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

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

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 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.

It gets a little too bogged down by too many different plotlines. However, with Burton’s commitment to practical effects, and another committed and off-the-wall performance from Keaton as the ghost with the most, Beetlejuice Beetlejuice delivers a worthy follow-up to its predecessor.

2020-2029, Film Review

Abigail (2024)

Posted on April 20, 2024May 12, 2024 by Martin: Through the Silver Screen

**© Universal Pictures and Radio Silence Productions**

Abigail – Film Review

Cast: Melissa Barrera, Dan Stevens, Kathryn Newton, Will Catlett, Kevin Durand, Angus Cloud, Alisha Weir, Giancarlo Esposito

Directors: Matt Bettinelli-Olpin and Tyler Gillett

Synopsis: A group of criminals kidnap the daughter of a criminal overlord, only to discover she has a penchant for drinking blood…

Review: As mythical creatures go, vampires are up there with the most iconic and recognisable and have become a staple of modern popular culture. Taking many forms over the years, from the instantly recognisable and iconic Dracula to the less iconic sparkly variety. If you had to imagine a typical vampire, they’d probably picture an imposing figure in a black cape gleefully drinking the blood of their victims. You’d probably never expect a vampire to appear as a ballerina-loving girl, which is precisely what makes the latest film from the filmmaking duo known as Radio Silence so fascinating and entertaining.

A crew of criminals, overseen by the ringleader Lambert (Esposito), are recruited to kidnap a young girl named Abigail and hold her captive at an isolated mansion. The crew, who are told not to use real names while they’re on the job, consists of former army medic Joey (Barrera), ex-detective Frank (Stevens), hacker Sammy (Newton), driver Dean (Cloud in his final onscreen role), sniper Rickles (Catlett) and enforcer Peter (Durant). They are promised a $50m reward to be split between them if they can keep the girl safe and unharmed for 24 hours. The crew then make themselves comfortable and try to deduce the real identities of each other, all while Joey is tasked with ensuring Abigail is comfortable throughout her ordeal. This is until when some of them begin to be picked off by a mysterious assailant and it soon dawns on them that Abigail is no ordinary 12-year-old girl who is obsessed with ballet but is, in fact, a centuries-old vampire who wants to feast on their blood.

Based on and a reimagining of the 1936 film Dracula’s Daughter, the opening scenes of the titular character pirouetting to Tchaikovsky’s Swan Lake as she practises her ballet is probably the last way you would expect a vampire movie to open. It ensures the film stands out in a crowded genre by having a creature of the night feast on her victims while dressed in a tutu. In the same vein as how Ready or Not was a thrilling splice of horror-comedy and a deadly game of hide and seek, the script by Guy Busick (co-writer of Ready or Not and the two recent Scream movies) and Stephen Shields is cut from the same mythical cloth. Horror and comedy once again go splat, except this time it’s a heist movie that goes very very wrong for this crew of people, who frankly, are mostly so deplorable you are willing for Abigail to feast on their blood, because as she puts it “likes to play with her food”.

For a film centred on the premise of a ballerina-loving vampire, it is slow to get to the main course of the movie, where the crew realise what it is they are up against and how could they possibly defeat a creature of the night, which provides ample opportunities for some amusing and meta references from existing vampiric pop culture and how do they deal with the not-so-insignificant matter of a bloodthirsty vampire. Barrera, having been a central part of the revived Scream saga under Radio Silence, is the member of this crew who gets the most development. We learn about her circumstances and why she is in desperate need of some extra money. This plight, and her role as the one who is solely tasked with communicating with Abigail allows her to build trust between the two of them, which may come in handy when Abigail’s desire to drink the blood of every last member of this group of criminals takes hold. Every crew member gets a moment to shine, with no one having as much of a bloody good time as Stevens’ Frank.

However, the star of the show is unquestionably Alisha Weir as Abigail. Having announced herself onto the scene with her incredible performance as the titular character in 2022’s Matilda the Musical, this is another film where she not only plays the titular character but more than holds her own against her more experienced co-stars. She commits absolutely everything to the role in terms of the dancing and the twirling moves of a ballerina as she gleefully and gracefully hunts down her prey, effortlessly switching between the dual personality of a sweet and innocent ballerina-loving girl and a ferocious and bloodthirsty vampire.

