Spider-Man: Brand New Day (2026)

Posted on August 2, 2026October 5, 2026 by Martin: Through the Silver Screen

© Sony Pictures Releasing, Columbia Pictures, Marvel Studios and Pascal Pictures

Spider-Man: Brand New Day– Film Review

Cast: Tom Holland, Zendaya, Jacob Batalon, Jon Bernthal, Sadie Sink, Tramell Tillman, Mark Ruffalo, Liza Colón-Zayas

Director: Destin Daniel Cretton

Synopsis: After everyone in his life has forgotten him, an isolated Peter Parker continues to fight crime and protect the people of New York as Spider-Man until a mysterious, powerful new threat emerges…

Review: A superhero’s life can be exciting as they are granted extraordinary superhuman abilities and strength that most of us could only dream of. However, beyond attracting dangerous enemies, it can be an unforgiving existence where the hero must protect their secret identity and sometimes make the hardest choices, even at tremendous personal cost. Never has this been truer for the Marvel Cinematic Universe’s iteration of Peter Parker/Spider-Man, who made the ultimate sacrifice to prevent the multiverse from being torn apart at the end of Spider-Man: No Way Home, where he made Doctor Strange cast a spell to make everyone forget him and erase him from their lives. A decision which saw him lose the love of his life and his best friend, a perfect encapsulation of the words every Spider-Man fan will know off by heart: “With great power, there must come great responsibility”. After bringing his MCU origin story to its conclusion, one might have wondered whether this iteration of everyone’s friendly neighbourhood Spider-Man would hang up the web shooters and make way for a new wallcrawler to enter the MCU, but you can never keep a good spider down.

Set in the years after the events of No Way Home, Peter has devoted himself to being Spider-Man full-time, taking down all manner of villains and keeping the citizens of New York safe, all while living on his own in his Manhattan apartment. Spider-Man is beloved by the city, but even with that adulation, Peter lives a truly lonely existence and has to watch from afar with heartache and sorrow as his former lover MJ (Zendaya) and best friend Ned (Batalon) go off to MIT. He is desperate to try and somehow restore their memories of him, but remains wary that doing so could put them in harm’s way. As if that wasn’t bleak enough, Peter begins to experience strange changes in his body and powers, all while a terrifying new threat emerges, threatening to undo all of Peter’s good work and unleash absolute chaos on New York’s streets once again.

True to its title, after having a trilogy of films in which Peter was under Tony Stark’s tutelage, dealing with inherited vendettas of villains who felt they had been wronged by the late billionaire philanthropist, or encountering crazy multiverse shenanigans and teaming up with variants of himself, the slate has been totally wiped clean. It is a new dawn, and a new day for Peter, but he isn’t feeling so good. Erik Sommers’ and Chris McKenna’s script returns the character very much to his comic book roots as an unquestionably bright working-class young man who fights crime all by himself, without the vast resources of a wealthy benefactor behind him, or a single soul he can confide in. This becomes particularly problematic when his body begins to change in the worst ways, leading Peter to consult a certain scientist struggling to prevent his green alter ego from reappearing. It certainly treads familiar narrative beats to (arguably the best Spidey film to date) Sam Raimi’s Spider-Man 2, but rest assured, this is not a retread. Even with the obligatory references and appearances of certain characters to tie it into the wider MCU, McKenna and Sommers’ script keeps the stakes deeply grounded and personal, veering into almost horror territory when Peter’s powers begin to mutate.

