and creating written contracts, whereas Zeniba’s power is built through relationships, showing kindness and compassion. We also get a proper introduction to Yubaba’s baby, while we did get a brief glimpse before, we are now exposed to the full extent of this peculiar character. The introduction to Yubaba’s baby is definitely not a forgettable one. His room is grand and colourful, covered in soft quilted fabrics and filled with more toys than any child could ever need. I love the details of this room, and I always find myself looking in the background to see if I can find any more Easter eggs, in one shot you can see Jiji from Kiki’s Delivery Service on a pillow. The baby demands Chihiro stays to play, insisting that the outside is dangerous and filled with germs. Yubaba sheltering her child with toys and pillows, so he never has to go outside suggests an overly protective and fearful side of her we haven’t previously seen in the film. The most bizarre aspect of this character is his size. It’s quite comical, one of the biggest characters in the film actually being a baby, but I feel this character design had more to it. The baby is petulant and demanding, and to me the size juxtaposing his appearance represents that while he was growing physically, he never grew mentally due to Yubaba’s overbearing control and spoiling him. He’s literally a big baby and it’s thanks to Yubaba. Zeniba then transforms him into a mouse, stating that his brain now matches his size, which was pretty funny. His mouse form now has more freedom to move, and there’s a nice developmental aspect to this as he learns to be more independent.

Meanwhile, Haku is badly hurt and ends up in the boiler room. Kamaji shows compassion towards him instantly and helps Chihiro break the lingering spell. I loved the design of the “deathly spell” being just a nonthreatening gloopy creature, it was such a contrast to what Zeniba described. For the animation of Chihiro giving the herbal remedy to Haku, Miyazaki actually studied how veterinarians give dogs medicine, and I just love this attention to detail. Kamaji reveals he has been holding on to a one-way ticket away from the bathhouse for 40 years, so it’s quite significant that he so quickly gives it up to Chihiro to allow her to find Zeniba. I loved the caring side of Kamaji being shown even more, and even Lin shows more of her protective side when No-Face leaves with Chihiro. She apologises to Chihiro for calling her a dope, and it’s clear at this point that Chihiro has left an impact on these characters.

The train sequence shows how the spirit world exists alongside our own. I've always interpreted the ghostly passengers as humans travelling through the real world, appearing only as silhouettes from the perspective of the spirit realm. Although the sea appears endless, the hazy neon lights in the distance suggest the train is actually travelling through the human world. This scene is quite moving despite how nothing dramatic happens and nobody speaks much. None of that is necessary as the sombre music and the sudden slowing down carries everything. In this scene, we experience a third pause in the chaos. Chihiro appears braver, calmer, and even more mature than before, and I feel this was the most important pause as we reflect on how far Chihiro has come.

When Chihiro and the others arrive at their stop, Swamp Bottom, it is clear that Zeniba’s home is quite different to Yubaba’s. Swamp Bottom is dark and quiet, with tunnels of trees, lush greenery and a single enchanted lamp guiding the way. Zeniba actually calls Yubaba’s apartment tacky, a total opposite to Zeniba’s cottage-core abode. Zeniba’s cottage also carries a peaceful nature. While Yubaba hoards treasures, Zeniba’s belongings aren’t as lavish and feel more practical. Yubaba smokes cigarettes, Zeniba drinks tea. Yubaba is harsh and abrasive, but Zeniba is patient and jovial. No-face has now calmed down, again showing he reflects the environment he is in, even offering help this time. Zeniba is soft and kind in this scene, this is probably the most comforting scene of the whole film and features my favourite part of the soundtrack.

Following Chihiro’s exchange with Zeniba, Haku arrives at the cottage in his dragon form. As they return to the bathhouse, Chihiro recalls a memory of her falling into a river, and being saved by a river spirit, and in this recollection, she helps Haku remember his true identity as the Kohaku River spirit. Throughout the film, names are treated by Yubaba as disposable and a means of control, when really, they are important distinctions of identity, history, and the self. The moment Chihiro recognises Haku’s true identity is a profound act of compassion and remembrance, and this scene feels like the true emotional peak of the film. Their tears flowing together is like a visual representation of the emotional release that has been building throughout the film, and their teary but joyful free-fall through the glistening sky is one of my favourite moments of the film. Through Chihiro helping Haku remember who he is, the film suggests that owning our identities is one of the most powerful forms of liberation. The two return to the bathhouse, with Chihiro passing Yubaba’s test and being allowed to return to her world. As Chihiro leaves the spirit world, Haku tells her, “Don’t look back.” I’ve always interpreted this as a reminder that although her journey has profoundly changed her, she cannot remain in the past forever. The experiences she gained will stay with her, but true growth comes from carrying those lessons forward rather than longing to return.

The ending is rather open ended, with no solid indication of how much time had passed while Chihiro and her parents were in the spirit world. My interpretation has always been that only a short time had passed, perhaps a day or two. The appearance of the tunnel at the beginning of the film was enticing, with the wind also pulling Chihiro in the direction of the spirit world. Then, during her time at the bathhouse, time may have felt longer when in reality it wasn’t that long. When Chihiro leaves the tunnel at the end, the growth is actually how the area looked all along and, in a way, symbolises Chihiro’s growth as well. She doesn’t need the spirit world anymore and has developed more as a person. The tunnel doesn’t need to look enticing anymore as she has gained what she needed from the experience. Chihiro went from stubborn and grouchy, to positive and willing. Chihiro doesn’t become brave because she’s suddenly fearless. Throughout the film she’s frightened almost constantly, but she keeps going anyway. That’s a much more mature depiction of courage than many children’s films. She gradually becomes less self-centred. Early Chihiro only thinks about herself and her parents; later she’s helping No-Face, Haku, the River Spirit, Boh and even Yubaba without expecting anything in return.

In the English dub, at the beginning of the film, Kamaji says “I think she can handle it” in reference to Chihiro. At the end of the film, Chihiro responds to her dad’s remark about the big move by saying “I think I can handle it,” in a full circle moment. Interestingly, this final moment is absent from the original Japanese version, with it only being added in the English dub to make the ending more palatable to Western audiences. I actually prefer the original version where the family drive away in silence, as the silence allows for a final moment to reflect.

The biggest overarching lesson of this film is that almost every conflict stems from greed. Chihiro’s parents consume food that was never theirs and are transformed into pigs. The bathhouse workers abandon their responsibilities in pursuit of No-Face’s endless gold, only to be eaten. Even Yubaba’s priorities become distorted; when No-Face’s gold begins to disappear, her first reaction is frustration over the lost wealth before she even realises her own baby is missing. Greed repeatedly blinds characters to what truly matters and leads them to unfortunate consequences. However, the film never leaves us with the impression that greed is simply an unavoidable part of human nature that we are unable to redeem ourselves from. Every act of selfishness is eventually countered by an act of kindness. Kamaji helps a frightened stranger without expecting anything in return. Lin grows from being annoyed and doubtful of Chihiro, to her fiercest protector. Chihiro repeatedly chooses compassion over personal gain, refusing No-Face’s gold, cleansing the River Spirit, risking everything for Haku, and helping those who have wronged her. The spirit world seems frightening at first, but it’s so moving to see how everyone grows and develops throughout.

This is why Spirited Away has remained so timeless. Beneath its breathtaking animation, beautifully composed score and endlessly imaginative world lies a story of hope and growth. It teaches us that courage is not the absence of fear, identity is something worth protecting, and kindness is indeed strong enough to break harmful cycles. Perhaps that sense of wonder comes from Miyazaki’s unconventional creative process. Rather than beginning with a finished script, the story developed through storyboards and imagery first. In reference to the film, Miyazaki said, “It’s not me who makes the film. The film makes itself, and I have no choice but to follow.” It’s such a unique way of approaching filmmaking, and it explains why Spirited Away feels so organic and like a dream unfolding naturally before our eyes. I also must reiterate just how beautiful this film is, which is why I’ve included some of my favourite shots throughout this article. This film holds a special place in my heart, and I hope I’ve shown why!

My score: ★★★★★ (5/5)

The Highlight Reel
I’ve been trying to complete my Ghibli watchlist, and The Tale of Princess Kaguya (2013) was one of the final films I had left. I can’t believe I didn’t watch this sooner, I’d say it’s absolutely firmly amongst my top five favourite Ghibli film. The watercolour art style was so beautiful in this; the visuals felt soft and gentle, with each scene using colour palettes that perfectly matched the emotions and atmosphere. The scene where the princess runs through the woods in the night in an emotional outburst is one of the most visually stunning sequences I have ever seen. It was like watching a painting come to life. The journey of the Princess is so touching, she’s such a lovable character and I was close to tears at some points of the film. Every character feels distinctly human and wonderfully fleshed out. It is a beautiful story, and the ending even gets a bit existential which I wasn’t expecting, it hit me pretty hard. Knowing this film was released in 2013 warms my heart, it’s pleasant to see modern animation continuing to push boundaries, even using more traditional styles. I want to see more uniquely animated films like this, and I hope works like this continue to be created.

Worth the ticket?
With the recent release of a Evil Dead film, I decided it was about time I got into the previous Evil Dead films to help me decide if I should go to the cinema for the new one or not. I’ve seen the original two, but I never got into the reboot series. I ended up loving both Evil Dead (2013) and Evil Dead Rise (2023) and instantly booked my ticket for Evil Dead Burn (2026). Since this is the third instalment, we know what to expect: copious amounts of blood, flinch-worthy gore, dark comedy gags and of course the iconic Necronomicon. Evil Dead Burn incorporated all of these familiar factors but also took a somewhat different approach to the story in that the main character was a lot more complex, and the film also included more lore exploration to the previous films. I’ll admit, I found the first part of this film a bit difficult to get through as it dragged on a bit. But once it got going, it never let up, and the build-up was definitely worth the payoff. Gore doesn’t usually affect me, but some of the scenes in this were so gnarly they actually made me feel queasy. Glad I brought some water with me, because I definitely needed it. The sound design accompanying the grisly effects was so visceral and without doubt added to the grim factor. Yet, somehow, the most disgusting part wasn’t even blood or guts… It was the granny. Every scene with the granny was just so ridiculously funny and I’m so glad the film decided to include a deadite granny, just the concept is so stupidly hilarious. Overall, the humour is still mean and dumb, something that calls back not just to the modern entries but also the originals. An Evil Dead film isn’t an Evil Dead film with silly campy humour. I also adored the final girl; she was everything and it was so awesome to see a complex character heal from their wounds during such an erratic, terrifying situation. Evil Dead Burn is absolutely worth seeing on the biggest screen with the loudest speakers possible, immersing yourself in the revolting insanity of it all is imperative.

