2020-2029, Film Review

Nosferatu (2024)

Posted on January 27, 2025March 18, 2025 by Martin: Through the Silver Screen

Nosferatu – Film Review

Cast: Lily-Rose Depp, Nicholas Hoult, Bill Skarsgård, Aaron Taylor-Johnson, Emma Corrin, Ralph Ineson, Willem Dafoe, Simon McBurney

Director: Robert Eggers

Synopsis: In 19th-century Germany, a young woman has disturbing dreams and visions of an ominous supernatural presence who becomes infatuated with her…

Review: Humanity has always been fascinated with mythical creatures, perhaps none more so than the creatures of the night known as vampires. These blood-sucking entities have sunk their teeth into and left an indelible mark on the history of cinema, going all the way back to 1922 when F. W. Murnau’s silent film Nosferatu: A Symphony of Horror was released. The first vampire film and one of the films to establish horror as a genre, its influence has stood the test of time. Yet, if ever there was one filmmaker who could reimagine this gothic nightmare for a modern audience, you would be hard-pressed to find a more suitable filmmaker for this reimagining than one of the new masters of horror in Robert Houston Eggers.

It is 1838 in the German town of Wisburg and Ellen Hutter (Depp) has married estate agent Thomas Hutter (Hoult). Thomas is tasked by his employer Herr Knock (McBurney) to travel to Transylvania to get the reclusive Count Orlok (Skarsgård) to agree to a deal that will see the Count buy a dilapidated old manor, on the promise that the completion of the deal will see Thomas gain significant monetary reward and a promotion. Upon arriving at the Count’s foreboding residence, their fateful meeting sets off a chain of events leading back to Ellen. In the absence of her husband, she has been suffering from seizures and nightmarish visions of a creature she calls “Death” incarnate, which leads the villainous Count to become obsessed with her and pine after her in a twisted attempt to cure her loneliness.

Having been in development as a passion project for Eggers since 2015, it has perhaps served him well that during the years he worked to awaken this project from the slumber of development, he has gone on to refine his craft as a new master of horror. First, he captivated audiences with his New England folk-horror story and the haunting yet darkly comedic tale of two lighthouse keepers struggling to maintain their sanity on a remote island. After taking a break from horror to dabble in Norse mythology, he has returned to familiar territory, fully in his element and ready to scare the living daylights out of the audience. His screenplay takes the bones of the 1922 film (based on Bram Stoker’s Dracula) and puts considerably more meat on them by framing the story of Orlok’s campaign of terror from Ellen’s perspective. We see from her perspective how her intense desire for companionship, even if it is from a supernatural being of any kind, and Orlok is only too happy to oblige.

Framing the story from Ellen’s perspective is a masterstroke by this masterful director, and every cast member delivers truly outstanding performances. The sheer terror of being haunted by such a frightening presence demands a powerful performance, exactly what both Lily-Rose Depp and Nicholas Hoult deliver. Depp invests everything into her role, allowing the audience to profoundly feel her dread and fear, which leads to some extremely unsettling scenes where it truly feels like she has been possessed by a supernatural entity and an immediate exorcism is required. Similarly, having to make the unsettling journey to Transylvania to deal with Orlok directly, you really feel Thomas’s absolute terror at staying in such an objectively unsettling place.

Having likely given countless people who suffer from coulrophobia with his portrayal of Pennywise, Skarsgård’s menacing performance stands an excellent chance of being one of the most unsettling horror performances ever put to film. Through a combination of incredible makeup work and an extremely sinister voice, is one you will remember for a very long time as it will chill you to your very soul. Even with a horrifying sense of dread, Dafoe, re-teaming with Eggers for the third time, once again fully understands the assignment and injects some humour into the gothic and unnerving moments.

In keeping with his earlier films, Eggers immerses the audience as if they were themselves in 19th-century Germany being haunted by this terrifying blood-sucking creature of the night. The director has explicitly said he has no desire to ever make a film in modern times, and all the better for it. Amidst incredible work from the production design and costume departments, special mention must go to returning cinematographer Jarin Blaschke. who has shot every single one of Eggers’ films, produces some of his best work here with some atmospheric and truly haunting cinematography. The scenes at the Orlok residence in particular stand out where the conniving Count is shrouded in shadow and darkness for a considerable proportion of the film. The dead of night can be a scary enough place as it is, but Blaschke’s work is so ominous and foreboding, that it may well leave you with a temporary phobia of the dark and consequently be tempted to sleep with the lights on.

Reimagining a film which has left an enduring impact on the world of film would have been a daunting task, but Eggers’ passion for the project comes through with each and every bewitching and yet simultaneously haunting frame. This new iteration of this classic tale packs plenty of bite, and by the end, will leave you no choice but to succumb to the darkness of its terrifying beauty.

With chillingly committed performances from Depp and Skarsgard, this new atmospheric incarnation of the classic vampire story will invade your nightmares as it passes into horror folklore.

2020-2029, Film Feature, Ranking

Best Films of 2024

Posted on January 14, 2025January 1, 2026 by Martin: Through the Silver Screen

Another 12 months of cinema have come and gone, seemingly in a flash. While it was not marred by any strikes, the aftereffects of those strikes had a hangover effect on the year. Despite that, it has certainly been an interesting year for films, with the box office seemingly dominated by sequels, but in and among those sequels, there were plenty of original and exciting films. So without further ado, let’s look at the films that stand out as the best in 2024.

My main criteria for selecting films for this list is whether I have watched them in the past 12 months. I will aim to include films that were released in 2024, according to IMDb. However, some films may not be available in the UK until later in the year, which could affect their eligibility for this list. Additionally, I haven’t seen every film released in the last year, so if you believe there’s a film that should be included but isn’t, please let me know.

Lastly, as usual, while I have not reviewed every film here, grades do not determine the rankings. This is my list to highlight and celebrate the films which resonated with me the most and defined the past 12 months of cinema. As usual, there are some honourable mentions, films which are excellent and well worth your time but just didn’t quite make my list this year:

Twisters [review]. Nearly 30 years after Twister caused a storm at the box office and led to a rise in the number of students looking to study meteorology, this standalone sequel came along and blew everyone’s expectations away with a riveting and timely story about the deadly impacts of Mother Nature and climate change, while providing further evidence that there is no stopping Glen Powell’s meteoric rise to superstardom.

Civil War [review]. It was a brave decision by A24 to release this film in a bitterly divided United States of America in the run-up to a tense US Presidential election. However, by focusing on the horrors of conflict from the perspectives of photojournalists who risk their lives to document the hostilities from an objective lens, Alex Garland’s film captures the brutality of war in an unflinching and tense manner, with one scene, in particular, standing out as perhaps the most intense scene of the year, thanks to Jesse Plemons.