With this marking the seventh time he has donned Spider-Man’s mask across solo adventures and wider MCU team-ups, Holland once again excels, slipping back into the suit with effortless ease. Ever since his memorable introduction in Captain America: Civil War, Holland has grown and matured in the role before our very eyes. From a wide-eyed teenager in awe while fighting Captain America and his associates, to a battle for the fate of the universe itself, to multiversal shenanigans, and the death of his beloved aunt. It would be an understatement to say he’s been through a lot over the years, leaving a heavy emotional toll that comes through in Holland’s performance, especially when compounded by the physical upheaval he goes through. Despite his loneliness, he finds an unlikely kindred spirit in Jon Bernthal’s Frank Castle/The Punisher, who also lives cut adrift from everyone else. It’s a relationship that isn’t exactly plain sailing, given Castle’s modus operandi is far more direct and brutal, but the film leans into this dynamic and makes it extremely entertaining as these polar-opposite philosophies and combat styles are left with little option but to join forces, particularly when MJ’s life is threatened.

In taking over from the Home trilogy’s director Jon Watts, Destin Daniel Cretton reinvigorates the franchise in a thoroughly refreshing and exciting manner. It’s easy to see why he was recruited to direct an Avengers film, as there’s vibrancy not only in the scenes where Spider-Man swings and thwips his way through the city, but also in the action scenes. One would strongly suspect that Cretton played the Insomniac games beforehand, as there are clear visual nods to them, along with the impressive flair he so masterfully demonstrated with Shang-Chi especially with the scenes involving The Hand and the film’s main antagonist. The identity of said antagonist shall not be divulged here, given the deliberate manner in which the film’s marketing shrouded it in secrecy. Needless to say, Marvel would do well to keep Cretton in mind should an opportunity to direct an MCU ensemble film come up in the future.

Those wider references to other MCU characters, while necessary, sometimes bog the story down and keep the audience from focusing on Peter’s internal struggles to balance his superhero duties, being Peter Parker, and trying to reestablish some human connection in his life. It shows that growing up is hard, even with superhuman (or spider) DNA, especially when the comforts you have relied on to get through this complicated journey we call life are taken away. You get knocked down, but you get back up, put your best webs forward and come back swinging, because a spider’s work is never done.

Building on the foundations laid by the Home trilogy, Brand New Day raises the stakes with a more mature, grounded story that delves into complex themes of isolation and growing up, with Holland never better as the titular hero.

2020-2029, Film Review

The Odyssey (2026)

Posted on July 20, 2026September 24, 2026 by Martin: Through the Silver Screen

The Odyssey – Film Review

Cast: Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson, John Leguizamo, Lupita Nyong’o, Samantha Morton, Benny Safdie, Zendaya, Charlize Theron, Jon Bernthal, Himesh Patel, Elliot Page

Director: Christopher Nolan

Synopsis: Following his victory in the Trojan War, the King of Ithaca, Odysseus (Damon), must embark on a gruelling journey to return home…

Review: From his early career beginnings in the late 1990s when he made his debut film, Following on a micro-budget of $6,000, shooting with a cast and crew made up of his friends on weekends, it feels as if Christopher Nolan has been on his own odyssey as a director. A journey in which he has become an absolute titan of the industry and one of the best and most revered filmmakers in the 21st century. A legacy cemented beyond doubt when he conquered the cinematic mountain, winning the Oscars for Best Picture and Best Director for his powerful biopic on the life and legacy of the founder of the atomic bomb, J. Robert Oppenheimer. A film that very much represented the culmination of his life’s work. Such is the power and prestige Nolan commands, his follow-up could have been just about anything he wanted, and a studio would be only too eager to bankroll it. Any project with his name on it automatically carries intrigue, which would have only heightened when we learnt he would bring his distinctive style to one of the most fundamental texts of Western literature: Homer’s The Odyssey.

As the opening title card reveals, during a ‘time of apparent magic’, King Odysseus of Ithaca has led his army to victory following a gruelling ten-year war against Troy. Desperate to reunite with his wife Penelope (Hathaway) and son Telemachus (Holland), Odysseus and his men set sail for home. However, the voyage proves to be a treacherous one, as they must encounter all sorts of terrifying and mythical monsters and wrathful gods before they can make it back. Meanwhile, with no word on whether her husband is alive or dead, Penelope struggles to hold the kingdom together. Supported only by Telemachus and Odysseus’s loyal swineherd Eumaeus (a truly excellent Leguizamo), she must ward off a growing number of suitors positioning themselves to usurp Odysseus’s throne by forcing Penelope into marriage.