Film Thought of the Week: Watch More Weird
At a time when so many big-budget blockbusters compete for our attention, it’s easy for underrated niche gems to get overshadowed. Let this be a sign for you to go and watch something weird right now. Some of my favourite movie watching experiences have been from the lesser known or stranger side of cinema. It is so interesting to see unconventional editing, zany visual effects, and different perspectives in characters, plot and world design, and it really helps with identifying your little niche of cinema. A few of my favourite “weird” films include Paprika (2006), I’m a Cyborg, But That’s OK (2006), Videodrome (1983) and The Killing of a Sacred Deer (2017). None of them are trying to appeal to everyone, and that’s what makes them memorable. I implore you to branch out and watch something weird, and I’ve even added a Weird Film reference image below to help get you started.

Coming soon…
I have a little announcement! I’ve decided to move my writing over to Substack, where I’ll continue sharing film reviews, analyses, weekly wrap-ups and more. This site will remain as an archive of my writing, but my latest posts will now live on Substack. One of the main reasons for the move is that I’d love to engage with other writers and be part of a stronger community of film fans, and Substack seems like the perfect place for me to do that. I’d love for you to join me there!

Originally published on my Wordpress blog on 19th July 2026. Republished here as part of my archive.

The film follows Jacob (Tim Robbins), a war veteran who has returned from Vietnam but is now haunted by flashbacks of his war experience, as well as memories of his past marriage and late son. Tim Robbins’ performance was excellent, convincingly portraying Jacob’s gradual descent into madness following such traumatic experiences. The film is a commentary on PTSD as the war follows Jacob home through disturbing hallucinations and an inability to separate traumatic memories from reality.

The only way I can describe this film is that it is like a fever dream. I say this as a compliment, but the film felt like a headache. There are so many shots throughout the film that perfectly capture feelings of confusion, claustrophobia and panic and the cinematography allows the viewer to empathise with Jacob through the distorting visuals. There was a sense of unease throughout the film, and we are able to understand Jacob’s distrust of, basically, everybody. We are unsure of who to trust and what we can believe as real, just like Jacob. The psychological aspects of this film are so immersive and engaging, it feels like we are also on a descent into madness alongside Jacob. The flashing lights, faceless figures and vague imagery of abnormal creatures create a sense of fear, and I loved the practical effects used for this. The horror in this film comes from the traumatic imagery rather than any tangible monster. I loved the hazy and gritty setting of New York paired with unsettling and uncanny figments of Jacob’s mind; it was such an effective setting that really amplified the surreal atmosphere.

Spoilers below…

I managed to completely avoid the spoilers for this film, so I had no idea there was a huge plot twist at the end. The twist was devastating and made me rethink my perception of the entire film. I feel like I need to go back and rewatch it just to identify how many moments give away the fact that he was dying the entire time. Hindsight is a fine thing; After the film ended, I realised how many times Jacob’s eventual fate had been alluded to, but I was still left wondering how many other clues had gone completely over my head. For a horror film, it’s quite a sad story, and the scene with Jacob’s late son leading him up the stairs towards the light almost brought me to tears.

I really appreciated the fact that despite being a film that follows a war veteran, the film never glorifies the military or the US government. In fact, it does the opposite and takes a firm anti-war stance. If there was ever a film that demonstrates why you shouldn’t join the military, this is the one. Although the film loses touch with reality with the frightening hallucinations, it does ground itself in the reality that war has devastating consequences even down to individuals. It leaves long-lasting effects that are oftentimes unrecoverable and can be life-altering in all of the worst ways. Jacob’s story was so impactful due to the nature of it being completely irreversible. One possible interpretation is that the film offers a glimpse into the kind of psychological suffering Jacob may have faced had he survived: a life filled with paranoia, nightmares, and panic attacks. It is harrowing to think about, as he is not only haunted by feelings of survivor’s guilt and the other post-traumatic symptoms that a war veteran would experience, but also the irreversible aftermath of being experimented on. It is a disgrace that unfortunately is all too real.

The title Jacob’s Ladder is a biblical reference; in the book of Genesis, Jacobs Ladder refers to a dream of a staircase leading to heaven and this links to the films spiritual themes of letting go and ascending from earthly suffering. I feel this title carries a heart-breaking irony, as Jacob had no choice over his suffering. Throughout the Vietnam war, many young men were drafted into military service, so it could be assumed that Jacob was drafted in rather than making the choice himself. Then beyond the war itself, Jacob becomes the victim of military experimentation without his knowledge or consent. His trauma is inflicted upon him through these involuntary experiences, so his ascension is more tragic than anything else.

Seeing Jacob’s Ladder on 35mm only heightened its dreamlike quality. The grain and texture made the line between reality and nightmare feel even more blurred, and I can’t imagine a better way to experience it for the first time. This film was ahead of its time, and it is one of the most haunting psychological horror films I have seen. If you liked Shutter Island (2010), Memento (2000) or Eraserhead (1977), this is the film for you.

My score: ★★★★½ (4.5/5)

Originally published on my Wordpress blog on 16th July 2026. Republished here as part of my archive.

I’ll be shortening the title to To Wong Foo from here on, as although the title is iconic it’s a bit of a mouthful. The film follows New York City drag queens Vida Boheme (Patrick Swayze) and Noxeema Jackson (Wesley Snipes) who have just won a trip to Hollywood from a local drag contest. After their win, the pair meet Chi-Chi Rodriguez (John Leguizamo), a young and inexperienced drag queen and Vida convinces Noxeema to bring along Chi-Chi to Hollywood as their protégé.

I loved the dynamic between the three queens and how their personalities contrasted with one another, sometimes it felt like they complemented each other but at other times there were clear clashes as well. Vida is empathetic and demure but tends to overstep and get involved where she shouldn’t. Noxeema is bold and logical, and despite being rather cautious as a self-defence, she is actually a bit of a softie. Chi-Chi is naïve and flirty and sometimes comes across as a bit ditsy, but she does surprise the others with her wits at points. The casting for this trio was perfect, and the characters came across as well written and fully fleshed out. I didn’t want the film to end because I enjoyed spending time with these characters so much. I’d happily watch an entire slice-of-life series centred around the trio.

Much of the film’s humour comes from the three leads. Their distinct personalities create so many funny moments and the humour never feels forced thanks to the chemistry between the three and because so many of the jokes are rooted in their characterisations. This film has so many iconic one-liners making it endlessly quotable, (“What in gay hell” is absolutely being added to my personal lexicon) and I love how this film isn’t afraid to be theatrical, as that really amps up the camp factor when it comes to the comedy.

There is so much to say about the production aspects of this film. The hair, make-up and costume design are absolutely stunning, giving each queen a distinctive identity and translating their personality through custom-made costumes, while embracing the film’s unapologetically fab aesthetic. One of my favourite scenes was the montage of the inn renovation, it was literally a masterclass in camp. The drag transformations the main three actors underwent are outstanding and I can’t imagine how hard it must’ve been to film given it was shot during the summer. I loved the fact that actual drag performers were given roles in this film, from more famous stars like RuPaul, Lady Bunny and Miss Coco Peru, to underground stars from New York City. It shows an appreciation and respect for drag as an art form while giving opportunities to the community it represents. I also adored Robin Williams’ cameo in this, he really was such an icon.

The main message of this film was an optimistic one, showing that positivity and compassion are key when navigating through uncomfortable situations, and that community and allyship are so important in LGBT spaces. The film shows Vida, Noxeema and Chi-Chi gradually winning over the close-minded residents of a rural town, and the way they do it is so endearing. The trio show kindness to all and win over the women of the town by getting them glammed up, which was a fabulous sequence by the way. It wasn’t solely the makeover that won them over, but more the way the queens were able to boost the women’s confidence and teach self-acceptance. Although the queens are polite, they also stand their ground when not treated right, which is also an important message to convey; while kindness is key, it’s also important to stand up for yourself and not be a pushover people pleaser. Sometimes overly positive films can come across as corny and unrealistic, but the performances helped this film come across as authentic and enjoyable, rather than veering into “toxic positivity” territory.

To Wong Foo is an uplifting comedy with messages still relevant today, and it’s definitely going on my list of things to watch when I need cheering up. The film has a perfect balance of humour and heartfelt moments and never lets the banter overshadow the emotional message at its heart. If you’ve ever wanted to watch two fairy drag mothers take a drag princess on an eventful but fabulous road-trip, and you like everything sparkly and extravagant, this is the film for you.

My score: ★★★★★ (5/5)

Originally published on my Wordpress blog on 15th July 2026. Republished here as part of my archive.

The Highlight Reel
This week I saw Nirvanna The Band The Show The Movie (2026), a time-travel comedy that I will be abbreviating to NTBTSTM because that title is a bit of a mouthful. I’ve heard nothing but good things about this film for a few months now, so I’ve been eager to watch it for a while. What I didn’t know until after I finished the film was that it is actually based on a web series called Nirvanna The Band The Show (which suddenly made the film’s title make a lot more sense). Although I had no prior knowledge of the series, I still had a great time watching the film. NTBTSTM is packed with so many laugh out loud moments and just when you think the film couldn’t get any more ridiculous, somehow it does. Written by and starring Matt Johnson and Jay McCarrol as fictionalised versions of themselves, NTBTSTM follows the pair as members of a struggling musical duo called Nirvanna the Band. The premise alone is hilarious; During yet another desperate attempt to secure a gig at The Rivoli, the venue that Matt and Jay seem to revolve their entire lives around, Matt’s latest wacky scheme accidentally creates a time machine that sends the pair back to 2008. Their individual reactions as they gradually realise what’s happened are absolutely brilliant. At this point, I guessed the film was going to be about the pair finding fame in 2008, but I was completely wrong. The absurd events that unfolded afterwards were so insane but so memorable, and this film appealed to my exact niche sense of humour. I want to keep this segment spoiler free so I won’t give away too many details, instead I will just urge you to go and watch this for yourself. The filmmaking and editing are impeccable and had me wondering how they even pulled this off. I hope they release a “Making Of” feature for this film someday as I’d love to see how they achieved some of the sequences. Independent cinema has been tragically overlooked in the past, but this year feels like a renaissance for smaller releases, and NTBTSTM is firmly among my favourite releases of 2026.