Speaking of blood, because you simply can’t have a vampire film without it, after dabbling with the gritty real-world violence of the Ghostface killings, the switch back to the more supernatural setting allows Bettinelli-Olpin and Gillet to return to the over-the-top violence similar to Ready or Not. If you thought that film had a considerable amount of blood, it is nothing compared to the torrents of the stuff unleashed here. It would not be a shock to discover if it broke a world record for the most fake blood that has ever been utilised in a film. It takes a little while for the film to raise the stakes (pun absolutely) intended, but once she gets her fangs and the feeding frenzy begins, it is an absolute bloody riot. A monstrously fun time is to be had by all, well apart from those who end up having those fangs buried deep into their necks.

Another superb performance from Alisha Weir having the time of her life as the tiny but deadly titular vampire is the highlight of another deliciously exciting concoction of horror comedy from Radio Silence.

2020-2029, Film Review

Cocaine Bear (2023)

Posted on February 27, 2023May 14, 2025 by Martin: Through the Silver Screen

(C) Universal Studios, Lord Miller Productions and Brownstone Productions

Cocaine Bear – Film Review

Cast: Keri Russell, O’Shea Jackson Jr., Christian Convery, Alden Ehrenreich, Brooklynn Prince, Isiah Whitlock Jr., Margo Martindale, Ray Liotta, Matthew Rhys

Director: Elizabeth Banks

Synopsis: After a drug deal goes awry, a stash of cocaine is ingested by a black bear…

Review: There can be any number of factors when it comes to what could be used as a selling point for a particular film. Perhaps, it is the director, or it could be the lead actors, a particular genre, or the attachment of a particular studio. Yet, every once in a while, there comes a film where the appeal does not have anything to do with the talent in front of, or behind the camera. Instead, its unique selling point is based on a premise so absurd and ridiculously insane, and yet somehow is also in part a true story, it simply has to be seen to be believed. This is precisely the case for the latest film by Elizabeth Banks.

The year is 1985 and while attempting to carry out a drug deal, drug smuggler Andrew C. Thorton (Rhys) drops a stash of cocaine from a plane, which lands in the Chattahoochee National Forest in Georgia. It isn’t long before a considerable amount of the narcotics are promptly consumed by a large black bear, giving it a craving for the drug which threatens to be lethal for anyone who gets in its way. Local drug lord Syd White (Liotta) sends his fixer Daveed (Jackson Jr) and son Eddie (Ehrenreich) to retrieve the drugs before they can be found by law enforcement, who have sent Bob (Whitlock Jr) to retrieve the drugs and apprehend White. Also in the mix are Liz, a local park ranger (Martindale), Sari (Russell), her daughter Dee Dee (Prince) and her friend Henry (Convery) who skip school to head into the woods, which could be a recipe for disaster, particularly when there is a cocaine-fuelled bear is on the loose.

**This animal can bearly believe these emotions she’s experiencing at this moment…**

The truth of the event is upon ingesting the large stash of cocaine, the bear died at some point afterwards, which would not have nearly enough meat on its bones for a feature-length film. Hence, the script by Jimmy Warden uses the central premise of a bear fuelled by narcotics as a centrefold for this group of people who have to negotiate just a little bit more than a big surprise for their journey into the woods. The screenplay attempts to give these characters some backstory to make the audience care about them. In reality, while it does provide this for some characters, it is thin at best for others. The film is self-aware enough to know what the audience is really here for to see a massive apex predator, on some Class A drugs, going on a rampage. Hence, its main goal is to get this group of people into a situation where they are forced to confront an enormous black bear off its face on cocaine and have them fight to survive.

With the surface-level development of some of the characters does feel intentional to a point as this enables Warden and Banks to have some fun with the brutality because, as Leonardo DiCaprio in The Revenant found, a bear at the best of times is hazardous. Giving it a penchant for expensive narcotics is only going to make things worse, and the film gleefully utilises this by turning the dial up with the gory nature in which some of these characters are picked off. The film walks a fine line between comedy and horror as despite plenty of moments which can be horrifying to watch, it offers up plenty of humourous moments, particularly when the titular bear experiences a comedown after the drugs start to wear off.