Had cinematic history played out differently, Nolan may well have already taken his swing at bringing to life a swords and sandals epic, as he was attached to direct 2004’s Troy before circumstances changed and it reverted to its original director, Wolfgang Petersen. One can only wonder what Nolan’s interpretation would have looked like, but since the film he went on to direct instead was the first in his trilogy focusing on a certain Caped Crusader, it was a twist of fate that worked out in his favour. Further proof that the film gods work in mysterious ways. His brilliant work on The Dark Knight trilogy meticulously encapsulated the hero’s journey, depicting one man’s transformation from a regular flesh-and-blood human into an all-powerful, incorruptible symbol. The thematic DNA of this compelling character arc comes to the fore in The Odyssey and is anchored by Matt Damon’s powerful arguably career-best performance. Here is a leader who despite his success in the war, is wracked with guilt and post-traumatic stress following the sacking of Troy, guilt which only grows and continues to gnaw away at him throughout their voyage as they battle against all sorts of terrifying threats. The wrath of the Gods is mighty and is felt by each and every man in Odysseus’s army.

While Odysseus battles deities, monsters and everything in between, Penelope faces her own battle to keep Ithaca and its people together while simultaneously rejecting the advances of the suitors who seek to take her husband’s place. Hathaway’s portrayal depicts Penelope as a woman who, despite not having seen him for years, remains steadfast in her conviction that her beloved will ultimately return home. With Odysseus absent, she must warn her son about the threats posed by the suitors, chief among them the deceitful and slimy Antinous, played with almost devilish glee by Robert Pattinson. In a sea of an incredibly talented ensemble cast, every member turns up to deliver their A-game. Despite the absurd, frankly ridiculous backlash from certain quarters over their casting, Zendaya and Lupita Nyong’o both excel in the limited screen time they’re given as the goddess Athena and Helen of Troy/Clytemnestra, respectively. Similarly, having worked with Nolan on Inception, Elliot Page is perhaps the standout of the rest of the cast in a small but absolutely pivotal role as Sinon, a young Greek soldier who, despite being put in a perilous situation, honourably carries out his duty.

As writer/director, Nolan never does things by half measures, for he is a filmmaker whose mantra is either go gargantuan or go home, as evidenced by the fact that throughout his filmography he has pulled off some extraordinary accomplishments across his career. From recreating an atomic bomb explosion to crashing a plane into a building or flipping an 18-wheeler truck, or in the case of this film, building a gigantic wooden horse. Utilising his trademark non-linear narrative, it can feel disorienting at first, particularly if you have not read Homer’s text, and it is hard to keep track of all the key figures, but ultimately proves rewarding for the audience, thanks to Jennifer Lame’s tight editing. Fittingly, translating the source material to the screen and giving them the scope and scale they deserve proved an odyssey unto itself: not only did the film shoot across multiple countries for six months, but it also became the first film shot entirely on IMAX cameras, which allows Hoyte van Hoytema’s cinematography to dazzle and horrify in equal measure. Furthermore, Nolan’s preference to avoid CGI as much as possible means that all the threats Odysseus and his crew faced, from massive mythical monsters to humongous Laestrygonian soldiers clad in shining metal armour, put the audience right there in the thick of the action, feeling every mythical roar, swing of the sword and the mighty storms that are unleashed upon them.

Across his brilliant career, Nolan has crafted some truly epic pieces of storytelling, from reviving the legend of the Dark Knight to his former glory, a gripping tale of two magicians trying to outdo the other, a gripping tale of the Miracle of Dunkirk told from three unique perspectives and a mind-bending and wholly original piece of science fiction. Now, after he wrote his name into cinematic history, his adaptation of this classic piece of literature and breathing new life into it for a whole new generation is another feather in the bow of his incredible filmography. With another incredible, stripped-back score from Ludwig Göransson, this is cinema at its most visually majestic and deserves the biggest screen possible. The cinematic gods will be very satisfied indeed.

