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Written by: Gilbert Seah

Parent Category: Articles

Category: Movie Reviews

Published: 03 May 2025

FILM REVIEWS:

FRIENDSHIP (USA 2024) ***
Directed by Andrew DeYoung

Premiering at last year’s Toronto International Film Festival’s Midnight Madness Section, FRIENDSHIP is that rare non-horror, non-violent, non-action-packed piece that makes it into that special section.  FRIENDSHIP is, though, a very odd bromance comedy that works occasionally, most of the time, which is a waste.   Pacing is the main issue, with the film containing slow pauses of movement with bouts of tedium that, if absent, would have lifted the film several notches.

FRIENDSHIP is about film, obviously about friendship, or its failure as one such friendship falls apart, leading to an individual’s life totally falling apart.

It all starts with the meeting of the two males forming a friendship.  When an errant delivery pulls suburban dad Craig Waterman (Tim Robinson) into the orbit of his mysterious and charismatic new neighbour Austin Carmichael (Paul Rudd), a sweet bromance seems to blossom over an innocent evening of urban exploration, punk rock, and a mutual appreciation for paleolithic antiquities. But what should have been the start of a beautiful friendship is soon waylaid as Craig’s obsessive personality begins to alienate his new pal, subsequently inducing a spiral that threatens to upend Craig’s entire life.

The film has problems with pacing from the very start.  The first seven have Austin’s wife speaking in a group therapy session involving her recovery from her cancer.  She talks about orgasms, which is echoed by the male person beside her.  It gets confusing as the male is later revealed to be her husband.  It is also a problem that the cancer recovery does not really affect many of the incidents that follow.  Another problems is the ending as writer/director DeYoung seems indecisive as to whether his protagonist Craig ends up a likeable or unlikeable person,   He shows Craig finally at peace with his wife after a disastrous incident and the 3wo looks as if they are reconciled waiting to have sex, only to be followed by another incident which results in Craig being taken away in a police cruiser.

Paul Rudd has star credits in the film, though he has only a supporting role, not to mention that he is mostly unrecognizable with his moustache.   The star of the film is Tim Robinson.  Despite the script’s occasional and directional flaws, he is the one who steers and holds the film as a whole.  He plays the man-child Craig with control and emotion, balancing humour and dramatic tragedy.

FRIENDSHIP has received largely rave reviews from both audiences and write alike, but truth be told, there are flaws in the film’s delivery and pacing.   The film contains too many parse slow and sections that break the flow of the story’s momentum.   

FRIENDSHIP, which premiered at the Toronto International Film Festival last year, makes its debut in theatres on May 15th.   It could have been a straight-to-TV movie except for its bold and strange theme. The one thing that stands out in the film is the lead, Tim Robbins, as Craig, the man-child so desperate for a friend that he puts his family second to that.

Trailer: 

HURRY UP TOMORROW(USA 2025) *

Directed by Trey Edward

It is usual that a song be written for a film, but occasionally it turns the other way around.  A case in example is the song and film YOU LIGHT UP MY LIFE. The film was made after the Debby Boone song became famous.  Of no surprise, the film directed by Joseph Brooks was not a critical hit.  The film did win an Oscar for Best Song.  In the case of HURRY UP TOMORROW, the self-indulgent artistic film based on the album is a complete piece of smelly, awful brown stuff.

HURRY UP TOMORROW is the sixth studio album by Canadian singer-songwriter The Weeknd. It was released through XO and Republic Records on January 31, 2025. It also serves as the soundtrack to the film of the same name.   Hurry Up Tomorrow is primarily an R&B, synth-pop, and trap album, while exploring a wide variety of genres such as Brazilian funk and hip-hop.   The album is the final installment of a trilogy following the Weeknd's previous two studio albums, After Hours and Dawn FM (2022). The Weeknd has hinted Hurry Up Tomorrow may be his final album under his stage name and revealed that it was partly inspired by losing his voice while on tour in 2022.

Abel Tesfaye is the artist behind the name Weekend.

In the promo/press screening of the film, the film opens with a 10-minute piano recital and song performed by Abel.  The entire audience is wondering what is going on. At the end, it is revealed that the sequence was an  ad for the album.  This brought unsolicited laughter from the audience.

The film begins the continues with a woman (Jay Ortega) torching a farmhouse, burning it to the ground.  This is followed by a segment with what actually happened on a Saturday night in 2022, when Abel Tesfaye got up onstage. The physical and mental stress associated with the constant demands of superstardom put a strain on his singing voice, and that night, he was dealing with the effects. 

The 10-minute ad that followed Abel’s stage performance is almost too hard, totaling 20 minutes of watching him, except for the Ortega break.  This is definitely bad pacing and execution of the movie.

Depressed and resentful after his girlfriend leaves him, Abel (also known as "The Weeknd") indulges on heavy drugs and parties with his friend and manager, Lee, while embarking on a world tour. He loses his voice during his Halloween performance as a result of his stress and substance use. While trying to avoid Lee and his angered fans, Abel stumbles upon Anima, a mysterious and troubled young fan who is on the run after burning a house down.

Feeling a connection, Abel and Anima run away to Pacific Park on the Santa Monica Pier, enjoying a night of anonymity. The two spend the night at a hotel, where Abel plays a sample of his upcoming song to Anima. She relates to the track, as she shares similar struggles with loneliness, abandonment and regret. In the morning, Abel is eager to return to his world tour, but decides he cannot bring Anima along after he hears her on the phone, tearfully arguing with her mother. Feeling betrayed and used, Anima argues with him before knocking him unconscious.

But the film that follows is a complete mess. HURRY UP TOMORROW feels and is a vanity project that is badly conceived and executed, and arguably the worst film opening this year.

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THE LIVER KING (USA 2025) **
Directed by Joe Pearlman

Who is the celebrated liver king, aka Brian Johnson, and why did Netflix make a new documentary on him to be released this week?

In 2023, Brian Johnson claimed that his net worth was $310 million. However, MoneyMade took a look and judged the Liver King's liquid net worth to be closer to $12 million.  The site reports that Johnson has invested in four supplement brands and that each brand is performing at over $1 million in annual revenue.

Brian Johnson, known by his online alias Liver King, is an American fitness social media influencer and businessman.  He is known for promoting what he calls an "ancestral lifestyle", which includes eating large amounts of raw, unprocessed organs and meat, focusing on a daily intake of liver.  His dietary advice has been criticized by nutritionists for promoting potentially dangerous misinformation,  Myself, this critic hailing from Singapor,e where consuming liver, kidney intestines, ears, lover and other innards are common (but to uncooked meats like beef tartar), some dishes might be ok for some and not for others.

But is the liver king genuine?  Apparently not, no one is perfect, liver king.  Johnson's lifestyle is based around nine "ancestral tenets”.   He had denied having used steroids to achieve his physique until 2022, after which a leak of private e-mails revealed that he had spent over $11,000 a month on anabolic steroids and other performance-enhancing drugs. He then apologized for his conduct in a YouTube video.   The man is buff,

The doc avoids answers to questions like whether or not eating raw meat all day is really the key to health and happiness.  The site's description of the documentary reads, "The Liver King is less concerned with what it takes to build a physique than with what it takes to build a brand.  What happens when a person becomes a persona? How does a family live inside a myth? And what's the cost of becoming your own hero?”

“I can’t believe all the people who believe in this guy.”  “This is all bullshit.”  These are just a few of the sayings of the naysayers who do not believe the Liver King.  The Liver King is also not a great enough person for a doc to be made entirely on him.  In fact this is arguably the doc about the most unrespected person on Earth.   There is nothing good to say about this conceited man, except maybe that he cares for his two sons, who were sickly when young.  It is surprising, then, that this doc, thankfully a short one, is watchable.

Every doc has some unforgettable, though necessary, impressive set pieces.   Scenes in the documentary include Johnson's wife, Barbara, talking about how their son did not know what pain medication was when he broke his leg.  In another scene, the whole family kills a bull together and eats it raw.

Ultimately, THE LIVER KING is about someone disgusting (like Trump?), typical America - their nonsense and what stupid Americans believe in.  It is an ok observation of The Liver King, but not really worth watching as a documentary.  It opens for streaming on Netflix this week.

THE OLD WOMAN WITH THE KNIFE (South Korea 2025) **
Directed by Min Kyu-Dong

The reason South Korean action thriller made such a splash at the recent 2025 Berlinale, THE OLD WOMAN WITH THE KNIFE, is likely because it is based on the much-loved South Korean novel of the same name by Gu Byeong-Mu.

The old woman who goes by many names like Nails, Grandma, and Hornclaw is largely an aged assassin at the age of 65 in the film.  She has seen her heyday when she was a top-notch killer who disposed of her victims under an agency that gets paid and pays her to kill insects or vermin of society, like drug dealers and other assorted villains.  Hornclaw feels the aching weight of all her experiences and losses. In a body that isn’t as strong as it used to be, she works to carry out her remaining kill contracts and hopes that her name won’t end up on a target list one day.    Fate strikes its ugly hand when a job goes wrong, sending her straight into the lives of a young doctor and his family, awakening desires long dormant inside her.  And at her age, it doesn’t feel worth it to ignore them anymore, even if it means making herself vulnerable to certain ghosts from her past.

Hornclaw’s life is like that of other film assassins like JOHN WICK, who are loners.  Her only friend is an old dog she has rescued.  The segments with the dog that bring tenderness demand mention.  Hornclaw occasionally forgets to feed her, forgets to leave her water, but never for very long.   And much to Deadweight’s credit, she never seems to hold a grudge against her owner. Before Hornclaw leaves for a job, she cuddles and talks to her, almost ritualistically. “So when the time comes, get out of here and go where you need to go. Before you’re considered worthless, even though you’re still alive.” Hornclaw says this to Deadweight, as though the dog can understand her verbal instructions to leave their home, should she fail to return from a job alive.  There’s a feeling, however, that Hornclaw sees herself in Deadweight. It’s like a prayer, something the reader can imagine she’s told herself, every time she feels dismissed as old, frail, and insignificant. And even though she tries to prepare the dog for the very real possibility that she won’t return, she still says “I’ll be back” each time she leaves. She is reassuring herself as much as she is the dog, and that’s a tender and vulnerable thing for a contract killer to do. The audience learns that it was with similar tenderness that she was first, as a young girl, indoctrinated into the world of for-hire killing.  

Director Min directs the action set-pieces with finesse, on par with Hollywood blockbuster action films.  But here the film fails in the storytelling.  Laboured by too many flashbacks, many too confusing moving to and from the present to the past, the story appears too confusing, despite its relative simplicity.  The animosity between the young killer, named Bullfight, and Hornclaw does not work that well either.

THE OLD WOMAN WITH THE KNIFE — a Berlinale & Brussels Selection opens in theatres in the U.S> and Canada May 16th.

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Written by: Gilbert Seah

Parent Category: Articles

Category: Movie Reviews

Published: 02 May 2025

CAPSULE REVIEWS of  Select Films will be posted once embargoes have lifted.  Embargo dates listed.

 Please click on this link, which will take you to our sister site.

https://toronto-franco.com/article/21-cinema-movies/421-cannes-2025-capsule-reviews-of-select-films

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Written by: Gilbert Seah

Parent Category: Articles

Category: Movie Reviews

Published: 02 May 2025

FILM REVIEW:

BRITAIN AND THE BLITZ (UK 2024) ****
Directed by Ella Wright

The Battle of Britain and The Blitz were distinct but connected events in World War II. The Battle of Britain was a series of aerial engagements between the Royal Air Force (RAF) and the Luftwaffe (German Air Force) in the summer and autumn of 1940. The Blitz, which followed, was a sustained campaign of night bombing raids on British cities by the Luftwaffe from September 1940 to May 1941. 

Following the failure of the Battle of Britain, the Luftwaffe shifted its focus to bombing British cities, aiming to demoralize the population and cripple the war effort.  The Blitz involved relentless night bombing raids on London and other major cities across Britain.   The Blitz resulted in significant civilian casualties and widespread destruction, but the British people demonstrated remarkable resilience and determination. While the Blitz inflicted significant damage and casualties, it ultimately did not break the spirit of the British people, and the Luftwaffe eventually withdrew from the campaign. 
BRITAIN AND THE BLITZ tells the story of the Blitz - during the 8 months when Nazi Germany bombed London but mostly concentrated on how the people responded.  The documentary, assembled from archival footage, colourized and some joined together for dramatic effect, is as expected, moving, emotional, gut-wrenching,  nostalgic, but mostly shows the resilience of the human spirit over adversity. 

The doc also contains a strong female slant with a segment told from a female’s point of view, a teen called Edith Heap, barely twenty, who was involved with the planning during the Blitz.  The doc is also directed by a female, a change from war films directed by males.

The most moving moments involve the children.  Many were separated from their parents and evacuated by trains to Northern towns and cities for safety.  They were told to be bold and not to cry or to give their parents a last hug.  The film focuses on a 5-year-old boy called Eric Brady.  He had to look after his big sister, Kitty, but he was more comforted by knowing that she was looking after him.  The camera shots of the faces of young children as they are separated from their parents are nothing short of emotionally wrenching and guaranteed to bring out tears.  The recent film BLITZ, a 2024 historical war drama film written, produced and directed by Steve McQueen, covered identical material, though fiction of a boy who jumped the train to go back in search of his parents in London.  Another memorable film, told from the point of view of the RAF, called THE BATTLE OF BRITAIN directed by Guy Hamilton is set in 1940, a film that follows the British Royal Air Force in its fight of a desperate battle to prevent the Luftwaffe from gaining air superiority over the English Channel as a prelude to a possible Axis invasion of the U.K.

