2020-2029, Ranking

Best Films of 2025

Posted on January 13, 2026January 13, 2026 by Martin: Through the Silver Screen

Another 12 months of cinema have come and gone, and it was undeniably a captivating year for cinema. There was the usual mix of superheroes, live-action remakes, reboots, and sequels. However, there were also plenty of original films with the potential to contend for awards in 2026. Before we dive into the madness of awards season, let’s take a look at the best films of 2025, in my opinion.

For a film to be eligible for inclusion on this list, I must have seen it within the calendar year of 2025. While I always strive to include films listed as 2025 releases on IMDb, some don’t receive a UK-wide release until well into the year. Furthermore, some films don’t get a wide release until 2026, but since I caught these at the London Film Festival, they are eligible for inclusion. Additionally, I haven’t watched every single film released in 2025, so if there’s a film you think should be included here, please let me know.

One more disclaimer. I haven’t reviewed every film here, but grades do not determine the rankings. This is my chance to celebrate the films that resonated with me the most over the last year. As usual, before we get into the main list, I do have some honourable mentions, films that I enjoyed but didn’t make the top 10:

Roofman (review). Every once in a while comes a film based on a true story, which seems completely implausible, that it couldn’t possibly be true. Yet, Derek Ciafrance’s hilarious film about the most polite criminal ever, who robs stores by cutting a hole in the roof to steal cash, and then evades police by hiding in a Toys R Us store, really has to be seen to be believed.

Kpop Demon Hunters. As a complete stranger to the K-pop genre, I had no idea what to expect with this. Coming from the same studio as the makers of the incredible Spider-Verse films piqued my curiosity. With its brilliant animation, innovative story (a trio of badass demon hunters who moonlight as a girl group!) and certified banger of a soundtrack, what is not to love?

F1 (review). A fundamental job for any sports film is to pull the viewer in, regardless of whether they’re a devout follower or have never watched said sport before. After blowing audiences away with Top Gun: Maverick, Joseph Kosinski swaps fighter jets for F1 cars to deliver another electrifying and pulsating spectacle that hits the chequered flag with flying colours.

The Brutalist (review). Filmed in glorious VistaVision, with one of the most impactful opening scenes of the entire year, Brady Corbet’s 215-minute epic is a towering, ambitious and timely story about the struggles of the immigrant experience looking to fulfil the promise of the American Dream, with an incredible Oscar-winning performance by Adrien Brody.

I Swear. A film as British as they come, but I defy anyone who fails to be uplifted by this truly inspiring story of John Davidson, who, after being diagnosed with Tourette’s syndrome as a youngster in 1980s Scotland, grew up to become a campaigner and activist to raise awareness of the disorder, with around 300,000 children and adults in the UK estimated to live with the condition. In what could have come across as a caricature, Robert Aramayo’s performance as Davidson is anything but, capturing the man with warm sincerity as well as a great deal of humour.

Honourable mentions honoured. Now, here comes the top 10…

10. The Voice of Hind Rajab

Ever since the Israel-Palestine conflict broke out with the appalling attacks by Hamas on Israel on October 7 2023, it has been impossible to ignore the horrors that the Palestinian people have endured over the last two years, with the UN declaring in September that a genocide is being committed by Israel in Gaza, after famine was declared in August. This powerful dramatisation tells the true story of Red Crescent volunteers who, in January 2024, received an emergency phone call from a young girl in Gaza trapped in a car under fire. This is a film I haven’t stopped thinking about since I saw it at the 2025 London Film Festival. A harrowing and deeply upsetting, but vitally necessary watch. Free Palestine.

9. The Long Walk

review

In a year that saw numerous Stephen King adaptations, both on the big and small screen, Francis Lawrence’s adaptation of the first novel the legendary author wrote powered its way to taking the crown as the best King adaptation of the year and one of the best ever made. To say this film, about the struggles and enduring financial hardship in an authoritarian United States, is timely would be an understatement. Lawrence leans into his experience of crafting a film centred on a competition where only one person shall emerge victorious to craft a gripping and intense thriller, with incredible performances from Cooper Hoffman and David Jonsson that will have you on the edge of your seat.

8. Thunderbolts*

review

Multiversal shenanigans have been in plentiful supply in the Marvel Cinematic Universe in recent years, with decidedly mixed results, but not the death of the MCU as some would have had you believe. Nevertheless, Thunderbolts* proved to be a refreshing and welcome change of pace to close out Phase Five, as it brought the franchise back down to earth with the fascinating story of a ragtag group of antiheroes forced to put aside their differences and work together to fight their common enemy. The film brought humour in the form of its central team of protagonists/antagonists (delete where appropriate), with personalities clashing just from being in the same room as one another, and was reminiscent of the gritty and grounded spy thriller found in the Captain America films. Not only that, but it also took the brave step of openly discussing mental health and the lasting impact that trauma can have on people forced to do bad things at some points in their lives.

7. Flow

Dialogue, a staple of the majority of films we see nowadays. However, it is not always necessary to tell a touching or powerful story about the devastation caused by a biblical-like apocalypse and the will to survive. Case in point, Gilts Zilbalodis’s beautiful film, made on a shoestring budget ($3.5million), defied expectations to win Best Animated Feature at the 97th Academy Awards, gazumping the likes of Disney and Dreamworks in the process. The little cat film that could, and did indeed, swim its way into the hearts of audiences everywhere.

6. Predator: Badlands

Since taking the reins of the franchise with 2022’s Prey, Dan Trachtenberg has breathed new life into a franchise that seemed to have been hunted down and put out of its misery following Predator (2018). We have seen Predators hunting humans for sport numerous times, so Trachtenberg makes a refreshing switch-up by framing it from the perspective of a young Yautja warrior, who, after being scorned and dismissed by his father due to being a runt, travels to an extremely hostile planet to embark on a hunt to defeat a deadly creature on an incredibly perilous planet to prove himself, while striking up an unlikely alliance with a severely damaged Weyland-Yutani android (Elle Fanning). Please keep these movies coming!

5. Weapons

review

I will be the first one to tell you I am not a horror fan. So, when a film in this genre really gets people talking, it compels me to go out of my comfort zone, and I am so glad I did because Zach Creggar’s sophomore feature more than lived up to the expectations I had set based on the chatter. The central and disturbing mystery hooks you in from the off, masterfully maintains the suspense and tension throughout, and builds to a crescendo in a third act that I will not be forgetting in a hurry. All the cast were firing on all cylinders, but the standouts were by far Amy Madigan’s Aunt Gladys (you will be inherently suspicious of anyone you meet called Gladys ever again) and Julia Garner as Justine Gandy, the poor teacher caught in the middle of this nightmare. Between this and the next film on this list, 2025 was an incredible year for Garner.