The CGI for the titular bear does look a little iffy in places. In addition, despite clocking in at a mere 95 minutes, the film does not feel as brisk as it should, and there are a few moments towards the third act where the pacing is also feeling the aftereffects and experiencing a comedown after the first two acts provided such hilarious antics. However, despite these minor nitpicks, Cocaine Bear knows exactly what the audience wants to see and it does exactly what it says on the tin/package/container/duffel bag from which the drugs were stored to deliver a ridiculously entertaining time at the movies which will leave you feeling high (pun most certainly intended) by the time the credits begin to roll.

The plot is undoubtedly as thin as they come, and the character development is minimal but, it matters not. The filmmakers understood the assignment and Cocaine Bear delivers exactly what you’d expect from its hilariously absurd premise.

2020-2029, Film Review

Doctor Strange in the Multiverse of Madness (2022)

Posted on May 9, 2022 by Martin: Through the Silver Screen

Doctor Strange in the Multiverse of Madness – Film Review

Cast: Benedict Cumberbatch, Elizabeth Olsen, Chiwetel Ejiofor, Benedict Wong, Xochitl Gomez, Michael Stuhlbarg, Rachel McAdams

Director: Sam Raimi

Synopsis: After an encounter with a girl who has the ability to travel in between different multiverses, Doctor Strange begins to fully grapple with the concept of the multiverse and the horrors it could unleash….

This review will be 100% spoiler-free…

Review: The Marvel Cinematic Universe has become such a gargantuan cinematic juggernaut of an impressively inter-woven universe that has successfully tackled a plethora of different genres across 28 different films. However, despite all of its incredible accomplishments, there is one particular genre that (for understandable reasons) the MCU has avoided tackling, and that is horror. Multiple projects of Phase Four have established the multiverse as a central aspect to their stories, and an endless number of doors have simultaneously been opened for Marvel in Phase Four and beyond. Now, with the Multiverse in full swing, it has allowed Marvel to fully embrace this concept, and what better director to bring this to life, than Sam Raimi.

Following on from the events of Spider-Man: No Way Home, Dr Stephen Strange is beginning to grapple with the multiverse and all of its infinite possibilities. Whilst at the wedding of his former co-worker and one-time love interest Christine (McAdams) he encounters a girl named America Chavez (Gomez) who has the power to travel in-between multiverses. Strange quickly realises that with the scope of her powers, it is extremely likely that some dangerous individuals will soon be making their play, wanting her power for their own ends. Fearing the consequences if that came to pass, he seeks the help of someone else who has knowledge of the multiverse, Wanda Maximoff (Olsen), to help protect America and prevent her power from falling into the wrong hands.

In what is his sixth time playing the ex-Sorceror Supreme, Benedict Cumberbatch once again excels in the role. It is clear when we meet him that this is a man with a lot on his mind, especially since he played such an integral role along with Spider-Man (remember him?) in establishing the multiverse and all of its perils as a very real danger to the world that he is sworn to protect. Furthermore, even though his actions helped restore the universe to undo the consequences of the Blip, there are some decisions that Strange is grappling with. Most notably, concerning his one-time flame Christine. However, with the arrival of America Chavez, Strange knows that he cannot afford to dwell on the past, because dangers both old and new, are threatening to reap unimaginable destruction on not just our world, but every world out there. Given how central her character is to the film, Xochitl Gomez brings likeability, fearlessness and determination to the role of America Chavez, and she stands toe to toe with the experienced MCU regulars.

While Cumberbatch excels, the even bigger star of the show here is Olsen’s latest portrayal of Wanda Maximoff. The events of WandaVision gave Olsen a chance to dive deep and fully explore the tragedy of this character. Having seen what her life could have been through those alternate realities, this is a woman who is on a deeply personal mission. Now fully embracing her Scarlet Witch mantra and fuelled by a frightening combination of rage, grief and heartache for her long lost family, it enables Olsen to demonstrate a side to Wanda that’s unlike anything we’ve seen before, an extremely powerful being who’s more than capable of giving any character in this universe a run for their money, and more than likely, a good arse-kicking.