What makes this doc is the British insights. The children were to be looked after by the Welsh, but when the children came, they were London kids and fought with the local kids. It was another war.  Also, the Welsh were not welcoming to the Londoners when the coal miners were on strike at the time.

BRITAIN AND THE BLITZ opens for streaming on Netflix this week.

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CAUGHT BY THE TIDES (China 2024) ***½

Directed by Jia Zhangke

CAUGHT BY THE TIDES, directed by Jia Zhangke, and written by Wan Jianhuan and Zhangke, is an ambitious and stunning-looking film based on footage across 22 years, some from director Jia's previous films, in an impressionistic non-linear blend of fiction and non-fiction.

In 2001, in the northern Chinese city of Datong, a working-class woman named Qiao Qiao has a romantic relationship with her manager Guao Bin as she hustles to make a living as a singer, model, and club girl.  Guao Bin leaves Datong to try earning his living in another province, sending Qiao Qiao a text message that says he will bring her when he has money.  After a stretch, Qiao Qiao decides to go looking for him,  passing through communities which are being displaced by the Three Gorges Dam, as well as Guangdong Province.   Meanwhile, Bin tries his hand at a number of businesses, including entering a shady business deal with a corrupt politician. W h shady business is typical of what goes on behind the government’s back and authorities in China.   There is also a gay segment.  When Qiao Qiao finally finds Bin, she breaks up with him. They eventually re-unite in COVID-era China, after both have notably aged.

The film that stretches through decades depicts the different eras of time in detail and with insight.  The audience gets to look at the timeless Three Gorges Dam at the time when the water are rising and the inhabitants of the affected cities had to evacuate.  The segment is personalized with Qiao Qiao travelling by boat on he water searching for Bin.  The audience also sees her close up and personal doing dances of different sorts - dancing playfully and set in a night club or performing in public, as when China won the bid for the Olympics hen the country was celebrating its victory in winning the bid.

The blending of the past of Jia’s previous films and current footage results in a non-linear blend of fiction and non-fiction genres, giving the film an epic feel of a difficult romance, one that takes its participants on a long journey of learning and experience.

Jia’s film provides lots of insight regarding the Chinese general population.  It shows what the Chinese and China are like - the patriotism and the hardships they face.  This should be a lesson tomTrump and his idiotic cronies to look who they’d taking on when they decide to taken China,   The Chinese know suffering and survival and one should think twice before fucking with China.

The film is quite a serious affair, especially with the doomed romance at stake.  Director Jia lifts the film’s spirits at points with a few catchy songs.

What is so amazing is that CAUGHT BY THE TIDES is assembled from 22 years of footage, including many of Jia's previous characters and locations.  As a result, the actors naturally age, including the lead character, Qiao Qiao, who is played by Jia's real-life wife, actress Zhao Tao

The film was selected to compete for the Palme d'Or at the 77th Cannes Film Festival, where it had its world premiere on 18 May 2024.  CAUGHT BY THE TIDES, which was also screened at TIFF last year, finally opens in theatres in Canada on May 9th.\

CLOWN IN A CORNFIELD (USA 2024) ***
Directed by Eli Craig

Horror films have featured scary clowns (CLOWN, CLOWNS 2) and cornfields (CHILDREN OF THE CORN) and this new horror slasher comedy combines clowns (there are more than one) in a cornfield, though the reason the clowns are so dressed is not convincing.

The film is based on Clown in a Cornfield, is a 2020 horror novel by American author Adam Cesare and marks his first novel in the young adult genre.  The film centres upon Quinn Maybrook (Katie Douglas), a teenage girl who is a senior in high school and who has recently moved to the small factory town of Kettle Springs, Missouri, from Philadelphia after the tragic death of her mother, Samantha. Her father, Glenn (Aaron Abrams), has been hired as the new town physician in the hopes that this will allow the two of them to heal. But Quinn is not looking forward to moving.  Kettle Springs has suffered financially since the closing of the Baypen Corn Syrup Factory and its subsequent burning due to arson by a local boy named Cole Hill (Carson MacCormac). As a result, the town is at odds with itself and strict lines are drawn between the largely conservative adults and the teens, who are more interested in having fun and getting views on their YouTube channel.   The clown?  The clown is Frendo, the Baypen mascot, a creepy clown who goes homicidal and decides that the only way for Kettle Springs to grow back is to cull the rotten crop of kids who live there now."   “Never fuck with Frendo!” this is th advice given to the kids when they are put in a holding cell in one scene with a crazy.

The film is shot largely in Manitoba, though the setting is American.  The main actors, Douglas and Abrams, are also Canadian, as is the more well-known Kevin Durand, once again playing a crazy the craziest way crazy can be.

The small-town atmosphere is well created.  The local folk are apprehensive of the new residents.  The townsfolk celebrate Founder’s Day, in which a marching band plays American favourite band anthems like The Washington Post.

Director Eli Craig is also Canadian and hails from the province of Alberta.  Craig is not a stranger to comedy horror with his film, the 2010 horror comedy TUCER AND DALE VS EVIL, winning the Best Feature Film Prize at the Alberta Film and Television Awards.  Craid also proves his mettle at comedy.  There are quite a few laugh-out-loud laughs amid the horror.  The film also contains jump scares, a tactic this critic largely dislikes, but the ones done here are well thought off, with a series of jump scares, one after the other, all false alarms in one horror set-up sequence, but he last one ending up for real.

CLOWN IN A CORNFIELD opens in theatres on May 9th.  A low-budget well made comedy horror that will leave audiences both laughing and scared with a few gory, violent scenes at the same time - a scary mix as well as the SCREAM franchise.

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A DEADLY AMERICAN MARRIAGE (UK 2025) ***½
Directed by Jenny Popplewell and Jessica Burgess

The true crime drama is the story of Jason Corbett.  Jason Corbett was an Irish man who was killed at his home in North Carolina in 2015. Investigations later revealed that his death was the result of a physical assault by his wife and his father-in-law. The circumstances of Corbett's death were the subject of widespread media coverage in Ireland. His wife and father-in-law were found guilty of second-degree murder in 2017, however, their convictions were later reversed and after accepting a plea bargain to reduced charges, they were both released from prison in 2024.

The film begins in 2023, when the audience sees Jack and Sarah in separate cars.  Flashback to 8 years earlier in 2015, when the two were children after their father, Jason, was killed.  The audience hears the 911 call that Jason had been killed.

The doc plays like a solid whodunit with lots of twists and turns.  Though the title, A DEADLY AMERICAN MARRIAGE, implies that the husband/father could have been murdered, directors Jenny Popplewell and Jessica Burgess always keep ahead of their audience and keep them guessing as to what is going to happen next. This makes A DEADLY AMERICAN MARRIAGE one of the better true crime series that Netflix regularly puts out.

There is also a lot at stake, like Jason’s will, the custody of the two children and the fact that Jason is originally from Limerick, Ireland and has family there, family that are concerned for the kids Jack and Sarah.   The question any bay is heather jason was killed, an abusive person put of self defence or was it ordered?  The investigating detective is one smart cookie and the cops are smart enough to tell if something is amiss.  All this makes a good true crime drama.

A DEADLY AMERICAN MARRIAGE opens for streaming on Netflix this week.

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JIMMY IN SAIGON (USA 2023) ***
Directed by Peter McDowell

JIMMY IN SAIGON  is a documentary about Jimmy in Saigon.  The doc is directed by Jimmy’s youngest brother Peter.

Jimmy in Saigon begins as a personal exploration into the mysterious death and radical life of Jimmy McDowell, a 24-year-old American Vietnam veteran who died as a civilian in Saigon in the 1970s. Director Peter McDowell was only five when his brother died, and in his quest to get to know him, he uncovers a hidden romance, new family ties and secrets surrounding Jimmy’s drug use and sexuality - a story that takes viewers to Vietnam, France and across the United States.

Jimmy dies in the doc and in the story at the one-third or 30-minute mark in the film.  Jimmy had returned to Vietnam as a civilian and died in the Vietnamese hospital, with news reaching Jimmy’s family, father and brother by telegram.  Vietnam is 13 hours ahead of the United States at the time of the news.

The documentary introduces the audience to Jimmy’s family. The film begins with his mother at Jimmy’s grave and speaks of how difficult it is to lose one’s son, particularly one’s firstborn, as in Jimmy's case. Jimmy’s two sisters and two brothers, including his youngest, Peter, the director of this documentary, are all included in the documentary.

The film takes what seems to be a detour with a gay slant, beginning with the information on voiceover that Jimmy had a girlfriend.  Then director Peter goes on about being gay and being awkward at a time when being gay was not accepted.   Peter came out to his mother, whose immediate response was that it was a phase and he should go for therapy.  Peter’s reply was for her to go instead.  Which, humorously enough, she did,  His father was more accepting of having gay people at his workplace.  Though this has little to do with Jimmy in Saigon, the distraction is, for all it is worth, an interesting distraction.  But as the doc progresses, there are strong hints that Jimmy could very well be gay, which is intriguing to Peter.

The rationale for making the doc and digging up Jimmy’s life is debated between Peter and their mother. It is known that Jimmy did a lot of drugs, especially in his stint as a soldier in Vietnam and his mother thinks best not to know, as opposed to Peter.

The search for information about Jimmy takes Peter on several international trips to Paris, France, to meet a journalist who is Jimmy’s acquaintance in Vietnam and then to Saigon itself.

The search for the truth in the doc and the inclusion of Jimmy’s family make the doc more interesting than many biopics of the life of any person, or even a celebrity.  The truth is revealed at the end of the doc.

JIMMY IN SAIGON opens in theatres in NY on April 25th at Cinema Village and in LA on May 8th at Laemmle NoHo followed by a premier VOD release on May 13th.

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SHADOW FORCE (USA 2025) ***
Directed by Joe Carnahan

Action flicks have flooded the movie theatres and streaming services lately.  Opening recently are films like THE ACCOUNTANT 2, A WORKING MAN, HAVOC and variations like BANGER, DROP and SINNERS.  And opening a week before SHADOW FORCE is THUNDERBOLTS.,  Most of them are not bad, so the competition is as fierce as the action in these films, each one aiming at being different from the other.   SHADOW FORCE is an action flick that stresses the importance of family and has the young son of the operative parents tagging along most of the way.  The point is stressed in a voice-over heard at the start of the film, which states that more important than survival is family.  The family in this case is the husband and wife, and son.

Kyrah (Kerry Washington) and Isaac (Omar Sy) were once the leaders of a multinational special forces group called Shadow Force, but broke the rules by falling in love, and they go underground to protect their son, Ky (Jahleel Kamara) with the rest of the Shadow Force hot on their trail.

The film boasts a heavy lineup.  Kerry Washington is an Emmy winner, recently seen in the lead dramatic role in Tyler Perry’s THE SIX TRIPLE EIGHT.  Omar Sy is the French version of Idris Elba.  Sy won the Cesar (the French equivalent of the Oscar) for INTOUCHABLES.  Sy’s character speaks French quite so often in the film.  Mark Strong does an excellent villain, Jack Cinder, one who has had a personal previous affair with Kyrah and who now makes his mission personal.  The last heavyweight is Best Supporting Actress Academy Award Winner for THE HOLDOVERS, Da'Vine Joy Randolph, playing Auntie.

Never mind the outrageous plot.  The audience is supposed to believe the G20 guys have assembled a clandestine action force that will kill and destroy obstacles in their way.  The most important things in action flicks are the action set pieces and often tongue-in-cheek humour, both of which the film exceeds successfully.

SHADOW FORCE opens in theatres May 9th, one week after THUNDEBOLTS to avoid too much competition.

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SHARP CORNER (Canada/Ireland 2024) ***

Directed by Jason Buxton

A dedicated family man, Josh McCall (Ben Foster) becomes obsessed with saving the lives of the car accident victims on the sharp corner in front of his house - an obsession that could cost him everything.  The question is whether there is any redemption.

American Ben Foster inhabits the title role of the father, Josh, slowly sinking into a psychological madness in which his family and personally both fall apart.   Foster, who has shown his acting chops in hits like HELL OR HIGH WATER, BIRDS OF AMERICA and 3:10 TO YUMA, carries the film well on his shoulders.  Without resorting to cheap theatrics and overacting,  his sullen and controlled performance makes the movie.

Josh is in total misery with the obsession of the sharp corner at his new house, causing the car accidents, the last of which was a fiery explosion resulting in the driver being burned to death as Josh is driving his son home.  Josh takes CPR course, bringing the dummies home to practice, for no reason, exhibiting some form of insanity, and then loses focus at work, leading eventually to the termination of his job.  The way director Buxton creates the atmosphere is one of distance.  The audience does not feel sorry for Josh in his demise, but somehow feels that he deserves it.  It is likely from his matter-of-fact behaviour of not listening to others, whether it be Rachel or his boss, or his psychiatrist.  The character of Josh appears to be a sort of loser who cannot make up his mind, and when he does, he ends up not doing the right thing.  More sympathy is felt for his wife, Rachel.

The film is basically a neat examination of psychology.  Josh’s wife, Rachel (Cobie Smulders) also has a new job counselling couples, a job that she describes as challenging.  She says that it is a way in which barriers are sometimes broken down.   Her observation is reflected by the fact that in the film, her relationship with her husband is slowly escalating to confrontation for a number of reasons, moving into the new house notwithstanding.  They start to argue about almost everything, from the possibility of getting a new car to home improvement.

The setting of the film, near a town or city, is not made clear in the film.  The setting could also be American or Canadian.  But at one point in the film, Josh sees a psychiatrist who says that’s daughter, who is now 20, has moved to study in Montreal, indicating a possible Canadian setting.  The film is actually an Irish and Canadian co-production made with both countries’ funds.

