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.

Despite offering some entertaining moments, Rebirth fails to offer anything new and instead regurgitates well-worn tropes from previous films. A franchise that once roared has become stale, toothless and in need of fossilisation.

2020-2029, Film Review

From the World of John Wick: Ballerina (2025)

Posted on June 9, 2025July 14, 2025 by Martin: Through the Silver Screen

**© Lionsgate, Summit Entertainment, Thunder Road Films and 87Eleven Entertainment**

From the World of John Wick: Ballerina – Film Review

Cast: Ana de Armas, Anjelica Huston, Gabriel Byrne, Lance Reddick, Norman Reedus, Ian McShane, Keanu Reeves

Director: Len Wiseman

Synopsis: After being trained in the traditions of the Ruska Roma organisation, an assassin sets out on a quest for revenge after her father was murdered…

Review: It is incredible to think that a film about a man who embarks on a violent and personal mission to exact revenge on the goons who killed a puppy, a gift from his beloved late wife, could spawn such an enthralling and gritty action franchise. Taking a close look at the murky criminal underworld and a network of assassins with hotels all around the world for these assassins to rest in between jobs, all while allowing its titular hero to find endlessly creative ways to eliminate those who wronged him. Yet, after four films that have shot and stabbed their way to a billion dollars at the worldwide box office, and a spin-off TV show about the New York Continental. However, the time has come for the passing of the torch and for a new central figure to pirouette her way to take the limelight, that the Baba Yaga has carried so successfully.

Set between the events of John Wick: Chapter 3 Parabellum and Chapter 4, Eve Macarro (de Armas) is a ballerina turned assassin who has been training in the traditions of the Ruska Roma for over a decade after her father was murdered when she was a young girl. After a decade of gruelling training, Eve graduates from the programme and is sent out on missions by the Ruska Roma’s uncompromising and strict director (Huston). Yet, the whole time, the thought of getting back at those who were responsible for her father’s murder is never far from her mind. When she comes across a clue that could lead her to them, she defies the director’s orders and sets off on her quest for revenge, and no one is going to stand in her way from getting to the bottom of who killed her father.

Anyone who saw 2021’s No Time to Die will know that when de Armas’s CIA agent Paloma meets Bond to infiltrate a meeting of the nefarious SPECTRE and fend off their goons, it delivered one of the film’s most exhilarating sequences. Despite a scandalously brief amount of screentime, she certainly left her mark on the franchise, and probably several of those SPECTRE goons, when she kicked their arses. Opportunities arose for her to develop that impressive turn alongside 007, but they never quite materialised. Thankfully, this is the one that doesn’t waste her talent and, much like Mr Wick, allows her to showcase her incredible action skills and get inventive in how she takes down her enemies. Flamethrower? Check. Grenades? Check. Ice skate blade? Check. Hell hath no fury like a woman on a deeply personal mission of revenge, and de Armas commits to the physicality of the role and does the majority of her own stunts in tremendous style.

The Wick universe is synonymous with slickly directed and stylish action scenes, where bad guys are dispatched in a violent and brutal fashion. Even with some reported reshoots helmed by franchise veteran Chad Stahelski, Len Wiseman brings an experienced hand to them. Yet for a female-led spin-off, it is a massive missed opportunity to not have a woman assume the responsibility of director. Shay Hatten’s script is surface-level at best when it comes to providing Eve with a sufficient amount of depth beyond her mission. You want to root for her, given the personal nature of her quest for revenge. Despite slotting in seamlessly as a spin-off to the underworld established by the first four John Wick films, the script does her a disservice, as she is explicitly told to “fight like a girl” by Ruska Roma teacher Nogi (Duncan-Brewster).

In a world where numerous badass female assassins have gone toe-to-toe with their male counterparts, and especially given what we know de Armas is capable of as an action star, it’s counterproductive and works against establishing Eve as a force to be reckoned with in this universe. This is not something she explicitly needs to be told when preparing for her missions. Perhaps a female director would have enabled the action to stand proudly on its own two feet, but instead, it cannot escape the shadow of Keanu Reeves’ legendary hitman. Speaking of Mr Wick, his appearance here could have been nothing more than a gratuitous cameo for the sake of nothing more than fan service, but he does serve a purpose in Eve’s revenge mission against the Chancellor (Byrne). An antagonist for Eve to confront for the pain he’s caused her, but he could have been so much more and is ultimately given paper-thin depth and development and pales in comparison to the villains of the John Wick films.