Anora [review]. I think I was one of the very few people who utterly despised Sean Baker’s previous film, Red Rocket, due to its extremely unlikable lead character and the predatory nature of its central relationship. So I was delighted to see him redeem himself with this enthralling (fairy)tale of a New York sex worker who thinks she has the rest of her life set up when she meets a wealthy client, only to soon realise, she in fact does not. It’s an enthralling watch, with an absolutely phenomenal lead performance from Mikey Madison.

Furiosa: A Mad Max Saga [review]. George Miller might be approaching his 80th birthday. Nevertheless, this visionary and madman director is showing no signs of slowing down as he revved back to the world of Mad Max for an enthralling prequel that charts the origin story of Imperator Furiosa, and how she became the badass who utterly stole the show in Fury Road. A very different film to that action bonanza with much more emphasis on character, but still delivering some truly incredible action scenes, and Chris Hemsworth as you have never seen him before. It deserved to do much better at the box office.

Wallace & Gromit: Vengeance Most Fowl. Everyone’s favourite Northern inventor and his mute but very expressive dog return for their second feature film after 2005’s The Curse of the Were-Rabbit, for a thrilling adventure about the perils of modern technology, with the return of one of cinema’s most dastardly villains and criminal masterminds, Feathers McGraw.

Nickel Boys. Plenty of films have often explored the ugly history of racism in the USA, but so rarely has it been captured in such a unique way by RaMell Ross in this harrowing adaptation of the novel by Colson Whitehead. The film focuses on the friendship of two boys as they must learn to survive the cruelty of a reform school in Florida. It’s not an easy watch by any means, but it’s a necessary one.

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

10. Wicked

Going into this, I had absolutely no knowledge of the story, having never seen the stage show in any format, I only knew that it served as a prequel to the events of 1939’s The Wizard of Oz, and well, its presence on this list, albeit at #10, indicates how much of a blast I had with this. After directing an adaptation of another musical with 2021’s In the Heights, Jon M. Chu brings that magic touch to this adaptation of the insanely popular 2003 Broadway show that has taken the world by storm.

Granted it is just the first half, having only adapted the first act of the musical, but Ariana Grande and Cynthia Erivo absolutely crush it with both their performances and their singing, as Galinda and Elphaba, and I defy anyone to tell me that they didn’t get chills during the “Defying Gravity” sequence. Time cannot fly by fast enough to see Wicked: For Good cannot get here soon enough. Now, if you don’t mind, I’m just off to listen to “Defying Gravity” again.

9. Sing Sing

If you’re reading this, there’s a good chance you have a passion for one particular form of the arts, specifically, cinema. However, the arts as a whole, be it theatre, music, painting or literature, offer so much to any individual person to explore and develop talent and express themselves. This is particularly true for the men at the centre of this captivating and life-affirming prison drama, as participation in the Rehabilitating Through the Arts programme offers them an escape from the harsh and unforgiving surroundings they find themselves in and gives them a newly found passion for life. The film adds so much authenticity to its uplifting story by having former alumni of the programme play themselves, and at the centre of it all is another magnificent performance from Colman Domingo, whose career is just going from strength to strength.

8. The Fall Guy

review

Stuntmen and women, these incredible people who risk their lives for our entertainment, yet somehow the industry has not found a way to honour their incredible feats of bravery into awards shows. While you’d hope that one day, these people will get their dues, this utterly delightful blast of pure popcorn fun offers a delightfully entertaining tribute. Filled to the brim with insane and committed stuntwork, director David Leitch and his incredible team of stuntmen deliver a glorious film which packs comedy, action and romance. If that was not enough, Ryan Gosling and Emily Blunt (in a further continuation of the Barbenheimer trend from 2023) share the most perfect, sizzling-hot chemistry.

7. Conclave

review

In the same vein, as Civil War was released during the year of a US election, it was fitting that a film featuring the election of the new leader of the Catholic Church was also released, as many people worldwide went to the polls to cast their ballots in elections. As is the case with the election of any world leader, it can be a fraught process with agendas and political power plays, all while engaging in backstabbing and squabbling in a vain and egotistical bid for power, because as one cardinal puts it: “No sane man would want the papacy”. Only this tension is compounded when some disturbing truths come to light. A very dialogue-heavy film, but when it is written this well and flawlessly acted by its cast, especially by the consistently brilliant Ralph Fiennes, it never fails to be utterly compelling to watch.

6. Inside Out 2

review

Inside Out is still to this day one of my favourite Pixar films as it was such an inventive and clever concept exploring what goes on in those brains of ours as we navigate this world. Therefore, those little voices in my head were a bit anxious when it was revealed a sequel was being worked on, but I needn’t have worried, since those geniuses at Pixar usually do not disappoint. Taking Riley as she navigates the crazy and utterly emotionally chaotic time that is puberty, with new emotions running amok (particularly the scene-stealing Anxiety voiced by Maya Hawke). It might lack the devastating emotion of its predecessor, however, this sequel retains that wittiness and extremely clever visual metaphors of the inner workings of the madness that is the human brain.

5. The Wild Robot

review

“Animation is cinema, animation is not a genre”. These words that were spoken by Mexican filmmaker Guillermo del Toro at the Oscars have never rung as true as they have this year when Inside Out 2 became the highest-grossing animated film of all time, and when you have studios producing arguably some of their finest ever work, such as this adaptation of the popular book series by Peter Brown. Parenthood is one of the most daunting yet rewarding journeys anyone could find themselves on. Even if you have never been through it yourself, you will find it hard not to be moved by this beautiful tribute to those who work tirelessly to bring us up from the moment we are born to the moment we leave the nest, especially if they are as dedicated to the job as Rozzum Unit 7134 (or Roz for short) is.

4. We Live in Time

review

Florence Pugh and Andrew Garfield, two of the UK’s popular actors, set the internet ablaze with their instant chemistry when presenting a couple of awards at the Oscars. That tiny glimpse of the rapport they had is fully on display here in this beautifully emotional story about one couple’s romance over the course of several years, while coming to terms with a devastating cancer diagnosis. A film, as the title suggests, reminds its audiences to cherish every moment they have. Pugh and Garfield are phenomenal in this film that will have you contemplating your life by the end, while also trying (unsuccessfully) to fight back tears.

Those who know me will know Florence Pugh is one of my favourite actors working today. So, getting the opportunity to meet her and have a selfie with her, along with my wonderful friends Katie and Kelechi, after the screening was truly special and a moment I will be forever grateful for. For that reason, this film will forever hold a special place in my heart.

3. Challengers

review

Luca Guadagino’s filmography doesn’t exactly shy away from sensuality, passion and seduction, and all three were on very prominent display in what is his best film to date. A film about the desire to be the best at what you do (in this case winning at tennis) combined with a complicated love triangle. A love triangle in which the passion and love they have for each other at the start, is replaced with a rivalry which only grows more complex, bitter, and increasingly nastier as the years progress. Josh O’Connor and Mike Faist are scintillating to watch as former friends turned opponents, but the film’s aces are unquestionably Zendaya’s outstanding performance and the irresistibly catchy score by Trent Reznor and Atticus Ross. Game, set and match.