SHARP CORNER, a Canadian film from Nova Scotia, has won a few prizes, including Best Picture at the Atlantic Film Festival and has been nominated for Best Adapted Screenplay, visual effects, and Editing for the Canadian Screen Awards.  A solid family, well-made Canadian psychological drama that is definitely worth a look.  SHARP CORNER opens in theatres Friday, May 9th.

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Written by: Gilbert Seah

Parent Category: Articles

Category: Movie Reviews

Published: 25 April 2025

FILM REVIEWS:

ANOTHER SIMPLE FAVOUR (USA 2025) ***
Directed by Paul Feig

At the end of the Paul Feig 1981 film A SIMPLE FAVOUR, it is revealed that Emily has been sentenced to 20 years in prison for the double murder of her father and sister.  Husband Sean has become a successful professor at Berkeley, where he currently lives with his son. Stephanie's vlog has garnered one million followers; her knack for solving crimes has made her a part-time private detective who has successfully solved thirty cold cases.

The sequel, ANOTHER SIMPLE FAVOUR is directed by Paul Feig, who rose to fame with his most successful 2011 comedy BRIDESMAIDS.  And there is a big wedding in this film as well, as a widow marries into the mob.  The weird thing is that the neighbour who slept with her ex-husband is invited to her wedding, for some reason not made known to the audience.

ANOTHER SIMPLE FAVOUR follows protagonists Stephanie Smothers (Anna Kendrick) years after the action of the first book. She is touring on her book, but sales are sagging, and she could use a sequel.  Clearly, the events of this movie will serve as material for her second book.  That door opens when Emily (Blake Lively) drops back into Stephanie’s life. Her fiancé’s high-priced attorneys found a way to get her out of prison on appeal (never credibly explained how this is achieved), and Emily insists that Stephanie stand as her Maid of Honour. Destination wedding!  The pair jet off to Capri, in a private jet, though not given good seats, where they’re joined by Sean (Henry Golding), who has been forced by the courts to bring Nicky (Ian Ho) to the ceremony.  Golding gets some of the best lines in the first act as Sean hurls half-drunk insults at his ex-lovers.  The groom is Dante (Michele Morrone), who happens to be the heir to a mafia empire run by his mother, Portia (Elena Sofia Ricci), who is reluctantly navigating a conflict between the Versano family and a competing one at the ceremony. And so the plot thickens.   The story moves along at a leisurely pace, a good thing as the film, though running over 2 hours, makes for a leisurely watch.

There are a few notable, clever set pieces like Sean’s murder in the shower, a hilarious variation of Hitchcock’s PSYCHO.  Golding, who was so cardboard in his acting in CRAZY RICH ASIANS, does major over-acting in this film, which is also plain hilarious.

A few flaws involve the script.  The film could be shortened easily to under two hours.  There is also a weak motive for the whodunit, as well as no clear desperation in discovering the killer.   Otherwise, the use of social media in the story brings the whodunit into the present day, and the use of the exotic location of Capri helps the story as well.  The use of the feuding mafioso in the story seems largely wasted and leads nowhere.

Everyone loves a good mystery or whodunit set in a beautiful location. The location is stunning, Capri.  Capri is an island located in the Tyrrhenian Sea off the Sorrento Peninsula, on the south side of the Gulf of Naples, in the Campania region of Italy. The largest settlement on the island is the town of Capri. The island has been a resort since the time of the Roman Republic.  Salto di Tiberio, also known as Tiberius’ Leap, is a historic spot for the Emperor. It was said that during the Emperor’s particularly cruel years, he threw his enemies and those who displeased him off the cliff, for them to perish from the fall.  The film’s climax takes place at what could be that cliff, where an enemy is tossed to their death.

ANOTHER SIMPLE FAVOUR opens for streaming on Prime Video May 2.   Good harmless entertainment, murders considered.

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THE BIGGEST FAN (LA MAS FAN)(Mexico/France 2025) **
Directed by Maria Torres

THE BIGGEST FAN follows disgraced actress Lana Cruz (Kate del Castillo), who has been cancelled by Hollywood. Hence, she heads back to Mexico to work in a film and prove that she's still a star. Still, she is not prepared for Polly (Diana Bovio), her biggest fan and worst nightmare. 

Maria Torres’ THE BIGGEST FAN, which she has co-written with Enrique Vazquez, tells the story of TV star Lana Cruz, whose show, a seven-season Special Crimes, has been running successfully.  But, after a particularly difficult day of shooting, when she goes out amongst her fans, Lana ends up hitting one of them.  The incident goes viral and Lana Cruz becomes as unpopular as fast as she became liked.  And so goes social media.  Poor Cruz is out of work until a year later, she is offered an art spy period piece by an artsy director to be shot in Mexico.  This is also when and where she meets Polly, her biggest fan.

Films have been made time and again about stars and their big fans.  And fans who have gone too far.   Notable is Ed Bianchi’s 1981 horror slasher THE FAN, in which Lauren Bacall plays a stalked movie star.   The film was a flop, though it also featured Maureen Stapleton and James Garner.  This Netflix original comedy, THE BIGGEST FAN, takes a lighter side while attempting to cover a few dramatic issues as well.  Lana Cruz’s biggest fan only appears 20 minutes after the film starts.   Polly is totally obsessed with Lana but is a hell of an annoying and ends up being her sort of personal assistant to the Cruz’s breakout movie in Mexico.

How is Polly irritating?  She screams at any time to let it out, startling Cruz and annoying her as well.  Polly’s cell goes on during a shoot.   Polly also turns up at any inappropriate time, sometimes bringing stew as well.   Unfortunately, all the antics are only mildly funny.  The relationship finally turns sour when Polly causes Lana to miss the final day of the shoot.

The film could have worked if it had been funnier.  A lot of missed opportunities, though the actors playing Polly and Lana try their best.

A few dramatic subplots include Lana trying to make up with her estranged daughter, whose graduation she is forced to attend because of the Mexican movie shoot.  Director Torres ups the melodrama, which brings the film down, considering that it should be funnier.   Another subplot includes Lana’s late and over-obsessive mother, whose advice “smile’ is taken too seriously by Lana.

THE BIGGEST FAN is a female film with largely female characters, with the males mostly treated as idiotic (like the director) or given secondary roles.

THE BIGGEST FAN is a Netflix original film, a co-production between Mexico and France that is ultimately quite a bore to watch,  demonstrating nothing new in terms of ideas or entertainment. THE BIGGEST FAN is open for streaming this week on Netflix.

EGGHEAD & TWINKIE (USA 2022) ***
Directed by Sarah Kambe Holland

EGGHEAD AND TWINKIE, written and directed by Sarah Kambe Holland

plays as a road trip teenage movie about two teens who don’t know much about themselves, life, what they want, or anything else.  The film is a mix of live-action and animation and is breezy and light.  It looks and feels like a film with a limited target audience of LGBTQ+ or teens, but despite the fact, EGGHAD AND TWINKIE has its charm and has moved the hearts of many a moviegoer, earning a solid 95% rating on Rotten Tomatoes at the time of writing this review.

EGGHEAD AND TWINKIE begins with voiceover claiming that these two have been friends for life and have never had an argument.  Of course, they do as depicted at the start when the two meet at a restaurant to sort out their differences.  Twinkie has left Egghead stranded during a road trip.  I would never forgive any person who would do that to me, but apparently Egghead does, as he is in love with her.  And then she comes out to him that she is gay.

The simple premise of the film involves an Asian American teenage girl, Twinkie (Sabrina Jieafa) who after coming out to her adoptive parents, takes off on a road trip to meet her online crush, BD (Ayden Lee) with the help of her nerdy best friend, Egghead (Louis Tomeo).

The two leads, Jieafa and Tomeo, deliver charming, goofy and innocent enough performances for the audience to identify with.  The raid trip encounters are eventful enough, leading them to try to ditch paying a restaurant bill.  But they pay after finding the money showing them to be liable characters with no bad stuff in their hearts.

Besides the funny stuff. The film hits some high emotional notes with its coming-of-age dramatic moments.  This is a film that would be difficult to dislike

EGGHEAD AND TWINKIE  is available on demand April the 29th in Canada and the US.

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THUNDERBOLTS (USA 2025) ***
Directed by Jake Schreier

Disney has milked their STAR WARS franchise to death,   It looks like their Marvel Cinematic Universe is heading for the same demise.  It is not easy to come out with something different and distinct.   As for THUNDERBOLTS, it is a case of the Avengers becoming the new Avengers.  Not that anyone cares.  But maybe Comic-Con fans do.  And unless one is perhaps a Marvel comic book fan.   I myself dread going to any Marvel superhero screening, despite the high budgets, but at least it brings audiences back to the theatres.  In that respect, the Disney people have tried really hard with THUNDERBOLTS and it succeeds within reason, all things considered.  Form a non-Marvel comic fan, THUNDERBOLTS is still an ok watch, though the film has garnered rave reviews so far on social media.

As CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus) faces impeachment for illegal activities, she sends Yelena Belova (Florence Pugh), John Walker (Wyatt Russell),  Ava Starr, (Hannah John-Kamen) and Antonia Dreykov (Olga Kurylenko) to a secret compound to battle each other.  After Starr kills Dreykov, a man named Bob (Lewis Pullman) suddenly appears. Upon learning that they were sent by de Fontaine to be incinerated along with evidence of her activities, they manage to escape from the trap. Belova, Walker, and Starr flee from the scene after Bob distracts de Fontaine's forces, who open fire at him. Bob gets up from the gunfire and flies upward before crashing back to the compound.  The story gets bot of variation from here, but basically it is a case of anti-super heroes having to put their differences aside and cooperate to take Valentina down.

As far as plots go, adversaries arguing with each other forced to join forces to combat a common enemy is not fresh fodder.   So, this premise is taken into the MCU.  The premise does get overworked and shows its tedium in the middle,

Louis-Dreyfus and Pugh are both great, Pugh doing a Russian accent with David Harbour who plays her characters father, and with Sebastian Stan and they lift the film out of the doldrums.

Special effects and action set pieces-wise, Marvel fans should be satisfied.   There is an impressive disaster movie-type set pieces reminiscent of films like EARTHQUAKE and TOWERING INFERNO.   Buildings collapse amid a busy city street.     But the superheroes trying to save innocent bystanders is a bit too hokey. Not everyone can be saved, though the film attempts to convince the audience to believe so.

On May 2nd in Toronto, fans attending a screening of “Thunderbolts*” at Scotiabank Theatre Toronto were in for an unexpected treat when Julia Louis-Dreyfus made a surprise appearance to personally thank the audience for their support. Julia’s appearance was met with thunderous applause as she shared a few words about the making of the film and what it felt like to have her character, Valentina Allegra de Fontaine, return to the big screen. 

THUNDERBOLTS opens in theatres this week, May 2nd.   It should make it number one at the box office.

Trailer: 

Details

Written by: Gilbert Seah

Parent Category: Articles

Category: Movie Reviews

Published: 18 April 2025

BULLET TRAIN EXPLOSION (Japan 2025) ***
Directed by Shinji Higuchi[

BULLET TRAIN EXPLOSION (Japanese: Shinkansen Daibakuha, lit. 'The Shinkansen's Big Explosion') is a Japanese action thriller film directed by Shinji Higuchi and starring Tsuyoshi Kusanagi, Kanata Hosoda, Non, Takumi Saitoh, Machiko Ono, Jun Kaname and Hana Toyoshima.   The film is a remake of the 1975 film The Bullet Train, the film premieres on Netflix on 23 April 2025

THE BULLET TRAIN is famous for inspiring the disaster movie SPEED, with Keanu Reeves driving a bus.   When the Hayabusa 60 Shinkansen bound for Tokyo is threatened with a bomb that will instantly detonate if it slows below 100 km/h and the bomber demands a ransom of ¥100 billion for the lives of everyone aboard, the train's crew, as well as government authorities, must race against time to find the bomber and defuse the bomb while keeping the train and its passengers safe.

Director Shinji Higuchi[ shoots his film as efficiently as the bullet speed train operates, all of what may be described as formulaic and directing by numbers - all of which is not that bad a thing that time has proven - the formula works.   The pacing is well laid out as expected.  It begins with a description of the efficient bullet train and how it transports passengers for various reasons across the country.   It is only after 10 minutes that news of a bomb is planted on the train and only after an hour that the bomber is identified.  The climax involves saving the passengers.   The film lacks an evil villain, and the bomber’s cause is compromised by her reason for doing the deed.

A big plus in this new disaster movie is the integration of high tech with the story.  Aboard the train, an influencer is asking followers to donate money to pay the ransom in order to save lives on the train.  No other disaster films have integrated social media with disaster movies.

The film, being Japanese also displays Japanese traits.  When the bomber’s identity is made known to the passengers,  the staff apologize to the passengers, as is customary in  Japanese tradition - to be always polite and apologize. But there is always someone on the train who will blame the railway staff for anything.  An argument then arises in one of the film’s key scenes when one irate idiot passenger rudely accuses the staff of not doing their work, only to be rebuked by another passenger.   These little incidents add to the amusement of the disaster movie.

The addition of modern transit technology is also on full display in the film.   Even if one may not be interested in the disaster scenario, there is plenty of tech stuff to gawk at.  The Japanese rail control centre shows how efficient everything is, from the display of train times and possible delays right down to the exact times the trains arrive or reach each station.  The staff is shown to be sufficiently trained and effective at their jobs, not to mention as dedicated as their North American counterparts.

The film also focuses on a select few characters. These include, among others, a veteran rail employee and a rookie, a well-known, familiar female politician, a young daughter and father, among others, all adding a little personal touch to the story.