Checking back in to this brutal world of legendary hitman and bloody revenge is always a welcome one, especially as it represents our final chance to bid farewell to the late Lance Reddick as the concierge Charon. However, despite de Armas’s best efforts to twirl, shoot, and stab her way through as many bad guys as she can, as entertaining as these moments are, they don’t quite reach the heights of the films that have come before it. Still, there is definitely room for further expansion, and hopefully Eve Macarro will get her chance in the future to establish herself as a force to be reckoned with in the same breath as the Baba Yaga.

Ballerina is at its most exhilarating when Ana de Armas is tearing through bad guys through any means at her disposal, but ultimately, the spin-off doesn’t quite hit the heights set by the previous entries in the franchise.

2020-2029, Film Review

Mission: Impossible – The Final Reckoning (2025)

Posted on May 26, 2025June 10, 2025 by Martin: Through the Silver Screen

**© Paramount Pictures, Skydance Media and TC Productions**

Mission: Impossible – The Final Reckoning – Film Review

Cast: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Esai Morales, Pom Klementieff, Shea Wigham, Greg Tarzan Davis, Henry Czerny, Angela Bassett, Hannah Waddingham, Tramell Tillman

Director: Christopher McQuarrie

Synopsis: Two months after the events of Dead Reckoning, the IMF continue their mission to prevent the AI known as The Entity from unleashing global chaos…

Review: “Your mission, should you choose to accept it.” Ever since this iconic line was first uttered in the original Mission: Impossible film in 1996, it has been quite an incredible journey over the past three decades. Eight globe-trotting missions, some truly death-defying and insane stunts, and over $4bn at the worldwide box office— all largely due to the extraordinary tenacity and commitment of the man who has been at the heart of it all from the very beginning: the one and only Tom Cruise. He is someone who has always worked his hardest and has never stopped running (literally), in his bid to entertain the audiences. However, there eventually comes a point where the time is right to close the curtain on a franchise. Now, after the events that were set in motion by Dead Reckoning, Ethan Hunt and the Impossible Mission Force take their (supposed) final bow.

It has been two months since the IMF became aware of the existence of the sentient and nefarious AI known as the Entity, which has since made itself known to the world, causing complete and total havoc for governments across the world by taking control of the nuclear arsenals of some of the most powerful nations. With time running out before the AI causes a devastating global catastrophe, the IMF learn of the existence of a software that could neutralise the Entity. With the fate of the world as we know it at stake, as Ethan himself tells the President of the United States, Erika Sloane (Bassett), “I need you to trust me, one last time”. With the stakes somehow higher than ever before, Ethan and his crew embark on a mission to prevent the villainous Gabriel (Morales) from getting his hands on the AI.

There comes a point, even when you have had a great a run as Mission has, that the time will eventually come for the franchise to take its final bow, one last mission to accept if you will. Ever since taking the reins with Rogue Nation, Christopher McQuarrie and the age-defying star that is Tom Cruise have crafted some of the best action cinema, with the latter’s commitment to putting Ethan in perilous predicaments to deliver spectacle on a truly epic scale. Unfortunately, McQuarrie and Erik Jendresen’s script is bogged down by a bloated and extremely slow first act that delivers a mountain of exposition and is on its own mission to recap every film that has led to this mission. It comes across as completely redundant, given that the audience will have more than likely been with Ethan since he first accepted his mission back in 1996, and it puts an unnecessary drag on the film’s nearly three-hour runtime.

Furthermore, in the same vein as its predecessor, it is evident that McQuarrie and Cruise were so laser-focused on the stunts and how they would be accomplished that the script was relegated to the realm of an afterthought, serving merely as a vehicle for some jaw-dropping stunts. In doing so, it gives long-time Mission stalwarts, such as Simon Pegg’s Benji and especially Ving Rhames’ Luther with not a great deal to do beyond their usual supporting roles as long-time friends of Ethan. They frankly deserved far better, given how they have been key members of the team for so long. Furthermore, even the newer members of the team, such as Hayley Atwell’s Grace and Pom Klementieff’s Paris, are also underutilised, all the more disappointing given their memorable introductions in Dead Reckoning. Given the increasing capabilities that humanity has been seeing with the rise of artificial intelligence, there is a point to be made about how this technology may one day bring the world to its knees and cause unprecedented havoc. That being said, if you break it down for even a minute, the plot is so ridiculous that it doesn’t make one iota of sense, and Gabriel does not leave a lasting impression as the antagonist.