With a committed ensemble cast led by a career-best performance from Matt Damon, Nolan’s adaptation of this foundatinal piece of literature brins Homer’s epic to life in a majestic manner. A perfect companion piece to his Oscar-winning masterpiece.

2020-2029, Film Review, London Film Festival 2021

King Richard (2021)

Posted on November 18, 2021March 21, 2024 by Martin: Through the Silver Screen

**© Warner Bros. Pictures, Westbrook Studios, Star Thrower Entertainment and Keepin’ It Reel**

King Richard – Film Review

Cast: Will Smith, Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Tony Goldwyn, Jon Bernthal

Director: Reinaldo Marcus Green

Synopsis: Telling the true story of Richard Williams, who played an influential role in shaping the early tennis careers of his daughters Venus and Serena Williams…

Review: Whenever anyone talks about the greatest athletes of all time, there are two names whose places in that conversation are absolutely assured: Venus and Serena Williams. Here are two extraordinary women, with an incredible 30 Grand Slam wins between them, whose achievements across their glittering careers will have undoubtedly inspired countless generations of young girls to pick up tennis rackets and to follow in their footsteps. However, there is someone, whom the Williams sisters have said that none of their success could have been possible without. That person, is their father, Richard Dove Williams Jr.

As the proud parents of Venus (Sidney) and Serena (Singleton), Richard (Smith) and his wife Brandy (Ellis) are committed to helping their daughters to one day become professional tennis players. With the strong emotional support of Brandi propelling Richard, Venus, and Serena in equal measure, Richard serves as their coach. Both Richard and Brandy work incredibly hard at their day jobs. Additionally, through many hours of training on the tennis court, he’s motivated by his ambition to help his daughters become professional tennis players. He’s a deeply driven and determined man, with a detailed and well-thought-out plan to ensure his daughters become two of the best tennis players to have ever played the game.

Given this is a story about two of the best players to have ever played the sport of tennis, it might seem odd to frame this story mainly from the perspective of their father. Yet, when you watch Will Smith’s performance as this father who will stop at nothing to help his daughters achieve their dreams, it pays incredible dividends as this is Smith’s best performance for quite some time. He’s a man who is fiercely protective of his family and is not afraid to stand up to anyone rude towards his daughters. Though while that may paint him as a kind and generous soul, this is not always the case. Richard has some very stubborn tendencies, and he will not be afraid to speak his mind during meetings. His stubbornness and unwillingness to change his methods and approach to how he conducts business threaten to ruin Venus’s and Serena’s careers before they have even begun.

While Smith’s performance is fully deserving of the plaudits, what must not be lost in the conversation is the performances of the women who are just as much at the centre of this story as Richard. The most important of which is Aunjanue Ellis as Oracene “Brandy” Williams. While Richard is out there on the court, the part she plays to help Venus and Serena carries just as much importance. She lends the support that both her husband and her daughters need as they strive to make their dreams become reality. However, she is absolutely not afraid to speak her mind when the situation calls for it and will take action into her own hands when she needs to. As the young Venus and Serena, Saniyya Sidney and Demi Singleton both have very bright futures ahead of them. There’s a genuine sisterly bond between them. They recognise that, in a society where being who they are comes with hardship and obstacles from the off, success for one of them will go a long way towards propelling both of them onwards in their careers.