The expected climax is a bit of a let-down, partly owing to the excellent build-up.

Trailer: 

EGGHEAD & TWINKIE (USA 2022) ***
Directed by Sarah Kambe Holland

EGGHEAD AND TWINKIE, written and directed by Sarah Kambe Holland

plays as a road trip teenage movie about two teens who don’t know much about themselves, life, what they want, or anything else.  The film is a mix of live-action and animation and is breezy and light.  It looks and feels like a film with a limited target audience of LGBTQ+ or teens, but despite the fact, EGGHAD AND TWINKIE has its charm and has moved the hearts of many a moviegoer, earning a solid 95% rating on Rotten Tomatoes at the time of writing this review.

EGGHEAD AND TWINKIE begins with voiceover claiming that these two have been friends for life and have never had an argument.  Of course, they do as depicted at the start when the two meet at a restaurant to sort out their differences.  Twinkie has left Egghead stranded during a road trip.  I would never forgive any person who would do that to me, but apparently Egghead does, as he is in love with her.  And then she comes out to him that she is gay.

The simple premise of the film involves an Asian American teenage girl, Twinkie (Sabrina Jieafa) who after coming out to her adoptive parents, takes off on a road trip to meet her online crush, BD (Ayden Lee) with the help of her nerdy best friend, Egghead (Louis Tomeo).

The two leads, Jieafa and Tomeo deliver charming, goofy and innocent enough performances for the audience to identify with.  The raid trip encounters are eventful enough leading them to try to ditch paying a restaurant bill.  But they pay after finding the money showing them to be liable chacrerts with no bad stuff in their hearts.

Besides the funny stuff. The film hits some high emotional notes with its coming-of-age dramatic moments.  This is a film that would be difficult to dislike

EGGHEAD AND TWINKIE  is available on demand April the 29th in Canada and the US.

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FREWAKA (Ireland 2024) ***½

Directed by Aislinn Clarke

The Irish folk horror film, FREWAKA from Aislinn Clarke (The Devil’s Doorway) follows home care worker Shoo, who is sent to a remote village to care for an agoraphobic woman who fears the neighbours as much as she fears the Na Sídhe — sinister entities who she believes abducted her decades before.  As the two develop a strangely deep connection, Shoo is consumed by the old woman’s paranoia, rituals, and superstitions, eventually confronting the horrors from her past.

FREWAKA is an Irish folk horror movie in the best sense of the word. It is set in a quaint Irish village full of typical Irish folk, inquisitive and unwelcoming to strangers. The story is set in an old house filled with Irish charms like a horseshoe and other paraphernalia. The film is also shot in Irish Gaelic with some English, proving the point that the language, though not dead, often deals with the dead.

FREWAKA, the film title (Irish-language, like much of the dialogue) is shortened from the original “Fréamhacha,” and translates as “roots” — a concept that hard-headed protagonist Siobhan (Clare Monnelly), who prefers to be called Shoo, doesn’t much care for.   Roots could refer to the past of either of the two protagonists.  One is Shoo who is reeling from the death of her mother, who is did not get along with and the other, Peig (Bríd Ní Neachtain), the elderly lady Shoo looks after as a caregiver, her roots for isolation that lay in a disastrous rural wedding, that is shown as the introduction of the film.  Peig believes she was abducted decades ago, a fact that is backed up by newspaper cuttings that the bride had gone missing after the wedding.  The poster of the film has roots emanating from the eyes of a human.

Director Clarke’s film flows smoothly and coherently.  It begins with a wedding.  The action then moves to the present day, where, to the tune of an old Irish ballad, a woman takes her own life.  Her daughter Shoo (Clare Monnelly), is a care worker whose reasons for estrangement from her mother will have an increasing impact on her mental state.  Engaged to her pregnant Ukrainian fiancé Mila (Aleksandra Bystrzhitskaya), Shoo is grateful to cut short clearing her mother’s house to start a live-in job looking after an elderly agoraphobic, Peig, in the remote Irish countryside, leaving Mila to continue the pregnancy alone.

The set decor is admirable, with lots of details involving Irish folk stuff.  The wardrobe like the yobs wearing medieval straw masks are also scary as well as impressive, not to mention the wedding ware.  Director Clarke is also adept at creating a scary atmosphere and period that is present throughout the film.

The two characters are each interesting enough, both having problems of their own,  each searching for isolation but eventually finding a bond owing to their somewhat similar uncomfortable past.  An addition to the story involves the estranged relationship between Shoo and her girlfriend, who has to put up with her anger at her deceased mother.  She cannot undreamt Shoo’s behaviour.

FREWAKA  opens for streaming on Shudder on April 25 in Canada, the U.S. and other countries.  Thesis is one of the better horror flicks on Shudder. It's well worth a watch.

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HAVOC (USA 2025) ***
Directed by Gareth Evans

Tom Hardy (MAD MAX, THE BIKERIDERS), arguably the only action hero actor who can act, is the best thing about the new (actually the film has been set on the shelf in limbo since almost the Pandemic) action film HAVOC.  Director Evans (THE RAID, THE RAID 2) knows the fact and gets serious drama, as can be observed in the film’s initial elaborate voiceover.  The message is on the choices one makes, initially good until …….  Apparently, the film’s protagonist, played by Tom Hardy, a homicide detective, made the wrong choice of being a dirty cop.  He has turned good but stands to lose his family, his friends, and then according to the voiceover, himself.

After a drug deal goes awry, a bruised detective must fight his way through a criminal underworld to rescue a politician's estranged son while untangling his city's dark web of conspiracy and corruption.

Director Evans attempts neo-noir, but the mix does not really work that well.  The film is no half-hand but it faces stiff competition to action and action thrillers out there like THE ACCOUNTANT2, DROP and SINNERS. At least this one can be watched at home on Netflix.  HAVOC opens for streaming on Netflix this week on Friday, April 25th.Trailer: 

ON SWIFT HORSES (USA 2024) ***½

Directed by Daniel Minahan

ON SWIFT HORSES is a slow-burn noir, characterized by the fact that there is a lot of smoking done here by the characters, about a newlywed whose life is upended by the arrival of her wayward brother-in-law.  The noir drama is set in the 1950s when a man and a woman are expected to marry and settle down, and homosexuality is not only frowned upon but treated with hate, anger and violence.   The film is meticulously adapted from Shannon Pufahl’s novel of the same name

The title ON SWIFT HORSES comes from the Bible — specifically, Isaiah 30:16.  The verse says:

“You said, ‘No, we will flee on horses.’
Therefore, you will flee!
You said, ‘We will ride off on swift horses.’
Therefore, your pursuers will be swift!”

This quote is essentially about people trying to escape something, relying on speed and distance rather than confronting what’s happening. In the context of Shannon Pufahl’s novel, which the film is based on, and the film adaptation, the title reflects the emotional and psychological state of the characters. They are all, in different ways, running from their pasts, from expectations, from the limitations placed on them by society in the 1950s.

The "swift horses" evoke both literal escape (like driving through the desert, gambling, or just disappearing) and emotional escape (into secrecy, desire, or fantasy). So the title has this poetic resonance about longing, risk, and flight.

 Muriel (Daisy Edgar-Jones) and Lee (Will Poulter) are the new married couple planning to move from Kansas to start married life in California.  Then Muriel meets Lee’s brother Julius (Jacob Elordi), a charismatic gambler with a secret past.  Their connection is instant, like kindred souls.  Nevertheless, Muriel and Lee follow the American Dream in San Diego while Julius heads out to Las Vegas.  Their paths meet, but the result is far from desirable,

  The film might be hard to take in (though not implying that it is a bad film) for a couple of reasons, the slow burn being one of them.  The characters are not that likable either, as they do not seem to know what they want, and they hurt each other in the process of trying to escape to a better life.  Most of their teams are unattainable, mostly by both fate and their doing, which means that the audiences should be prepared for an unhappy ending.

Performances are top notch all around, especially Elordi, touted to have turned down the role of the new James Bond for the purpose of getting into more diverse roles like this one.  Poulter is outstanding too, playing the role of a ‘good man’ as his wife describes his character in one key scene.  Also added to the film’s please is the noir period atmosphere taken into the story’s setting.   The film was shot by Canada’s Luc Montpellier (Women Talking), whose stunning cinematography captures not only the look of the Eisenhower era (the cookie-cutter houses, the pristine landscapes) but also the fringes of Americana (casinos, race tracks, cruising parks, and gay bars).

ON SWIFT HORSES opens in theatres across Canada, including Toronto April 25th.

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PANGOLIN: KULU’S JOURNEY (UK 2025) ***½

Directed by Pippa Ehrlich

What is more adorable than a pangolin?  The answer is a baby pangolin, a harmless, so vulnerable and helpless creature, that one part just goes out to preserve this wonderful mammal

A pangolin will roll up a ball of its scales when threatened.  These solitary, primarily nocturnal animals are easily recognized by their full armour of scales. A startled pangolin will cover its head with its front legs, exposing its scales to any potential predator. If touched or grabbed, it will roll up completely into a ball, while the sharp scales on the tail can be used to lash out.  Also called scaly anteaters because of their preferred diet, pangolins are the most trafficked mammal in the world, with demand primarily in Asia and in growing amounts in Africa, for their meat and scales. There is also demand in the United States for pangolin products, particularly for their leather to be used in boots, bags, and belts.

Eight species of pangolins are found on two continents. They range from Vulnerable to Critically Endangered.

This wonderful educational Netflix documentary, directed by Pippa Ehrlich, who directed the Academy Award-winning documentary THE OCTOPUS TEACHER, follows a baby pangolin, rescued from poachers as seen at the start of the film.  Apparently director Ehrlich was coerced into making the film after being sent footage of the pangolin.  The male baby pangolin Kulu is handled by Gareth, whose purpose is to guide the pangolin back to the wild and survival.  The story is quite basic.  Unlike most docs, this one does not follow the life of he subject from birth to adulthood.  Instead, it follows a pangolin’s rehabilitation to the point when he is able to survive on his own in the wild.  Kulu was almost sold and slaughtered by poachers when a sting operation rescued him. His handler looks after him till he reaches 6.5 kg, when it is a safe enough weight for him to survive on his own.  But an incident involving an electric fence that almost killed Kuu left him traumatized and mistrusting of Gareth.  It took a while before trust was once again attained.  What is marvellous is to observe the bond between a human and a wild animal, not to mention that this pangolin is 100% cute.  The best scene involves watching the pangolin feasting on termites.

The film’s setting is Joburg.  Joburg is short for Johannesburg, South Africa's biggest city and capital of Gauteng province, which began as a 19th-century gold-mining settlement. Its sprawling Soweto township was once home to Nelson Mandela and Desmond Tutu.  Mandela’s former residence is now the Mandela House museum. Other Soweto museums that recount the struggle to end segregation include the somber Apartheid Museum and Constitution Hill, a former prison complex. 

The film’s best moments are its simplest, just watching the pangolin move on its hind legs and propelling itself with the aide of its two arms.  Watching it feed on ants and their eggs is also quiet the sight.  In defence, the ants bite the pangolin’s tongue, which must hurt it as well.

PANGOLIN: KULU’S JOURNEY is currently streaming on Netflix.

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THE TROUBLE WITH JESSICA (UK 2023) ***
Directed by Matt Witt

Everyone loves a good London play at west end.   The new British film set in North London plays like a chamber piece except for one segment in which body is moved across North London in a car.  Though one might complain about the film being stagey, staginess can still be entertaining.  After all, people do go and see plays.

The film’s title is likely derived from the classic Alfred Hitchcock 1955 movie THE TROUBLE WITH HARRY, also about having to dispose of a dead body - in that movie, the body is Harry, and this movie, THE TROUBLE WITH JESSICA, is unveiled in chapters entitled:

The Trouble with Friends

The Trouble with Neighbours

The Trouble with the police

The Trouble with Friends

among others…….

Chamber pieces work best as whodunnits, bedroom farce, and comedy.   THE TROUBLE WITH JESSICA can be described as a comedy of errors.

The actors playing the Londoners are English, Scots Welsh and American, no attempts made to hide their basic accents.  No complaints here, as the script can always offer an excuse for the different accents.

The premise is simple enough: Four friends, two married couples and Jessica are having a dinner party.   The host is making clafoutis, which is a running joke throughout the movie.  Jessica is clearly the shit disturber.  She excuses herself during the dinner and hangs herself.  The j=hostess denies to,ove the body as she is about to sell the house and a suicide world brings down the price of the listing.  So, the four have to decide what is the best thing to do, and finally decide to move Jessica’s body to her pace, noticed.  But neighbours, plociw and guilt come in the way,

The characters can hardly be described as likable.  The most dislikable is clearly Jessica, who shows up at dinner creating havoc and flirting with all the husbands.  Jessica has done what she has wanted all her life, which is having sex, getting drunk, and snorting coke, and has just written a best-seller of her life.  Then, she hangs herself at her friend’s dinner party. Her character is obviously written for audiences to hate, and when she is out of the picture after her suicide, the audience can only be too pleased.  The funny part is that Jessica is even more toxic dead than alive.  The actress playing Jessica is half Indian and Swiss, exhibiting the beauty of cross-race marriages.

The script carefully places personalities against each character, while making each one distinct and different.   The clearly most disliked one, actually, none of the characters are actually angels, is the self-proclaimed do-gooder played by Olivia Williams.   She is always morally correct and is never too shy to discuss it.   She is the first to oppose disposing of Jessica’s body.  Her husband cannot stand her because of the fact that he loves her.

THE TROUBLE WITH JESSICA premiered at the ICFF (Italian International Film Festival) last year and opens in theatres  April 25th.   Undemanding and entertaining British fare that is a pleasure to watch!