What does not disappoint is Tom Cruise, because when does he ever let us down? When you consider the truly staggering stunts he has managed to accomplish over the years, from climbing the world’s tallest building, to hanging off an aeroplane mid-flight and riding a motorcycle and parachuting off a cliff? Surely, he can’t pull off anything more jaw-dropping than that? Well, leave it to him to continue to find new ways to make it his mission to laugh in the face of death with two truly set pieces, with one involving a deep-sea dive that might make people discover a fear of deep water, or thalassophobia. From one end of the spectrum in the deep depths of the ocean to the skies above us, as his other mind-boggling stunt is another stunt involving biplanes, with Hunt literally hanging off them and a terrifying drop back to earth. It will set your heart rate soaring, and your palms will sweat profusely. It truly has to be seen to be believed.

Since the first fuse was lit all those years ago, it has been a wild and exhilarating ride across those nearly three decades. Eight missions, and some truly nail-biting and tense action set-pieces. The impact that Cruise has had on cinema as a whole is immeasurable, and we can be immensely grateful for everything he has put into this series. Time will tell if indeed this is the final mission Ethan Hunt and the IMF will accept, but if it is, it is not the explosive bang it would have hoped for.

A confoundingly dull first act of flashbacks threatens to derail the mission before it really gets going. However, once the film moves past this point, it hits top running speed and never looks back.

2020-2029, Film Review

Sinners (2025)

Posted on April 22, 2025August 12, 2025 by Martin: Through the Silver Screen

© Warner Bros Pictures and Proximity Media

Sinners – Film Review

Cast: Michael B. Jordan, Hailee Steinfeld, Miles Caton, Jack O’Connell, Wunmi Mosaku, Jayme Lawson, Omar Benson Miller, Li Jun Li, Delroy Lindo

Director: Ryan Coogler

Synopsis: Looking to leave their troubled lives behind them, twin brothers look to start a news business in their hometown. However, they soon discover that a sinister presence is waiting to welcome them back…

Review: Ever since Ryan Coogler made his directorial debut with the harrowing Fruitvale Station, his career has only gone from strength to strength. A fantastic re-invention of the Rocky franchise and leaving his mark on not one, but two Marvel Cinematic Universe films. The first of which became the first MCU film to win Academy Awards, and the latter was made in the most unimaginably difficult circumstances following the tragic passing of Chadwick Boseman. Throughout Coogler’s journey to becoming a household name, Michael B. Jordan has been with him every step of the way. Their fifth collaboration takes them both into uncharted territory, a pulsating edge-of-your-seat descent into the supernatural world of horror.

Deep in the Jim Crow south of the United States, twin brothers Smoke and Stack (Jordan) have returned home to their home town of Mississippi after working as prohibition gangsters in Chicago for a certain Al Capone. Upon their return, they set about acquiring a property and turning it into a juke joint, while simultaneously seeking to drum up interest among the town’s residents ahead of the opening night. With the opening night in full swing, the drinks flowing and the blues music ringing out, it soon becomes clear that there is an ominous and foreboding presence terrorising certain members of the community. Over the course of one night, what started as a party becomes a desperate and bloody fight for survival against this menacing threat.

Now, depending on what marketing material you might have seen, you may or may not be aware of the exact nature of this supernatural threat. So, for the benefit of those who may not know, the nature of the evil threat at the centre of this shall remain a mystery. He may have worked within the confines of the well-oiled MCU machine for his last two films, but there was never any doubt that Coogler stamped his authority over those two films with deeply personal and powerful themes that resonated with audiences worldwide. A delve into the world of the supernatural, and this mysterious presence that is terrorising this town, is also very well-trodden. However, an effective combination of richly developed characters, some truly soulful blues music and an impeccably well-shot and designed film that hooks its teeth into you from the outset and never lets up. Coogler’s screenplay is patient, bides its time to build up these characters, establish the key relationships, and what makes each character tick. You come for the supernatural element, but Coogler once again brings layers and richly explored themes to his story, ahead of a very tense and enthralling showdown at the brothers’ juke joint, where the blood flows in plentiful supply.