Cinema Diaries: Everyman Winchester
This week I went to a throwback showing of Interstellar (2014) at Everyman Winchester. This is a cinema I hadn’t been to before, but after this experience, I’ll certainly be visiting again. As I walked through the doors, I was greeted by a super friendly staff member who knew their stuff about film, it’s always a delight to speak with fellow film fans. They let me know that the throwback tickets include a free drink and popcorn, which was a very pleasant surprise and I’m sure I’ll be making use of that in the future. The building itself is gorgeous, it’s actually a converted chapel and it was amazing to see the remaining architectural features like the exposed brickwork and vaulted ceilings, it gave the cinema such a unique atmosphere and it felt like a space with its own history rather than some screens in a generic building. Although the building is old, the viewing experience is nothing short of luxurious. I adored the plush sofas, and I think seat cushions should be mandatory in all cinemas. If you read my recent review of Interstellar, you’ll know that it didn’t really resonate with me the way it has for others. But there’s no denying that the ambitious sweeping shots of space and Hans Zimmer’s powerful score are exactly the kind of things cinema was made for, and I’m glad that my first watch was in the comfort of Everyman Winchester. The large screen and incredible sound quality only enhanced those elements, allowing the film’s visuals and score to truly fill the room.

New Arrivals

Thanks to the Arrow Video sale, this week I was able to welcome three exciting additions to my collection: Heathers (1988), Ring (1998) and Audition (1999) Blu-rays. Arrow Video is a boutique video label specialising in cult movies from across the globe, and often their releases are accompanied by unique covers. When I saw they had a sale on I knew I had to take advantage of this, and I was ecstatic to see these three beloved films as part of the sale.

Film Thought of the Week: Is Cinema Etiquette Dead?
It’s no surprise that one of my favourite places to be is the cinema. I’ve said it all before, so I won’t repeat myself too much, but I firmly believe the greatest way to watch films is on the big screen, fully immersed in the surround sound and high quality screens. However, something that is becoming a real problem lately is cinema etiquette, or should I say the lack of it. In recent years I’ve encountered far too many people in cinemas who talk through the film or can’t stop looking at their phones, and it feels like a symptom of an individualistic society that’s becoming more and more preoccupied with short-form content. It’s a real distraction and I can never quite wrap my mind around why anyone would pay money for a cinema ticket, only to not fully engage with the film at all. I do also think the problem is worsened by the fact that cinema staff are stretched thin, and cinemas don’t always have the staffing capacity to check in on screens to ensure there is no disruption. I applaud cinemas like Prince Charles Cinema in London who are very strict with their disruption policies, and I wish other cinemas would follow suit. On a more positive note, I have found less mainstream cinemas like Picturehouse or independent cinemas like The Regent are much less likely to have disruption, as they are typically attended by people who are primarily there for a specific film. The only downside is that there is less availability in these cinemas, so it’s not always viable to attend. I hope more cinemas find a way to preserve the atmosphere of an immersive cinema experience, there’s really nothing like sitting in a room full of people who are all completely absorbed in the same story.

Coming soon…
Next week I’m heading to the cinema for Christopher Nolan’s The Odyssey, I’m excited to experience this one in a premium format so watch this space for my thoughts on both the film and the viewing experience.

Originally published on my Wordpress blog on 12th July 2026. Republished here as part of my archive.

Beyond Mamushi follows the relationship between Kate (Corina Jayne) and Chris (Gary Cross), exploring themes of domestic abuse, coercive control, and mental illness. Cross’ performance was harrowing, he displayed a disturbingly authentic representation of an abuser. Jayne’s performance was equally compelling; she managed to communicate so much even in complete silence, capturing Kate’s emotional state and the film’s depiction of psychosis with nuance. The film also leans into supernatural elements alongside the psychological narrative, making the audience question the reliability of what is shown on screen. This sense of uncertainty was an effective way of translating Kate’s mental state to the screen and as a result, we also experience her confusion and unease, allowing us to empathise more with her character.

I really enjoyed the atmospheric score balanced with the use of silence. Sometimes the quiet makes everything more unsettling, and it certainly made the jumpscares hit harder. Although the film adopts a muted, grey-toned colour palette, it never feels dull visually. The colour grading has enough richness to keep every frame engaging while reinforcing the film’s bleak atmosphere. I really appreciate a film where you can still see what’s going on even in darkness, and the dark scenes in particular built up so much tension and even felt claustrophobic. I especially liked the shift from darkness to bright red during Kate’s mental break, although some of the effects during this part felt a bit out of place, the use of striking red hues made for a shocking moment. I particularly liked the detail of their house not really changing much in the time they’ve lived there and the interior remaining quite bland and undecorated. It felt symbolic of Kate being trapped in a relationship where she can’t thrive, and it gave the line of her already being in prison even more depth.

One thing missing for me was a further exploration of Ama’s character. Since her last name is part of the title, and the film begins with her personal belongings being found in the house, I really thought this film would explore her backstory more. I also didn’t really like her ending, it felt a bit abrupt and anticlimactic. Jemma Thompson delivered an eerie performance, and I wish we got to see more of it.

Beyond Mamushi is visually strong and tells a haunting story in its 50-minute runtime. The contrast between the stunning visuals and uncomfortable narrative made for a unique viewing experience, even though I do wish some characters were more fleshed out. Thank you to M W Daniels for letting me view this film early, and I can’t wait to see what’s next!

My score: ★★★ (3/5)

Originally published on my Wordpress blog on 11th July 2026. Republished here as part of my archive.

The most obvious choice for this list has to be The Texas Chainsaw Massacre (1974) with its grainy but striking visuals and a cast soaked in sweat; the film was shot during a Texas heatwave and it’s often said during filming the actors were working through sweltering conditions, this must’ve been excruciatingly difficult but the end result was a grimy yet iconic summer horror classic. Some of the most unforgettable shots range from bright blue skies to gorgeous orange sunset hues, making The Texas Chainsaw Massacre the pinnacle of summer-esque horror.

Another obvious addition to the list is Jaws (1975), a shark-infested horror with a sunny seaside setting. Jaws was originally released in June 1975, and I can’t imagine how thrilling it must’ve felt going into the cinema on a warm summers day and seeing such terrifying visuals, I wonder if there was an effect on beach attendance on the opening weekend of this film. Personally, I think the shark did nothing wrong, the waters aren’t “shark-infested”, that’s her home and she’s a lifelong resident!

I will never grow tired of summer camp slashers, so Sleepaway Camp (1983) definitely deserves a mention on this list. I’ll never forget the first time I saw this film and the shock I felt at that final shot, my jaw hit the floor. I’d love to see a proper summer camp slasher revival complete with the campy outfits worn by the men in these films, they really don’t make them like they used to.

Another summer camp classic is Friday the 13^th (1980) which has become a staple amongst slasher fans and is still heavily referenced to this day. I can say with certainty that I would’ve survived Camp Crystal Lake, but it’s still always fun watching the tropes of horror characters making bad decisions. This film also became a long-running series, so there’s plenty of entries to pack into a Summerween marathon.

A slasher with a different premise but well worth the watch is X (2022) and the prequel Pearl (2022). Mia Goth is a star in these films, and I absolutely adored her range. I won’t say much on the final instalment of the trilogy, Maxxxine, but X and Pearl both perfectly indulge in those sunny slasher vibes and if you’re looking for something twisted and bloody, with some female rage in there too, then look no further than these films.

This might be a niche pick, and it leans more into mystery than horror, but Summer of 84 (2018) is an underrated gem. A group of teens spend their summer spying on their neighbour who they suspect is a serial killer, if you like 80s nostalgia and synthy soundtracks this is the film for you. Although this film doesn’t lean into the supernatural, the atmosphere of this film is very reminiscent of the first season of Stranger Things.

The Fear Street films are another set of modern films that do nostalgia excellently. For this list, I’m looking at the 1^st and 2^nd films in the series in particular. I loved all the neon lights and the soundtrack of throwbacks in the Fear Street Part One: 1994 (2021), and the homages to summer camp horrors in the Fear Street Part Two: 1978 (2021). The amount of references might be a bit excessive, but I ate it up anyway, and they make for a fun marathon in the summer.

This will definitely be the bleakest film on the list, but Eden Lake (2008) feels like it earns its place on the list (although you probably shouldn’t watch it if you have a weak stomach). Following a young couple spending a weekend in a remote woodland by a lake, the film is gnarly, gritty and made me wince a few times. It’s certainly not a happy or fun summer atmosphere, but they were on a summer holiday, so it counts.

On a lighter note, it’s only right to visit Spooky Island by watching Scooby-Doo (2002). It’s a vastly different kind of film from the rest of this list, blending comedy and mystery with a sunny island setting (did anyone else wish Spooky Island was real when they were younger?). It brings all the early 2000s nostalgia vibes and no Summerween marathon would be complete without it.

Originally published on my Wordpress blog on 8th July 2026. Republished here as part of my archive.

Interstellar is an ambitious science fiction epic set in a near future where humanity faces extinction due to climate crisis making Earth increasingly uninhabitable. The film follows former pilot Cooper (Matthew McConaughey), who joins a team of NASA scientists on a desperate mission through a wormhole in search of a new home for humankind. The stakes are high enough for Cooper to leave behind his family, which causes emotional rifts between him and his daughter Murph. The premise is promising and the film had all the ingredients to be deeply moving, however it unfortunately did not pan out that way for me.