Trailer: 

UNTIL DAWN (USA 2025) ***

Directed by David F. Sandberg

Horror time loop movies are themselves a genre of their own, films like HAPPY DEATH DAY, THE ENDLESS and TIME LAPSE being the most remembered ones.  The best of the lot happens to be from Sweden and Denmark, called KOKO-DI, KOKO-DA, which should definitely be checked out if this is your favourite horror genre.  A new one opens this week in theatres, entitled UNTIL DAWN, which is based on a video game.  The premise is that the characters must stay alive UNTIL DAWN or they will relive their deaths again and again and again.  How do they know this?  In one of the sessions, a witch (Mariann Hermányi) tells one of the characters the important message.  Yes, this all makes little sense, but what can one expect from a film based on a video game

UNTIL DAWN is not that scary a film, KOKO-DI, KOKO-DA, in contrast, is incredibly scary and also funny in that the campers who are repeatedly slaughtered violently do nothing to try to escape their repeated demise.   In UNTIL DAWN, they try to survive till dawn.  After all, what else can be expected of them to do?  The climax and a short clip of what happens next, maybe prompting a sequel, are nothing out of the expected and rather clichéd.

At the start of the film, the audience sees a group of friends travelling by car to find out the mystery of the disappearance of Clover’s (Ella Rubin) sister, Melanie (Maia Mitchell).  The group is comprised of Clover’s ex, Max (Michale Cimino), friends Nina (Odessa A’zion), Megan (Ji-Young Woo) and Abe (Belmont Call).   The script by Blair Butler and Gary Dauberman makes no great attempt at distinguishing each character, though one can tell the other apart for example, that Megan is Asian and can sense ‘spirits’ while Max and Abe look quite different.  But the cast of relative unknowns delivers solid performances.

The script also does not contain any remarkable twists in the plot nor does director Sandberg (also Swedish like the director of KOKO-DI, KOKO-DA), and director of scary films like ANNABELLE: CREATION and LIGHTS OUT create any originally fresh horror set pieces.  Director Sandberg relies on one too many jump scares, which make many of the audience around me at the promo screening jump out of their seats.  The horror special effects work well, especially the exploding bodies in one sequence of the film.  The horror story also lacks an evil villain, though Dr. Hill (Peter Stormare) manages a few scares.  The creation of the ‘waterwall’ is the film’s most impressive and eerie premise, as well as the characters trying to escape while driving in fog.  Driving in fog, and unable to see clearly through the windshield is one of the common nightmares people have.

UNTIL DAWN should satisfy horror fans with scares, violence and gory scenes, though it can be said that the film is not genuinely hauntingly frightening or eerie.  UNTIL DAWN will be up for stiff competition with the other blockbuster and well-reviewed SINNERS that opened last week.

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Written by: Gilbert Seah

Parent Category: Articles

Category: Movie Reviews

Published: 30 March 2025

FILM REVIEWS:

CALL OF THE VOID (USA 2024) **
Directed by James B. Cox

CALL OF THE VOID is set in the Appalachian Mountain range in the United States.  The recent drama APPALACHIAN DOG, by coincidence, is another film set in the same area.   The Appalachian Mountain range is a bleak and deserted area.  The Appalachian Mountains, often called the Appalachians, are the mountain range in eastern to northeastern North America. The term "Appalachian" refers to several different regions associated with the mountain range and its surrounding terrain.  CALL OF THE VOID features Appalachian folk songs, which are performed by the cast of the film.  It is doubtful if the film was actually shot there as the credits list the filming locations as Big Bear Lake, Big Bear Valley, San Bernardino National Forest, California, USA.

CALL OF THE VOID stars Caitlin Carver (Chicago Fire, I Tonya, Netflix’s Dear White People), Mina Sundwall (Netflix’s Lost In Space, Jesus Revolution), Christian Antidormi (Starz’s Spartacus, Netflix’s The Lincoln Lawyer), and Ethan Herisse (Nickel Boys, When They See Us). It was written and directed by James B. Cox (Hacked, Grey Matter, based on a short story by Stephen King).

After the tragic death of her brother (not seen on screen), Moray (Caitlin Carver) retreats to a remote mountain cabin to try and escape her work, her family, and her old life.  However, her quiet retreat is quickly diverted by a college band of 4, comprising Lucy (Mina Sundial), Sterling (Richard Ellis). Cole (Christian Amtidormi) and Darryl (Ethan Herisse) move into the unit next door and a suspicious professor is studying a local phenomenon involving a mysterious hum.   She discovers that the Hum is a gateway to something otherworldly, unnameable, and once heard--there is no return. The Hum is a sonic experience that asks the question: How can you escape your own senses?  The hum feels like the ringing one often hears that comes and goes in one’s ears.

The film works best when Moray meets the band and interacts with them.  The members appear weird, and indeed they are.  There seems to be no main leader of the group, which the script should have identified.  The bully of the group is clearly Sterling, and the black member Darryl is the one who not only bullied but also seems out of place and not wanting to be there.  Things take a head when all decide to go hiking with each left on an isolated spot to meditate.

But as things develop, the story also becomes more difficult to follow and the lines between the good and bad members of the band begin to blur.  And the mystery of the old professor presumed dead, by the name of Professor Blackwood (Ted Barton) also comes across as strange, not to mention the monster from the void.

The blend of psychological horror and actual horror comes across as a weird mix in a film that ends up with a muddled ending.

Gravitas Ventures will release CALL OF THE VOID on digital platforms on April 15, 2025.

DEAD MAIL (USA 2024) ***
Directed by Joe DeBoer and Kyle McConagh

When an ominous cry for help on a blood-stained scrap of mail is clocked by the staff of a country post office in the American Midwest, it spurs an investigation that circuitously reveals the sordid story of a struggling synthesizer engineer (Sterling Macer Jr.) and his possessive benefactor (John Fleck). Shrewdly set at the precipice of the digital age — that nebulous twilight between the late 1970s and the early 1980s — this analog-textured thriller borders its central psychodrama within an idiosyncratic community of amateur gumshoes who all keenly contribute to cracking the case.  The most immediately prominent sleuth is Jasper (Tomas Boykin), a diligent mailroom clerk with a knack for rectifying “dead letters,” to use the parlance of the postal service. Aided by his two plucky colleagues (Micki Jackson and Susan Priver) and a Scandinavian hacker (Nick Heyman), this ensues a genre-bending caper.  The lack of blood, gore and violence is compensated by the weird way in which lost items and dead mail can be traced - all of which could be either true or made up.  The ambiguity of the situation is heightened at the end with notes of what has happened to each of the story’s characters - which are too odd to be believed.  The setting and cinematography on scratchy, deliberately scratched and blurred film mark this film above others in the genre.  No big-name stars in this low-budget horror, if one wants to call it that.

DEAD MAIL premiered at the Toronto International Film Festival's Midnight Madness Section and opens for streaming on Shudder on April the 18th, 2025

iHOSTAGE (Amsterdam 2025) ***
Directed by  Bobby Boermans

Full Review to be posted weekend)

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SECRET MALL APARTMENT (USA 2024) ***
Directed by Jeremy Workman

 In 2003, eight Rhode Islanders created a secret apartment inside the busy Providence Place Mall and kept it going for four years, filming everything along the way. Far more than just a wild prank, the secret mall apartment became an incredibly meaningful act for all the participants, at once an act of defiance against local gentrification, a boundary-pushing work of public/private art, and a 750 square foot space that sticks it to the man.

The film tells the true story (which documentary is not?) of eight Rhode Islanders who built and lived in a secret apartment inside a busy local mall from 2003 to 2007.  As implied by this premise, the target audience is limited and those outside the target audience might just watch the doc out of curiosity at best.  The doc is more than aptly made, with details and history, with sufficient research done for that matter.   The doc has garnered rave reviews, including that of critic Peter Keough called the film one of the best documentaries of the year, stating in The Arts Fuse that "the secret apartment also symbolized a Borgesian kind of subversiveness, a meta-mirror of the culture that the artists inhabited and subverted.”  Vogue also included the film as one of the best documentaries of 2024, stating that "the film is both an elaborate archaeological excavation and a creative re-enchantment of urban corporate space.

The doc’s main subject is Michael Townsend, who after the story broke in 2007, several Hollywood production companies approached him about making a film. For nearly 15 years, he and his fellow artists turned down "north of 30 directors" who wanted to make a documentary on the story.  It is therefore not surprising to see that more than half of the doc’s running time is devoted to Townsend and his artwork, which has little to do with the secret mall apartment.  There is a lot of praise for Townsend, who also teaches art and how he selflessly devotes his work and time to the hospital

SECRET MALL APARTMENT premiered at the 2024 SXSW Film Festival, the documentary later screened at the Hot Docs Canadian International Documentary Festival,  Melbourne International Film Festival,  Vancouver International Film Festival,  Hamptons International Film Festival,  and the closing night film of the Newport Film Outdoor Festival.  The film opens in Toronto at the TIFF Lightbox on April 18th.

Trailer: 

THE WEDDING BANQUET (USA 2025) ***

Directed by Andrew Ahn

Written by director Andrew Ahn and James Schamus (a frequent collaborator with Taiwanese director Ange Lee), the new gay comedy THE WEDDING BANQUET, the title might sound familiar.  The reason is that THE WEDDING BANQUET is a remake of the 1993 gay iconic classic of the same name, which was one of the films that put director Ang Lee on the international map of filmmaking.  The new film has several variations, including a Korean setting.  The gay male couple is Korean and Asian American, while the original features a Taiwanese and an American caucasian. Though this version is not bad for the reason outlined below in the review, nothing beats the original.

The new version has a veteran cast of SNL regulars and favourite, Bowen Yang in the title role.  It also features two Asian heavyweight stars as the grandmother of one of the grooms and the mother of one lesbian.  Joan Chen plays May Chen, introduced at the start of the film wearing a flattering glittery cheongsam, while Academy Award Winner from MINARU Youn Yuh-jung plays one of the groom’s grandmother who stole the Oscar from Glenn Close, who should have won the Oscar after being nominated numerous times.   Youn plays the more subdued relative while Chen is the loud and more outlandish one, and one that supports gay rights and the gay movement.  Her character is not amused that the wedding banquet to be organized is to be for a straight and not a gay couple, one of the film’s best jokes.  Also in the cast is an Academy Award nominee for KILLERS OF A FLOWER MOON, Lily Gladstone, who is playing Lee.

The updated story is a joyful comedy of errors about a chosen family navigating cultural identity, queerness, and family expectations.  Frustrated with his commitment-phobic boyfriend Chris (Bowen Yang) and running out of time, Min (Han Gi-chan) makes a proposal: a green-card marriage with their friend Angela (Kelly Marie Tran) in exchange for her partner Lee's (Gladstone) expensive IVF. Elopement plans are upended, however, when Min's grandmother (Youn) surprises them with an extravagant Korean wedding banquet.

` As expected and implied by the film title, much happens during the wedding banquet and in the ceremony itself.  The story is quite different from Lee’s original and with the fact that that film was released way back in 1993, many would not recall what had happened in the original story.  As such, the new version can be enjoyed as if it is fresh and new.

The film is pleasant and humorous and hits all the right notes being politically and racially correct without being offensive to any race, culture or orientation.  The film contains few laugh-out-loud humour though one cannot complain that it is not amusing enough.  Likeable characters and their likeable relatives who control them all add to the pleasantness. Likeable characters and their likeable relatives who control them all add to the pleasantness.  The film also celebrates the Korean culture, though the cast is varied and not largely Korean. As they say, Asians look mostly alike.

THE WEDDING BANQUET opens in theatres on April 18th.

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Written by: Gilbert Seah

Parent Category: Articles

Category: Movie Reviews

Published: 30 March 2025

FILM REVIEWS:

THE AMATEUR (USA 2025) ****
Directed by James Hawes

Written by Ken Nolan, Gary Spinelli and Robert Littell and directed with efficient technicality, the international hunt for a CIA decoder’s wife’s killers takes him through Europe.

The excellent espionage thriller has the feel of two cinema classics - Francois Truffaut’s THE BRIDE WORE BLACK and Fred Zinneman’s THE DAY OF THE JACKAL.

The premise is simple enough, but the elaborate details make this devilish tale work. A CIA decoder who works way below floor level in the CIA building takes on the 7th-floor CIA executives when he discovers a cover-up.  When his supervisors at the CIA refuse to take action after his wife is killed in a London terrorist attack, a decoder takes matters into his own hands.  All Charlie Heller (Academy Award Winner Rami Malick) wants is to personally confront and kill the terrorists that held his wife, Sarah (Rachel Brosnahan) hostage in London and then killed her.  Heller hunts them down one by one, using more of his brains than brawn.

In Truffaut’s THE BRIDE WORE BLCK, Jeanne Moreau’s childhood sweetheart and groom is accidentally shot dead on the wedding church steps.  Her only purpose in life is then to hunt down and kill each of those responsible for her sweetheart’s death which includes getting herself convinced and out into prison so that she can kill the last of her husband’s killers whois a evict.  In THE AMATEUR, Charlie’s life is meaningless now that his wife Sarah is dead, and he has the same purpose as THE BRIDE WORE BLACK, which is to hunt down each of his wife’s killers.  The hunt feels similar in tone to Zinneman’s THE DAY OF THE JACKAL, in which planning (in the film to assassinate Charles De Gaul) is of the utmost importance in achieving the goal.