2. The Iron Claw

review

Growing up, I was really into wrestling in the late ’90s/early 2000s when the likes of The Rock, Stone Cold Steve Austin and Triple H were big stars. Yet, despite this, I knew next to nothing of the tragic legacy of the Von Erich family and the legacy they left on the world of wrestling. A moving story of the power of brotherhood in the face of unrelenting physical demands to be the best in the business to ensure they leave a lasting legacy on the sport. Like all brilliant sports films, it doesn’t matter if you are a devout wrestling fan or have no interest in the sport, it pulls you in with its impactful family drama, entertains you with the brilliant recreation of the wrestling matches, and will leave you down and out for the count by the time the credits begin to roll. Incredible performances by all, with a career-best performance from Zac Efron.

And so my favourite film of 2024 is..

.

1. Dune: Part Two

review

I feel like I am beginning to run out of superlatives to describe what a master filmmaker Denis Villeneuve is. Adapting the world of Frank Herbert’s Dune was said to be an impossible task, but Villeneuve showed the passion he has for the source material and through some incredible world-building brought Arrakis to life in spectacular fashion. However, Part One was a mere prelude to what Villeneuve had in store as he takes the foundations laid by the first film and turbocharges them to deliver an enthralling second film that features Paul Atriedes learning the ways of the native Fremen before striking back at the Harkonnens for orchestrating the death of his father. Filled with some of the most dazzling cinematography I have ever seen, every single member of the cast rises to the challenge, especially Chalamet and Austin Butler’s utterly psychotic villain Feyd-Rautha, and the maestro Hans Zimmer’s score is just perfection. Desert power is a form of power that cinema has not yet seen, the ultimate power. Bring on Dune Messiah.

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And that brings the curtain down on my list of the best the big screen had to offer in 2024. Thank you for reading, especially if you read all the way through! What were your favourite films of 2023? 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

Conclave (2024)

Posted on December 8, 2024January 1, 2025 by Martin: Through the Silver Screen

**© Black Bear UK, Focus Features, FilmNation Entertainment and Indian Paintbrush**

Conclave – Film Review

Cast: Ralph Fiennes, Stanley Tucci, John Lithgow, Sergio Castellitto, Isabella Rossellini, Lucian Msamati, Carlos Diehz

Director: Edward Berger

Synopsis: After the death of the Pope, a cardinal is tasked with organising the vote to elect a new leader of the Catholic Church…

Review: In a year when many people worldwide have gone to the polls to cast their ballot in elections, Edward Berger’s follow-up to his Oscar-winning All Quiet on the Western Front, couldn’t be timelier. Like the outcomes of these general elections, the election of a leader for an institution like the Catholic Church – an important pillar of faith for millions – is highly consequential. While the process is conducted away from the eyes of the watching world, Berger swaps the trenches of World War I for the halls of the Vatican and peers through the black or white smoke, at one of the most secretive and oldest elections in human history.

The film opens with Cardinal Lawrence (Fiennes) pacing through the streets of Rome late at night, arriving at the Pope’s private chambers in the Vatican. There, he receives the solemn news that the Holy Father has passed away from a heart attack. As the Dean of the College of Cardinals, Lawrence is tasked with organising the papal conclave, the election process to select the new pope. As the election begins, four leading contenders emerge: the liberal Cardinal Bellini (Tucci), the socially conservative Cardinal Adeyemi (Msamati), the moderate Cardinal Tremblay (Lithgow), and the hardline traditionalist Cardinal Tedesco (Castellitto), who threatens to reverse decades of reform. As the election unfolds to determine the most powerful figure in the Catholic Church, startling revelations emerge, threatening to overshadow the process and could cause catastrophic damage to the Church’s reputation, if they became public knowledge.

In the same vein as the elections the public participates in, with politicians desperately looking to either attain power or hang onto it by any means necessary by appealing to their respective electorates, Conclave is a fascinating exploration of humanity’s innate and almost selfish desire for ambition and to obtain power whenever they can. These are traits you wouldn’t expect of religious men in the service of a higher being and the institution to which they have devoted their lives. Peter Straughan’s script, adapted from the book of the same name by Robert Harris, lays this for all to see as these four men desperately look to play their hands and outmanoeuvre their competitors. It is all the more difficult for Lawrence, who shares the same political mindset as Bellini but must position himself as neutral given his position as the one who is overseeing the election. Yet, he knows of the damage that would be dealt to the Church and the Papacy if someone like Tedesco ascended to the papal throne. All the while, as the election takes shape, the revelations that come to light cause Lawrence to doubt his faith in the institution to which he has devoted his entire life.

The hallways of the Vatican, featuring men in fancy garments writing some words on a bit of a paper to choose their next leader, might seem the most unlikely ground for a pulsating, edge-of-your-seat thriller. Yet, for a gripping 120 minutes, as agendas begin to shuffle, the scheming commences as support for the various candidates fluctuates as some uncomfortable truths are revealed. It never fails to be utterly captivating, in no small part due to the phenomenal performances across the board. As the cardinal at the centre of this, Fiennes has consistently had a consistently captivating screen presence across his 40-year career, and he is utterly masterful once again. He must balance the difficult task of remaining objective in the running of the conclave, while desperately trying to prevent the election of a pontiff that would in his mind, cause considerable damage to an institution that has already had plenty of issues to contend with that have damaged its standing with the public. While Bellini ideologically aligns with Lawrence, he emphatically rejects any desire to become Pope. However, he may find himself reluctantly drawn into it to prevent Tedesco, or the devious Tremblay from winning the election, the latter of whom may also have some secrets he desperately tries to keep hidden.

While these cardinals scheme, bicker and devise plots throughout the process, the nuns in the Vatican remain mostly anonymous and silent observers. This is until Sister Agnes (Rossellini) is called upon when a decades-old secret comes to Lawrence’s attention. Fleeting though her screentime may be, with every word or gesture, she makes the most of her screentime in no uncertain terms. Reteaming with Berger after their combined Oscar success, Volker Bertelman’s string-heavy score is enough to get your heart racing with its intensity as if there wasn’t fraught enough with the events of the election playing out before our very eyes. The brisk editing by Nick Emerson ensures the film’s pacing never lags while Stéphane Fontaine’s cinematography is with several scenes boasting such visual splendour, that they wouldn’t look out of place in the Sistine Chapel. 2024 has been a significant year for vying for power at the highest positions of government, perhaps more than some would have liked it to be, given the outcomes of certain elections. Yet, it serves as a stark reminder, that absolute power corrupts absolutely, and no man, religious or not, can hide from that inescapable truth.

Through the divine work of an impeccably acted ensemble, featuring some of the best performances of Fiennes’ illustrious career, who would have thought a film about the election of a leader of the Catholic Church could be so thrilling?