Through his collaborative partnership with Coogler, Jordan has portrayed characters ranging from the tragic to the motivated to one of the MCU’s most fleshed-out and ruthless villains. In a year where we have already seen an actor play two different roles, or another actor playing cloned versions of himself, Jordan takes the crown for the most effective use of one actor to play numerous characters. The differences are subtle, with Smoke being more refined and calmer than the brash Stack, yet both retain an intimidating presence. Cross them at your peril. The rest of the ensemble are all sublime in their roles too, from Stack’s ex-girlfriend Mary (Steinfeld), Smoke’s former lover Annie (Wunsu) with whom he shares a painful and tragic past, and Delta Slim (Lindo) a musician with a penchant for drinking who brings a surprising amount of humour.

However, aside from the twins, the centrepiece of this riveting story is Miles Caton’s Sammie Moore, a local preacher’s son, and the twins’ cousin. A fantastically gifted musician and singer, though his father warns him about the temptation of playing music is akin to “dancing with the devil”, with the power to conjure spirits. Sure enough, such is Sammie’s power and fantastic talent, the presence lures the evil presence to the party, led by the sinister Remick (O’Connell). Yet, Sammie remains undeterred and lets his passion for the music shine through in his performances of several songs before the epic showdown at the brothers’ juke joint. It is an incredibly confident and assured performance, all the more impressive considering it marks his acting debut. You would be wise to remember the name.

It would be easy for Coogler to establish this as a supernatural battle of good vs evil, but weaving the music and the celebration of the impact that music had on the culture of the time is a critical aspect of the story that unfolds across the 147-minute runtime. Aside from Caton’s incredible vocal performances, regular Coogler collaborator Ludwig Göransson once again delivers a vibrant and memorable score heavily inspired by the Blues music of the period and his personal connection to the genre, in the shape of his blues guitarist father. The production design by Hannah Bleachler and Ruth E. Carter’s costumes expertly transports us to the time period, captured in all their glory by Autumn Durald Arkapaw’s fantastic cinematography, which demands to be seen in IMAX.

At a time when Hollywood is grappling with several threats, not least of which being the risk to originality and creativity, Sinners is a reminder of the kind of brilliance that can be brought to the table when singular filmmakers like Coogler are given the full backing to realise their vision. When the results are this spectacular and a complete feast for the eyes and the soul, it is enough to convince you to go dancing with the devil every day of the week.

An exhilarating and blood-spattered supernatural descent into horror that ups the stakes with thematic examination of US history, soulfully stirring music and a cast firing on all cylinders. Ryan Coogler has firmly established himself as a true modern visionary director.

2020-2029, Film Review

Snow White (2025)

Posted on March 23, 2025April 2, 2025 by Martin: Through the Silver Screen

**© Walt Disney Studios Motion Pictures**

Snow White (2025) – Film Review

Cast: Rachel Zegler, Gal Gadot, Andrew Burnap, Ansu Kabia, Patrick Page, Andrew Barth Feldman, Tituss Burgess, Martin Klebba, Jason Kravits, George Salazar, Jeremy Swift, Andy Grotelueschen

Director: Marc Webb

Synopsis: After her evil stepmother usurps the throne, a young princess must join forces with seven dwarves to save her people…

Review: Heigh-ho, heigh-ho, it’s off to work Disney goes as the House of Mouse continues to beaver away in its mission to remake all its animated classics. While some live-action remakes have breathed new life into the classic stories on which they are based, others have felt like soulless cash grabs with no reason to justify their existence other than to use audiences’ nostalgia to print money. It was therefore only a matter of time before attention was turned towards remaking the first animated film Disney ever made, the first animated film to be produced in the United States and one of the most influential animated films of all time, Snow White and the Seven Dwarfs.

In the same vein as the previous reinterpretations, the story’s core remains the same as its animated predecessor. During a fierce snowstorm, the king and queen of a benevolent kingdom welcome their daughter – Snow White – into the world. Her name is in honour of the wintry weather during the night she was born. After the tragic death of her mother, her father remarries another woman and quickly rushes off to see to an urgent matter he never returns from. The new Queen seizes the throne for herself, and her vanity causes the lives of her citizens to quickly take a turn for the worse, while Snow White is forced to become a servant. After being told that Snow White is the fairest of them all, the Queen furiously orders her huntsman to kill Snow White, causing her to flee the kingdom, where she runs into the forest and meets and befriends the seven dwarves.