The film is called THE AMATEUR because the story protagonist is not a CIA-trained professional. He undergoes CIA training to at least learn how to fight and use a gun, under the supervision of one mean trainer played by Lawrence Fishb

Though THE AMATEUR is not an action film but a suspense thriller, some action set pieces are still present.  As Heller is not a brawny fighting action hero, the action set pieces involve him trying to escape those hunting him down - they being either the CIA agents under the corrupt chef or the wife’s killers themselves.

Rami Malek is also an excellent actor who is able to convey great emotion, especially involving the death of his beloved.  He also possesses an impeccable body physique and shown in one scene where Heller takes his shirt off.  But Heller is all brain, gifted in making explosives handmade as well as outsmarting those after him.  The one scene where he unpicks a room lock using a YouTube video is a case in point.  The one fight scene Heller has is with a female operative, Gretchen, who eventually gets killed fleeing from him and is hit by an oncoming vehicle.

Two fast-paced thrillers open this week.  THE AMATEUR, which opens on Friday the 11th, will face fierce competition to the lighter DROP, which is almost as good as, though not better than, THE AMATEUR.

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AUTOBIOGRAPHY (Indonesia/Singapore/Philippines/France/Qatar/Germany/Poland 2022) ***1/2

Directed by Makbul Mubarak

Eighteen-year-old housekeeper Rakib (Kevin Ardilova) has been living idly in a gloomy rural mansion when Purna, the lord of the house, unexpectedly returns. A retired general, Purna aims at winning the local mayoral election, running a campaign focused on modernization and development, which involves evicting poor farmers in order to build a power plant.  With his father in prison and his brother working abroad, there is a void in Rakib’s life that Purna suddenly promises to fill.  The film is basically a two-handler, one innocent hero and the other a guilty villain, with a solid confrontation at the very end.  Director Mubabrak proves himself an excellent director in his debut feature, his camera both doggedly tagging his characters while accomplishing some magnificent night shots as well.  Through the capsule examinations of these two, one can see the problem balloon into the political and social problems of the country Indonesia, which I have noted as I have close relatives living in Jakarta.  AUTOBIOGRAPHY  is the kind of excellent work that would unlikely receive a commercial release in North America.

AUTOBIOGRAPHY was Indonesia’s 2023 Oscar submission for Best International Feature.  It makes it North American premiere, including Canada, on Film Movement Plus on April 11, 2025.

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CALL OF THE VOID (USA 2024) **
Directed by James B. Cox

CALL OF THE VOID is set in the Appalachian Mountain range in the United States.  The recent drama APPALACHIAN DOG, by coincidence, is another film set in the same area.   The Appalachian Mountain range is a bleak and deserted area.  The Appalachian Mountains, often called the Appalachians, are the mountain range in eastern to northeastern North America. The term "Appalachian" refers to several different regions associated with the mountain range and its surrounding terrain.  CALL OF THE VOID featured Appalachian folk songs, which are performed by the cast of the film.  It is doubtful if the film was actually shot there as the credits list the filming locations as Big Bear Lake, Big Bear Valley, San Bernardino National Forest, California, USA.

CALL OF THE VOID stars Caitlin Carver (Chicago Fire, I Tonya, Netflix’s Dear White People), Mina Sundwall (Netflix’s Lost In Space, Jesus Revolution), Christian Antidormi (Starz’s Spartacus, Netflix’s The Lincoln Lawyer), and Ethan Herisse (Nickel Boys, When They See Us). It was written and directed by James B. Cox (Hacked, Grey Matter, based on a short story by Stephen King).

After the tragic death of her brother (not seen on screen), Moray (Caitlin Carver) retreats to a remote mountain cabin to try and escape her work, her family, and her old life.  However, her quiet retreat is quickly diverted by a college band of 4, comprising Lucy (Mina Sundial), Sterling (Richard Ellis). Cole (Christian Amtidormi) and Darryl (Ethan Herisse) move into the unit next door and a suspicious professor is studying a local phenomenon involving a mysterious hum.   She discovers that the Hum is a gateway to something otherworldly, unnameable, and once heard--there is no return. The Hum is a sonic experience that asks the question: How can you escape your own senses?  The hum feels like the ringing one often hears that comes and goes in one’s ears.

The film works best when Moray meets the band and interacts with them.  The members appear weird, and indeed they are.  There seems to be no main leader of the group, which the script should have identified.  The bully of the group is clearly Sterling, and the black member Darryl is the one who not only bullied but also seems out of place and not wanting to be there.  Things take a head when all decide to go hiking with each left on an isolated spot to meditate.

But as things develop, the story also becomes more difficult to follow and the lines between the good and bad members of the band begin to blur.  And the mystery of the old professor presumed dead, by the name of Professor Blackwood (Ted Barton) also comes across as strange, not to mention the monster from the void.

The blend of psychological horror and actual horror comes across as a weird mix in a film that ends up with a muddled ending.

Gravitas Ventures will release CALL OF THE VOID on digital platforms on April 15, 2025.

THE DAD QUEST (lo me jo del mundo) (Mexico 2025) *
Directed by Salvador Espinosa

There is nothing really funny or dramatic about this new Spanish Mexican drama comedy, THE DAD QUEST written and directed by Tato Alexander and Mariano Vera and directed by Salvador Espinosa about a father and son (they are actually not related according to DNA tests.  The Spanish title ‘lo me jo del mundo’ translated to ‘the world’s best thing’ in English,

When a father-son duo learns that they may not be biologically related, the two embark on a wild adventure through Mexico to find the truth.

The film begins as a comedy in the first 30 minutes, where the audience is shown how bumbling a father or husband Gallo (Michel Brown) can be.  The trouble is that the character is not funny enough to elicit laughs but ends up annoying to the point of irritation.  An example is when his wife wishes to tell him something important - which is the fact that he might not be Benitos’ (Martino Leonardi) dad.  Gallo is downing sushi while listening to her.  It is difficult for the audience to feel sympathy for a character.  Other bouts of unfunny humour involve him ordering shush again when his son asks for pizza. The sushi thing is the film’s running joke, which might only be funny to the film's writers.

At the one-third mark of the movie, the film turns serious with bad news that Benito is not Gallo’s son.  At this point, the duo takes it upon themselves to find Benito’s biological father.  The many possible candidates take the two on a road trip around Mexico, which is neither amusing, dramatic, or funny.  Or does anything make any sense?  The word to describe all of these event is tedium, resulting in an incredibly boring film in which no one cares about any of the story’s characters.  Does one care who Benito’s father really is or whether Benito will find his true father in the first place?

THE DAD QUEST (lo me jo del mundo) opens for streaming on Netflix this week.

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DROP (USA 2025) ***

Directed by Christoper Landon.

A widowed mother, Violet’s (Meghann Fahy) first date in years takes a terrifying turn when she's bombarded with anonymous threatening messages on her phone during their upscale dinner, leaving her questioning if her charming date, Henry (Brandon Sklenar), is behind the harassment.

DROP has two high-profile producers, Michael Bay and Jason Blum, both of whom have made positive imprints on the film.  Bay is known for his action-packed franc shies like TRANSFORMERS, which deliver fast action set pieces, while Blum delivers horror-type suspense.  Both filmmakers also have films characteristic of implausibility and enjoying DROP requires one to dispense with belief and just enjoy the nonsense. At best, the film can be described as a modern-day Hitchcockian suspense thriller. the Master, known often to combine suspense with his humour,

Director Christopher Landon also comes with high credentials, having directed the PARANORMAL ACTIVITY films and both the horror flicks HAPPY DAET DAY and HAPPY DEATH DAY 2U. after breaking into fame with his award-winning short ONLY CHILD.  The film is penned by Jillian Jacobs and Chris Roach both of whom wrote FANTASY ISLAND and TRUTH OR DARE.

DROP is an efficiently produced suspense nail biter with a combination of action, suspense, humour and some romantic comedy added for good measure.  The filmmakers know that the material is not to be taken seriously and thus deliver a film that works that way.

Most of the actors are relatively unknown or known, Fahy and Sklenar from THE WHITE LOTUS and WESTWORLD TV series, respectively and the basically two set film alluring down production costs.  This allows for some money to be put in for some stunning special effects.

The title is a reference to the AirDrop feature on Apple's iPhone, which allows you to share pictures and videos with other phones within your proximity.

Some of the flaws that work for a more moderate budget included emptying out he restaurant when the windows of the top floor restaurant break.  No other restaurant guests are seen at that point and only the key characters are present.  All the characters appear to be tech-savvy.

The honour comes in various forms that include an over-enthusiastic annoying waiter that has the talent of always appearing at the wrong time.  The nod to the HOME ALONE films is also apparent.  Violet’s son, Toby, looks like Macaulay Culkin but with glasses.   The humour can hardly be called laugh-out loud hilarious, but the humour is definitely an entertaining enough distraction.

The film also has a whodunit element.  As the poster goes: Everyone is a suspect.   The villains are exposed in due time, and the one who is least suspect,

DROP has got mainly positive reviews so far, and it is easy to see why.  DROP is an entertaining thriller comedy with likeable characters that one can root for.  Everyone has also gone on a first date in their lives and so everyone can relate to the two protagonists.

Trailer:  

FROZEN HOT BOYS (Kaeng Hima Deuxd)(Thailand 2025) **
Directed by Tanakit Kittiapithan and Naruebordee Wechakum

From Thailand and shot in Thai, the film follows Jab, a notorious troublemaker from a juvenile detention centre, who unexpectedly finds himself leading a snow sculpture team. Under the guidance of Teacher Chom, a devious teacher with a hidden agenda, Jab and his gang of hot-blooded delinquents embark on a mission to win an international snow sculpting competition in Japan. Despite hailing from Thailand, where snow has never fallen (the terms hot and frozen are also two contradicting words) these underdogs are determined to defy the odds.

This is not the fruit film about a misfit coach inspiring a team of equally misfitted teammates to win a contest or competition. In fact, this premise has formed a genre in itself.  The number of films in the genre is, at present, too numerous to count.  Only the competition seems different - an ice sculpting one.

The film focuses not only on the coach but on one member of the team.  Both of these characters are misfits and they deserve each other.  The film is also as crazy as these two  fits which can be both a good or bad thing. 

The film is not to be taken seriously despite its triumph of the human will over adversity theme.  The film is barely entertaining enough, verging on the point of silliness.  It's a forgettable, guilty fun for those able to sit through the somewhat predictable silliness.

FROZEN HOT BOYS opens for streaming this week on Netflix.

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LITTLE, BIG, AND FAR (Austria/USA 2024) ***
Directed by Jim Cohen

Warning:  LITTLE, BIG, AND FAR is an art movie that moves at such a slow pace that it takes great concentration to watch the film’s 2-hour entirety without dozing off. It is best to be in the right mind for some meditative stuff on essentials like the meaning of life.  The film that often feels like a doc is not without its pleasures, but one has to work hard to attain them.

The film follows Karl, who is an Austrian astronomer, professor, and museum consultant, at a crossroads in life and work.  At 70, he finds his jobs are at risk and his physicist wife distancing.  Along with a colleague, Sarah, he also finds himself struggling with environmental crises reshaping their fields. Sarah, who specializes in “citizen-science,” has begun seeing Mateo, a young Ecuadorian astronomer who brings her to an old telescope in New Jersey, the site of an astonishing discovery about the origin of the universe. Karl revisits the Rosetta Mission, which landed a probe on a very distant comet.  His wife, Eleanor, reflects on her attempt to witness a total eclipse in the American South and its unexpected political implications. As the historical touchstones of astronomy, his grandson’s future, and his own role as a dark sky advocate begin to spin above Karl’s head, he finds himself increasingly unmoored. After a conference in Greece, he decides not to return home and heads for a small island in hopes of finding a dark enough sky to reconnect with the stars. Abandoned at a remote mountain trail, he ascends and waits for darkness to fall.

It is hard to feel for Karl, who is set in his ways, but that is hardly the purpose of the film.  One assumes that everyone in the audience will at one time reach their crossroads and thus contemplate their existence.  Astronomy fans should find this film more intriguing than others. 

Director Cohen has a different way of showing the magnificence of a total eclipse.  The event that occurs in Texas is shown on the screen more of the spectators of the event than the eclipse itself.  It is he people’s response to the phenomenon that Cohen deems more intriguing.

LITTLE, BIG AND FAR, which premiered at the New York Film Festival in 2024, opens in theatres on April 11th.

ONE TO ONE: JOHN & YOKO (UK 2024) ***1/2

Directed by Kevin Macdonald

ONE TO ONE: JOHN & YOKO is directed by Kevin Macdonald.  The Scots director is one of the best documentary filmmakers at present with the minor masterpiece TOUCHING THE VOID (2003) and the Academy Award winning documentary ONE DAY IN SEPTEMBER (1999).  His is aided by co-director Sam Rice-Edwards for this doc.

The doc is not a biopic of the couple.  The doc basically follows just two years in the life of the couple, right after John Lennon had broken up from the Beatles.  The world often blames Yoko Ono for the band’s breakup.

The film follows John Lennon and Yoko Ono when they move from the U.K. to a Greenwich Village apartment while also tracing developments in American politics, like the presidency of Richard Nixon and opposition to the United States' involvement in the Vietnam War. It is centered around Lennon and Ono's "One to One" benefit concert for the children at Willowbrook.  The film is centred around concert footage and audio from Lennon and Ono's "One to One" benefit concert held at Madison Square Garden in August 1972 on behalf of children at the Willowbrook institution in Staten Island. 

The documentary shows John and Yoko in 2 important concerts in the United States.  The other is the John Sinclair Freedom Rally.