2020-2029, Film Review

The Apprentice (2024)

Posted on November 23, 2024November 23, 2024 by Martin: Through the Silver Screen

**© StudioCanal, Scythia Films, Profile Pictures, Tailored Films, Rich Spirit, AQuest Films, Head Gear Films, Metrol Technology, AC Films Inc., Wild7 Films**

The Apprentice – Film Review

Cast: Sebastian Stan, Jeremy Strong, Maria Bakalova, Martin Donovan, Catherine McNally and Charlie Carrick

Director: Ali Abbasi

Synopsis: Charting the rise of New York real estate businessman Donald Trump in the 1970s and 80s under the tutelage of a ruthless lawyer…

Review: If there is one name that everyone on planet Earth has become extremely familiar with in recent years, it would be Donald Trump. For years, he was the face of a reality TV business show billed as the “ultimate job interview” on the back of his career as a businessman. Yet this was a mere prelude to a successful run to become the most powerful person in the world, the President of the United States of America. An intensely divisive figure during his campaign and while in office, his first stint as the leader of the free world was tumultuous, to say the least, and ended in disgrace. Consequently, as he stands to be returned to the job once again, this biopic which depicts the beginnings of his career as a wealthy New York businessman couldn’t be timelier, or scathing in its assessment of the man who is once again poised to become the most powerful person in the world.

It is 1973, and while on a date at a restaurant frequented by the city’s wealthy elite, years before he ever uttered the words “You’re fired” on TV, Trump (Stan) meets the unscrupulous and uncouth lawyer and prosecutor Roy Cohn (Strong). With the federal government pursuing a lawsuit against his father’s business empire for racial discrimination, Trump recruits Cohn as his lawyer to get the lawsuit dismissed, using underhand means. Eager to move away from his father’s sphere of influence, Cohn takes Trump under his wing as the latter moves to strike out on his own and looks to develop a hotel at a derelict site in the city. Along the way, Cohn teaches Trump his three vital lessons to live life by: “attack, attack, attack”, “admit nothing, deny everything” and “always claim victory and never admit defeat”. The last of those feels particularly significant and ominous, given the circumstances in which he refused to concede defeat in an election, which resulted in a violent insurrection at the heart of the US government decades later.

Much like the central figure of this biopic, controversy has followed this film from the get-go, as one of its early funders reportedly attempted to stop it from being released. Further legal action even came from Trump’s legal team to prevent the film from ever being released and it also became the subject of an angry social media tirade from Trump himself (nothing new there then). With the days of his first stint as President still all too fresh in many people’s minds (as well as the events that followed following his 2020 election defeat) Gabriel Sherman’s screenplay wisely avoids his time at the Oval Office, and instead focuses on the dynamic between these two men and how Trump takes a leaf out of Cohn’s book in terms of being utterly ruthless and determined to let nothing stand in his way from achieving what he wants, including musing about a run for President in the future, which the film takes some very unsubtle hints to demonstrate, including what would become his campaign slogan. It is a sobering reminder of the rampant ego Trump has always possessed. Here is a man who you can show all the loyalty in the world, and yet he will not hesitate to cast aside anyone who gets in his way, even the man who mentored him.

To portray a polarising political figure, especially one revered by some and loathed by others, is a daunting challenge for any actor. While there have been many comedic portrayals of Trump over the years, Stan’s performance is firmly grounded in reality. Even though the story is set decades before most people outside of New York knew who he was, Stan illustrates that significant research has gone into his role. He captures Trump’s unique mannerisms and way of speaking in a manner that never feels like parody or mockery, all while depicting his callousness and desire for power above all else. Alongside him, Strong delivers an equally outstanding performance as Cohn, skillfully bringing forth Cohn’s thoroughly unlikable qualities that make viewers uncomfortable each time he appears on screen. Strong is no stranger to the cutthroat world of power struggles and backstabbing, having showcased his talent in HBO’s award-winning series, Succession. It is a testament to his acting skills that even while playing someone as monstrous and unredeemable as Cohn, Strong manages to add a layer of sympathy, considering the circumstances he faced towards the end of his life.

The concentration on the relationship between Trump and Cohn and how that unleashes the monster that became the leader of the free world does mean that the relationship between Trump and his first wife Ivana ( an underutilised Bakalova) is not given as much screentime as it perhaps could have. However, it does include an explicit scene based on a divorce deposition Ivana filed against her ex-husband, which she then later recanted. Whether factual or not, it is a further illustration of this man’s contemptible character and his clear misogyny, which was further demonstrated by the now-infamous Access Hollywood tape. One can argue that this biopic doesn’t reveal anything that wasn’t already known. While that may be true, it shines a light on the scruples (or lack thereof) of a man who stopped at nothing in his pursuit of power and serves as a reminder of who the man entrusted with one of the most important jobs in the world really is.

While it doesn’t have the bite or shocking new revelatory details one might have hoped from a biopic of one of the most controversial figures of the 21st century, The Apprentice packs plenty of punch thanks to the performances of Stan and Strong.

2020-2029, Film Review

Wicked (2024)

Posted on November 22, 2024November 18, 2025 by Martin: Through the Silver Screen

**© Universal Pictures and Marc Platt Productions**

Wicked – Film Review

Cast: Cynthia Erivo, Ariana Grande-Butera, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh, Jeff Goldblum

Director: Jon. M. Chu

Synopsis: A misunderstood young woman forges a friendship with a popular student at Shiz University in the land of Oz…

Review: There is a very good reason The Wizard of Oz is considered a timeless classic and an iconic work of cinema which has stood the test of time. More than three-quarters of a century since Dorothy and her friends travelled down that yellow brick road, its enduring themes of finding your courage and the power of friendship, combined with the memorable music (for which it won two Oscars) and the iconic red footwear adorned by its lead character, contribute to its legacy. It is no surprise that in the years since, there have been numerous expansions to the wonderful world of Oz in various forms, including the 1995 prequel novel “Wicked: The Life and Times of the Wicked Witch of the West,” which later inspired a musical. A musical that has been seen 65 million times in more than 100 cities in 16 countries. Popular, indeed, but the road from stage to screen can sometimes be tricky to negotiate. Fortunately, in the hands of Jon. M. Chu, the first part of this adaptation truly soars.

Adapting the first act of the musical, Galinda (Grande-Butera) arrives at Shiz University and soon becomes eager to impress the school’s Dean of Sorcery Madame Morrible (Yeoh). There she meets Elphaba (Erivo), the misunderstood daughter of the Governor of Munchkinland. Elphaba has possessed magical abilities from childhood, but is mocked and scorned by society due to her green skin. After the duo are forced to room-share while at university, they forge the most unlikely friendship. This leads them both to visit the Wizard of Oz in the Emerald City before their paths diverge forever into becoming The Good Witch and The Wicked Witch of the West respectively.