Magic mirror on the wall, does this latest live-action remake bring anything new or noteworthy to the table at all? It is slim pickings, however despite all the absurd, and let’s be honest racist and sexist backlash that has come her way ever since she was cast, Zegler delivers a beautiful portrayal of the titular princess. She is given more agency and independence and is not simply reduced to waiting for her Prince Charming to swoop in and save her. Like her animated counterpart, she possesses a kind heart and compassion for the kingdom’s other citizens, which is timely and pertinent given the poisonous hate dominating too much of modern discourse. As well as new iterations of “Whistle While You Work” and “Heigh-Ho”, it also includes new songs to further emphasise Snow White’s independence including “Waiting on a Wish” penned by Oscar-winning songwriters Benj Pasek and Justin Paul, which gives Zegler a chance to show her incredible singing ability.

However, despite Zegler giving everything she has in this role and hitting all the right notes, everything around her possibly took a bite out of a poisoned apple as it doesn’t match up to her performance. Aside from the aforementioned changes to Snow White’s character, Erin Cressida Wilson’s script mostly sticks to the original source material, namely the 1812 fairytale by the Brothers Grimm. However, in place of the handsome Prince Charming, her love interest is now in the form of the leader of a group of bandits named Jonathan (Burnap), who is looking to rebel against the tyrannical Evil Queen. The film allows time for their romance to blossom, and their chemistry is sincere. Unfortunately, Burnap’s performance lacks sufficient charisma to differentiate him from any would-be love interests looking to win the princess’s heart.

Talking of someone looking to ~~win~~ cut out the princess’s heart, Gal Gadot looks the part of the Evil Queen, in no small part due to the excellent costume design by the legendary Sandy Powell. However, elegant costumes cannot hide the reality that Gadot’s performance is so painfully wooden that you may wonder if she was mistakenly on the set of another live-action reimagining of Pinocchio. It does not even bear thinking about. Furthermore, her singing may give you flashbacks to a certain viral video. As if a flat and dull villain wasn’t enough, to add further insult to injury, the dwarves are ghastly CGI abominations with none of the charm that their animated counterparts had. The debate raged as to whether the film should have opted to use real-life actors, and while it was a case of damned if they did and damned if they didn’t, these magical creatures are nightmare fuel personified.

Despite some solid production design, this feels inadequate for the House of Mouse, especially given the reported production budget of between $240 million to $270 million, especially as not even such a large budget can hide some very apparent green screen for those scenes in that not-so-magical woodland. Marc Webb has proven himself to be a talented director, but the whole film has a very directed-by-committee feel to it and pales in comparison to certain other musicals that have graced the big screen in recent times. You would hope this might give Disney pause to reconsider its plans to remake all its films and instead return to crafting original stories and reminding audiences of bringing the magic that they are more than capable of. Yet, even with this setback, the live-action remake train unfortunately shows no sign of stopping.

Even with a radiant and beautiful performance from Rachel Zegler, a horrid combination of some ugly visuals and uncharismatic supporting characters ensures this live-action remake is most definitely not the fairest one of all.

2020-2029, Film Review

Captain America: Brave New World (2025)

Posted on February 20, 2025May 3, 2025 by Martin: Through the Silver Screen

Captain America: Brave New World – Film Review

Cast: Anthony Mackie, Danny Ramirez, Shira Haas, Carl Lumbly, Xosha Roquemore, Giancarlo Esposito, Tim Blake Nelson, Harrison Ford, Liv Tyler

Director: Julius Onah

Synopsis: After an attempt is made on the life of the President of the United States Thaddeus Ross (Ford), Captain America must investigate a conspiracy which threatens to have major international ramifications…

Review: It has been quite the journey for Sam Wilson in the Marvel Cinematic Universe since we were first introduced to him as Steve Rogers’ jogging buddy in Captain America: The Winter Soldier. Since then, he helped to confront and Steve the nefarious HYRDA, took his friend’s side as the Avengers went to war with themselves, fought in the war against a mad Titan with the fate of the entire universe at stake. It all culminated in the passing of the torch shield to becoming his friend’s successor as Captain America. A mantle he momentarily relinquished before reclaiming what was rightfully his. Now in the wake of the events of The Falcon and the Winter Soldier, Sam Wilson is ready to take flight for his first mission, in a film which sadly fails to soar and reach the lofty heights of its predecessors.