4. Fantastic Four: First Steps

review

Marvel’s First Family have had numerous attempts to do them justice on the big screen, yet every time an adaptation has been attempted, it has either been majorly flawed or just an outright disaster of gargantuanly Galactus-sized proportions. Yet, finally, with the team now back with their rightful owners at Marvel, fans got a film truly befitting of the team’s name. Impeccable chemistry between the team, a fun retro-futuristic setting away from the main MCU timeline, and a formidable threat in the shape of the planet-eating entity Galactus and his herald, the Silver Surfer (another excellent Julia Garner performance). Fantastic by name, fantastic by nature.

3. Hamnet

review

Ever since the COVID pandemic hit, we have seen no shortage of films about the power of the arts, and indeed cinema, to act as a healing process in the face of adversity or devastating tragedy. Yet, what none of those other films did was to do so through the lens of Shakespeare and to explore the tragic backstory of his personal life that led him to write the play many consider to be his masterpiece, Hamlet. After dabbling with the machine of the MCU, Chloé Zhao once again proves that she is a master at finding the humanity of those who find themselves isolated from society, with brilliant and emotionally devastating performances from Paul Mescal and especially Jessie Buckley. A film that captures the unimaginable heartache no parents should have to endure, yet is simultaneously positively life-affirming at the timeless power of the arts as a mechanism to process our grief. To be or not to be, that is the question, indeed.

2. Frankenstein

review

Films about monsters and Guillermo del Toro have so often been a match made in cinematic heaven throughout the distinguished Mexican auteur’s career. It should therefore come as no surprise that an adaptation of Mary Shelley’s iconic novel has long been a passion project for him, and it is easy to see why, as the source material could not be more aligned with del Toro’s skills as a filmmaker. Del Toro magnificently channels his passion for Shelley’s work, while imprinting his own unique style on the dangers of hubris by humanity in the pursuit of scientific discovery and the perils of what can happen when people try to play God. Some of the most beautiful cinematography of the year, immaculate costumes and production design, and incredible performances from Oscar Isaac and a career-best from Jacob Elordi as the misunderstood Creature. The legend of Frankenstein is reborn for a brand new generation.

Drumroll, my favourite film of 2025 is..

.

1. Sinners

review

What is there to say about Ryan Coogler’s magnum opus that hasn’t already been said? The praise this movie has received ever since its release in April is fully justified, and for a film not based on any existing franchise or IP to have grossed $367m at the worldwide box office is an incredible achievement and speaks volumes to what can happen when filmmakers such as Coogler are given the space to realise their vision and to craft something truly special.

This is not just a vampire movie; it is so, so much more than that. It is a wondrous blend of genres, a celebration of blues music, the power of music to connect the past and the future (that scene is hands down the coolest scene of the entire year). As soon as I saw it in April, I knew right then and there that not only would it feature in this list, but that it would top the lot, and so it proved. Films like this are why we go to the cinema, and why it is imperative to see films on the big screen where they belong.

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And that brings the curtain down on my list of the best the big screen had to offer in 2025. Thank you for reading, especially if you read all the way through! What were your favourite films of 2025? Let me know in the comments below, or you can find me on the following platforms: Bluesky, Facebook or Letterbox’d.

2020-2029, Film Review, London Film Festival 2025

Hamnet (2025)

Posted on December 30, 2025December 30, 2025 by Martin: Through the Silver Screen

**© Universal Pictures, Focus Features, Neal Street Productions and Amblin Entertainment**

Hamnet – Film Review

Cast: Jessie Buckley, Paul Mescal, Emily Watson, Joe Alwyn, Jacobi Jupe, Olivia Lynes, Bodhi Rae Breathnach

Director: Chloé Zhao

Synopsis: A fictional account of the tragic circumstances which led William Shakespeare to write his timeless masterpiece “Hamlet”…

Review: “To be, or not to be, that is the question.” It is one of the most instantly recognisable quotes from among the nearly 40 plays that make up the works of the great William Shakespeare. A line delivered in the third act, when the play’s protagonist is deeply contemplative, pondering whether to end his own life. A line so powerful that it has taken on a life of its own over the centuries since it was first written on parchment. What may have inspired one of the greatest writers in history to craft this line and, indeed, one of his most significant works? Enter Academy Award-winning filmmaker Chloé Zhao with an equally compelling and tragically heart-wrenching interpretation of how one of the greatest writers who ever lived channelled his grief into creating a masterpiece.

After a prologue revealing that the names Hamnet and Hamlet were interchangeable, we meet a young William Shakespeare (Mescal) working as a Latin tutor at a local school, long before he became the renowned playwright history remembers him as. On one fateful day, he catches sight of Agnes (Buckley) practising falconry and quickly falls head over heels in love with her. Despite protests from their respective parents, they wed and swiftly consummate their union, with Agnes first giving birth to a daughter, Susanna, followed by twins Judith and Hamnet. As the children grow up, the bonds within the family strengthen, even as William begins to find success in London and is forced to spend time away from his family, making the moments he shares with his children, particularly Hamnet (remember the name Jacobi Jupe), all the more precious. This makes it all the more harrowing when tragedy strikes.

From a moving (and Oscar-winning) story about a woman who chooses to live as a modern-day nomad to the all-encompassing Marvel Cinematic Universe, to tell the (underappreciated) story of a group of all-powerful, immortal Marvel deities, to Shakespeare, Chloe Zhao’s filmography is undoubtedly eclectic. Yet there is a common theme that beats at the heart of all these films, exploring the humanity and spirit of people who, for one reason or another, find themselves cut adrift and/or isolated from society. Zhao and Maggie O’Farrell’s script (based on O’Farrell’s book of the same name) leans into this and patiently explores the loving and tender romance that develops between Will and Agnes. With one having the gift of the written word and the other a deep connection to the forest, they are isolated from their families, and their relationship feels wholly incompatible. It wouldst appear that opposites doth attracteth, and though their love and the love they have for their children blaze like wildfire, it is severely put to the test in a way that no parents should have to go through.