There are many aspects of the film that are exceptionally strong, starting with the cinematography. Visually, this film is quite reminiscent of 2001: A Space Odyssey (1968) and I was so impressed by the depictions of outer space. At times, the visuals are so convincing it literally feels as though the crew travelled into space with nothing more than a few cameras. The space sequences accompanied by total silence were some of my favourite parts of the film as they allowed me to truly immerse myself in the vastness of outer space and the sheer isolation of the team’s mission. I also really admired the practical effects used throughout the film, particularly for the dust storm scenes which looked so realistic and intense. Another notable element of the film is the incredible score composed by Hans Zimmer. Every cue is timed perfectly, with the music effortlessly shifting from building suspense to conveying heartbreak and devastation, adding just as much emotional weight as the performances on screen. Speaking of performances, Matthew McConaughey is outstanding in this. The scene in which Cooper watches decades of his children’s lives unfold before him while he has barely aged is one of the film’s most emotionally devastating moments, and McConaughey portrays it with such poignant vulnerability. I also loved Mackenzie Foy and Jessica Chastain as the younger and older versions of Murph. Despite playing the same character at vastly different stages of her life, both deliver compelling performances that make the transition feel completely believable.

It’s clear the film is trying to convey emotional highs and lows not just between Cooper and his daughter, but also on a larger scale, with the fate of humanity hinging on the teams’ findings. The film felt very scientifically grounded and logical throughout most of the runtime, which is why it was so unexpected when it took the “love conquers all” approach. The third act felt so disjointed from the rest of the film. It went from being rooted in realism to trying to make the viewer believe that love will transcend time and space. Christopher Nolan is undoubtedly an incredibly talented filmmaker, but I wonder if he was the best fit for this story. His other films can be quite analytical and excel through precision and logic, while Interstellar asks deeper philosophical questions and needed more emotional weight for the sentimental ending to land.

Interstellar offers an interesting commentary on human ego, asking whether we are capable of being truly selfless when the stakes couldn’t be higher. All of humankind is threatened by the climate crisis, and the characters are each confronted with a different moral test. Cooper is asked to leave behind his family, Brand has to choose between love and logic, Dr Mann is pushed psychologically after years of isolation and Murph has to overcome her emotions from her troubled relationship with her dad for the greater good of the world. Simply put, each character must put aside their own ego and interests to work towards a shared goal of immense scale. That said, I struggled with Brand’s characterisation basically being reduced to the familiar trope of a “hysterical woman” whose emotions lead her risk the entire mission to see the man she loves. The issue is not that Brand has these feelings, but that the film gives her so little room to exist beyond them in that moment. It felt like a frustrating regression for a character who had previously been portrayed with such intelligence and complexity. It’s a pattern I’ve noticed way too often with female characters written by men, where nuanced women are eventually funnelled into gendered tropes, and it’s a shame Brand’s arc took that route.

Overall, Interstellar is by no means a bad film. The premise is strong and the cinematography and score were impeccable. But unfortunately, the emotionally driven conclusion felt too disjointed from the realism we were previously shown, leaving me unable to connect with the story on a deeper level.

My score: ★★★½ (3.5/5)

Originally published on my Wordpress blog on 7th July 2026. Republished here as part of my archive.

The Highlight Reel
This week my favourite first-watch was The Adventures of Priscilla, Queen of the Desert (1994), which I was lucky enough to see on the big screen. This queer road-trip comedy drama filled me with joy and was impossible not to smile the whole way through. I loved the costume design so much, especially that flip flop dress and the matching earrings, which I need immediately. The musical numbers were fabulous, and this film proved that Gloria Gaynor’s iconic song I Will Survive becomes even more iconic when accompanied by a didgeridoo. Although this film was released over 30 years ago, the themes are still relevant today, and the film relays a message that still resonates with the LGBT community: You can’t fix everyone, but you will always be better off living as your authentic self. This film balanced humour with depth, while remaining visually flamboyant and sparkly, and it has instantly become one of my all-time favourites.

Worth the ticket?
After hearing so much praise for Minions & Monsters, specifically that it’s a “love letter to cinema” and that it is the best film from Illumination yet, I had to check it out myself. I’ve never really cared about the Minions franchise and always found them a bit annoying; I remember a time in the 2010’s where they were just everywhere. So, the fact that I even went to the cinema for this speaks volumes on how much the word of mouth intrigued me. But I have to say it, they were right. Minions & Monsters (2026) genuinely is a love letter to cinema. The film is filled to the brim with references spanning across the history of cinema, from the Golden Age of Hollywood all the way to more modern classics like The Matrix and E.T. Seeing a reference to what is considered the first sci-fi film, A Trip to the Moon (1902), in a Minions film certainly wasn’t on my 2026 bingo card, but I’m glad it was there. The film follows the story of how the Minions took over Hollywood, specifically James and Henry, two close friends who shared a love for filmmaking. I really loved the history of cinema being shown through the lens of these silly yellow creatures, the Citizen Kane scene in particular had me grinning like an idiot. The most heart-warming part of this film is the fact that it actually feels inspirational and educational, which is the best thing a kid’s film can be in an era of low engagement, meaningless slop. I’m not exaggerating when I say there’s a real chance a young viewer could watch this film, become fascinated by the references, and discover a passion for cinema history. Maybe they’ll go on to watch the classics that inspired it, and who knows, perhaps that’s how the next great filmmaker gets their start. I’m awaiting an Oscars acceptance speech in 30-40 years’ time that credits Minions & Monsters as the film that got them into filmmaking, no joke. The plot wasn’t exactly deep, but who is going into the Minions franchise for an elaborate plot? This film delivered all the chaos and gags, and I didn’t expect to laugh out loud as much as I did. Minions & Monsters was a pleasant surprise, and I’d recommend it to anyone, as this is fun for all ages.

Hot Take: You’re Watching Skinamarink Wrong
Over the past few years, I’ve seen a lot of debate surrounding the 2022 experimental horror film Skinamarink. It’s like the horror film equivalent of Marmite; you either love it or hate it. I read online somewhere that the best way to view the film is with total immersion, so one night this week I turned off all the lights, put my phone away, turned the volume way up and sat alone to watch the film. This was the best decision as I believe this film requires absolute immersion to be truly effective. Skinamarink felt like it tapped into my childhood fears and the nightmares I experienced growing up that have mostly faded from my mind and turned them into a film. If you’ve ever stayed up late at night, terrified of the dark and seeing shadows emerge from nothing, you’ll understand what I mean. The lingering shots of dark hallways and obscurity within the shadows were haunting and kept me completely on edge. This film felt evil and ominous, and I genuinely felt a little nauseous once I finished it. Towards the end I felt like I needed to look away from the screen but at the same time I couldn’t stop looking. However, I don’t think I would’ve felt this way without the environment I watched it in. I don’t even think this is a film that would be effective at the cinema, the solitude is part of the experience. The distractions of exit signs and strangers surrounding you would break the undivided attention required, whereas watching it alone at home makes it feel as though you’re trapped in the film’s liminal space yourself. Skinamarink brings the internet phenomenon of analog horror to film, and it was so interesting to see that aesthetic translated into a feature-length film. I loved the use of digital grain and how the film adapted the optics of old VHS recordings, this really amplified the sense of familiarity and reinforced its exploration of primal childhood fears. The distorted dialogue and static-filled visuals created a unique atmosphere I haven’t seen much of in modern horror. My brain was constantly searching the shadows for shapes and trying to make sense of what I was seeing. The film leans more into an experimental side of horror, and I can see why it’s so polarising. There are many shots where not much is happening and it can be quite easy for viewers to lose focus, this is why the immersion is so important. If you take away that isolation and darkness, you’re taking away what makes Skinamarink so terrifying.

Watch Skinamarink alone, at midnight, in the dark, with your phone switched off, or don’t bother at all.

Shelf Spotlight: Roujin Z (1991)
Pictured is my copy of Roujin Z, plus Stella for cat tax.

The first time I watched Roujin Z was on YouTube, the quality was pixelated and the experience was broken up by far too many ads. Despite all this, I was charmed by the cyberpunk themes and the wackiness throughout, it’s a pretty memorable film which also surprisingly weaves in a smart commentary on ageism and the lack of autonomy and independence across the elderly population. I had to add this to my collection but unfortunately it is now out of production. I spent some time checking resellers online and luckily found a reseller on eBay that was able to post to the UK. I am so glad I added this to my collection as it is a pretty niche film that I don’t see mentioned in conversations about Japanese animation or cyberpunk films, it’s definitely a hidden gem. Also, the Blu-ray copy I have bought has made for a stunning viewing experience, with no pixelated quality or barrage of ads, plus a quirky menu screen which I always appreciate. On a rewatch, I have admired this film even more as I can now fully appreciate the art-style and animation, and all the mechanical details crammed in.

Film Thought of the Week: Bring Back Blockbuster
Let me set the scene for you. It’s a Friday night and there’s not much on at the cinema that you’re interested in, but you fancy watching a movie. You pop down the road to your local Blockbuster, browse their wide selection of DVDs, grab a packet of M&M’s and head home to watch the film you’ve rented for the weekend. Renting a film was an entire experience, but now it’s something we can do at a click of a button. Although that sounds much more convenient, I’m not sure I like this change.
There is something special about exploring the shelves stacked with DVDs, checking out the box art and discovering films you may have never even heard of before. Films were categorised by genre, and ordered alphabetically, making for an intuitive browsing experience, something not present on modern streaming services. Take a look at Netflix or Amazon Prime and you’ll see the categories are repetitive and meaningless, and the ordering of films feels totally random, it’s not alphabetical or chronological, I have to assume it’s all done by vibes.
Not only that, but there was so much more variety in the choice of films. Most modern streaming platforms are surprisingly limited in their catalogue, which is inexcusable if you consider the fact that they aren’t limited to physical storage constraints the same way a high street Blockbuster store would be. While there is more convenience, the choice is limited in a way it really shouldn’t be. Films constantly rotate between platforms, meaning you never really “own” access to a consistent catalogue, leading consumers to feel the need to pay towards multiple services.
On top of paying for monthly subscriptions, some platforms such as Apple TV or Amazon Prime will also require you to pay a rental fee for certain films. Digital streaming was intended to be a cheaper alternative to traditional cable television but over time with the need for multiple streaming subscriptions and additional rental fees, it’s actually become more expensive.
I also feel that the convenience of streaming allowing you to make decisions from the comfort of your sofa actually slows down the decision-making process. When standing in a rental store, you’re not going to want to stand there all night choosing a film and trust me the employees probably won’t let you do that anyway. But it’s so common when browsing a streaming service to become almost paralysed by choice and experience “decision fatigue”.
In modern society, many aspects of life are becoming isolated and digitised, and this applies to this subject too. We have prioritised algorithms over connections; at a rental store you could speak to a member of staff for some recommendations but now we put all our trust into algorithms.
While streaming services can boast convenience and accessibility, places like Blockbuster incorporated browsing as part of the film experience and transformed movie nights into a whole event. This is why Blockbuster really needs to make a comeback.