The John Sinclair Freedom Rally was a protest and concert in response to the imprisonment of John Sinclair for possession of marijuana held on December 10, 1971, in the Crisler Arena at the University of Michigan in Ann Arbor, Michigan. The event was filmed and released as Ten For Two.  The reason behind the concert was the sentencing of Sinclair, who was given ten years in prison for the possession of two marijuana cigarettes. Shortly after the event, Sinclair was released.  John and Yoko performed at this concert and the doc contains an important segment of John talking to his manager regarding this concert.

The doc also provides info that even Beatles fans might not be aware of.  A few of these include the fact that Yoko was married to an American before John and had a son she is searching for in the doc searching for.  But the audience is reminded of other facts that are well known, such as his concerts that denounce war and promote peace.  The doc also provides Yoko Ono’s point of view on her life, such as how she felt about being the only female among The Beatles.

The doc ends with the birth of the couple’s son, Sean Ono Lennon.  He is the one who oversaw audio mastering for the concert footage seen in the film.

Macdonald’s doc captures the atmosphere, spirit and emotions of John &Yoko’s period in New York City as well as their work and convictions.  One feels totally immersed in the culture while being entertained by the music and performances.  Yoko’s screeching, however, takes a bit of getting used to.   The scenes of abuse at the Willowbrook institution are the most difficult to watch.

Trailer: 

PETS (USA 2023) ***
Directed by Bryce Dallas Howard

PETS is the new Disney documentary that explores the extraordinary relationship between animals and their people around the world.  Highlighting dogs, cats, pigs, goats, and birds of prey, PETS takes us on a lovely journey that celebrates love, loss, and licks along the way.

Directed by Ron Howard’s daughter, Bryce Dallas Howard, this Disney doc is about domesticated animals.  Disney is famous for wildlife documentaries like THE JUNGLE CAT, PENGUINS, BEAR, ELEPHANT  and AFRICAN CATS.  So, a welcome change is anticipated.

The dictionary defines a pet as a domestic or tamed animal kept for companionship or pleasure.  In the Disney documentary of ‘pet’, an interviewee defines the term pet as an animal that has created a bond with a human being.  Though the interviewee is a child, there is much truth in what she says.

PETS is a heart-warming documentary catered for a family audience. It shamelessly pulls at one’s heartstrings, and one should have a box of Kleenex handy.  After all, pets deliver unconditional love but human beings also deliver unconditioned care for their pets.  PETS plays like a documentary anthology with several pet stories strung together but with a loose connecting thread of children being interviewed..  It begins with a dog story followed by a cat story, then with a pig leading to a farm sanctuary, and then an eagle pet, climaxing with the topic of how to deal with a dearly loved pet’s death.  Yes, that box of Kleenex would definitely be handy.

Besides the love and affection provided by pets, the trouble and pain involved are also revealed.  Myself: I own a grand pet, a Rhodesian Ridgeback named Lucy that is now almost 2 years old after getting her at 2 months from a breeder,  The first few months of puppyhood is indeed a nigthmare.  Cleaning the pee and poop all over one’s dwelling is pure torture.   Puppies also bite everything and try to eat everything in sight.  Then there is the jumping on any human.  Still, the dogs have to be socially trained to deal with both humans and other animals.  Dogs are largely featured as they are the most common of all pets, but cats and otters trance animals like miniature pigs are also looked at.

One of the more interesting segments deals with a Spanish owner who rescues a dog while travelling on his kayak.  Initially sea sick, the dog eventually adapts.  He also adopts a cat on the way and then a wife.  

Dealing with the death of a pet is indeed a heart gun-wrenching experience. This last segment deals with both children and adults dealing with a pet’s loss.   Pets live a much shorter life than humans, which is arguably a good or bad thing.  Do Pets meet their owners in heaven?  Children think so,

Director Howard makes the decision to use children to talk about their pets.  The tactic enhances the authenticity and innocence of the love between the animal and human Kingdoms.

launches on Disney+ on April 11, 2025.

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SHADOW OF GOD (Canada 2024) **
Directed by Michale Peterson

Easter sees the Resurrection of Christ, Easter Monday and Good Friday 3 days apart, 3 days between the crucifixion and his resurrection.  The new Canadian horror movie arrives at Easter right in time with the subject of resurrection from the dead.

So, arriving just ahead of Easter is the new exorcism horror movie Shadow of the God, which appears to introduce a new twist in the trailer that just debuted: an elite exorcist, Father Mason Harper (Mark O’Brien) realizes he may be dealing with a holy entity.  Unfortunately, a twist does not necessarily translate to a good thing, SHADOW OF GOD being a prime example.

The film begins with an exorcism in which Father Harper’s fellow Vatican exorcists is killed.  During the exorcism, they try to extract the name of the demon, but without success. Father Harper returns to his childhood home to spend time with his childhood friend while he awaits orders from the Church.  However, this small town holds dark secrets about Mason’s past and the religious organization once run by his father, Angus.  Angus is supposedly dead, but he reappears, resurrected.  Their past resurfaces. Though dead, Angus reappears, forcing a reunion between father and son.  But Angus is different now, and before long, Mason suspects he’s possessed, and he is.  Again, the demon does not identify itself but turns out to be the SHADOW OF GOD, and hence the film’s title.  Thongs go absolutely amok from here - and not in a good way.

The fault lies in both Peterson’s direction and Tim Cairo’s script. The film is unfocused and all over the place.  None of the story’s characters are worthy of the audience’s sympathy.  The story also contains a covet of demon worshippers that appear from nowhere and then are totally destroyed in a minute.  Despite some quite well-executed special effects, the film turns out to be quite boring and unimaginative from start to end.

SHADOW OF GOD is a Canadian film, shot largely in the province of Alberta.  It opens for streaming on the horror streaming service Shudder on April the 11th, 2025.

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Written by: Gilbert Seah

Parent Category: Articles

Category: Movie Reviews

Published: 25 March 2025

Two entertaining and compelling documentaries to watch include CON MUM from Netflix and AUM about a Japanese killer cult.  Two excellent films, MISERICORDIA from France and GRAND TOUR, are Must-Sees!

FILM REVIEWS:

AUM: THE CULT AT THE END OF THE WORLD (USA 2023) ***
Directed by Ben Braun and Chiaki Yanagimoto

The doc begins with the deadly nerve gas attack at several key Tokyo subway systems.  Footage shows police entering the stations while casualties are carried by medics to ambulances. The incident occurred in 1995.

In 1995, the world was horrified when the release of a deadly nerve gas in Tokyo’s crowded subway system killed thirteen people and injured thousands more. But what came next was even more unbelievable: The attack was the work of a doomsday cult. In AUM: THE CULT AT THE END OF THE WORLD, directors Ben Braun and Chiaki Yanagimoto shine a bright light on a dark story that is little known today, even in Japan, tracing the shocking evolution of a spiritual group into a terrorist organization stockpiling weapons of mass destruction from the collapsed Soviet Union. With a wealth of historical footage as well as in-depth interviews with the courageous few who were willing to take on the cult when Japan’s police and mass media were looking the other way, AUM: THE CULT AT THE END OF THE WORLD is a potent reminder of just how dangerous unchecked fanaticism can be. 

The timeline of the events (Warning: Spoilers) that are documented in the doc include:

1983.   A man named Chizuo Matsumoto, who changed his name to Shoko Asahara, founded a spiritual group in Japan for the stated purposes of meditation and yoga and began gathering followers.

1985.   Asahara is covered in Japanese occult magazines "Mu" and "The Twilight Zone" and gains a following among youth at the time.

1987.   The group renames itself Aum Shinrikyo and continues to grow. Shoko Asahara travels to Tibet and arranges to have a picture of himself taken with the Dalai Lama. He publishes books and produces anime claiming that he has supernatural powers.

1989.   Aum purchases land in a remote village near Mount Fuji called Kamikuishiki Village. They begin construction on a large-scale facility meant to house Asahara and live-in followers. The total number of followers has grown to 3,000 by this time.

1989.   A lawyer named Tsutsumi Sakamoto, who has been investigating Aum Shinrikyo on behalf of parents concerned about children who have joined the cult, goes missing along with his wife and their one-year-old son.

1990. Members of Aum Shinrikyo, including Shoko Asahara himself, form a political party and run for twenty-five seats in Japan’s House of Representatives. They pour millions into the campaign but lose in a spectacular way, not winning a single seat. After this loss, some members begin to leave Aum Shinrikyo.

1991. In the wake of the collapse of the Soviet Union, Shoko Asahara and some of his followers start a long process of recruiting followers in Russia. In Japan, He appears on Japanese television shows promoting the group. They are increasingly focused on Armageddon and interested in weaponry; in Russia, they begin to purchase weapons, including rifles, a heavy-duty transport helicopter. In Germany and the United States, they acquire industrial chemicals with the intent to create a nerve agent.

1993. Aum Shinrikyo members secretly begin construction on a chemical lab within their facility in Kamikuishiki with the intent to produce Sarin, a deadly nerve agent.

1994. Aum Shinrikyo members release Sarin in Matsumoto City. Seven people are killed and hundreds more are injured in the immediate aftermath of the attack. Matsumoto resident Yoshiyuki Kono is falsely accused of being responsible for the attack.

1994. Individuals (lawyers, journalists and parents) who are sounding alarm bells about Aum Shinrikyo find themselves under attack by the cult. AUM: THE CULT AT THE END OF THE WORLD

January, 1995.   An article in a major Japanese newspaper, the Yomiuri Shimbun reports on Sarinbeing detected in Kamikuishiki groundwater, which happens to be right near Aum's facility. Most people only know Kamikuishiki as an obscure city near Mount Fuji.

March 20, 1995.   Aum Shinrikyo members release Sarin on five subway cars traveling through busy Kasumigaseki Station in Tokyo. Thirteen people die; thousands are injured.

March 22, 1995. The police raid Aum Shinrikyo facilities and find Sarin and weapons.

May 16, 1995.   Shoko Asahara is discovered hiding in a secret chamber at the Kamikuishiki compound.

September, 1995.   The bodies of Tsutsumi Sakamoto, his wife and their son are found using a map provided by a member of Aum Shinrikyo, a map that had initially been sent to police five years earlier.

October, 1995.   Aum Shinrikyo is dissolved.

February, 2004.   Japan’s high court sentences Shoko Asahara to death.

July 2018.   Shoko Asahara is executed along with twelve of his followers. Former Aum spokesman Fumihiro Joyu is not among them; Joyu was released from prison in 1999 and is now leading a new group called Hikari no Wa (The Circle of Light).

The doc follows the timeline closely, thus providing an informative if not educational, account of the deadly cult.  The doc also demonstrates how foolish the masses are in following fanatical, power-hungry, evil people, once again reflected by the Trump supporters at present, who are following and accepting everything the hateful man does.

AUM: THE CULT AT THE END OF THE WORLD is available everywhere You Rent movies on March 28th.

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CON MUM (UK 2025) ***½

Directed by Nick Green

CON MUM is a Netflix original British crime drama.  But the perpetrator in this case is not what would be expected of a criminal.  The con artist is an 85-year-old lady in a wheelchair.  CON MUM is perhaps one of the most intriguing and emotional scams one can come across.  The doc begins by telling the audience that the mum (mother) is a con mum and shows how the alleged son is pulled into her grand scam.

CON MUM has inconsistent (it can hardly be called goofs) subtitles.  ‘Favourite’ is the British spelling, and ‘favorite’  is the American spelling.  The American spelling is used in the subtitles while the short form of mother used is ‘mum’, the British short form while ‘mom’ is the American equivalent.  One can probably surmise that a Brit and American did different parts of the titling.

A few lessons on life can be learnt from the doc.  One is that people do not change.  Dionne (one of the names Con mum uses) has been a con artist from day one, in her youth right up to her old age.  She even admits that she cannot change.   Another lesson that can be observed is the need of humans for love and acceptance.  This is the reason Graham was so easily conned into believing that Dionne was his mother, despite not taking DNA tests or having sufficient proof.  Graham also accepts and cherishes the so-called mother’s maternal love without question or doubt, even to the destruction of his marriage.

The film benefits from footage taken of Graham and Dionne as well as others who have fallen prey to the con.  The victims also speak candidly to the camera.  The doc plays like a detective mystery, even though the culprit is known.  CON MUM is definitely an engaging watch that keeps the audience glued to the story.  While one feels sorry for Graham, one also knows that he is deserving of what he suffered for being so gullible and foolish.  One can consider that the amount of money he has paid is for the unrequited maternal love.

The doc also proves once again how easy one can be scammed, and again, investment and greed come into play.  The other victims of Dionne accepted her proposed investment in the hope of making more money.  The key triggering point is when a scammer asks for money.  Whenever money is to be taken out of one’s account, warning bells should sound right away.  As in the case of Dionne’s victims, they have ignored the warning bells.  One fortunate prey is Graham’s good friend Juan, who fortunately had a limited amount of money to lose.

The well-made documentary also takes the audience globe-trotting from London to Switzerland with posh hotels on display, like the one in London with multiple views of Tower Bridge and the Thames,

The best thing about CON MUM is the huge twist in the ending.  There are actually two of them, the second one a minor but still intriguing one.  These will not be mentioned in the review as the two twists serve to up the ant of the documentary.

CON MUM is available for streaming this week on Netflix.

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DEATH OF A UNCORN (USA 2025) **
Directed by Alex Scharfman

From the American independent company A24, which has been incredibly successful with hits like MOONLIGHT, EVERYTHING EVERYWHERE ALL AT ONE and  HEREDITARY, comes a horror comedy DEATH OF A UNICORN.  However, as much as a copa y can have a string of hits, they can come up with a dud as well.  DEATH OF A UNICORN, written nd directed by Alex Scharfma,n is an incredibly stupid dud.