Grief is a shared experience, something we will all go through at some points in our lives, though it affects us in different ways. Zhao’s masterful and measured direction empowers her actors to deliver performances that are both subtle and profoundly moving. For a film that focuses on the life and one particular work of Shakespeare, he doesn’t have the most substantial amount of screen time. Nevertheless, Mescal delivers another captivating performance, capturing the emotion and humanity of the man and the wordsmith. With her husband out of the picture and away on business for a considerable portion of the film, it falls on Agnes to be the glue that binds the family together. Jessie Buckley is nothing short of sensational here and gives maybe her career-best performance. She captures the fierce maternal instinct of a mother who will stop at nothing to protect those closest to her. Yet, when something as potent as a deadly illness comes, she is completely powerless to stop it from claiming her child’s life. The emotion is raw, guttural, and she will split the audience’s hearts into a thousand pieces.

Such an unfathomable and devastating loss would severely test the most resolute and unbreakable bonds that hold a family together. How would one even begin to comprehend, make sense of their life and purpose, and process their sorrow? Despite her own unbearable pain, Agnes knows she must endure and be strong, if not for her own sake, then for the sake of her other children, even more so with her husband more distant than ever and lost in his own grief. Such grief serves as the inspiration for the creation of his ultimate tragedy, his timeless magnum opus, which forms the basis for the film’s poignant third act as the play is performed for the very first time, with Agnes in the audience.

With Fiona Crombie’s incredible production design to faithfully recreate the Globe Theatre, we see through Agnes’ eyes the anguish of the loss she has felt since his death, being released as fury and confusion as to why this latest play bears her son’s name. Yet, this dissipates when she begins to understand the play’s meaning, allowing for a moment of emotional release felt not just by Agnes, but by the whole crowd in the Elizabethan England theatre and the audience themselves. Max Richter’s emotionally resonant score features Elizabethan instruments to wonderful effect throughout, but it is the use of the composer’s most well-known piece that you will have heard in previous films that will have the tears flowing, unless thou art a robot. It is fitting that in the same way the Bard’s grief inspired him to create a literary masterpiece, the creation of that play has enabled another team of artists centuries later to create a masterpiece of the cinematic variety.

A deeply moving and human portrayal of the universal experience of grief and the everlasting power of art to help us understand and come to terms with our heartache and sorrow. A film destined to be as timeless as the works of the Bard himself.

Film Review, London Film Festival 2025

Roofman (2025)

Posted on October 16, 2025December 7, 2025 by Martin: Through the Silver Screen

Roofman – Film Review

Cast: Channing Tatum, Kirsten Dunst, Peter Dinklage, LaKeith Stanfield, Juno Temple, Ben Mendelsohn

Director: Derek Cianfrance

Synopsis: After breaking out of prison, a former soldier and professional criminal on the run from the police seeks to avoid detection from the police by hiding in a branch of Toys ‘R’ Us…

Review: Upon hearing a film entitled Roofman, you might well think that without any prior knowledge, it would be the latest attempt to capitalise on the popularity of the superhero genre, especially one of the more obscure variety. Yet, this actually does not draw inspiration from the pages of a comic book and is emphatically not about a hero of any description. Incredulously, it is based on the bizarre true story of the escapades of a former soldier turned criminal and a rather ingenious plan he devises to avoid being caught.

It is the late 1990s, and Jeffrey Manchester (Tatum) is a divorced US Army veteran struggling to provide for his three young children. Acting on the advice of his army colleague Steve (an underutilised Stanfield), he uses his powers of observation and ability to take advantage of routines to break into more than three dozen McDonald’s restaurants to steal cash from the safe, giving the morning shift employees the fright of their lives. Earning the nickname of “The Roofman” via the media, he is eventually caught and sent to prison. While locked up, he uses his meticulous eye for routines to escape prison and to avoid detection by the law, choosing to lay low by hiding in a Toys R Us store for months, completely unbeknownst to the store’s employees.

Derek Cianfrance is no stranger to finding humanity in the life of someone who is forced to turn to crime as a means to support individuals he so dearly loves, albeit from a distance. Therefore, Cianfrance and Gunn’s screenplay has a deft balancing act to find a way to sympathise with Manchester, in spite of his criminal antics. Fortunately, when you have an actor as charismatic and as likeable as Tatum is, that is certainly going to do a lot of the heavy lifting. Yet, it is evident that though he resorts to stealing to financially provide for his children, he is not the sort of ruthless criminal who would enter a store all guns blazing with no care for who could get hurt, quite the opposite as he goes out of his way to ensure the employees he encounters are safe and comfortable, shortly before locking them in a walk-in freezer.

The film is certainly at its most enjoyable and gleefully silly when depicting Manchester’s antics in the store. He uses an ingenious way to keep a watchful eye over the store and its employees to ensure that the coast is clear. Furthermore, when he knows he has the entire store all to himself, the antics he gets up to with all the toys in the world at his disposal to play with and living off candy, essentially living any child’s dream. He really is one big kid, and those who grew up in the 1990s and 2000s will certainly get a great big dose of Toys R Us nostalgia.

Never is Jeffrey’s kind heart more evident than when he escapes the confines of his hideout in the store and makes his way into the local community, where he meets and quickly falls in love with Leigh (Dunst). Leight is a working mum with two daughters who recently went through a divorce, and also happens to work at the very same store Manchester is hiding in, and has to deal with an unforgiving boss in Peter Dinklage’s Mitch. Having gotten into his criminal life out of a desire to take care of his kids, it is easy to want to root for him as he tries to make a positive impression on Leigh’s daughters, and the chemistry between Tatum and Dunst is sincere and delightful to watch. Given his status as a wanted fugitive, you know it is not going to be a lasting relationship, but it is easy to root for them and, against all odds, find a way to make it work.

Despite being someone whose heart is in the right place and who strives to be the perfect family man, unfortunately, he is not that. As endearing as Tatum’s performance is, the film is a little too kind to him and completely overlooks the fact that he got himself into his current predicament for a reason. The phrase “don’t do the crime if you can’t do the time” comes to mind. Despite this mishap, Cianfrance brings plenty of humanity, humour and heart to this stranger-than-fiction tale that will make you laugh, smile and also make you wish you could transport yourself back to the 2000s, or back to being a kid again and having that wide-eyed look of wonder on your face when you walk into a toy store. Simpler times.

It could have certainly been much more critical of its leading man’s misdeeds, but thanks to Tatum’s witty and sincere performance and the hilarious shenanigans that ensue, this witty comedy crime caper will cut a hole in the roof of your heart and win you over.