It has been a few years since Sam fought with Bucky Barnes to take down the Flag Smashers, and in that time, Thaddeus “Thunderbolt” Ross has been elected as President of the United States. Despite having had their differences in the past, the new man in the Oval Office tasks Cap and the new Falcon Joaquin Torres (Ramirez) to foil an illegal arms deal in the first step of a more collaborative relationship. Ross later informs Sam he wants his help to rebuild the Avengers. During a summit at the White House concerning the emergence of Celestial Island and a rare new material, an attempt is made on the President’s life by veteran super soldier Isiah Bradley (Lumbly). With the US on the brink of a major global conflict, Sam must find out who was behind the attempted assassination of the President and uncover the truth behind this global conspiracy and clear Bradley’s name.

It is no exaggeration to say that in 2025, the world is a fraught and sometimes scary place, with entrenched and bitter political divides showing no signs of easing. In such times, making a tense spy-political thriller is a brave and dangerous move as the film has to navigate such a fraught political metaphorical minefield. However, it is not entirely without precedent, as the Russo brothers and screenwriters Christopher Markus and Stephen McFeely successfully tackled similar themes with spectacular success The Winter Soldier and its sequel Civil War. Whether or not you feel the MCU has lost its way since the high of Avengers: Endgame is beside the point, as it was always going to be a tall order for Brave New World to follow in the footsteps of its predecessors.

“You may be Captain America, but you’re not Steve Rogers”, the President scornfully tells Sam after the foiled assassination attempt. “You’re right, I’m not”, Sam sharply retorts. It is a highlight in a film which doesn’t offer many, but also a statement of intent for the new star-spangled man with the shield that he will forge his own legacy as the iconic superhero. In his seventh big screen appearance in this role. Mackie is once again superb. He is fully aware that the legacy of the title he now has comes with an enormous responsibility, at one point grappling with the dilemma as to whether he should have taken the super soldier serum, but this is what makes him more than worthy of that shield. When you have gone up against what he has armed with just a wingsuit, what does he have to fear, especially since now he has the welcome addition of a vibranium shield, and the new Falcon by his side. Although, despite being one of the more interesting parts of the miniseries, Isiah Bradley is once again frustratingly forced to sit in a jail cell, when he really deserves a chance to show what he can do.

The irony is that this script, written by Onah and four other credited writers, could have benefited from some script serum to enhance it and give it some additional polish. One can only speculate, but given certain events that occurred in 2024, it seems that the political themes of the film may have been diluted due to the current state of world politics. In addition to continuing the story established in the preceding miniseries, the film serves as a sequel to both Eternals (good to see this underappreciated film get acknowledged) and The Incredible Hulk, as the villain is a character that audiences may have nearly forgotten. Portraying a role that was successfully played by someone for many years is never an easy task, but Ford does an excellent job as Ross, succeeding the late William Hurt. Along with his signature gruffness, Ross is grappling with the daunting challenge of leading a country on the brink of major conflict while also battling his own internal struggles and trying to reconnect with his daughter, Betty (Tyler). Given the current state of US presidents, especially now, you’d take Ross’s leadership any day of the week.

Despite Ford’s impressive portrayal of Ross and his complex (and possibly red) inner demons, the film’s action, while undeniably slick and well-crafted, fails to bring anything new or memorable to the MCU. It frustratingly adheres to a formulaic structure, which feels like a significant missed opportunity for what could have been a gripping political thriller, similar to its predecessors. The 35th entry into the MCU could have marked a bold new direction for both the star-spangled hero and the wider universe. Instead, it feels tired and stale, as if our titular hero’s wings have been clipped, leaving him unable to rise above this uninspiring and frankly bland story.

Despite stellar performances from Mackie and Ford, with the former more than proving himself worthy of the shield, Brave New World is a political thriller that seems too afraid to go for the jugular in these politically fraught times, while also lacking in thrills.

2020-2029, Film Review

The Brutalist (2025)

Posted on February 15, 2025 by Martin: Through the Silver Screen

© A24. Universal Pictures and Focus Features

The Brutalist – Film Review

Cast: Adrien Brody, Felicity Jones, Guy Pearce, Joe Alwyn, Raffey Cassidy, Stacy Martin, Emma Laird, Isaach de Bankolé, Alessandro Nivola

Director: Brady Corbet

Synopsis: A talented architect escapes post-World War II Europe and emigrates to the US to start a new life in pursuit of the American dream…

Review: An arduous boat journey, followed by a walk down a gangway, to mark the start of a new life in a country that offers so much potential and opportunities for success. This is the core principle of the American Dream, a concept popularized by US writer James Truslow Adams during the Great Depression. It has been ingrained in the ideals of the nation for decades. No matter who you are or where you come from, you can achieve your dreams in the United States of America. This promise has inspired millions of immigrants to move to the country and lies at the heart of this ambitious and powerful film by Brady Corbet.