For one thing, horror comedy is not a genre that is easy to work with.  Peter Jackson’s BRAINDEAD (RECUT AND RETITLED DAED ALIVE) is one of the best films in the genre.  DEATH OF A UNICORN is not funny at all; the only comedic antics are the characters in the story who generate zero laugh-out laughs.

Elliot Kintner (Paul Rudd) and his teenage daughter, Ridley (Jenny Ortega,) accidentally hit a unicorn while en route to a crisis management summit with Elliot's boss, Odell Leopold (Richard E. Grant), and his family.  The Leopolds seize the unicorn, and their scientists discover that the creature is endowed with supernaturally curative properties, which the Leopolds seek to exploit. However, as they delve deeper into their research, the unicorn's parents arrive and begin to slaughter one by one those involved in the exploitation of their dead foal.

The premise looks like an all right script for a horror comedy- though a totally predictable one. Predictable it surely is, with hardly any surprises or twists in the plot.  The addition of the daughter and the father's troubled relationship aims at some human aspect to the story.

Another flaw of the film is the unlikable and sad character Elliot Kinter.  His goal in the story is to make a buck with the Leopolds to support his family, totally disregarding the advice and warnings of his daughter.  Elliot is totally spineless and changes his mind while lying to further his goal.  With such a likeable character, it is difficult for the audience to like the film at the same time.  The change in the heart of Elliot only comes too late at the end of the film.

DEATH OF A UNICORN looks like something that can be written by a primary school pupil at that.   The special effects are nothing to write about either.  The audience is led to believe that unicorns exist in the present world, with no explanation why they were not discovered in the first place.  The premise that these mythical creatures cannot die is also too incredible to believe.  Then, there is the question of why they turn on humans like the dinosaurs do in the Jurassic Park movies.  However, the film has garnered a positive rating at the time of this writing of a mere 63% at Rotten Tomatoes.  Audiences do not seem to realize how awful this film is.

For the Leopold Estate and surroundings, the film is partly shot in British Columbia.

DEATH OF A UNCORN premiered at the 2025 South by Southwest on March 8, 2025, and is scheduled to be released in the United States and Canada on March 28, 2025.

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GRAND TOUR (Portugal/Italy/France/Germany/Japan/China 2024) ****

Directed by Miguel Gomes

The story of Edward and Molly is the story of unrequited love, even though the two had met only a handful of times after being engaged for a period of over 7 years.  The idea pokes fun at the institution of marriage, which is always frowned upon and disbelieved in the stories of W. Somerset Maugham.  (The narrative is based on the short story "Mabel" by W. Somerset Maugham, though no mention of it can be found in the credits.)  It is not surprising that the film is based on his work ‘Mabel’, which follows the travels of both Edward and Molly.   Edward is a coward, escaping marriage by running away from place to place while Molly doggedly follows him on, missing him at each corner.

The setting is 1917, colonial Burma. Edward (Gonçalo Waddington), a civil servant for the British Empire, jilts his lovestruck fiancée Molly (Crista Alfaiate) the day she arrives to be married.  He escapes into an unexpected odyssey across Asia, from Singapore to Thailand to Japan and even Vietnam.  She quickly follows suit, amused by his moves.

The film features two subjects, Edward and Molly, given equal screen time.  Both are annoying creatures - Edward the coward and Molly the obsessive finale who giggles as if she is spitting saliva.  The story first unfolds from Edward’s side and then continues with the original timeline from Molly’s story.

The film works as a romance, travelogue and comedy-drama, with the comedy coming across as odd but workably funny.  The director’s style might take some audiences to get used to, and its slow pace can get a bit testy.  This is not a Hollywood-styled romantic comedy, that is for sure, and one must look at Gomes’s style as a welcome thing.

Period scenes were shot in a studio. Present-day scenes were shot live on location without a script.  There is one scene in which Edward takes the train from Bukit Timah station to Thailand through Malaysia.  There is no Bukit Timah railway station in Singapore and there never was.  The only railway station is the one close to the causeway going directly to Johore, Malaysia.  Other than that, the period scenes of the ancient boats and sampans all serve to effectively create an authentic piece of filmmaking.

Also stunning and deserving of mention is the artistic and local Burmese puppetry (show puppetry) that has never been seen on the other side of the world.  The musical selection ranges from Johann Strauss II's "On the Beautiful Blue Danube" (1866) to Charles Trenet's "La Mer" (1946), in a 1959 version by Bobby Darin, to Gabriel Ruiz Galindo's classic "Amor" (1944), are performed by a band of old Chinese jazzmen in the film.  There is also a marvellous segment of a marching band playing in the rain as Edward arrives at a port.

Rendered in stunning black-and-white period visuals interspersed with modern-day documentary footage, Grand Tour–Portugal’s Best International Feature entry to the 97th Academy Awards®.  The film also won its director, Miguel Gomes (TABU and ARABIAN NIGHTS), the Best Director Prize at Cannes in 2024.

GRAND TOUR opens in theatres in Canada starting March 28th, in Toronto at the TIFF Lightbox on April 4th,  and will be available for streaming on MUBI starting April 18th, 2025.

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THE LIFE LIST (USA 2025) **
Directed by Adam Brooks

THE LIFE LIST is written and directed by Adam Brooks and adapted from the novel of the same name by Lori Nelson Spielman.

After the death of her mother, Alex (Sofia Carson) follows a teenage wish list her mother leaves for her to complete. In the process, she revisits her childhood aspirations, endeavouring to achieve her old goals, only to discover that pursuing these lifelong dreams takes her on an unforeseen and surprising journey.

From the beginning, the premise is nothing more than a disguise for a romantic comedy, and at over 2 hours long, it is a too lengthy one at that.  Mildly funny (if you find something like Hawaiian dancing in the bedroom with one’s long erect in front of kids funny), irrelevant and tedious, the film is fortunately a Netflix original, which means that one can take a break from the film.  Alex is disappointed, if not terribly upset for not inheriting her mother’s somatic business.

The film’s message of disposing of fortune and to look instead of what life has to offer, is a bit too obvious for anyone’s taste.

The various actors appear to go through the motions of acting, with no standout performances.

THE LIFE LIST opens on Netflix for streaming Friday, the 28th of March, 2025.

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MISERICORDE (MISERICORDIA) (France 2024) ****
Directed by Alain Giuraudie

Returning to Saint-Martial for his late boss's funeral, Jérémie's stay with widow Martine becomes entangled in a disappearance, a threatening neighbor, and an abbot's shady intentions.

MISERICORDE has the feel of a Claude Chabrol murder film in which the cat-and-mouse tale is mainly the mouse outwitting the cat with the aid of his cohorts.  The film is a prized twisted macabre tale with bouts of unexpected humour from the director of the 2014 gay hit L’CONNU DU LAC (Stranger by the Lake), this one with the fabulous Catherine Frot as a widow. who takes in Jérémie (Félix Kysyl) as a lodger whose sensual presence is immediately and progressively destabilizing to everyone around him.  Martine (Catherine Frot) happens to be the mother of his childhood friend, the brutish Vincent (Jean-Baptiste Durand).

Catherine Frot is always a pleasure to watch, she being one of my personal favourite French actresses.   Newcomer Félix Kysyl is also marvellous as the quietly sexy troublemaker, who has fate both work against and for him, depending on how one looks at it.  The twists of fate and unexpected bouts of humour are what make director Giuraudie's film so entertaining. MISERICORDIA means Mercy in English.

The film demonstrates that actual fake rain need not be used in a scene that involves it.  One scene has the sound of heavy rain, followed by a scene with Jeremie drenched from head to foot.  But there is no rain seen in the background.  Yet, the scene is credible enough for the audience to believe that it rained.

Subtlety in the script also provides additional pleasure in the film.  "We are all entitled to a private life,"says the preist at one point in the film, his homosexuality hidden and never practiced till then.

The duo’s interactions are terse and laden with resentment but clearly erotically charged.  When a fight goes awry, Misericordia swerves into noir territory with absurdist undertones, and an ensuing investigation spirals around a loner neighbour, ineffectual gendarmes, and a nosy country priest — seemingly the only inhabitants in this dewy, mountainous village perpetually bathed in twilight.  No sex scenes but there are two with full penises on display, that are both erotic and hilarious.  MISEROCORDE, extremely well plotted and executed, is a total wicked delight!

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THE PENGUIN LESSONS (UK/Spain 2024) ***½

Directed by Peter Cattaneo

From the director, Peter Cattaneo of THE FULL MONTY, comes arguably the most charming movie at TIFF.  In the spirit of films like TO SIR WITH LOVE and GOODBYE, MR. CHIPS comes this endearing story of an English teacher working in politically dangerous Argentina.  The year is 1976. Tom (Steve Coogan) lands in Buenos Aires to take up a teaching position at a prestigious English boarding school. When a coup d’état shuts down the school, he hops next door to Uruguay to party. A romantic foray leads to a walk along the beach, which leads to the sight of a penguin drenched in oil from a spill. Against his better judgment, Tom rescues the bird, which unlocks its undying loyalty. He's forced to sneak the flightless beast back to Argentina and thus begins a strange and beautiful friendship.  Slow-moving and never rushed, the message of humanity and kindness amidst a cruel world comes across clearly in this crowd-pleaser.

A WORKING MAN (USA 2025) ***
Directed by David Ayer

Action super hero Jason Statham delivers, almost without fail, a solid action picture every year.  He is tough to beat and cannot even beat himself.  Last year, 2024 saw Statham deliver his career-best movie THE BEEKEEPER directed by David Ayer, who also directs Statham’s new film opening this week, A WORKING MAN.  THE BEEKEEPER follows a retired government assassin who sets out for revenge after his kind-hearted landlady falls victim to a phishing scam.

The working man in the film is Levon Cade (Statham), an ex-Royal Marines commando who leads a peaceful life as a construction worker in Chicago.  Levon tries to be as ignite as he can, but fate forces him to come out of hiding.  However, Levon is forced to use his old set of skills to find his boss's (Michael Pena) teenaged daughter, Jenny (Arianna Rivas), who had been kidnapped by human traffickers, and soon uncovers a conspiracy of corruption and government agents' involvement in human trafficking.

The film is based on a novel by Chuck Dixon and written by Sylvester Stallone and director Ayer.  The film contains the melodrama of ROCKY, especially embarrassingly noticeable at the end of the film, a Stallone trademark.  The relationship between Levon and his real daughter, Merry Cade (Isla Gee) could have also been toned down a little.  On the positive side, the film contains an array of solid baddies that propel the audience to wanting more violence inflicted on them.    Among the villains are Jason Flemyng as Wolo and a host of others, but the scene stealer is Max Osinski as the drug-fueled manic Dimi.  The villains actually lift the film up several notches; in fact, they are more interesting than the action set pieces themselves.

The film has an odd history.  Sylvester Stallone originally developed an adaptation of the Chuck Dixon novel Levon's Trade as a television series with Balboa Productions.  The project changed into a film that was up for sale at the 2023 American Film Market. 

The bottom line is that I liked this new Statham actioner more than I should have.  Though not as good as his previous career-best BEEKEEPER, WORKING MAN proves Statham retains the title of the current cinema's last action hero. A WORKING MAN opens in theatres on March 28th, 2025

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Written by: Gilbert Seah

Parent Category: Articles

Category: Movie Reviews

Published: 24 March 2025

ADOLESCENCE (UK 2025) *****

Directed by Philip Barantini

I seldom review streaming or TV series but ADOLESCENCE makes the exception.

It is a 4 episode series, one hour in length each, and it must be said the less known about the events the better.  The preside is as follows, as it does disclose a bit of the plot.

In an English town, the police break down the door of a family home and arrest Jamie Miller, a 13-year-old boy, on suspicion of the murder of a classmate, Katie Leonard. Jamie is held at a police station for questioning and then remanded in custody at a Secure Training Centre. Investigations at Jamie's school, and questioning by a forensic psychologist, reveal that Jamie has been deeply disturbed by school bullying via social media centred on the incel subculture.

ADOLESCENCE was primarily filmed in and around Pontefract, West Yorkshire. Notable locations include Minsthorpe Community College in South Elmsall, used for school scenes, and Production Park in South Kirkby, which served as the set for police station interiors. Additionally, some scenes were filmed in Sheffield.

As the dialogue is typically British working class, a few slang words are used that might not be familiar to non-Brits.  The words, for example slag (slut) and nonse ( a sex offender that involves a child), the second painted on the van of the Millers are examples.

The series also serves two important messages.  The second episode shows how terrible and useless the education system appears to be, with the kids all swearing and mostly uncontrollable.  One bright and tamed kid is the detective's son.  The father loves and brings up his son well, illustrating that the kids' upbringing is foremost a job that is to be untaken by the parent(s).  That is the most important in child rearing.  Another is the example shown by this coloured family.  Blacks set a good example in the story,

The series is notable for its unique filming technique, with each episode shot in a single continuous take, immersing viewers deeply into the narrative.  The one-take works for several reasons.  For one, the continuity of each scene is extremely smooth as the camera follows one character and then the next as the initial one passes the other.  Secondly, the method shows the importance of timing technique, something that is largely missed by the average moviegoer.

Stephen Graham who plays the father, Eddie Miller, also co-wrote the impressive script and executively produced the series.

What makes the series most remarkable is its down-to-earth authenticity.  The impossibility of educating adolescents, the reality of working-class life, and the difficulty of navigating adolescent life are effectively captured on film.  The story offers a different perspective of the crime from the detective, from the psychologist, from the suspect, and from others.  Also, keeping the intricacies of the plot revealed only at the appropriate moment works wonders.

Many have concluded that ADOLESCENCE is the best series ever made.  Well, for one, it is pretty solid.  ADOLESCENCE is arguably the best series to be seen thus far.

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