Film Review, London Film Festival 2025

Wake Up Dead Man: A Knives Out Mystery (2025)

Posted on October 12, 2025January 12, 2026 by Martin: Through the Silver Screen

Wake Up Dead Man: A Knives Out Mystery – Film Review

Cast: Daniel Craig, Josh O’Connor, Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny, Daryl McCormack, Thomas Haden Church

Director: Rian Johnson

Synopsis: In a parish church in Upstate New York, renowned detective Benoit Blanc takes on his darkest case to date…

Review: In terms of the most memorable and wholly original characters to have emerged on the big screen in the last ten years or so, there can surely be no doubt of the inclusion of gentleman sleuth Benoit Blanc in the conversation. When audiences were first introduced to him in Massachusetts to investigate the death of a wealthy, renowned crime novelist in 2019’s Knives Out, with his sharp suit, keen detective eye, eccentric mannerisms, and last but by no means least, that iconic Southern accent, it was a match made in cinematic heaven. A new icon of the great detective genre was born.

It is true that not everything that comes out of Hollywood indeed warrants or needs a sequel and/or a cinematic universe. It would have been a crying shame if audiences never got another chance to join Detective Blanc as he puts his skills to the test to solve another case. Thankfully, a bumper deal with Netflix allowed Johnson to craft two further sequels. After joining a bunch of self-described “shitheads” on a private Greek island for a murder-mystery party in the equally brilliant Glass Onion, the master detective is back once more for his darkest case to date.

As with the previous two films in the franchise, when it comes to plot details, the less you know, the better. We’ve moved away from the private island of a vainglorious billionaire and back to the United States to an Upstate New York parish where Jud (O’Connor) has been recently reassigned after he let his temper get the better of him towards a fellow priest. He becomes the assistant to the pious Monsignor Wicks (Brolin), and they do not see eye to eye at all. The firebrand manner with which he delivers sermons doesn’t go down well with many of the congregation (including Jud), leaving only a select few loyal and devout regulars. During one such sermon, when the Monsignor goes off to a locked pulpit, he is stabbed to death. The “impossible crime” has been committed, with suspicions immediately falling on Jud, and it soon becomes clear there is only one detective in the world who can solve it.

After two fantastic previous instalments that breathed new life into the murder mystery genre, the pressure would have been on for Johnson to maintain his impressive streak and satisfactorily complete the trilogy. Therefore, it would have been easy for him to deliver a similar follow-up to what came before and put down the magnifying glass. Yet, the writer/director is having none of it and really challenges himself by leaning into much darker and bordering on horror material. As one would suspect, given that the scene of the crime is in a church, religious imagery is present in abundance, with the power of one’s faith in their religion and their beliefs being thoroughly put to the test. Though, this merely scratches the surface, with global politics being the way they are in the year of our Lord 2025, the screenplay has much to say about how Christianity, particularly in the US, is used by lunatic and dangerous demagogues whose who use poisonous and hateful rhetoric to simultaneously solidify their rabid base of supporters and attempt to convert those who don’t believe to their cause. Johnson’s writing has lost none of its sharpness.

In his third outing as Blanc, this time with a lush and voluminous head of hair and a very sharp suit, Craig once again shines as the master detective. Even though it takes a while for him to arrive on the scene, Johnson perfectly sets the stage and establishes the events that lead to Blanc’s arrival. Ultimately, this means that the film takes its time to get going until Blanc makes his grand entrance and immediately has at least a couple of pages of dialogue, and that is a conservative estimate. Like with previous films where Blanc had his key accomplices in Marta Cabrera and Helen Brand, Jud is the centre of this mystery, and O’Connor runs away with the film and delivers the best performance, outshining even Blanc, which is no easy feat. It wouldn’t be a Knives Out film without a stacked and glittery ensemble cast. While they’re all enjoyable to watch and play a part in the centre of this mystifying murder, some have significantly larger roles than others, with one particularly devout follower being the scene-stealer.

The location and the ensemble may change, but Johnson keeps the faith with his familiar crew. Rick Heinrichs’ production design fully leans into the gothic vibes, while Steve Yedlin’s cinematography masterfully uses striking lighting and shadows to illustrate the dark and shadowy secrets at the centre of this particular church. Both help to create the rather troubling illusion that the church building itself is almost a living organism, with wickedness, corruption and unholiness at its centre. It might not reach the highs set by its predecessors, but the murder mystery genre continues to be in rude health thanks to Monsieur Johnson. Blessed be to him and to Monsieur Blanc for providing audiences with a modern trilogy of marvellous murder mysteries, and let us hope that their sleuthing adventures will continue for many more years to come.

Leaning heavily into darker themes about faith in religion and the power of individuals, as well as the dangers of their influence on vulnerable individuals, a sublime scene-stealing performance from Josh O’Connor ensures Rian Johnson completes his trilogy of murder mystery sleuthing in excellent style.

2020-2029, Film Review

One Battle After Another (2025)

Posted on October 4, 2025November 13, 2025 by Martin: Through the Silver Screen

**© Warner Bros. Pictures and Ghoulardi Film Company**

One Battle After Another – Film Review

Cast: Leonardo DiCaprio, Teyana Taylor, Chase Infiniti, Sean Penn, Regina Hall, Benicio Del Toro, Alana Haim

Director: Paul Thomas Anderson

Synopsis: A washed-up former revolutionary is forced to confront his past when both he and his daughter are hunted by a former foe…

Review: You’d have to be living under a rock to be unaware that the political climate in the United States in 2025 is as fraught and bitterly divided as it has been at any point over the past decade. In such politically charged times, it takes a brave filmmaker to hold nothing back and go for the jugular with a thorough, uncompromising look at the land of the free and what the country actually stands for. Enter Paul Thomas Anderson, with a film two decades in the making, where the revolution will very much be televised.

In one of, if not the, most frenzied first acts of the year, Pat (DiCaprio) and Perfidia (Taylor) are two members of the far-left revolutionary group the French 75. The group have gathered outside an immigrant detention centre to storm the facility and release the migrants detained, while also perpetrating attacks against other key targets against the country’s infrastructure. These attacks capture the attention of Colonel Steven J Lockjaw (Penn), who makes it his personal mission to hunt down and eliminate the group’s members at any cost. Pat and Perfidia soon fall in love and have a child, whom they name Charlene. After their daughter’s birth, Pat is determined to lay low and leave his revolutionary days behind, but Perfidia isn’t one to give up the fight so easily, which lands her on Lockjaw’s radar. After 16 years of lying low, now going under the aliases of Bob and Willa (Infiniti), the duo find themselves on the run again when they realise they are once more in Lockjaw’s crosshairs.