Coming soon…
Next week I am finally seeing Interstellar (2014), on the big screen too which I’m really looking forward to. I’m also very excited to be going to see a 35mm presentation of Jacob’s Ladder (1990). I’ll be posting my thoughts on both films, as well as a Summerween watchlist I have curated, so watch this space!

Originally published on my Wordpress blog on 5th July 2026. Republished here as part of my archive.

Starting with a bit of nostalgia, Woody and the gang are back in Toy Story 5 and this time the villain is technology, specifically a tablet, which feels a bit on the nose for the current younger generation. Nothing will top the first two films, but I’m interested to see how they will incorporate this unique new archetype.

UK release date: 19/06/2026

The nostalgia doesn’t stop there. Though this is aimed at a bit of an older audience, there is a new entry in the Jackass franchise which will also be the last. Jackass: Best and Last looks like an absolute riot and the trailers have put a lot of emphasis on seeing this one on the big screen, which only feels right for the ultimate entry in the franchise.

UK release date: 26/06/2026

Just in time for Summerween, Ice Cream Man, a new slasher film directed by Eli Roth, will be released early August. I thought this was a remake of the 1995 cult classic of the same name, but this is actually an original story with no relation to Ice Cream Man (1995). With Eli Roth’s direction I don’t doubt for a second that this film will be a total blood-and-guts-fest.

UK release date: 07/08/2026

Another horror coming this summer is Evil Dead Burn. I enjoyed the original Evil Dead films, but I haven’t actually delved into the reboots at all, so maybe this is the perfect time to get into it ready to see the newest entry on the big screen. The trailer looked gruesome enough to convince me to get into the reboot series.

UK release date: 10/07/2026

A film I’ve been looking forward to since hearing all the praise earlier this year, Nirvanna: The Band, The Show, The Movie is finally hitting UK cinemas and I couldn’t be more excited. This time-travel comedy film looks hilariously absurd and I will definitely be seated at the cinema for this one.

UK release date: 03/07/2026

I recently saw The Invite at a preview screening so while it isn’t necessarily on my radar anymore, I have to give it a shout-out ahead of its release. It’s witty and uncomfortable at times but in a good way, and though the cast is limited the performances were amazing.

UK release date: 03/07/2026

I didn’t expect to be writing about this film, but some of the things I’ve heard about Minions and Monsters are just so bizarre I have to go and see it for myself. I can’t say I am mad about minions, but I’ve genuinely heard people call this film a love letter to cinema, and I simply must find out if these claims are true or not.

UK release date: 01/07/2026

I’ve only seen slight glimpses of The End of Oak Street and my knowledge of the film is very limited, but sometimes that’s the best way to go into a film. The brief amount I’ve heard about this film has piqued my interest and I’m keen to see how it will all unfold, plus I’m always seated for anything Anne Hathaway is in.

UK release date: 14/08/2026

Possibly the most anticipated film not just of the summer but perhaps the entire year, The Odyssey directed by Christopher Nolan will be hitting screens in mid-July. This film has already broken records with its advance ticket pre-sales which even caused website crashes, so needless to say there is a lot of hype surrounding this film. I may not be able to make it to an IMAX cinema, but I will be seeing it on the big screen nonetheless.

UK release date: 17/07/2026

There are also some exciting throwbacks coming to cinemas this summer. Special re-releases of Angel’s Egg and 2001: A Space Odyssey will be shown in 4K, although I have already seen these films I’m mentioning them anyway as they are not to be missed. A re-release I’m looking forward to is Interstellar, I missed this at the cinema back in 2014 and I’ve been told time and time again that it is a film made for the big screen, so I will certainly be seated for it this time round.

My most anticipated:

• The End of Oak Street

• The Odyssey

• Nirvanna: The Band, The Show, The Movie

These three films are quite different from each other, but my hype is equally high for all of them. I’ll definitely be at the cinema for each one, so keep an eye out for my thoughts over the summer.

Will give a miss:

• Spider-Man: Brand New Day

• Moana

There are already plenty of Spider-Man films, and I’m well past the point of getting excited about live-action remakes, so these are two I’ll happily be skipping.

Originally published on my Wordpress blog on 1st July 2026. Republished here as part of my archive.

After a visual portrayal of his novel in progress, we are introduced to Ohm Bauman (Adam Scott), a cynical, reclusive author with a troubled past. Haunted by visions of his late mother, he travels to a remote hotel in Ireland to scatter his parents’ ashes. McCarthy wastes no time setting up the scares, proving once again that he has mastered the art of the jumpscare. Jumpscares are such a common trope in horror films, and they can often feel cheap or unnecessary. This is not the case with Hokum. McCarthy utilises atmospheric lighting, eerie sound design, and exquisite framing to create a constant sense of dread and no jumpscare ever feels unnecessary or out of place. Scares don’t have to rely on sudden loud noises or a scary demon lunging into frame. Sometimes composition, anticipation and darkness can be way more effective, and McCarthy proves this throughout the film.

Spoilers below…

During Ohm’s stay at the hotel, he meets bartender Fiona. Their conversation sets up the film’s folklore while subtly foreshadowing the supernatural elements to come, such as an alleged witch that roams in the locked-up honeymoon suite. These claims are backed up by bellboy Alby who retells a story of his encounter with the witch. Ohm is still skeptical and returns to his room. When Fiona doesn’t hear from him, it is revealed that Ohm has tried to kill himself. Once again, we are shown more visions of Ohm’s mother, but this time in a sort of lucid sequence in a hallway resembling the hotel’s corridors; this offered another glimpse at the film’s themes of grief and survivors’ guilt. Ohm’s standoffish nature and reckless behaviours make so much more sense after his suicide attempt. It’s a bleak yet accurate representation of what suicidal ideation can look like in people. Once Ohm comes to, it is revealed that Fiona is missing. Something isn’t quite right about her disappearance and since she is the one who saved him, Ohm appears obliged to look for her.

I love the way the film’s layers are built up then revealed piece by piece. The mystery aspect was strong, with the film feeling like a puzzle for us viewers to piece together, and every answer simply raised another question. We know how Ohm’s mother died, but who killed her? We know Fiona is missing, and her whereabouts, but who put her up there and why? The pacing was just right, and it was very satisfying as everything started to piece together.

Ohm’s eventual use of the chalk circle as protection serves as a subtle marker of his character development. A man who began the film dismissing superstition is now placing his faith in the folklore when logic can no longer explain what he’s experiencing, and I also just love when horror characters make smart decisions, even if they do seem farfetched.

Something that was missing for me though was the lore of the witch. Once it is confirmed that she exists, that’s pretty much all we get out of it. She follows Ohm around the honeymoon suite and eventually kills off Mal, but we don’t know who she is or why she lurks around the inn. Her presence was effective and memorable, but I would’ve loved if she was explored further. There is brief mention of her origins from the hotel owner, but it’s easy to dismiss what he says as a lot of it just felt like the ramblings of a senile old man who might have just been trying to frighten the younger guests. I’ll be honest though, I was absolutely more scared of Mal than the witch. That man was so sinister and vile, and he served as a reminder that some of the evilest characters in horror aren’t supernatural, but instead just ordinary people.

The ending of the film was also quite interesting in the way it alludes to Ohm potentially hallucinating parts of his experience, and it left me wondering which parts were real and which were not. I’d like to hope the witch was real for the way she gave Mal what he had coming. But with so many aspects of the ordeal involving flashbacks to Ohm’s past with his mother, it does make sense that parts of the experience may have been makings of his own mind.

At the beginning of the film, we were shown a visual representation of Ohm’s novel for which he still hadn’t landed on an ending. While in the bar, he raises his drink “to bleak endings” which left me wondering if this was just in a literal sense with his novel, or if it was subtly foreshadowing a darker end to the film. Since he also felt he had no reason to go on, it makes sense he would reflect this in his writing. However the film closes with the same visual representation, this time with an alternative ending which looked more hopeful, indicating that Ohm has changed after his experience and has found relief from his guilt surrounding his mother’s death. I really loved this full circle moment showing his emotions changing through his writing, it was a very touching scene.

Hokum delivers several layers of depth with its commentary on grief, guilt, and mental health all while building deep unease that never lets up. Adam Scott’s performance was excellent in this, although his character has quite arrogant beginnings the development felt so natural and Scott’s performance conveyed this emotional progression so well. The genre is starting to become a bit oversaturated with metaphorical horror so it’s so refreshing to see a horror film that can balance emotional depth with genuine scares, giving viewers the perfect blend of both frightening and moving. While I was left wanting more from the witch lore, I still can’t get over so much of the striking imagery in this film from the uncanny artefacts to the unsettling rooms and corridors. So much tension is built up from the visuals alone and it is so impressive. Damian McCarthy is really making a name for himself in the horror genre, and I can’t wait to see what’s next. If you enjoyed The VVitch (2015), The Ritual (2017) The Conjuring (2013), this is the film for you.

My score: ★★★★½ (4.5/5)

Originally published on my Wordpress blog on 30th June 2026. Republished here as part of my archive.

Supergirl follows Kara Zor-El, the titular Supergirl, travelling across the galaxy in search of an antidote for her dog Krypto who has been poisoned by Brigand leader Krem. The stakes are high with only 72 hours to save Krypto, giving Supergirl a tight deadline to retrieve the antidote kept on Krem’s person. But before that intensity is revealed, the film starts with Supergirl celebrating her 23^rd birthday on a booze-filled pub crawl, ignoring her problems by knocking back drink after drink. She appears to not have any companions other than her dog Krypto, which by the way is just the cutest little dog ever and they did a fantastic job with the CGI effects for him. Supergirl’s character is carefree, edgy and a little blunt, probably the polar opposite of the endlessly hopeful personality of her cousin Clark Kent, and Milly Alcock does an amazing job in this role.