When you have had music and lyrics that have enchanted theatre audiences for more than 20 years, it shouldn’t come as a shock that the music composed for the stage by Stephen Schwartz has remained unchanged for the screen. Likewise, for the dialogue, however given this first half is confined solely to the musical’s first act, it allows Winnie Holzman and Dana Fox’s screenplay to devote considerably more time to exploring these characters and fully fleshing out their backstories, particularly Elphaba. Villains can so often be misunderstood souls who are driven to their wickedness by the cruelty and mockery inflicted upon them by others, and Elphaba is one such soul. Disliked by her father since birth, while being kept at arm’s length by her disabled sister Nessarose (Bode), means she is more withdrawn and reserved, but doesn’t allow herself to let the bullies wear her down.

Galinda, by contrast, is the complete opposite of Elphaba. The vainglorious queen of Shiz University, always with a couple of faithful minions in tow and looking to stand out from the crowd, with an excessively pink wardrobe that could give Barbie a serious run for her money. While she initially joins the rest of the students in mocking Elphaba, she eventually becomes sympathetic towards her and strives to improve her popularity among the rest of the university’s students. As well as possessing terrific singing voices, the film’s magic lies in the chemistry between Elphaba and Galinda, and Erivo and Grande deliver magical performances. The latter might not have the most extensive acting resume to her name, but she effortlessly brings Galinda’s vanity to the core, demanding to be the centre of attention at all times. Yet, there is an endearing quality to her that you can’t help but love, particularly in those tender moments between her and Elphaba.

Without a doubt, Erivo and Grande are the stars of the show, though they are wonderfully supported by a quirky cast of characters, including the effortlessly charming Prince Fiyero (Bailey), and the stern yet compassionate Madame Morrible. Yeoh, reuniting with her Crazy Rich Asians director, to wonderful effect. Additionally, no film set in the land of Oz would be complete without the Wizard himself, portrayed perfectly by Jeff Goldblum, who brings his signature quirkiness to the role. Chu is no stranger to musicals, having directed 2015’s Jem and the Holograms and 2021’s In the Heights. Despite the latter’s truly spectacular musical numbers, Chu really steps up to deliver some truly showstopping musical numbers that will have you singing the songs for days and weeks afterwards.

Adapting such a beloved piece of storytelling that has cast a spell and bewitched its way into the hearts and minds of legions of fans was always going to be a tough ask, as adaptations of musicals can often go very very wrong. Yet, Chu has brought to the screen a very timely story about being unafraid of who you’re meant to be, to stick to your guns and not be intimidated in the face of bullies. A magical experience in every sense of the word, and the good news is, this is only the first half. Grab your broomsticks and pointy hats, because we’ll be venturing down the yellow brick road back to Oz again this time next year.

Filled with truly magical musical numbers, enchanting costumes and sets, and spellbinding performances combine to deliver an enthralling cinematic experience for long-time fans of the Broadway play and newcomers alike. Expectations and gravity well and truly defied.

2020-2029, Film Review

Gladiator II (2024)

Posted on November 19, 2024December 1, 2024 by Martin: Through the Silver Screen

**© Paramount Pictures, Scott Free Productions and Lucy Fisher/Douglas Wick Production**s

Gladiator II – Film Review

Cast: Paul Mescal, Pedro Pascal, Joseph Quinn, Fred Hechinger, Lior Raz, Derek Jacobi, Connie Nielsen, Denzel Washington, Yuval Gonen, Matt Lucas, Tim McInnerny

Director: Ridley Scott

Synopsis: After his home is invaded and conquered by the Roman army, Lucius Verus is forced to follow in the footsteps of the legendary Maximus and become a gladiator…

Review: “What is your Roman Empire?” is a question you may have noticed has popped up a lot in interviews recently, thanks to a trend on social media in which men are asked how often they think about the Roman Empire. If one were to put this question to Sir Ridley Scott, the answer would probably be a fair bit due to the fact among the legendary director’s distinguished filmography, many could point to 2000’s Gladiator as his magnum opus, and for good reason. The story of a Roman General who is betrayed and sees his family murdered on the orders of a corrupt emperor, then becomes a gladiator to seek vengeance, in this life or the next, has stood the test of time for its epic scope, an incredible array of characters, enthralling action sequences, and one of maestro Hans Zimmer’s greatest scores of all time. After nearly a quarter of a century, the Roman Empire evidently wasn’t far from Scott’s mind because, like a triumphant gladiator, he returns to the Colosseum, in thrilling style.

Sixteen years after the death of Maximus in the arena following a personal bout with his uncle Commodus, Lucius Verus, going by the alias “Hanno”, lives in the Roman province Numida with his wife Arishat, a far cry from his early life by his mother Lucilla’s side in preparation for a very regal future. In the years since, Lucius’s grandfather Marcus Aurelius’s dream that was Rome is a distant memory, with the twin Emperors Geta (Quinn) and Carcella (Hechinger) presiding over corruption and political turmoil. This has left some in the Roman army, such as General Acacius (Pascal) increasingly disillusioned with their rule. When his home is conquered by the Roman army, Lucius follows in the footsteps of Maxiums and becomes a gladiator after being sold into slavery. He soon comes to the attention of former slave Macrinus (Washington) who senses Lucius’s rage and looks to offer him a path to satisfy the rage he has against those who invaded his homeland and murdered his family.

It’s remarkable that even at 86 years old, Ridley Scott shows no signs of slowing down and continues delivering spectacular films, particularly in the swords-and-sandals and historical epic genres, in a way few directors can match. However, creating a sequel to such a beloved and iconic masterpiece is undoubtedly a daunting and risky endeavour for this legendary director. Reteaming with his Napoleon screenwriter, David Scarpa’s screenplay wisely chooses to follow the narrative beats of the original. In this continuation, the protagonist experiences a significant loss, which drives him to channel his grief and intense rage against those responsible for inflicting great pain, for the loss of those he held dear and for those who cost He takes his vengeance to the Great Colosseum of Rome, where he must fight in several bloody battles to the death, while trying to convince anyone who will listen of his grandfather’s dream. However, as Lucius will soon find out, the depravity that went on while his uncle held the throne is nothing compared to what has been allowed to unfold in the nearly two decades since under the reign of the two men who sit on the throne that by all rights, should have been his.

Like a fatal blow in the Colosseum, the film’s powerful central message – that will strike deep and echo in eternity – lies in its damning indictment of modern-day politics. In recent years, the world has seen numerous figures rise to power on the back of populist rhetoric. When these charlatans rise to power, with their unchecked egos demanding loyalty from anyone and everyone while never giving anything in return, they leave considerable damage in their wake and show little to no thought or consideration for the harm they have inflicted with their arrogance and pomposity. It serves as a damning reminder of what can happen when such dangerous and unqualified demagogues are allowed to assume positions of power.