After an adrenaline-charged first act that throws you headfirst into the heat of the action, Anderson briefly gives the audience a moment to catch their breath, but don’t get too comfortable. One Battle After Another truly lives up to its title; while the characters may have claimed an initial victory, the war is far from over. Loosely adapted from Thomas Pynchon’s 1990 novel Vineland, Anderson’s screenplay is sharp and scathing in its criticism of modern-day America, and the parallels between the revolutionaries and the pushback against the US government’s callous and inhumane treatment of migrants are all too relevant in the absurdity of this timeline. Yet, this is a film with a lot more on its mind as it also scathingly rebukes the hatred and oppression that marginalised groups, especially immigrants, face and a society which allows this contempt to filter into society through truly poisonous ideologies such as white supremacy. Such hatred, while those at the top perpetrate rampant corruption. It is all too relevant to the absolute authoritarian hellscape that is the US in 2025, which ensures the film hits like a sledgehammer, with a powerful and furious urgency.

Having come very close to working with Anderson on 1997’s Boogie Nights, Leonardo DiCaprio can finally add Anderson’s name to the distinguished list of filmmakers he has worked with across his career. DiCaprio rarely disappoints, even when the film around him is an absolute dumpster fire (looking at you Don’t Look Up). Unlike that film’s pitiful attempts at humour, Anderson combines the tense political themes with a surprising amount of humour. Not least because in those 16 years, he has developed a penchant for anxiety-reducing drugs to ease his paranoia, which is understandable given his revolutionary past. Consequently, he spends a not insignificant part of the film stoned out of his mind, while wearing a knitwear bathrobe that could give Jeff “The Dude” Lebowski a serious run for his money. Taylor makes her presence felt with what little screentime she has, but it is to the film’s detriment that she only appears in those explosive first 30 minutes and disappears thereafter.

Going toe to toe with such a titan of the industry would be a daunting task for anyone, especially a newcomer, but Chase Infiniti goes toe to toe with her more experienced counterpart and more than holds her own with a fierce and spirited performance. Even in the midst of a society that is seemingly crumbling before her very eyes, there is fire in her belly, especially when it comes to the threat posed by Lockjaw and her determination to find and be reunited with her father. Penn gives a fiendishly frightening turn as a bigoted and loathsome human being (those individuals being well represented in the current US administration) who thrives on the cruelty and mistreatment of others and will stop at nothing with almost robotic-like efficiency until he finds his target.

Shot in stunning VistaVision, Michael Bauman’s cinematography is nothing short of breathtaking, pulling the audience into a vividly chaotic world on the brink of collapse, yet still managing to find beauty amidst the turmoil. Jonny Greenwood continues his collaboration with Anderson with a score that pulses with intensity, driving the film’s 162-minute runtime with an electrifying energy that ensures the pacing never lags, culminating in a pulsating, edge-of-your-seat action sequence in the third act. The fires of revolution have been lit, and it is up to all of us to ensure they never go out, especially in the face of fascism, bigotry and tyranny from power-hungry madmen. Viva La Revolución!

Combining comedy with high-intense and serious drama in a society on the brink doesn’t always fully mesh. However, with the power of its performances, especially newcomer Chase Infinity, and its furiously urgent messages ensures Paul Thomas Anderson has made the most important film of his career to date.

2020-2029, Film Review

The Long Walk (2025)

Posted on September 22, 2025October 26, 2025 by Martin: Through the Silver Screen

The Long Walk – Film Review

Cast: Cooper Hoffman, David Jonsson, Garrett Wareing, Tut Nyuot, Charlie Plummer, Ben Wang, Roman Griffin Davis, Joshua Odjick, Judy Greer, Mark Hamill

Director: Francis Lawrence

Synopsis: In a dystopian United States, 50 teenage boys must walk until only one is left standing…

Review: Throughout the long history of the United States, the notion of the country descending into a nightmarish hellscape ruled by an authoritarian regime should not feel relevant in modern times. Yet, given its current leader and the state of the world in general, it remains an all-too-familiar reality. A 1979 novel written by the one and only Stephen King (under the pseudonym Richard Bachman) feels more pertinent than ever, given the hellish state of the country today. In Francis Lawrence, a director who knows a thing or two about helming multiple films set in a dystopian US devastated by civil war, having directed all but one of the films in The Hunger Games franchise. A franchise which also featured brutal contests where participants fought for survival until only one remained, there couldn’t be a more apt director to translate a depressingly relevant visualisation of the US to the big screen.

Set in an alternate 20^th century, in an attempt to inspire patriotism and imbue a work ethic among its citizens amid a severe economic downturn, the brutal totalitarian military regime in charge of the country set up an annual competition known as The Long Walk. 50 teenage boys, one from each state, are selected to compete. The rules are simple: they must walk for hundreds of miles across an open road at a pace of three miles per hour until there is only one competitor left standing. Any competitor who falls below that pace is given three warnings to get back up to speed. If they fail to do so after the third warning, they will have their “ticket punched” by the armed soldiers patrolling the route, with a bullet.

Four dozen impoverished souls walking for miles across nothing but flat terrain, occasionally breaking through the sparse pockets of civilisation, could quickly become tedious and monotonous. However, over 108 utterly absorbing and tense minutes, JT Mollner’s screenplay keeps the proceedings moving swiftly and remains intensely gripping by focusing on these young men, pushed into this dangerous and gruelling trek, as they cling to the hope of being the victor. In a contest where the winner will claim a substantial cash prize and the chance to have one wish granted, it seems unlikely that any bonds will form among the walkers. Yet, this is precisely what makes the film so compelling. Some choose to form alliances, while others resort to antagonistic tactics. As the miles pass and day turns into night, then into the next day, the sound of gunfire as numerous competitors are eliminated shocks those remaining into continuing to put one foot in front of the other. It never once loses momentum.

Such is the strong brotherhood that forms between a handful of these young men, it wouldn’t nearly be as impactful if it were not for excellent performances across the board. As the central protagonist, Cooper Hoffman’s Ray Garraty is motivated to partake in the walk due to deeply personal circumstances. The bond he forms, particularly with David Jonsson’s Peter McVries, is the relationship that drives the film forward. Jonsson, once again proving what a phenomenal talent he is, exudes charisma and determination even in the face of such gruelling and unforgiving circumstances that the other boys, including Ben Wang’s Hank, Charlie Plummer’s Gary and Garrett Wareing’s Billy, rally around him. The boys are also united by their burning hatred for the callous Major, an extremely effective villainous performance by Mark Hamill, channelling the ruthlessness and gruffness of Full Metal Jacket’s Sergeant Hartman.