Spoilers below…

After a brief face-off with the villain Krem, Supergirl begins her journey to pursue him and begrudgingly allows Ruthye, a survivor seeking revenge for her fallen family, to join her in this quest. This might be a hot take, but Ruthye got a little irritating after a while, her character was quite one-note and didn’t add much to the story. Instead of challenging Supergirl in new ways or developing much herself, Ruthye often felt like a vehicle to keep the general revenge theme going, which made her storyline feel repetitive. Not to mention her introduction is so brief and we feel no real connection to her family, I honestly didn’t really care about her revenge plot at all and would’ve liked to see Supergirl get more screen time instead. The villain Krem is also just not that compelling to me. The villain in Superman (2025), Lex Luthor, is such an entertaining villain not just because of his motives but the sheer intensity of his obsession with Superman specifically, his hater levels are simply unmatched, and it was actually quite fun to watch. Krem, on the other hand, seems a bit underdeveloped and to me is just an aggressive, cruel leader with shallow motives. He’s hateable, sure, but as a villain he felt a bit predictable and not memorable at all. However, the way the dynamic between Supergirl, Ruthye and Krem is wrapped up is quite touching and it added an interesting layer to Supergirl’s character as she balances morality and emotion whilst also empathising with Ruthye’s grief. I got worried for a second that she was actually going to let Krem live despite all of the atrocities he committed, so that kill scene was quite satisfying.

Maybe I’m being dramatic but my main gripe with this film was the unforgivable choice of needle-drop during the final action scene. While the lyrics were applicable to the moment and the characters, the acoustic sound of the song clashed so heavily with what was happening onscreen and took me out of what was meant to be a climactic moment of the film. I also understand the perspective of wanting to choose a song sung by a woman in a film with strong feminist themes, but surely there were better song choices that wouldn’t have sounded so ridiculous. In an interview with Rolling Stone, the director revealed the song was chosen in the last week of editing after trying 45 different songs, after finding out about this I feel like I need to know what the other song choices were immediately.

On a more positive note, some things I loved about this film were Milly Alcock’s and Jason Mamoa’s performances; Lobo is a hilariously chaotic character, and I could watch a spin-off of him just on his bike throwing grenades galore to be honest. Supergirl is also such a relatable and charming character, and I thoroughly enjoyed her action scenes. I also really loved the practical alien designs and the visual effects of the galactic locations; I’m not really a big sci-fi person but I really appreciated the visuals of it all. At risk of sounding repetitive I also have to say how much I loved Krypto, I may be biased as a dog-lover, but he was a real scene-stealer.

Despite a few frustrating creative decisions, particularly with the villain and the film’s climax, I still had a fun time with Supergirl. Milly Alcock delivers a charismatic and emotionally layered performance that makes Supergirl easy to root for, and the film was visually strong. It doesn’t quite reach the heights of Superman (2025) for me, but it won me over and convinced me to follow what’s next from the DC franchise. If you enjoyed Logan (2017), Superman (2025) or The Fifth Element (1997), this is the film for you.

My score: ★★★½ (3.5/5)

Originally published on my Wordpress blog on 29th June 2026. Republished here as part of my archive.

The Highlight Reel
This week the UK experienced an unbearable heatwave, so to distract myself from the heat I got round to watching some films from my ever-growing watchlist. One that stood out to me the most was Christopher Nolan’s 2006 mystery thriller The Prestige. The Prestige stars Christian Bale and Hugh Jackman as rival magicians and their performances were phenomenal. This film had me on the edge of my seat the entire time and kept outdoing itself with the twists and turns, and I didn’t see the ending coming at all; it’s one of those movies where I feel like I need to watch it again from a new perspective just to see how much was revealed throughout. Also, I loved the choice of Analyse by Thom Yorke as the end credits music, the lyrics feel like they perfectly capture the relationship between Angier and Borden. I haven’t seen much of Nolan’s filmography, but this is easily my favourite so far; looks like a Nolan summer is in order ahead of The Odyssey.

Worth the ticket?
The best place to be during a heatwave is the cinema. Of course, the best way to watch any film is on the big screen, but in this weather the dark rooms and air-conditioning are a much-needed bonus. This week, I went to a preview screening of The Invite (2026) at Harbour Lights Picturehouse. I had no idea what to expect from this film as I went into it almost completely blind, all I knew was that it was directed by Olivia Wilde, and stars Olivia Wilde, Seth Rogen, Penelope Cruz, and Edward Norton. I can say with certainty that it’s worth seeing. Olivia Wilde’s direction is fantastic, and she also delivers an excellent performance in this witty, exciting yet uncomfortable story about a troubled married couple and their unique neighbours. I also loved Seth Rogen in this; to be honest I only really know him for his sillier comedy roles but some parts of his performance in this were heartfelt with a lot of depth which was a pleasant surprise. The Invite was an emotional rollercoaster in the best way possible, and I would definitely recommend watching it once it is out in cinemas on July 3^rd.

From page to screen
This week after I finished reading Jeffrey Eugenides’ novel The Virgin Suicides, and though I had seen the film adaptation many years ago, I figured I’d rewatch it with the book fresh in my mind. The Virgin Suicides (1999) is Sofia Coppola’s directorial debut, and in my opinion, it is a perfect film adaptation of the 1993 novel. There is a lot of discussion around film adaptations of books as they don’t always land and often either miss details from the book or even rewrite parts completely. This is not the case for The Virgin Suicides. The story is set in a sleepy suburban area and follows the lives of the Lisbon sisters, from the perspective of their teenage boy neighbours, who years later, are still trying to make sense of the girls’ suicides. This perspective is particularly interesting because it highlights the boys’ lack of understanding of the Lisbon sisters. Despite claiming to care about them so deeply and obsessing over their lives as often as they did, they view them through the male gaze, treating them more as objects of fascination than as girls with complex emotions and personalities. The book conveys this well, but the film adds an extra dimension to this with its dreamy visuals and soft music throughout. The film almost glamorises the girls’ mental health and eventual suicides, not out of endorsement but as a way of reflecting the boys romanticised perception of the girls. I really appreciate the gorgeous cinematography and sun-drenched colour grading of this film, it created a melancholic, ethereal atmosphere that gives the novel the adaptation it deserves. I’d love to get into more books with film adaptations as it’s an interesting experience reading a book then watching its adaptation back-to-back; I’ve currently got my eye on Alfred Hitchcock’s Rebecca as I finished reading the novel recently but if you have any recommendations, please leave a comment!

New Arrivals

My physical film collection had two new additions this week, first was a DVD of Park Chan-Wook’s I’m a Cyborg, But That’s OK. This film has been on my watchlist forever, but I never see it hit streaming, so I just bought a copy of it myself. I’m so glad I did as it was just the type of eccentric film I love. The other addition to my shelf was the 2009 action film Redline, I caught this at the Picturehouse Anime All-Stars All-Nighter, and I was so captivated by it, I spontaneously bought it online on my way back to the train station.

Film thought of the week: What happened to DVD menus?
I recently watched my DVD of Baz Luhrmann’s Romeo + Juliet, and as silly as it sounds, I was obsessed with the dynamic main menu screen. It uses a backdrop from a pivotal moment in the film and dresses it up to look a bit more theatrical. This level of charm in a DVD menu isn’t unique to this film specifically, but I do feel like it’s been lost in time as it used to be so common but isn’t really seen much in physical releases today. As some examples, think back to the DVD menu screens of Shrek 2, Wayne’s World, Finding Nemo. They were all interactive in some way or at least had a unique layout. Whereas more recent releases will typically just have a still image behind the option selection. Perhaps it’s because of optimisation on newer formats such as Blu-ray or 4K UHD, or maybe the popularity of streaming could have contributed to these curations being skipped over entirely. Whatever the reason, I just feel like the world has just lost its whimsy. It may be a small thing to some, but to me those charming DVD menus are part of the experience of bringing home a new film on disc, and I wish that creativity will return one day.

On my radar
This week two announcements caught my eye. First, Zach Cregger’s debut feature Barbarian is finally getting a physical release, a 4K Steelbook boasting an array of unseen content and special features. I can’t wait for this, Barbarian is such an unforgettable film, and I’ve been eagerly awaiting a physical release for it. The next announcement that got my attention was the release of a teaser trailer for Ryland Tews’ next film I Have a Bomb. I absolutely adored Hundreds of Beavers (seen it multiple times, twice in the cinema, and I have a copy of the Blu-ray signed by Ryland Tews himself) and I also enjoyed Lake Michigan Monster, so it goes without saying I’m extremely excited for I Have a Bomb. The teaser only solidified this excitement, and I can’t wait to see what Ryland Tews is cooking.

Coming soon…
Next week I’ll be uploading a full-length review of the new Supergirl film which I will be seeing at the cinema. I’m looking forward to this film despite the mixed reception online as I loved Superman (2025); plus, you can’t totally rely on sites like Rotten Tomatoes, it’s always best to see films for yourself and form your own opinion, which is what I’ll be doing. I will also be posting a piece on what’s on my radar of new releases, as it looks like we’re in for a packed summer cinema-wise!

Originally published on my Wordpress blog on 28th June 2026. Republished here as part of my archive.

Spielberg wastes no time getting straight into it as we are introduced to Daniel Kellner (Josh O’Connor), a cybersecurity analyst who is now on the run from secret organisation Wardex, with a cryptic mystery device, accompanied by his girlfriend Jane (Eve Hewson) who isn’t totally clued up on Daniel’s past, but she hasn’t exactly filled him in on hers either. Shortly after an intense exchange between Daniel and Wardex, we are taken to Kansas City where we meet Margaret Fairchild (Emily Blunt), a quirky TV meteorologist who is getting ready for work when after a strange encounter with a red cardinal, suddenly possesses psychic skills and the ability to speak every language. It’s a pretty packed first act, and it definitely got me hooked. The second act remained strong, but by the end things started to taper off a bit and the film became an array of disjointed ideas with no real payoff.

Spoilers below…

Emily Blunt was brilliant in this, and I could honestly watch a whole film just focussing on Margaret’s newly found psychic powers, imagine a version of this movie that steered more towards her being a passage of communication between humanity and the extra-terrestrial. I feel that would make more sense given the emphasis put on the communication specific powers bestowed upon Daniel and Margaret, so it is odd to me that the marketing of this movie was so heavily centred on it being about what would happen if “the truth” was disclosed to humanity, then the movie itself being more of a chase between a whistle-blower and a secret government organisation.