What could have been a very generic story about how the Williams sisters became the superstars that they are, is instead played as an emotional family drama and a tribute to the parents who helped shape them into becoming two of the greatest tennis stars have ever played the game. Green gives plenty of time for the family dynamic to flourish, as it is integral to help shape the story. This is expertly combined with immaculately directed tennis matches as we watch the Williams sisters begin on their path towards tennis superstardom. It serves as a reminder that for every superstar athlete, there are parents who sacrifice so much. They work tirelessly to help mould and shape their children so that one day, they can change the world and write their names into the history books forevermore. This is precisely what Venus and Serena Williams have done. They will be remembered, not only as players who changed the face of the sport of tennis forever but also as two of the best athletes to have ever lived.

What could have been your typical sports biopic is anything but. With an ace of a central performance from Will Smith, King Richard is an inspirational and uplifting family drama that will have you punching the air in delight.

2010-2019, Film Review, London Film Festival 2019

Ford V Ferrari (2019)

Posted on November 12, 2019March 21, 2024 by Martin: Through the Silver Screen

**Image is property of 20th Century Fox**

Ford V Ferrari (Le Mans ’66) – Film Review

Cast: Christian Bale, Matt Damon, Jon Bernthal, Tracy Letts, Caitriona Balfe, Josh Lucas, Noah Jupe, Remo Girone

Director: James Mangold

Synopsis: Telling the true story of how a team of engineers, employed by Ford, set out to build a car capable of usurping Ferrarri’s dominance at the 24 hour race at Le Mans in 1966…

Review: When certain sports events come around every once in a while, it seems like the whole world just stops and watches with interest. For instance, events like the Olympics, the Football World Cup or the Superbowl capture the hearts and minds of viewers all across the world. Meanwhile, events though they might be just as compelling to some, events like the 24 Hour race at Le Mans do not nearly have the same level of global coverage. However, this is certainly no barrier for director James Mangold to craft an utterly captivating spectacle of one particular year’s version of this sporting showdown.

With Ferrari consistently bettering Ford in the 24 Hours of Le Mans over a number of years, Ford head honcho Henry Ford II is determined to usurp Ferrari’s dominance. To achieve that end, he commissions engineer Carroll Shelby (Damon) to use whatever resources he needs to build a car that would have the capabilities and the endurance to not only survive the 24 hour race, but to pip Ferrari to the post. Believing him to be the best in the business, Shelby recruits the extremely talented driver, and uber intense petrol-head Ken Miles (Bale) to be Ford’s driver for the race. A decision that, due to Miles’s brash personality, causes friction in the higher echelons of the company.

**And the award for looking menacing in a pair of shades goes to….**

As was with the case with Ron Howard’s Rush, you most assuredly do not need to be the most devout follower of the 24 hour race at Le Mans, or indeed any particular racing event for that matter, to be completely invested in this story. Whilst Rush‘s focal point was the rivalry between two legendary F1 drivers, Ford v Ferrari‘s central premise is on the friendship between Damon’s Shelby and Bales’s Miles, and the build-up to this hugely important race. It’s this friendship, and the high stakes that both of them are facing in the build-up to the 24 Hours of Le Mans in 1966, that drives the film forwards.

Given that their friendship is at the centre of the film, Matt Damon and Christian Bale are absolutely outstanding in their roles. Their friendship might not be the most seamless, but there’s a solid respect for one another as they both appreciate the role that the other plays in this team. You can have the best car in the world, but the perfect car is just one half of the equation. This is because, without the best driver, you do not stand a chance of winning a race that requires a multitude of factors to ensure that your car comes out on top. Tracy Letts leads the way in an effective ensemble cast as the commanding Henry Ford II, closely followed by Jon Bernthal’s polished Ford Executive, who contrasts quite brilliantly opposite Josh Lucas’s Ford Executive, the latter of whom is considerably more slimy, and openly distrustful of Shelby’s methods.