Having been somewhat held back by the constraints of The Hunger Games franchise in portraying the violence of the games, Lawrence faces no such restrictions here. The manner in which those who fall behind and, for whatever reason, be it injury, a need to relieve themselves, or just plain exhaustion, do not get back up to speed is unflinching and brutally violent. It is uncompromising in the depiction of a regime which will not hesitate to use military violence and intimidation to keep people in line, an ominous parallel to the 21st-century America, where the so-called leader of the free world has demonstrated his desire to deploy military force against his own people.

While the film could have offered more context about the war that led to the fall of democracy and the rise of authoritarianism, it also could have done without such an abrupt and rushed ending. Nevertheless, the relevance of this story, first written by King nearly 50 years ago, strikes a powerful chord in today’s political climate. It serves as a vital reminder that, even in the face of brutal authoritarian rule, humanity must persist, continue, and fight on, even if you have walked for hundreds of miles, and the temptation to give up may be overwhelming.

Bolstered by a pair of gripping performances from Hoffman and Jonsson, The Long Walk is a tense and powerful tale of the human spirit and the necessary struggle to take a stand in the fight against oppression and authoritarianism.

2020-2029, Film Review

Materialists (2025)

Posted on August 18, 2025September 9, 2025 by Martin: Through the Silver Screen

© 2AM, Killer Films, A24 and Stage 6 Films

Materialists – Film Review

Cast: Dakota Johnson, Pedro Pascal, Chris Evans, Zoë Winters

Director: Celine Song

Synopsis: In the hustle and bustle of New York City, a matchmaker finds herself torn between a wealthy and charming financier and her ex…

Review: What if two people who at one time in their lives were deeply in love and were seemingly destined to be together, only for their trajectories to split? This was the philosophical question that beat at the heart of Celine Song’s reflective and heart-achingly beautiful directorial debut, Past Lives, and how those two people reckon with what might have been had their lives taken a different direction. Love is very much at the centre of her follow-up, grounded in the world of dating and matchmaking, with the vibrant and lively atmosphere of the city that never sleeps again serving as the backdrop.

Lucy Mason (Johnson) is a self-proclaimed “eternal bachelorette” matchmaker working for ADORE, providing dating services for high-paying clientele. She has seen incredible success in her career, having matched nine couples who tied the knot. However, she insists she won’t walk down the aisle herself unless she meets someone wealthy. At a client’s wedding, she encounters the groom’s brother Harry (Pascal) and also runs into her ex-boyfriend, John, who works as a waiter for a catering firm while trying to become an actor. Lucy faces a dilemma between starting a promising new relationship with Harry or rekindling the romance with her old flame.

As was the case with her directorial debut, Song delves much deeper beyond the surface of what one might expect from a typical romantic comedy where two souls meet and fall in love with each other. This is encapsulated through an unconventional opening scene that is bound to catch some people off guard, yet it completely illustrates the nature of the story. Humanity’s age-old adventure to find connection, passion, romance and the hope of finding the special person we would like to fall head over heels in love with and wish to spend the rest of our lives with. Sometimes it’s a case of being in the right place at the right time and everything falls effortlessly into place.

However, in the modern world, finding a partner often reduces to persistent scrolling through apps, all in the hope of discovering that elusive dream match. But what truly defines the “perfect someone”? Is it their job, height, hobbies, or the music they listen to? Or perhaps even more specific criteria than that? The dating world is competitive and cutthroat, where everything on a profile has to be flawless in a world where people are filled to the brim with flaws and imperfections. Can a matchmaker really effectively use these various criteria to connect individuals with their ideal partners? This is the central question that Song addresses with unwavering honesty.

Johnson is an actor whose choice of projects (as she herself will tell you) has left a lot to be desired in recent years. It was clear that she had talent, but just needed the right script, and with those aligning, she gives one of her best performances as Lucy. Working in the field of matchmaking requires someone to be cool, calm and collected and the ultimate professional, even when dealing with picky and demanding clients. However, she remains unflustered in her attempts to find partners for that “check all the boxes”. Yet despite her success, she struggles to find the right partner for herself, even when someone as charming and downright handsome as Harry enters her life and goes out of his way to woo her. Pascal makes full use of his limited screentime and brings effortless suave and smouldering good looks. John may not have the same level of wealth as the other man trying to win Lucy’s heart, but Evans also brings charisma and charm aplenty.

When depicting love triangles on screen, human nature often leads us to root for one side to prevail over the other. However, Song’s script takes a balanced approach and allows the audience to understand the perspectives of all parties involved. It would be easy to assume Lucy would go for the man who has all the wealth in the world, but it is considerably more nuanced and complicated. There is, however, a subplot featuring one of Lucy’s clients, Sophie (Winters), which highlights the challenges and all too real dangers women, in particular, can face when dating a male partner and the risk of that partner getting abusive and or violent. While this may hit too close to home for some, it needed to be addressed, and more screentime could have been given to exploring this peril of the dating minefield.

It doesn’t quite pack the emotionally devastating punch as Past Lives, but take nothing away from what Celine Song has achieved. With only her second film, here is a director quickly gaining a reputation for bringing thoughtful and mature romances to the screen. Stories filled with resonant storytelling that make us pause and reflect on our lives, the people we love, and how do we possibly go about finding the one we are looking for in such a crazy, chaotic world where people are motivated by money and material possessions? A universal struggle that humanity has been grappling with throughout the aeons of human history, even for folks as mesmerisingly attractive as its three leading characters.

Bolstered by three excellent performances from its bewitchingly beautiful cast, Materialists offers a sincere and unflinching look at the complicated maze of online dating and humanity’s eternal quest to find romance in an increasingly avaricious world.

2020-2029, Film Review

Weapons (2025)

Posted on August 18, 2025October 5, 2025 by Martin: Through the Silver Screen

**© Warner Bros. Pictures and New Line Cinema**

Weapons – Film Review

Cast: Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, Toby Huss, Benedict Wong, Amy Madigan

Director: Zach Cregger

Synopsis: A town is left reeling and searching for answers after a group of schoolchildren mysteriously run away during the middle of the night…

Review: Jordan Peele, Robert Eggers, Ari Aster. What do these names have in common? They are directors who, over the past decade, have established themselves as fresh and exciting voices in the horror filmmaking scene. With each new film, they bring something unique and original, turning every release into a highly anticipated event. After unsettling audiences with his 2022 directorial debut Barbarian, Zach Cregger has put himself on a similar path to the aforementioned trio. This trajectory has been further accelerated by his captivating and unnerving follow-up, which will send chills down your spine.