The film is packed with gripping scenes and a perfect score to match, we are shown all the sci-fi tropes such as crop circles, a cryptic otherworldly device, strange creatures on classified tapes, and all of this combined kept me wondering what’s next, but unfortunately it doesn’t really go anywhere. The entire premise revolves around Daniel revealing the truth to mankind, but his methods feel a little dated; it’s 2026 and he opted to reveal this via it being televised on a local news channel. This felt even more like a strange choice when we are shown the whole world stopping to look at their own personal all-encompassing-information devices, I mean, their phones… What I’m trying to say is, in a world where we are all so glued to our phones all the time, wouldn’t it have made more sense to leak this information via the internet? After all, that is how we all stay connected. Then again, I suppose we are also in an era of “fake news”, so maybe that’s where the internet leak objection came from.

One thing that really bothered me was the alien design. In the past decade we have seen so many fresh takes on what cosmic creatures could look like, such as the heptapods from Arrival (2016), the creepers from Mickey 17 (2025) and Rocky from Project Hail Mary (2026). However, in Disclosure Day, Spielberg opts for the default “little green man” design, which completely took me out of my immersion, I couldn’t take it seriously as it’s been done so many times now. Since the whole film is based off of how the world would react to the shocking revelation of alien existence, there would have been more gravity to this if the design erred more on the side of a life-form beyond human comprehension. I wanted to see something truly bizarre and unfathomable, rather than a very dated perception of aliens.

The final scene of the world coming to a stop, despite being on the verge of WW3, simply to witness the Disclosure Day broadcast was a profound scene and puts into perspective how small humanity is in the greater scheme of things. The message of empathy being the true advantage amongst humankind and beyond would have been more impactful if the film didn’t end so abruptly. We are asked to listen, but not given anything to listen to, so for me it just fell flat.

Overall, Disclosure Day does not disappoint when it comes to stunning cinematography, thrilling action sequences, and amazing lead performances. I don’t regret seeing this in the cinema at all as the visuals truly are remarkable and the big screen experience really allowed me to immerse fully into what Spielberg has crafted. A film surrounding the disclosure of something that is so widely speculated in reality is an ambitious choice, I just wish the consequences of such revelation were explored more. We are asked how we would react to proof we are not alone, but the film doesn’t really answer this at all. If you liked Nope (2022), Arrival (2016) or Spielberg’s other alien-centric works, this is the film for you.

My score: ★★★½ (3.5/5)

Originally published on my Wordpress blog on 22nd June 2026. Republished here as part of my archive.

We started off the night with the eerily mesmerising Angel’s Egg (1985), a film that has never before been shown in UK cinemas and has recently received a stunning 4k restoration. I have seen this film before, but as a very low quality copy found in the depths of the internet, so I was pleased to see this in the lineup in its newly restored state. This abstract apocalyptic fantasy film is gorgeously animated, and the score is just hauntingly beautiful, it was a real treat to see on the big screen and a great way to kick off the 12-hour long nighttime marathon ahead of us.

We then had a pretty hard pivot from the melancholic Angel’s Egg to the action packed Akira (1988). Regarded as a cult classic, Akira is fast paced and high energy, with some real striking animation; this definitely woke me up a bit as we began to approach midnight. This was also an amazing restoration and it’s incredible how fresh Akira feels to this day, and it’s so fun seeing the origins of so many references seen in anime and pop culture in general.

Continuing from the cyberpunk vibes, next up was Memories (1995), an anthology of three short films based on manga stories, each directed by Katsuhiro Otomo, Koji Morimoto and Tensai Okamura respectively. The three stories were Magnetic Rose, Stink Bomb and Cannon Fodder, although they are all vastly different in the stylistic choices and overall atmosphere, the three stories link a central theme of humans misusing technology which I found interesting. My favourite had to be Stink Bomb with its chaotic energy and absurd humour. As we were approaching 3am, I could feel myself start to doze off, but luckily, I was awakened by the high impact techno beats of the end credits theme to Memories (an absolute banger that will be making it onto my Spotify playlist).

From this, the action started to ramp up a bit as we moved on to Macross Plus: The Movie, which is a compilation of four episodes from the Macross franchise. This futuristic film felt a bit too relevant with its themes of AI replacing human creativity, but it wasn’t all doom and gloom as it did feature some awesome mecha fight scenes and a lively pop diva soundtrack. This was my first exposure to anything Macross related and I absolutely loved it, and I will definitely be going down that rabbit-hole soon.

It was now time for the final film, which was Redline (2009); at this point, we were all really locking in to make it through that final stretch of the night, and I don’t think a more perfect film could’ve been selected. Redline was a cinematic marvel which had me hooked right away with its energetic opening. The action was plentiful, the animation was stellar and the soundtrack hyped us up to make it through as the sun was starting to rise outside.

I really want to praise the host for this selection of films, as it was so refreshing to see these niche picks on the big screen. Although I had seen two of the films before, I was still eager to see their restorations, and with the other three I hadn’t seen before, this was the best way possible to be introduced to them (I actually ended up buying Redline on DVD on my way home). The films were all so different in their art-styles, energy, and plots, but what really united them was the limitless creativity of 2D animation, and it reminded me of why I love animation so much. The concepts and ideas shown in these films could never be recreated in the same way in a live action remake, and they shouldn’t be either, as they are perfect as they are.

As I left the cinema alongside other visitors there was a serious sense of accomplishment in the air as we had made it through yet another Picturehouse all-nighter. Twelve hours earlier, I had enthusiastically walked into the cinema ready to brave an all-night-long anime marathon and by sunrise, despite my exhaustion I was so happy with my experience of discovering new favourites and revisiting old ones. This is such a memorable event and it’s so fulfilling being surrounded by fellow film lovers who are also ready to spend an entire night at the cinema. For anyone else wanting to attend next year, my advice for making it through the night would be: Stay hydrated, bring a mini fan (it gets hot!), dress comfortably, and of course, have fun. I’m already keenly anticipating next year’s announcement; something I’d love to see is a “Japanese horror” marathon with the likes of Ring, Pulse, The Grudge, One Missed Call (Picturehouse Central, if you’re reading this, please answer my prayers).

Originally published on my Wordpress blog on 21st June 2026. Republished here as part of my archive.

The first rule of watching any Scary Movie film, do not go in expecting a deep, thought-provoking Oscar-bait-esque film. These films have always been deeply stupid, borderline offensive, and just straight up outrageous. Scary Movie 6 continues that tradition, taking aim at films such as Sinners, The Substance, Longlegs, and Weapons, all new films that are very fresh in my memory, which definitely helped guarantee some laughs. The film also pokes fun at newer horror films trying to be “meta”, calling itself a “rebooquel” and including a whole bunch of self-aware digs. A lot of the humour is crass and juvenile, but this is to be expected with Marlon and Shawn Wayans returning as writers (although I must say I certainly wasn’t expecting the intentional 67 joke).

There’s been a lot of iconic horror releases between 2013-2026, and this film did come across as trying to desperately play catch up with all of them, which resulted in the film feeling more like a 95-minute sketch show rather than a cohesive movie. I know the bar is pretty low for this franchise, and it’s not like I’ve ever turned to the franchise for storytelling, but even the previous instalments managed to string together some sort of plot rather than just constant rapid fire gags where only about half of them landed. On top of that, for a film where the majority of the marketing leaned into being super offensive and ending “cancel culture”, the jokes were pretty tame. I wish they went all in as promised, then maybe more of the jokes actually would have landed.

If you enjoyed the first three Scary Movie instalments, this one will feel like hanging out with old friends. It delivers the mindless humour, horror parodies, and pop culture references we expect, and there are enough laughs to make it an entertaining watch. However, it comes to a point where some of the gags feel a little recycled, and the film starts to feel a bit like cash-grabbing nostalgia-bait. I mean, how many times do we need to reference Scream, there have been other horror movies in the past 13 years! It may not be the comeback the franchise deserved, but it serves as a reminder of why audiences fell for these films in the first place. If you enjoyed A Haunted House (2013), Vampires Suck (2010), or of course the earlier Scary Movie films, this one’s for you.

My score: ★★½ (2.5/5)

Originally published on my Wordpress blog on 20th June 2026. Republished here as part of my archive.

While Backrooms uses horror staples we have seen before (found footage, jumpscares), it never feels derivative. Instead, it takes these familiar tropes and reworks them into something that feels fresh and unlike anything I’ve ever seen before. Parsons grew up as a gamer, which shows in the film, through unique first person shots and disturbing imagery and quirks adapted from games brought to the big screen. The set design and cinematography captured the “liminal spaces” concept so perfectly, and what’s even more impressive is knowing they actually built roughly 30,000 square feet of actual backrooms to film in. This sort of commitment to building a believable fictional world instead of relying on digital effects really pays off throughout the film, as you find yourself getting lost alongside the main characters Clark (Chiwetel Ejiofor) and Mary (Renate Reinsve). The endless yellow corridors and seemingly impossible walkways feel so tangible and real, allowing us to truly immerse in the Backrooms, it was so captivating to watch and I really have to commend Parsons’ creativity. The sound design only elevates this concept; the constant humming of the fluorescent lights, the ambient noise and the distant echoes created a tense atmosphere where you just don’t know what is lurking around those corners. The end result is something nightmarish, surreal, and almost Lynchian in some ways and I loved getting immersed into it.

Spoilers below…

After a tense found footage sequence, we are introduced to Clark, a failed architect who works in a discount furniture shop, and following his marriage breaking down, he also sleeps in said furniture shop. When some of the electrics start to malfunction at night, Clark investigates the basement, which is where he finds a wall that he can pass through, leading to a never-ending array of yellow rooms and surreal passageways. He becomes fixated on these rooms and wishes to find out more, but this eventually leads to him becoming lost and not returning.

When he fails to return, his therapist Mary visits the store to look for him. Previously Clark had told her about these rooms, and she brushed off his claims as delusional ramblings, but upon going down to the basement herself, Mary finds that Clark was telling the truth all along.

Mary and Clark find each other in one of the rooms, and it becomes clear that Clark has become so absorbed in this liminal space that he feels a sense of belonging that he didn’t feel in the real world, and consequently wants to stay down there. Mary unsuccessfully tries to convince Clark to find a way out with her, but it’s too late and Clark is too far gone. This is an interesting commentary on mental health, where someone experiences so much trauma, they lose their sense of self and will cling to anything that gives them a sense of purpose and belonging. Clark was already at risk in the real world of succumbing to a deeper mental health issue, but the backrooms unfortunately only exasperated this by warping his brain and making him slip beyond the cracks of reality, allowing him to avoid any sort of recovery or accountability at all.