In post-World War II Europe, Hungarian-Jewish architect László Toth (Brody) emigrates to the United States after surviving the Holocaust. Unfortunately, he has been separated from his wife, Erzsébet (Jones), who remains in Europe with their niece, Zsófia (Cassidy). After disembarking from the boat and catching an upside-down glimpse of Lady Liberty in all her glory, László makes his way to Pennsylvania to stay with his cousin, Attila (Nivola), and Attila’s wife, Audrey (Laird). Attila offers László the chance to work in his furniture business. One fateful day, they receive an offer from Harry Lee Van Buren (Alwyn), who wants to hire them for a job to renovate the library at his father Harrison’s (Pearce) home. Initially, Harrison, a wealthy industrialist, strongly disapproves of the renovations and dismisses László from his home without paying him for the work. However, after László’s designs for the library receive glowing praise from the architectural community, Harrison returns to offer László the opportunity to design his magnum opus: a community centre that will house a gymnasium, chapel, and reading room in honour of Harrison’s late mother.

In such times when the subject of immigration is at the centre of hateful and bigoted rhetoric emanating from certain world leaders, the arrival of such an expansive and grand film in terms of its scope and themes couldn’t be more timely. Like a vast and tall structure built to last for generations to come, Corbet and Mona Fastvold’s weighty screenplay tackles a plethora of meaningful and potent subjects including the Jewish identity, the unremitting horrors the Holocaust inflicted on the Jewish people, the joys and hardships that go along with looking to fulfil the promise of the American dream as an immigrant, and the desire to make or construct something which will ensure you leave a lasting legacy on the world. Yet that ambition comes with a cost, because as Laszlo finds out, to what extent will you drive yourself into the ground in pursuit of perfection when the path to get there is littered with seemingly mountainous obstacles too heavy to move?

To leave everything you have known behind to pursue a brand new life on an entirely new continent is a journey that millions have embarked upon across generations. For Adrien Brody, whose mother and grandparents fled their native Hungary to emigrate to the US, it is evident how much of a personal role it is for him. He channels this into his incredible performance as we can see Laszlo is a man driven by his passion for his craft, and his determination to make a better life for himself so that one day Erzsébet and Zsofia will finally be able to join him in the US. Such is the lengthy process, it takes a while for Erzsébet and Zsofia to finally be reunited, but when she does finally arrive in the US, Jones more than makes her presence known with a powerful performance. As the wealthy benefactor who plays a central role in giving Laszlo a chance to realise his vision, Pearce is utterly compelling as Van Buren Sr. There is a warmth to him, a generosity where he recognises Laszlo’s talents. However, beneath that warm and embracing exterior, there is a hint of a darker side, a jealousy and bitterness that threatens to come to the surface as the film, and this hugely ambitious project progresses.

Whenever a film clocks in at a runtime exceeding three hours, discussions inevitably arise as to whether it justifies such a lengthy runtime. With a built-in intermission, the film’s structure keeps eyes firmly transfixed on the screen, be it the awe-inspiring production design, Lol Crawley’s breathtaking cinematography and the majestic score by Daniel Blumberg. Given the exorbitant budgets with which many films are made these days, how the film only cost $10m is astonishing and should serve as a lesson for filmmakers that exorbitant budgets aren’t always needed. However, even with the lengthy runtime, during which the audience has been taken on an immersive journey across several decades, the conclusion comes off as very abrupt and rushed. Like spending years on an exciting construction project, only to haphazardly complete the final stages in a comparatively short period. Even with such a lengthy runtime, the film would have benefitted from an extra 15 to 20 minutes to provide audiences with some necessary closure.

Despite some question marks about the film’s use of AI to enhance the Hungarian dialogue of László and Erzsébet, as well as for some of the former’s drawings, what Corbet has brought to the screen with only his third feature film is mightily impressive. With its pertinent exploration of the struggles of immigrants to fulfil the promise that the American dream sold to them, combined with its weighty themes of striving to establish yourself as a master in your craft, only to be held back due to a plethora of societal factors, including but not limited to the brutal (pun absolutely intended) nature of capitalist society. The wondrous filmmaking will only carry increased significance as time goes by.