Sometimes, it really pays to know as little as possible before going into a film, and this is one of those cases. So, without going into too much detail, the town of Maybrook, Pennsylvania, is left shaken and confused after 17 children mysteriously woke up at 2:17 in the morning, got out of bed, ran out of their homes and disappeared into the night without a trace. The only link is that all the children who vanished were in Justine Gandy’s (Garner) class. However, the mystery deepens when it is revealed that Alex Lilly (Christopher) is the only pupil who remained. The disappearance of so many children understandably sparks a lot of anger and grief in the community. What could have possibly led to the disappearance of these children, and is Justine really to blame? Is there perhaps something deeply sinister at the centre of this mystery?

For any parent, the thought of their child going missing without a clue where they may have gone would be an absolute living nightmare. Multiply that by 17 sets of parents fraught with anguish, confusion and a demand for answers, and it becomes a powder keg waiting to ignite. These emotions become powerful weapons (pun intended), which Cregger channels into his script into a thorough examination of how grief manifests itself when such a traumatic event collectively impacts an entire community. By dividing the film into distinct chapters, each from the perspectives of the key individuals connected to this disturbing mystery, it keeps the audience glued to the screen across 128 thoroughly tense minutes. We watch with bated breath as each new perspective adds more clues, until the full picture slowly but surely emerges.

The journey to uncover this mystery masterfully maintains tension, keeping the audience fully engrossed. Garner excels as Justine, the poor teacher who suddenly finds herself with an empty classroom. She initially bears the brunt of the community’s anger, with the finger of blame pointed squarely at her. Her pleas that she cares deeply about her pupils and is as eager for answers as the parents fall on deaf ears, which takes a heavy toll on her mental health. Brolin as Archer, the father of one of the missing children, channels his rage at his son’s disappearance by taking it upon himself to carry out his own investigation when the police’s search doesn’t move fast enough for his liking. To say too much more about the rest of the cast would be verging into spoiler territory, but suffice to say, every member of the cast, including young Cary Christopher, is at the top of their game.

With the cast firing on all cylinders, razor-sharp airtight editing by Joe Murphy, and the cinematography from Larkin Seiple, it only adds to the anxiety and tension. You never know who or what could be lurking in the darkness, or indeed the daytime, for that matter, with Cregger all too eager to pack in some truly effective jumpscares. It is a further testament to Cregger that even in a film with the harrowing event of missing kids at its centre, while also tackling subjects such as the dangers of addictions, he manages to find humour in the situation, particularly when one character shows up in that all-important third act looking like something a completely wacky cartoon character that doesn’t seem remotely frightening. Yet, looks can be deceiving, and such is this character’s true nature, it may make you think twice before ever trusting someone with their name ever again.

Achieving a balance between humour and deep unsettling themes requires exceptional skill, and this is a feat which Creggar accomplishes, with a tense and exhilarating finale that will linger in your mind for many days after the credits have rolled. It is early days in his directorial career, but Creggar has established himself as a director who isn’t just making horror films to scare the audience mindlessly. It has something to say about how we, as a species, can react when we experience potent and raw grief and anger in the face of a terrifying situation that is beyond our control, something all too relatable in this thoroughly unpredictable and sometimes downright scary world that we live in.

With only his second feature film, Zach Cregger brings something wholly unique and original to the horror genre, with pointed social commentary, and some truly unsettling imagery that is guaranteed to find its way into your nightmares.

2020-2029, Film Review

The Fantastic Four: First Steps (2025)

Posted on July 26, 2025August 19, 2025 by Martin: Through the Silver Screen

The Fantastic Four: First Steps – Film Review

Cast: Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, Joseph Quinn, Julia Garner, Natasha Lyonne, Paul Walter Hauser, Ralph Ineson

Director: Matt Shakman

Synopsis: On a retro-futuristic parallel Earth, the Fantastic Four must defend the world against the sinister planet-eating threat known as Galactus…

Review: In such a golden age for superhero storytelling as the one we’re currently experiencing, we have seen all manner of comic book characters successfully adapted for both the big and small screens, from the massive ensemble team-up films to the most obscure characters, who have since become household names. Yet despite numerous attempts, the Fantastic Four has never achieved such success. We have seen the fun but flawed movies of the noughties to the unmitigated disaster that was Fant4stic. You would have been forgiven for thinking that someone had placed a curse on Marvel’s First Family, that they would never get an adaptation that would do them justice. After having done such wonderful work with the first (and you could make the argument for the best) TV show in WandaVision, enter Matt Shakman to well and truly ~~break~~ clobber that curse.

In a futuristic parallel world separate from the main Marvel timeline (Earth-828 to be exact) filled with advanced technology like flying cars and cool personal robot companions like H.E.R.B.I.E (an adorable scene-stealer), we learn through a series of newsreels it has been four years since our titular heroes blasted off into space on a mission where they were exposed to cosmic rays, which granted each of them superhuman powers. The supersmart Reed Richards (Pascal), who can stretch any part of his body, his brilliant wife Sue (Kirby) who can create force fields and turn invisible, Reed’s loyal best friend Ben Grimm (Moss-Bachrach) whose skin has been transformed into orange rock that grants him superstrength and durability. Last but certainly by no means least, Sue’s hot-headed brother Johnny (Quinn) can control fire and fly.

They are the planet’s sole protectors, and through their heroism, they have become celebrities whose ingenuity has enabled advances in technology and brought stability and peace to the world. With Reed and Sue preparing for the life-changing milestone that is parenthood, the four of them must deal with the arrival of the Herald, the Silver Surfer (Garner) who tells them their planet is “marked for death” with the impending arrival of the planet-eater Galactus (Ineson).

After a Phase Five that had some high points and arguably the lowest of the lows for the franchise (looking at you Quantumania), it makes sense to begin Phase Six with something of a reset and to establish Marvel’s first family in their own universe before their world collides with the main timeline as we know it. The script by Josh Friedman, Jeff Kaplan, Eric Pearson and Ian Springer keeps things focused squarely on the quartet and their dynamic, with no chance of any other superhero crashing into this world. There will be plenty of time for that in future Phase Six films. Having seen the origin story done before in the Fox era films, the decision to quickly bypass this allows the film time to explore Reed and Sue’s loving relationship, the camaraderie/playful banter between Johnny and Ben, and indeed, the togetherness and warm family embrace between the entire team is sincere and genuine.