The film briefly shows some of Mary’s traumatic past involving her abusive mother, but this does feel a bit undercooked compared to what we know about Clarks past and how it impacts him in the present. The moments of Mary’s past we are shown do give us context as to who Mary is, though I wish we got to see these memories manifest into her present decisions and psychological state, so that her trauma could have been a compelling layer of characterisation rather than a small detail of her character. While I do wish her character was explored more, I do wonder if keeping her history limited was an intentional choice. Throughout the film, the Backrooms themselves evolve, gradually becoming more abstract and detached from their original form and losing many of the defining details. There is a montage of the backrooms developing where we see the room become more distorted and incorrect as it goes deeper and deeper. This visual progression can be read as a metaphor for human memory and trauma. Over time, painful experiences are often suppressed or fragmented by our brains as a survival mechanism. In this sense, Mary’s trauma does not manifest in conventional ways because even she may not even fully grasp its significance anymore. The erosion of the Backrooms mirrors the erosion of memory itself, and in Marys case what remains is not a clear recollection of her suffering but a vague emotional impact.

As Marys narrative takes over following Clarks demise, the ending is horrifying. We don’t see any clear resolve for Mary, instead we see her stuck in the backrooms, completely distorted from what she was before. This can be interpreted in different ways, whether Async left her down there to rot as she knew too much, or maybe she couldn’t free herself from the darkest parts of her psyche the same way Clark couldn’t. Either way, it’s pretty bleak.

Backrooms balances the extensive online lore around the existing concept with it’s own original story, making it enjoyable for both long-term fans and newcomers. Instead of overwhelming viewers with references, Parsons uses the existing concept as a foundation while telling a story that can stand on it’s own. As a result, it feels equally suited to viewers who have followed the series for years and those encountering it for the first time, which is such a smart approach as this may mark the moment the backrooms truly break into the mainstream. If you liked Vivarium (2019), Skinamarink (2022) or The Shining (1980), this is the film for you!

My score: ★★★★ (4/5)

Originally published on my Wordpress blog on 19th June 2026. Republished here as part of my archive.

If you’re a film fan who spends any time online, you’ve probably seen clips from their YouTube channel where notable figures of the film industry are invited into the elusive Criterion Closet to pick out their favourite releases. I have watched many of these, hopelessly yearning that maybe one day I will get to visit the criterion closet myself. Of course, I know this will never happen, but recently an internet user created a virtual recreation of the Criterion Closet, allowing visitors to browse all 1,247 Criterion releases online.

After a lengthy browse of this immersive website, I figured it was only right that I put together my own “Closet Picks” list. So, without further ado, here are the films I would select if I ever got the chance to step inside the Criterion Closet.

1. I Married A Witch (1942): Of course I’d have to grab my favourite rom-com ever; I Married A Witch is a complete delight. Veronica Lake stars as Jennifer, a witch who was burned at the stake in the 1700s, but two centuries later has her spirit freed and her physical form returned by a spell. She initially plans revenge on the descendent of those who burned her, but instead, she ends up falling in love with him, and tries to make him fall in love with her. The humour in this film doesn’t feel dated at all, it’s impressive how a film from the ’40s manages to feel remarkably fresh. Jennifer is such a lovable character; she’s mischievous and witty, and it’s impossible not to root for her. Also, this cover feels so apt considering the abundance of smoke effects in this film.

2. Memories of Murder (2003): Directed by Bong Joon Ho, Memories of Murder is based on a real-life unsolved case of serial murders that occurred in the late ’80s. The film focuses on a group of detectives trying to catch the culprit and it is an absolute masterclass of storytelling, acting, and character study. I was lucky enough to see this at the cinema last year, and the experience was both gripping and emotionally devastating. While this film is gritty and devastating, it cleverly weaves in dark humour and a satirical commentary on police incompetence and institutional failures.

3. The Vanishing (1988): This is one of the most unsettling films I have ever seen; when I first saw it, I genuinely couldn’t get it out of my head for days. The Vanishing is a psychological thriller film following a man’s search for his girlfriend after she vanished while they were on holiday together. The film is unnerving throughout, and instead of relying on things jumping out of the dark, The Vanishing is scary due to the calculation and callousness of the abductor, and how he was able to operate in broad daylight. The final moments of this film still haunt me to this day, and whenever someone asks me what the scariest film I’ve ever seen is, this is always my answer.

4. Rosemary’s Baby (1968): To me, this film is unforgettable and I would immediately reach for this film as it is one I still think about often. I adored Mia Farrow’s performance in this, and it’s so easy to get swept up in Rosemary’s paranoia. This is a horror film not because of gore or jump scares, but from the haunting portrayal of gaslighting, abuse, and control. Nearly 60 years later, this film still holds up, not just with the narrative but also the themes; how is it possible that so much time has passed yet women still lack agency over their own bodies and choices?

5. Flow (2024): This is a newer addition to the collection, but it definitely deserves a spot. Flow made history at the 97th Academy Awards by winning the Oscar for Best Animated Feature; something that makes this win even more impressive is the fact that Flow was animated using free software Blender. The film has no spoken dialogue and follows a black cat trying to find refuge in a flooding, post-apocalyptic world. I loved the details to all the animal behaviours; at some points, the black cat reminded me of how my own cats move and behave. This film tugged at my heartstrings and was so visually stunning, Flow is a film I will always happily recommend to anyone.

I’d also like to give an honourable mention to The Princess Bride, simply because the cover selected for this version is just so gorgeous, maybe one of the prettiest cover arts in the whole collection.

I could go on much longer about dozens of other films I would love in my personal physical media collection, but these were my top picks. Even though they are all extremely different from each other, they are all incredibly special to me in their own ways. In an era of streaming and downloading, I once again must commend the Criterion Collection on their dedication to preserving physical media and giving film fanatics what they want, whether it be exclusive bonus features or stunning cover art.

Originally published on my Wordpress blog on 18th June 2026. Republished here as part of my archive.

After tense but quick introduction to a mysterious demon, the focus is shifted to young couple Maddie and Tyler (Lou Llobell and Jacob Scipio) who are leaving New York to begin their “van life” journey. Subtle signs of their dynamic are shown – Tyler is clearly very invested in getting on the road, where Maddie is a bit more reluctant. As the film goes on, her reluctance gradually becomes justified, as it becomes apparent that the couple has been marked by a mysterious entity.

Spoilers ahead…

This film had some real captivating scenes that incited fear without relying on obvious jumpscares, one of my favourites was the outdoor movie scene where the entity had found them, and in the darkness of the campsite, Maddie used the light of the film projector to find the entity. This made for a visually stunning but rather eerie effect as scenes from 1953 film Roman Holiday were projected across the surrounding trees and foliage. I loved the use of practical effects here and it made for such an unnerving moment, as you anticipated the entity to jump out at any moment, but this was difficult to spot exactly where from as the faces of Audrey Hepburn and Gregory Peck were being projected wherever Maddie turned. Ørdeval utilised lighting as a way to create tension in another scene; as Tyler is changing a tyre we see a nervous Maddie checking around the corner, with only the red glow of the cars blinker illuminating her surroundings intermittently. This gives the audience only momentary glimpses of Maddie but otherwise we are just shown darkness, waiting for the appearance of the entity. This is a brilliant use of lapses of darkness as a means of creating anticipation, and it really made for a suspenseful moment of the film.

Unfortunately the film lacks substance beyond these stylistic choices. The tagline “130 million people take road trips every year. 15,400 of them are never seen again” gave me expectations of a film that looks into the dangers and unpredictability of the road life, and this is only doubled down with a piece of dialogue that really stuck out to me – “People don’t take trips, trips take people.” But instead of taking this metaphorical direction, the plot goes down the cheaper supernatural route, linking the demonic entity to Christianity (how many times do we need to see this trope in horror movies?!) The demonic entity, named The Passenger, had a really solid setup – making its victims see things that weren’t there and doubt their reality, something that almost alludes to the dangers of driving without breaks or while sleep deprived, so it could have been a pretty apt metaphor. Instead it is just portrayed as an evil parallel to St Christopher, which was a pretty disappointing development to see.

The film slightly touches on gentrification, particularly the gentrification of life on the road. This is evident when Diana describes some of the other van-lifers as “yuppies,” and when one of the nomads refers to Tyler and Maddie’s van as an “Airbnb on wheels”. I found this to be a very interesting commentary on the divide between those who embrace van life out of necessity and those who treat it as a temporary, fashionable lifestyle choice. This is further highlighted by the hostility shown towards Maddie and Tyler as the other travellers believe they aren’t following the unwritten rules, which could be seen by them as disrespectful towards their community and way of life.

Along the way, Maddie meets a seasoned nomad named Diana (Melissa Leo) who warns her of the perils of the lifestyle they have chosen, and gives her some simple rules to follow; Don’t drive at night, and if you do, don’t stop. Later in the film, Diana asserts that the reason she has survived so long despite The Passenger’s presence, is because she has followed the rules. Again, this feels like another spot on metaphor for keeping yourself safe while driving, which just left the villain feeling undercooked as it took a vague anti-Christian direction. At the end of the film, after defeating the evil, Maddie and Tyler agree to ditch the van life, and settle down. This almost suggests that the right thing to do is to live a conformative lifestyle, rather than take any adventurous paths in life. But earlier we saw plenty of nomads who were managing their van life just fine, as long as they followed the rules. So once again I question why the film took this Christian “East or West, home is best” approach rather than what could have been a perfect opportunity to explore the topic of cars providing freedom at the expense of countless humans and animals losing their lives every year. I’m not anti-car by the way, but it definitely would’ve been a fresh take to see rather than yet another religion-adjacent demon.

Overall, this film was definitely style over substance – though I really did appreciate some of the unique scenes and visual motifs used. I just wish they took a bit more of a daring approach to the story they were trying to tell. If you like Jeepers Creepers (2001), It Follows (2014) or The Ritual (2017), this is the film for you!

My score: ★★★ (3/5)

Originally published on my WordPress blog on 17th June 2026. Republished here as part of my archive.