Film Reviews by griggs

Soul was a film that surprised me. It's not your typical Pixar movie, but rather the jazz-loving, older cousin of Inside Out, dealing with existential questions. I initially thought it was a children's film, but it sparked deep thoughts about my life choices. The film is visually stunning, as expected, and has that classic Pixar heart, with some genuinely funny moments. However, what truly stood out was its unique ability to prompt personal reflection. It struck me quietly and thoughtfully, leaving me with a lot to ponder.

The Dresser is a bit of an odd one – very theatrical (obviously), but that's part of the charm. Finney's great as the cranky old actor coming apart at the seams, and Courtenay, as his long-suffering sidekick, quietly brings the heart. Some bits drag, and it leans into melodrama, but the stagey vibe keeps things oddly compelling. It's not without its flaws, but it will keep you captivated and absorbed.

Tombstone certainly looks the part; dusty saloons, thunderous shootouts, and all the trappings of a tremendous Western—but it's a bit of a muddle. There's a great film buried beneath too many characters and some choppy editing. However, Val Kilmer's performance is the clear standout, stealing scenes with a sly grin and death in his eyes. Watching it in the wake of his sad passing, his portrayal of Doc Holliday is a must-see. The story never quite finds its centre, but Kilmer's performance nearly makes it worth the ride. Watchable, sure—but it never quite lives up to its potential.

Scala!!! is a joyous, bittersweet love letter to one of London’s most iconic cinemas, a haven for misfits, cinephiles, and rule-breakers. The documentary bursts with energy, much like the venue itself must have in its heyday, capturing the wild, chaotic spirit of a place where censorship laws were gleefully bent, double bills reigned supreme, and the audience was as much a part of the show as the films on screen. Regret hangs heavy for me, though – I was too young to experience the Scala. My first encounter with it was seeing the building abandoned and forlorn, its magic long gone, awaiting transformation into its latest guise. This film lovingly rekindles that magic, unearthing incredible archive footage and heartfelt anecdotes from those lucky to have lived it. It’s not just a celebration of a cinema but a poignant reminder of the cultural spaces we’ve lost – and a powerful call to action to protect those that remain.

Dev Patel's Monkey Man is a remarkable film, a testament to his multifaceted talent. As a feature-length directorial debut, it stands out for its captivating narrative and the assured direction that Patel brings both in front of and behind the camera. The film is a tale of two halves, each distinct yet seamlessly intertwined, making for a dynamic and engaging experience.

The first half immerses the audience in a richly textured world, setting up an intriguing story with depth and complexity. The second half ramps up the tension, delivering gripping action and emotional payoffs that leave a lasting impression. Patel’s performance is equally compelling, showcasing his versatility and command over the craft.

A special mention must go to Jordan Peele, whose involvement in the project was pivotal. After the film had been dropped by other studios, Peele's decision to pick it up was a masterstroke, ensuring that this unique story reached the audience it deserved. His faith in Patel's vision has paid off, resulting in an entertaining and thought-provoking film.

Monkey Man is a must-watch, signalling the arrival of Dev Patel as a formidable director and reaffirming Jordan Peele's eye for exceptional cinema. This collaboration has produced a film that will resonate with audiences and critics alike.

Challengers is a steamy mix of tennis and tangled love lives. Zendaya plays a coach who, in a bid to boost her husband’s career, tosses him into a tournament—only for her ex-boyfriend to stir the pot. The film shifts between past and present, adding layers of drama and desire. It’s not the spicy rom-com the trailers suggest, but it’s still a satisfying serve of lust, love, and a killer soundtrack. Who knew tennis could be this seductive?

Unfrosted makes a valiant attempt to tell the not so factual origin story of Pop-Tarts. Hugh Grant tries his best to class up the proceedings with his effortless charm and well-placed winks at history and pop culture. Still, Jerry Seinfeld's signature smugness derails the humour at every turn. It's as if he's too busy patting himself on the back to land the punchlines. Grant, meanwhile, glides through the film like he's in on a better joke that no one else gets, making his performance the one saving grace in this half-baked venture.

A remarkable cinematic feat, especially impressive as only the second feature from its director. The film combines bold storytelling with exceptional filmmaking, pushing narrative boundaries with audacity. It captivates with its complex themes and innovative direction, marking the director as a significant talent in contemporary cinema.

My expectations for The Idea of You were low, pretty low. However, the film was much better than I had anticipated. While somewhat predictable, the storyline had moments engaging enough to keep my interest. The ending of The Idea of You left a lasting impression, not because it was a standout conclusion, but because it marked the end of a journey. The relief I felt as the credits rolled was palpable, a testament to the film’s occasionally drawn-out pace. Yet, it wasn’t a complete letdown, offering some surprisingly enjoyable moments. The Idea of You may not be perfect, but it surpassed my admittedly low expectations.

This masterpiece of storytelling places viewers inside the room through Ozu’s unique static camera angles, creating a deeply personal viewing experience. Central to the film's emotional resonance is Chishu Ryu, whose portrayal of the father exudes a warm, gentle presence that irresistibly draws smiles.

Kidnapped tackles institutional abuse but struggles with its storytelling. The real events it's based on, the abuse of papal power, are powerful. However, the film can't decide whether to focus on Italy's political changes during its unification or the misuse of church power. This makes the story feel disjointed, and the true events are more interesting than the way the film tells them.

Cronenberg's exploration of technology's dark influence, retains an eerie quality, which adds a grotesque layer to the film's disturbing atmosphere, most notably James Woods' incredibly skinny forearms, which weren't a special effect.

Anomalisa is a quietly devastating gem—equally inspired, heart-breaking and darkly funny. Only Charlie Kaufman could turn stop-motion puppets into something so painfully human. It’s a bleak, beautiful look at loneliness and disconnection, with moments of surprising tenderness. The attention to detail is staggering, and the voice work nails it. A proper showcase of Kaufman’s genius—funny, sad, and oddly unforgettable.

Francis Ford Coppola's The Cotton Club Encore is a significantly improved version of the original 1984 film. It offers a better balance between dazzling dance sequences and gripping gangster action. The restoration highlights the vibrancy of the Cotton Club itself, making it a central character while maintaining the sharpness of the crime drama. However, despite these improvements, the film's initial failure still looms large, with its complex and interwoven storylines occasionally feeling overcrowded. While the Encore edition is more coherent and enjoyable, it also serves as a reminder of the film's troubled history and unmet expectations.

You will already know the plot outline if you've seen the trailers, so I won't mention it here. I did appreciate the Hitchcockian style of direction in the first act, where you find yourself rooting for Josh Hartnett's character to escape, even though he's a sadistic serial killer. That said, during the first 30 minutes, Hartnett's performance feels off—misguided and somewhat stiff, likely due to a questionable direction. Yet, in the final act, he truly shines, despite the film's last third abandoning the original premise.

Director M. Night Shyamalan, known for his plot twists, doesn't let you down here. The big one is that when the credits roll, you realise you've just watched a two-hour advert for Shyamalan's daughter, who plays a significant role in the movie, and little else.

Expecting a nail-biting experience? You won't find it here. The film lacks the suspense that keeps you on the edge of your seat. Instead, what you're left with is a sense of disappointment and regret for the missed opportunity to create a truly thrilling experience.