Such political chaos and turmoil allow for some savvy and cunning figures to exploit the corruption to get ahead, and this is where Macrinus thrives. Washington, the legend that he is, is clearly having a ball with this role and he captivates every time he’s on screen, so much so it matters not that he is speaking with his natural accent. Filling Maximum’s armour is a tough ask, but Lucius’s arc makes for a compelling one, and Mescal gives a suitably wounded and gritty performance, his anger and fury with those in power never too far from the surface. Meanwhile, Quinn and Hechinger are suitably deranged and loathsome as the maniacal emperors, channelling Commodus’s wickedness and being accompanied by a pet monkey, as you do.

Some of the action scenes in the original could very easily lay claim to some of the best action of Scott’s long and glittering career as a director. So how does the octogenarian director top what he accomplished 24 years ago, by putting the history book to the sword and refusing to give a damn whether or not the events depicted in the Colosseum have any foundation in historical fact. Battles with manic baboons, and rhinos, and filling the Colosseum with water to recreating a great naval battle. It’s all utterly bonkers and wild, how can you not be entertained and give a thumbs up and watch the carnage and bloody battles unfold on screen in all their bloody glory. Yet, given the film’s exorbitant $250m budget, some of the VFX looks lacklustre and merits a thumbs down. Matching the lofty standards set by the first film was always going to be a tall order, but with Scott committed to delivering swords to the wall action and the political machinations that are all too relevant today, gives this sequel the strength and honour it needs for the audience to say: We who love Gladiator salute you, Sir Ridley.

It could have been an almighty risk to return to the Colosseum 24 years after Gladiator conquered everything before it, but with a scathing critique of modern-day politics and a memorable Denzel Washington performance, this sequel will leave you more than entertained.

2020-2029, Film Review

Anora (2024)

Posted on November 2, 2024February 17, 2025 by Martin: Through the Silver Screen

**© Neon, FilmNation Entertainment and Cre Film**

Anora – Film Review

Cast: Mikey Madison, Mark Eydelshteyn, Yura Borisov, Karren Karagulian, Vache Tovmasyan, Aleksei Serebryakov

Director: Sean Baker

Synopsis: A young sex worker from Brooklyn begins a whirlwind romance with an extremely wealthy client…

Review: The filmography of Sean Baker has provided audiences with a usually fascinating and insightful glimpse of the pursuit of the American dream from the perspectives of people on life’s periphery who are often looked down on by certain echelons of society. An LGBT sex worker, a working-class family struggling to make ends meet, and a washed-up porn star trying to recapture his former glory. While the latter may have left a lot to be desired in how its lead character went about his ambitions, there’s an enduring appeal in seeing people looking to make their dreams become a reality in a society which promises anyone and everyone has the potential to succeed irrespective of their background, even more so when these people are marginalised. For his latest film, Baker returns to the world of sex work, in a vibrant and hilarious ride.

Opening with a line of sex workers entertaining their clients, set to the backdrop of ‘Greatest Day’ by Take That (an absolutely perfect needle drop), we meet Anora (Madison), or Ani as she prefers to be known. Ani lives in Brighton Beach in Brooklyn and works in an exclusive strip club in Manhattan, frequented by some extremely wealthy clientele. One day, as Ani is the only employee at the club who can speak Russian, she is introduced to Ivan Zakharov (Eydelshteyn), the son of a Russian billionaire. It doesn’t take long for Ivan, or Vanya as he prefers to be known, to become infatuated with Ani and he soon pays for several private encounters with her, which eventually leads to the two of them beginning a relationship that culminates in a spur-of-the-moment wedding in Las Vegas. Ani, with a beautiful ring on her finger and all the money in the world, is living in the most idyllic fairytale she could imagine. This is until everything comes crashing back down to Earth when word of this impromptu marriage reaches the ears of Ivan’s parents, who set out to do everything in their power to have the marriage annulled.

No matter who you are, everyone needs to find a way to earn a living, and sometimes sex work is the form of employment people choose as their source of income. Yet, even in the modern era, there is a frankly ridiculous taboo that comes with sex work that some may see as objectification. Baker humanises these people as people just looking to get by, particularly as they are ostracised by society due to the sexual nature of their jobs. While he wildly misfired with his previous film due to the predatory nature of a washed-up porn star’s quest to recruit an underage girl into becoming a sex worker, he strikes gold with his lead character this time around.

Having had memorable supporting turns as a Manson family member in Once Upon a Time… In Hollywood and 2022’s Scream, this is Madison’s moment to shine, and it is an opportunity she seizes in spectacular style as she is in scintillating form with a tremendous leading performance. Due to her line of work, she is endlessly charming and self-assured when it comes to wooing the club’s clients. Yet when she is with Ivan, it allows her to be more open and relaxed with the man she believes she will be with for the rest of her life. The romance between them could easily feel forced, but the chemistry between both actors is powerful and genuine. until her romantic bubble emphatically bursts in the latter half of the film when her fairytale marriage is not quite the happy ever after she thought it was going to be. Madison is the unquestioned star of the show, every princess in their fairytale needs a Prince Charming, and Eydelshteyn excels in bringing Vanya’s party animal antics to the core. Here is a kid who is determined to do whatever he can to cling to the life of playing video games, making love to his wife, and not having any responsibilities. Who wouldn’t want that lifestyle when you have that sort of money?

However, all of the fairytale and briefly blissfully wedded romance is rudely interrupted after Vanya’s furious father orders some of his enforcers to travel to the U.S to get the marriage terminated, which is made all the more difficult by Vanya’s decision to literally do a runner and leave Ani in the hands of his father’s goons. It is absolute chaos as the henchmen are left with no choice but to drag Ani along on a wild goose chase in the Big Apple, to locate one person in a city filled with more than eight million people. The heavy drama of the situation, combined with the hilarity of international henchmen desperately wandering around the city, while trying to act imposing and tough with anyone they come across, is a difficult balance to strike. It is a fine line that is walked almost perfectly, although you can’t help but feel as entertaining and chaotic as this frenzied search is, the film’s fast-paced and frantic energy wears off in the third act.

As a result, the film begins to lose momentum in its final stages. However, despite this minor issue, Baker continues to highlight and give a voice to those who through no fault of their own, find themselves marginalized in society. The Palme d’Or victory at the Cannes Film Festival suggests that this could be, to paraphrase the lyrics Take That, the greatest film of Sean Baker’s career.

With a star-in-the-making leading performance from Madison, Anora is an uproarious and compassionate depiction of an outsider’s perspective of the American dream, while flipping the classic fairytale story on its head.