Having dabbled in the world of superheroes, and more specifically ones with claws, for his last two films, James Mangold switches from the superhero gear to this one effortlessly. With some excellent cinematography, camerawork, and the brilliant work of the sound team, the audience is put very firmly in the driver’s seat, as if they were the ones at the wheel of these remarkable machines. Whether you couldn’t care less about cars, or if you’re the biggest petrol-head going, there’s an intensity to the racing scenes that makes them extremely exhilarating to watch. However, the foot is not on the acceleration pedal the entire time. The screenplay balances these high-octane, adrenaline-fuelled scenes with some more personal moments.

Through Mangold’s excellent steering, he makes the two-and-a-half hours fly by, in a similar vein to how a super-fast car would whizz by the audience in a flash. Though the ending is a little bit rushed, there’s never any severely problematic pacing issues that could have caused the entire film to crash and burn. With a stirring, emotional score from Marco Beltrami, the film roars past that finishing line with flying colours.

Magnificently crafted racing scenes, combined with a fascinating story about two men and their respective search for greatness. Ladies and Gentlemen, please fasten your seat-belts, you’re in for an adrenaline-fuelled, enthralling ride.

2010-2019, Film Review

Widows (2018)

Posted on November 16, 2018September 29, 2025 by Martin: Through the Silver Screen

Image is property of 20th Century Fox, Film4 Productions and Regency

Widows – Film Review

Cast: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Jacki Weaver, Carrie Coon, Robert Duvall, Jon Bernthal, Liam Neeson

Director: Steve McQueen

Synopsis: After a bank heist goes horribly wrong, leading to the deaths of all the crew, their widows step up to finish what their husbands started…

Review: As a director, you make one of the most heart-wrenching but extremely impactful pieces of cinema to come out in this decade. A film that landed you the Best Picture Oscar, no less, how do you follow that up? For Steve McQueen, following on from his success with the aforementioned 12 Years A Slave, the answer is simple. You team up with another recent Oscar winner and make another exhilarating, heart-pounding piece of cinema. Namely, a heist film quite unlike anything the genre has concocted before.

After a team of criminals is caught up in a heist that gets all of them killed, their widows are left in a very desperate situation. Veronica Rawlings (Davis) is the widow of the leader of the crew, Harry (Neeson). Not long after her husband’s death, she receives a rather uncomfortable visit from crime boss Jamal Manning (Brian Tyree Henry), the target of the botched heist. Demanding repayment of the stolen money, and given a rather tight window in order to do so, Veronica has the plans for what would have been her husband’s next job. Needing her own crew to pull it off, recruits the other widows who also lost their husbands in the same heist, for a new mission to score the money that their husbands stole. Conceptually, though this may sound like your average heist film, in execution, it is a very different beast.

The screenplay, co-written by McQueen and Gone Girl author Gillian Flynn adds deep political subtext to this story that really gives the film a unique feel to it. Furthermore, with such powerful women at the centre of this gripping story, in the era of the Me Too movement, it feels all the more powerful and relevant in modern times. What McQueen and Flynn’s script does so excellently is give each woman involved in this daring heist a significant amount of development. Though they come from different backgrounds, each woman absolutely stands on her own two feet, and all give excellent performances.

Leading the pack and fresh from her Oscar success, Viola Davis is once again superb in the role of Veronica. She is a woman who has been to hell and back again, both with events in her past and in the immediate aftermath of her husband’s demise. Yet her fiery spirit keeps her going through this turbulent time. Likewise for Alice (Debicki) and (Rodriguez), both of whom are also dealt with a torrid set of consequences in the wake of the heist that robbed them of their spouses. But with the resolute Veronica at the helm, there is no time to mope, they have some work to do.

Though the women have the spotlight absolutely deservedly on them, Daniel Kaluyya’s portrayal of Jamal’s brother, Jatamme is magnificent and absolutely terrifying in equal measure. A VERY different kind of role, especially in comparison to his Oscar-nominated performance in Get Out, but with every moment he has on screen, his cold demeanour and brutality are enough to send shivers down the spines of the audience. This is a man whose path you do not want to cross under any circumstances.