With his experience with both the realm of Marvel with the original Spider-Man trilogy, along with the Evil Dead trilogy that launched his career as a director, it is fantastic to see Sam Raimi back in the director’s chair after a nearly decade long hiatus since his last project in 2013. The visual effects wizards once again bring the magic when it comes to the actions scenes, but it is no coincidence that with Raimi at the helm, the film really pushes the boundaries of the 12A/PG 13 rating, in a way that the MCU has never done up to this point. Some scenes definitely have a more noticeably horror movie element to them, and are much more violent. It could have been a match made in multiversal heaven. However, it’s really disappointing that Michael Waldron’s (who wrote the Disney+ TV show Loki) screenplay quickly becomes very convoluted and is filled with a frustrating amount of exposition that really drags the film down, with certain scenes serving as little more than fan service that doesn’t drive the plot forward.

With a title like In the Multiverse of Madness, audiences would surely have expected a thrilling ride that delves deep into the madness of the concept of a multiverse, especially given what the MCU has already explored with the concept thus far. Yet, the reality is that what’s presented here only really scratches the surface of what it could have explored in the 126 minute run time. Multiversal shenanigans are enjoying an unprecedented spell of popularity at this moment in time, and the potential was there for another great entry into this particular sub-genre. Yet, even with the recruitment of Raimi, not even his wizardry can conjure away the feeling that this is a massive missed opportunity.

It’s a joy to see Sam Raimi return to the realm of superhero filmmaking. Though, even with him working his magic, this multiversal adventure never fully lives up to the potential teased by its bonkers title.

2020-2029, Film Review, London Film Festival 2021

Last Night in Soho (2021)

Posted on October 29, 2021October 29, 2021 by Martin: Through the Silver Screen

**© Universal Pictures, Film4 Productions, Perfect World Pictures and Working Title Films**

Last Night in Soho – Film Review

Cast: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Terence Stamp, Michael Ajao, Dame Diana Rigg

Director: Edgar Wright

Synopsis: An aspiring fashion student moves to London with dreams of becoming a fashion designer. However, she soon finds herself somehow being connected to a different era of London’s Soho…

Review: It’s a dream that plenty of us have at some point in our lives. Leave the comforts of the homes that we were raised in, and experience the bright lights, the busy streets, and the atmosphere and vibes that life in the big city can offer. Yet, for all the tourist attractions and the appealing allure of the big city life, every city (especially one as vast as London) can be overwhelming for people at first. Additionally, each city has a dark side, and both the celebration and the sinister dark side of London form the basis of the new film from one of the most unique voices in British film-making: Edgar Wright.

Eloise (McKenzie) is a fashion student who is a big fan of the 1960s and the music of that era. She moves from her cosy South West roots to the big bright lights of London to attend the London College of Fashion. She has big ambitions to realise her dreams and become a household name amongst the world’s fashion designers. Shortly after arriving, Eloise discovers that when she is asleep, she can travel back to a point during the Swinging Sixties in London where she mysteriously finds herself intertwined with the life of Sandy (Taylor-Joy), who aspires to become a singer. Initially, everything appears to be fine and dandy in the brightly lit neon streets of 1960s London. However, not everything is what it seems, and there’s a darker side to this city that Eloise is about to discover.

Having established herself with her stunning but subdued performance in Jojo Rabbit, this is another demonstration of Thomasin McKenzie’s extraordinary talents. When you make the move from the pleasant countryside to the big city, it can be overwhelming, especially if you’re a student who’s experiencing the madness that is Fresher’s Week. McKenzie’s performance perfectly encapsulates that feeling in an extremely relatable manner as she initially struggles to adapt to this new life. As time goes on, she develops more confidence, as she sees part of herself in Sandy, which inspires her to be more outgoing in her social life and with her fashion designs. As the woman at the centre of Eloise’s fascination, Taylor-Joy’s performance as Sandy is suitably captivating. Additionally, this film marks the final on-screen performance of the late, great Diana Rigg’s illustrious career, and it’s a wonderful final performance.