2020-2029, Film Review

The Wild Robot (2024)

Posted on October 20, 2024December 31, 2024 by Martin: Through the Silver Screen

**© DreamWorks Animation and Universal Pictures**

The Wild Robot– Film Review

Cast: Lupita Nyong’o, Pedro Pascal, Kit Connor, Bill Nighy, Stephanie Hsu, Mark Hamill, Catherine O’Hara, Matt Berry, Ving Rhames

Director: Chris Sanders

Synopsis: After being shipwrecked on a deserted island, a robot must learn to adapt to its new surroundings and is put to the test when it has to care for an orphaned baby chick…

Review: Our world is home to a diverse range of fascinating wildlife and plant life. This may sound like something you’d hear in a nature documentary narrated by Sir David Attenborough (try reading that first sentence in his voice), but as those series demonstrate, the wonders of nature can be discovered anywhere on this magnificent planet. Since the dawn of humanity, we have explored and uncovered the marvels that the natural world has to offer. Now, imagine yourself as an outsider who has never encountered these wondrous sights or experienced nature’s beauty for the first time. You are a robot programmed to assist humanity, only to find yourself surrounded by an assortment of wildlife. The challenge of assimilation and finding your place in the world is beautifully captured in one of the year’s most compelling films.

Set on an unnamed island, the Universal Dynamics ROZZUM Unit 7134 (Nyong’o) washes up on the beach after a storm. Upon booting up, Roz, as she quickly becomes known, attempts to adapt to her new surroundings and offers to assist the island’s inhabitants. Unfortunately, the locals are immediately hostile towards her arrival and reject her help. After Roz comes under attack from a frightening predator, she inadvertently destroys a goose’s nest, resulting in the death of the mother goose and leaving only a single egg remaining. Overcome with guilt, Roz decides to raise the surviving gosling, whom she names Brightbill until he is ready to join the rest of his kind for migration. Although she admits that this task is “not in her programming,” Roz becomes determined to work tirelessly until Brightbill can swim, eat, and fly, and gain the strength to take his place among his own kind.

As the relationship between humanity and machines, specifically artificial intelligence (AI), is increasingly scrutinized, The Wild Robot offers a fascinating perspective on how a robot might interact in a natural environment devoid of human presence. Adapted from the book series by Peter Brown, having beautifully brought to life the journey of one boy who learns how to train his dragon, Chris Sanders’ script delves deeper than just the exploration of nature’s struggle against AI. In this touching and heartfelt story, Roz often finds herself at odds with her programming as she works to protect Brightbill, a gosling vulnerable to other animals in their habitat. This conflict only strengthens Roz’s determination to help Brightbill gain acceptance in his community. Throughout their journey, Roz and Brightbill encounter various unique creatures, including Fink (Pascal), a sly and cunning fox with a peckish who sees Brightbill as his prey. However, Roz’s persistence and determination to raise Brightbill as her own leaves a lasting impression on Fink, and Pinktail (O’Hara) and her legion of adorable little babies.

Even if someone has never had children, anyone and everyone will be acutely aware of the difficulties and challenges that come with parenthood and raising children, because let’s be honest, we’ve all done things when we were young with the sole intention to annoy our parents. Therefore Roz’s battle to become a mother, something she has no prior experience of, will undoubtedly strike a chord with those undertaking the most difficult task any living creature could put themselves through. Though parenthood is an immensely difficult challenge, it has its own rewards and the film chooses to celebrate those as well as a pertinent reminder of the healing power that community and togetherness can bring, because as Roz herself puts it: “Sometimes, to survive, you must become more than you were programmed to be.”

Speaking of Roz, a robot is not usually the most expressive and emotional being, on account of it being a robot. It therefore takes an extremely talented actor to bring such warmth and emotion to a life form designed with one specific purpose in mind. In Academy Award winner Lupita Nyong’o, you have the perfect actor to bring those qualities and more. Nyong’o radiates warmth and compassion, even though it goes completely against what the nameless corporate bigwigs at Universal Dynamics clearly intended Roz to be. Nyong’o is the unquestioned star of the show, but she is given excellent support in a glittering voice cast from the likes of one the internet’s favourite personalities, Pedro Pascal who is equally charming and delightful as Fink. The bond between a parent and their child can be a loving one, but it is usually not without its fraught moments, and Kit Connor’s voice performance as Brightbill captures this balance of that very complex and loving relationship that develops between himself and his surrogate mother.

With the likes of Sony’s Spider-Verse films, and last year’s Puss In Boots: The Last Wish, the bar for high-quality animation has been considerably raised in recent years by breaking new ground in what audiences thought possible, as well as combining 2D and 3D styles. Sanders and the animation wizards at DreamWorks have outdone themselves here, with utterly breathtaking visuals that feel so lifelike and realistic, if you didn’t know any better, also feel like they could easily have been pulled straight from one of those nature documentaries. In an increasingly hostile and chaotic world, if an outsider like Roz can against all odds, go against her programming and find her place in the world and work with the community around her, a lesson for all of us to take heed to.

Beautifully animated, with a powerfully resonant and emotional message at its core, Roz and her array of furry friends will charm their way into your hearts and never let go.

2020-2029, Film Review

Joker: Folie à Deux (2024)

Posted on October 6, 2024October 6, 2024 by Martin: Through the Silver Screen

**© Warner Bros Pictures and DC Studios**

Joker: Folie à Deux – Film Review

Cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz, Steve Coogan, Leigh Gill

Director: Todd Phillips

Synopsis: Two years after the events of the first film, as he prepares to go on trial for murder, Arthur Fleck meets fellow Arkham inmate Harleen ‘Lee’ Quinzel…

Review: In what was an incredible year for film, there were fewer films released in 2019 which caused a frenzied debate as Todd Phillips’s Joker. The winner of the Golden Lion at the Venice Film Festival, and yet, the controversy which surrounded the film in the run-up to its release was thunderous and widespread, amid fears that it would spark violence and unrest. Despite its very apparent nods to the filmography of Martin Scorsese, the film rode out those fears, taking over a billion dollars at the box office and becoming the highest-grossing R-rated film of all time (a record it held until only very recently) and bagging two Academy Awards. Amid the very divisive reactions, ultimately this version of the Clown Prince of Crime had the last laugh. At least he would have done, had the filmmakers resisted the urge to return to this dreary interpretation of Gotham and make a markedly inferior sequel.

It has been two years since failed comedian Arthur Fleck (Phoenix) violently killed several people, including three Wall Street businessmen, a co-worker, and a prominent talk show host, the latter taking place live on national television, all while adopting the mantle of the Joker. Now imprisoned at Arkham State Hospital, Arthur is awaiting to stand trial for his crimes and at the mercy of Arkham’s guards, who take great joy in taunting him. He soon meets Harleen “Lee” Quinzel (Gaga), and the two begin a bad romance, (rah-ah-ah-ah!) with Lee telling Arthur that they will build a great life for themselves once he is free. Meanwhile, in preparation for his trial, Arthur’s legal counsel Maryanne Stewart (Keener) is aiming to convince him that he has dissociative identity disorder and that it was this Joker character that committed these murders, all this is interwoven with musical numbers which attempt to explore Arthur’s mindset, because apparently a song and dance is a better outlet than talking about it?