With the theme of powerful women front and centre, McQueen also brilliantly weaves political drama into the story. There is one moment in particular that really stands out in terms of how the scene is filmed. And by doing it this way, it really sends a startling message about modern day America and in particular modern American politics. It is another film released this year that feels very timely in terms of its themes, whilst also being not afraid to pull any punches, or to let the bullets fly.

A heist/thriller with a lot to say for itself, boosted an impeccable stellar ensemble cast and bold direction, another exhilarating addition to the filmography of Steve McQueen.

2010-2019, Film Review

Sicario (2015)

Posted on May 9, 2017December 5, 2024 by Martin: Through the Silver Screen

**Image is property of Black Label Media, Thunder Road and Lionsgate**

Sicario – Film Review

Cast: Emily Blunt, Josh Brolin, Benicio Del Toro, Jon Bernthal, Daniel Kaluuya

Director: Denis Villeneuve

Synopsis: In the war on drugs on the USA/Mexico border, an FBI agent is recruited as part of an undercover operation to take down a leading drug cartel.

Review: Whenever you depict war on film, chances are the results usually aren’t going to be pretty, especially the story you’re telling is focusing on the war on drugs and drug cartels near the US/Mexico border. Some folks are going to get their hands dirty and things are going to get messy very quickly, with some fatalities along the way. Though this is an ongoing conflict, and even though the events portrayed here are fictional, you would be forgiven for thinking that you are in fact watching a documentary about this struggle, and not a fictionalised version of events.

The gritty and dark nature of the story then is the perfect material for Denis Villeneuve, the director behind Prisoners, the dark and unsettling drama about a family who see their young daughters mysteriously disappear. Once again Villeneuve chooses a subject matter that will almost undoubtedly be very unsettling for some, but at the same time, it’s a story that is told with such conviction you will not want to take your eyes off the screen. The main protagonist here is Blunt’s Kate, an FBI agent who just wants to do what’s right, and that desire takes her into this conflict, and what she sees really opens her eyes. Alongside her is Josh Brolin’s Matt, an agent that is quite casual about the mission they’re on and Benicio del Toro’s Alejandro who by contrast, is not fucking around.

Taylor Sheridan in his debut screenplay tells the story in a very ambiguous way, is what we’re seeing right or is it wrong? There are certainly some things displayed on screen that are certainly very wrong, and not exactly pleasant, but for a film about the war on drugs, that is hardly a surprise. The film might be a slow burner, but the script keeps you hooked in the story, and Jóhann Jóhannsson’s score will keep you on the edge of your seat. The three leading actors all deliver performances of a very high award-worthy calibre, but special mention must go to del Toro who has perhaps never been better in his career and was mightily unlucky not to have received an Oscar nomination. He’s a man who is driven by his motivation, and that makes him one scary dude that you don’t want to anger, and if you have angered him, well you’re in deep trouble.

Villeneuve’s direction is masterful with some breathtaking wide shots of the FBI teams on their patrols, the camerawork is so authentic, that it really makes you feel as if you’re on patrol with these guys. It kind of goes without saying at this point but Roger Deakin’s cinematography is as beautiful to the eyes, and Johannson’s score is to the ears. Deakins’s work, as is so often the case is just mesmerising to look at, even with the depravity that you see on screen sometimes. It’s incredible to think that he has never won an Oscar across his superb career, despite amassing THIRTEEN nominations. It’s only a matter of time before he lands that coveted Oscar gold, Blade Runner 2049 perhaps?

With a pulsating final sequence that will have you biting your nails until the credits begin to roll, Villeneuve reinforced his growing reputation as a filmmaker to watch, which he further cemented with his magnificent alien invasion flick Arrival. To make a movie about such a weighty subject matter cannot be an easy task, but with Prisoners and Sicario, Villeneuve really proved more than anything when it comes to directing, he most definitely is a Sicario himself, one that is absolutely deadly and does not miss.