In a note from the cast and crew of the film that was posted on Twitter, the urge to keep the mystery surrounding this film intact was heavily emphasised. Or, as they put it “What happens in Last Night in Soho, stays in Soho.” Hence, the mystery that has been crafted by Wright and co-writer Krysty Wilson-Cairns shall not be disclosed here. The film starts very strongly as we see Eloise blissfully experience her favourite time period through this vivid dream, but that blissful dream soon turns into a living nightmare when certain truths begin to emerge. As the mystery that’s at the centre of this film begins to unravel, the line between reality and fantasy begins to blur. This is down some extremely slick editing. Through this shift, the film descends into horror film territory, a genre that Wright is no stranger to, given that he expertly combined horror and comedy in Shaun of the Dead.

While there’s enough to make audiences jump out of their seat in terror, the scares can get a little wearisome and repetitive. Furthermore, the messages of the film feel a little muddled in parts, especially by the end of the third act. This is extremely frustrating because of the ambitious nature of the story. However, life in the big city can sometimes be overwhelming and too much for the senses. Wright’s love letter to this city, which clearly means so much to him, has much to be admired about it. There are a plethora of ideas thrown at the wall, but not all of them stick the landing. Hence, it does sometimes feel a bit unsure of what kind of film it wants to be and might have just bit off more than it can chew.

You cannot fault the ambition, but even with a committed performance from McKenzie, a slightly muddled screenplay prevents Last Night in Soho from becoming another classic in Wright’s filmography.

2020-2029, Film Review

Freaky (2021)

Posted on August 21, 2021 by Martin: Through the Silver Screen

**© BlumHouse Productions and Universal Productions**

Freaky – Film Review

Cast: Kathryn Newton, Vince Vaughn, Celeste O’Connor, Misha Osherovich, Katie Finneran, Alan Ruck, Uriah Shelton, Dana Drori

Director: Christopher Landon

Synopsis: After a fateful encounter with a notorious serial killer, one high school student finds that she and the killer have switched bodies…

Review: When it comes to the horror genre, the possibilities that writers and directors have to provide chills and scares to audiences are endless. There is the the unique route of having extremely terrifying things happening in broad daylight. Or indeed, stick to the classic slasher sub genre that has worked so successfully for many decades. Additionally, the premise of a film that centres on two people swapping bodies is one that feels like it’s the perfect, almost tailor made for a slasher horror film. Sprinkle a bit of comedy in there for a good measure, and you have an extremely entertaining film that delivers gory moments and hilarity in equal measure.

Millie Kessler (Newton) is a high school student at Blissfield High, battling with cruel classmates and teachers alike. On one fateful evening after a high school football match, Millie comes face to face with the town’s serial killer: the Blissfield Butcher (Vaughn). After she’s attacked by the Butcher with a dagger (that may or may not have some mysterious qualities to it), the two wake up the following morning to find that they are in each other’s bodies. Now in the body of the killer, and with a limited time window before the switch becomes permanent, Millie must do all she can to ensure that the reign of terror that the Blissfield Butcher has inflicted on the town comes to an end.

Christopher Landon has previously found success with films that mesh horror and comedy with his Happy Death Day franchise. Hence, Freaky film feels like a perfect continuation for him. His script, co-written by Michael Kennedy, is a delightful twist on the 1972 novel Freaky Friday. While the script is unquestionably filled with some cheesy dialogue, there’s plenty comedic one liners that are expertly delivered by the cast. Meshing comedy with horror is a very fine line to walk, but Langdon walks it perfectly. Within the first ten minutes of the film, he quickly establishes the brutality of the Butcher, by dispatching of his first view victims in gruesome manner. The film presents itself initially as your standard slasher flick. This is until the Butcher meets Millie, and then the ol’ body switcheroo happens, and the two are in a race against time to get back in their bodies, or else the switch will become permanent.

As well as expertly combining the horror of the situation with the comedy, what really makes the film the bloody, and riotous blast of fun that it is, is the performances of Kathryn Newton, and especially Vince Vaughn. Vaughn in particular is clearly having a lot of fun pretending to have the mannerisms of a teenage girl who suddenly finds herself in the body of a six foot four ominous serial killer. Likewise for Newton, to go from being this timid, shy teenage girl, who’s being routinely picked on, to being this serial killer who exudes confidence and who kills teenagers for fun. It is a real change of direction and Newton goes all out in her performance. The complete shift in both their characters is pivotal to making the film work, and it’s to the credit of both actors that they are able to make the contrast in their personas so believable.