How do you solve a problem like Joker? This is presumably the question on the minds of Phillips and Scott Silver when they set about writing this follow-up. The short answer is you leave it the hell alone as not every film needs a sequel, but clearly money (especially $1bn) talks. While at least this does away with the very overt references to a superior filmmaker’s work, the decision to go down the musical route for such serious discussions about mental health and the state of Arthur’s mind is unquestionably bold. However, boldness counts for nothing if you don’t fully commit to this and go for broke and commit to batshit musical numbers. Even with a singer as talented as Gaga, the musical numbers are flat and unremarkable, and offer nothing substantive as a means of dissecting Arthur’s supposed identity crisis and both his and Lee’s mental state. Folie à Deux (or shared delusion/madness) is an apt subtitle as these are two souls whose delusion knows no bounds, but it’s a shame that the substance of the script is about as shallow as it could possibly get, and its exploration of mental health is superficial if we’re being kind, and bordering on lazy if we’re not, which we absolutely should not.

For all of the script’s many faults, with another being a courtroom drama that should be gripping and intense as Arthur is held accountable for his actions, even if that is half-baked and farcical in its execution. At least Joaquin Phoenix delivers another compelling performance, even though the material he’s been given is far beneath an actor of his immense capabilities. Gaga has proven she has the acting chops to go toe to toe with some of the biggest names in the business, and she does so again here. Her take on this iconic character is much more softly spoken and warmer than some of her immediate predecessors. However, she doesn’t get enough screen time to truly excel and leave a lasting impression. To underutilise her musical talents, in particular, is an especially egregious sin, among the many many sins committed through a two-hour and twenty-minute run time, with severe drags in the pacing.

What is considerably less sinful is the sterling work of returning cinematographer and composer Lawrence Sher and Hildur Guðnadóttir, the latter of whom won an Oscar for the first film. The scenes in Arkham are aptly dim and grey, to reflect such a miserable place. They stand as a perfect contrast to the vibrantly lit musical moments, while Guðnadóttir again deploys a haunting string-heavy to capture the gloominess of Arthur’s predicament when he’s not having a musical interlude, which ultimately feels like a waste of Guðnadóttir’s talents. Phoenix’s phenomenal performance helped to elevate the first film from its obvious influences to provide audiences with a portrayal of one of cinema’s iconic villains that for better or for worse, got people talking. However, this hollow sequel offers absolutely nothing substantial and has absolutely nothing to say. No one is laughing anymore, and it is time for this clown to exit the stage once and for all.

Even with the incredible talents of the production design and technical team, their efforts and excellent performances from Phoenix and Gaga, are all in service of dull musical numbers and a script devoid of anything meaningful to say.

2020-2029, Film Review

Beetlejuice Beetlejuice (2024)

Posted on September 6, 2024 by Martin: Through the Silver Screen

**© Warner Bros and The Geffen Company**

Beetlejuice Beetlejuice – Film Review

Cast: Michael Keaton, Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega, Willem Dafoe

Director: Tim Burton

Synopsis: Decades after the events of Beetlejuice, three generations of the Deetz family return to Winter River, where a family member discovers a portal to the afterlife. This enables the return of the ghost with the most, Betelgeuse himself…

Review: In the vastly idiosyncratic filmography of Tim Burton, words like freaky, wacky, quirky, eccentric, and macabre often come to mind. Though, perhaps none captures these qualities more than the 1988’s Beetlejuice. A story about death and the afterlife had no business being as charming, bizarre and witty as it was, with a glorious scene-stealing performance from Michael Keaton as the titular character, despite only 17 minutes of screentime. An impressive achievement for what was Burton’s second feature film and represented the start of a long and lasting collaboration between Burton and Winona Ryder, including a certain Caped Crusader in the case of the former. Years after being banished to the afterlife (Betelguese, not Batman), the Juice is let loose for a legacy sequel that earns its stripes and does not deserve to be banished to purgatory forevermore.

It has been over 30 years since Lydia Deetz (Ryder) was almost married to a sleazy bio-physicist. Despite him being out of her life, Lydia is haunted by visions of the ghost with the most. A family tragedy brings Lydia, her stepmother Delia (O’Hara), and her daughter Astrid (played by Ortega) back to Winter River. During this time, Lydia attempts to reconnect with Astrid, who initially shows little interest. However, Astrid’s curiosity is piqued when she discovers an old model of the town in the attic. Their efforts to build a relationship seem to be making progress until a family member says THAT name three times, Betelgeuse is let loose on the world of the living, and he has some unfinished business to take care of.

When a significant amount of time has passed between films in a franchise, there is always the risk that the sequel will become nothing more than nostalgia bait for fans of the original and will lean too heavily into that, and forget to tell a story worth telling. A dangerous game, which this sequel thankfully is not interested in playing. In the years since, Lydia is the face of a TV show as a psychic mediator, trying to juggle a relationship with her producer Rory (Theroux), while Astrid is struggling to come to terms with the loss of her father. Meanwhile, in the land of the ghouls, Betelgeuse is up to his usual tricks in an attempt to win Lydia back, all while Dolores (Belluci) is on an intensely personal mission to track Betelgeuse down and will stop at nothing until she finds him, but not before she has to (literally) put herself back together. Burton’s gothic style is fully turned up to the maximum and he is absolutely in his element.

Speaking of people in their element, Keaton in the titular role is once again an absolute joy of chaotic energy, he slips back into that stripy suit effortlessly like he never took it off. Ryder and Ortega, the latter of whom you get the spooky sense might just be on a long journey as another frequent Burton collaborator, are a very effective pairing. Even though Astrid feels unhappiness and resentment towards her mother, they work together as schemes perpetuated by those on the other side threaten to have dire consequences for them both. Dafoe is fun, if a little underutilized as a deceased actor who really enjoyed playing a cop when he was alive. However, no one is more underserved by this sequel than Belluci. She makes her presence known with what precious little screentime and lines she has, but it is a real squandered opportunity that her backstory wasn’t further fleshed out.

Alfred Gough’s and Miles Millar’s script, from a story they wrote with Seth Grahame-Smith, strives to differentiate itself from its predecessor by spending more time in the Land of the Dead, rather than the living. As undeniably cool and enjoyable as it is to see this bizarre and unique portrayal of what life is almost certainly nothing like once we leave this mortal coil, there are so many different strands to this story at play. They have all been thrown into one big gigantic melting pot and ultimately, too many plot lines spoil the slimy afterlife broth, as it doesn’t always fully cohere and the plot becomes a little bit messy and unfocused.

Nevertheless, the film boasts immaculate production design, a preference for practical effects for as many scenes as possible, and stellar work from the hair and make-up teams. All these elements, combined with, Danny Elfman’s memorable score, give this sequel enough juice to go wild and delight and horrify the audience in equal measure. Time will tell if Burton decides to venture back into the zany world of the undead to complete the trilogy, perhaps saying Beetlejuice’s name three times will do the trick, although please do so at your own risk.