With such pitch-perfect chemistry between the team, it’s a credit to the casting director that they absolutely nailed each casting choice (hurrah that the Oscars will at long last be giving these people their dues in next year’s ceremony). Pascal, continuing his bid for cinematic domination, expertly balances Reed’s intelligence and scientific nous while preparing for the enhanced responsibility of becoming a father. Moss-Bachrach’s Ben, despite his hard-as-rock exterior, comes off as very kind and gentle, particularly when demonstrating his strength to a group of schoolchildren. Quinn as Johnny exudes charm and charisma in flaming abundance. However, the MVP of the team is unquestionably Kirby’s Sue. A woman balancing impending motherhood, a heroic feat of endurance in itself, but all while leading diplomatic efforts on the international stage. This, combined with the true power she possesses, means she is a force to be reckoned with.

Speaking of forces to be reckoned with, while she doesn’t get a vast amount of screentime, the Silver Surfer remains a mysterious presence that Johnny cannot help himself be drawn to. Perhaps in this alternate universe, flames are attracted to metal, or beings with metallic skin? The Surfer, or Shalla-Bal to give her name, gives the team plenty to worry about. Yet, it is the gargantuan cosmic entity Galactus who poses an even greater threat. 2007’s Rise of the Silver Surfer reduced him to a cosmic cloud that feasts on planets. This iteration very much retains his desire to feast on worlds, but through an effective combination of practical costumes, CGI and Ineson’s imposing voice, the menacing factor is turned to the maximum and does justice to a fan favourite.

Having worked wonders with the MCU’s first (and arguably best) TV show, WandaVision, Shakman brings that quirky vision to this universe through some brilliant worldbuilding. The sets of this alternative 1960s New York feel lived-in, and the technological advancements on display are so wonderfully realised, it is almost enough to make you green with envy that such a world doesn’t actually exist. With another fantastic score by Michael Giacchino (seriously, does this man ever miss?) Marvel’s first family have taken their first steps into the MCU, and at long last, have been given their well-deserved moment in the spotlight. Now, all roads lead to Doomsday. Set your countdown clocks accordingly.

With pitch-perfect chemistry between its leads and the perfect retro-futuristic setting to introduce them in, Marvel’s first family’s foray into the wider MCU is a roaring and flaming success!

2020-2029, Film Review

Jurassic World: Rebirth (2025)

Posted on July 13, 2025August 18, 2025 by Martin: Through the Silver Screen

**© Universal Pictures and Amblin Entertainment**

Jurassic World: Rebirth (2025) – Film Review

Cast: Scarlett Johansson, Mahershala Ali, Jonathan Bailey, Rupert Friend, Manuel Garcia-Rulfo, Ed Skrein

Director: Gareth Edwards

Synopsis: Five years after the events of Jurassic World: Dominion, a new expedition sets off to the research facility of the original Jurassic Park in pursuit of dinosaur DNA that could lead to a medical breakthrough…

Review: Dinosaurs, you just can’t keep these prehistoric creatures off the big screen. Three years ago, much spectacle was made of the third and supposed final chapter in the Jurassic World franchise to be the one to close the curtain on a franchise 65 million years in the making. Having brought the past and the present together and stomped its way to another billion dollars at the worldwide box office, it seemed as though every last morsel of dino DNA had been extracted, and it was time to let it rest once and for all. But, in the immortal words of Jeff Goldblum’s Dr Ian Malcolm from the first film, “life finds a way”, and well, the franchise found a way to resurrect itself once more.

It has been five years since the events of Dominion, where dinosaurs and humanity were forced to co-exist alongside each other. However, due to climate change, the majority of the planet’s surface has become inhospitable to dinosaurs, except for a few areas around the equator. Consequently, these areas have become no-go zones for humans. It is discovered that the DNA of the creatures is the key to a potential new treatment for heart disease, which could be very profitable if brought to the mass market. Therefore, pharmaceutical company executive Martin Krebs (Friend) recruits Zora Bennett (Johansson) and palaeontologist Dr. Henry Loomis (Bailey) to lead a mission to the island of Île Saint-Hubert to retrieve these samples of dino-DNA and bring them back. Though when venturing into the land of dinosaurs, you know that things are not going to go as planned, and it becomes a desperate bid for survival.

In some ways, the subtitle of Rebirth is an apt one because the slate has been totally wiped clean in that no one from any of the previous six films shows up, even for the briefest of cameos. Given franchise films have in the past often tried to mine and utilise the nostalgia in place of telling a good story, this is a welcome development. You would think that with a whole new collection of characters, this would offer original Jurassic Park screenwriter David Koepp and director Gareth Edwards, himself no stranger to tackling films with gargantuan-sized monsters, the opportunity to take the franchise in an exciting new direction.

Alas, while there is enjoyment to be found, it is broadly more of what you would come to expect from a Jurassic adventure, with our protagonists setting off to this island to fulfil their mission, only for things to go wrong and for the dinosaurs to start eyeing up these humans as their next meal. Of course, the film also doesn’t pass by the opportunity to use John Williams’ theme from the original film for a predictable but effective blast of nostalgia, because who doesn’t get emotional hearing that incredible theme from the greatest musical maestro cinema has ever seen?

In Edwards’ capable hands, having also ventured to a galaxy far far away, the action sequences are unquestionably spliced with some Spielbergian DNA. However, they certainly get the blood pumping and the adrenaline flowing, including an enthralling sequence where the crew is in a race against time to extract the DNA from a Mosasaurus and a mission to save a family whose boat has drifted into some dino-dwelling waters. Compelling as these scenes are, such is the threadbare and minimal development of these characters that it becomes hard to be fully invested in their quest.

Even with such talented actors, like Johansson, Ali and Bailey turning in reliably solid performances, the material they are given lacks sufficient meat on its bones to make them as compelling as characters from previous films in the franchise, severely lacking in a memorable line or, indeed anything at all. You want to see them accomplish their mission and avoid a fate that has befallen many characters in this franchise. Yet, since the attachment the audience has to them is so threadbare, it is of little significance who makes it out of the island alive.

It is remarkable that in the 30 years since Spielberg first brought dinosaurs to life in a truly captivating way that will forever remain timeless, every sequel has attempted to replicate that magic, yet none have managed to accomplish that goal. The results have varied from entertaining to the bizarre sight of a dinosaur saying “Alan” to Sam Neill’s Alan Grant. While dinosaurs will always have an inherent appeal, it’s clear that this franchise has run out of fresh ideas. Given the inconsistency of the films over such a long period, perhaps it is time to consider letting it go the way of the dinosaurs once and for all.