There’s no one in the rest of the cast who matches the quality of the performances from Newton and Vaughn. However, Celeste O’Connor and Misha Osherovich come very close to doing so. As Millie’s best friends who must work with her to bring the Butcher’s rampage to its end, they have some of the best lines. While the film is perhaps a little bit predictable with how events play out, to take a body swap film and turn into a horror/comedy, is extremely ingenious. Furthermore, thanks to the committed performances of its cast, the end product is an absolute bloody delight from start to finish.

Horror and comedy spliced together can often end badly. However with excellent performances by Newton and Vaughn, Freaky is an enthralling, bloody soaked blast of fun.

2020-2029, Film Review

A Quiet Place Part II (2021)

Posted on June 6, 2021 by Martin: Through the Silver Screen

**© Paramount Pictures and Platinum Dunes**

A Quiet Place Part II – Film Review

Cast: Emily Blunt, Millicent Simmonds, Noah Jupe, Cillian Murphy, John Krasinski, Djimon Hounsou

Director: John Krasinski

Synopsis: The surviving members of the Abbott family, now armed with the knowledge as to how to defeat the terrifying creatures that have hypersensitive hearing, head out into what remains of civilisation…

Review: There’s something that feels rather eerie about a film that features a world that’s forever changed by a deadly event, especially when you consider when it was poised to be released to the world. The time was March 2020, the premiere had taken place, and the film was due to be released to the world, until it was forced to be delayed due to the global pandemic that was sweeping the planet. Additionally, for a film that has a premise that centres on a world where being silent is of the utmost importance, it was reminiscent of when in those early months of the pandemic, those usually packed streets that we see across the world, became eerily quiet for an extended period of time. As such, there’s much about this franchise that feels very relevant for the tough times that we have been experiencing in the past year.

Following an extended, and thrilling, prologue that shows the very first day when these terrifying creatures began to wreak unspeakable devastation on our very noisy world, things fast forward to the present day of this world. We pick up right where they left off for the Abbott family. Following the events of the first film, Evelyn (Blunt), their new born son, deaf daughter Reagan (Simmonds), and son Marcus (Jupe) depart from their now destroyed home, in search of a new place to find shelter away from the monsters. Their search leads them to a base that’s currently occupied by Emmett (Murphy), a man whose experiences in this apocalyptic world have made him very suspicious of what remains of humanity.

A key element of what made the first film the unique and nerve shredding experience it was, was the marvellous way the film uses sound to put the audience on the ground with these characters. Going into the sequel, one might have wondered if Krasinski and his sound team had caught lighting in a bottle, and would be unable to repeat their feat this time around. However, not only have they managed to recapture that brilliance, they have arguably gone better with their sound work. Through Krasiniski’s screenplay, that tension that was expertly crafted into the first film is brilliantly recaptured here, keeping the audience on the edge of their seat as they, like the characters on screen, strive to not make a sound. Krasinski builds on his brilliant directorial debut, opting in numerous instances to use multiple long takes, showing the audience truly just how perilous this world is, and how even the slightest misstep could spell be your downfall.

Much like the first film, the performances from all of the cast are excellent. Though she has a much more withdrawn role this time around, Emily Blunt is once again as the parent who must take care of a new born infant, and at the same, time defend her family. Though given the tragic fate that her husband Lee in the first film, there’s a void to be filled there, and Millicent Simmonds is the one who steps up to fill that void. This sequel shifts its focus from the older generation to the younger, and Simmonds steps up to the challenge, and gives the best performance in the film. Given that she herself is deaf, it adds so much authenticity to the character and the challenge that she faces to protect her family in this perilous world. With Blunt in a more withdrawn role, this gives Cillian Murphy’s Emmett the lead role amongst the adult cast, and he seizes that opportunity with both hands.

Given how much of a success the first film turned out to be, Krasinski would be forgiven if he had taken a silent moment before committing to making a sequel to A Quiet Place. Therefore, it is testament to him that with two extremely well made horror films now under his belt, he has cemented his growing reputation as a director to watch. After the extremely tough year that cinemas have had to endure since were first forced to shut their doors, films like A Quiet Place Part II serve as a powerful reminder of the power that cinema can have, especially when it’s seen on the big screen.