Film Reviews by griggs

Bones and All is a surprisingly delightful feast of romantic cannibalism, and it’s the first film featuring Timothée Chalamet where he hasn’t turned my stomach — an impressive feat considering he plays a cannibal. The film attempts to elevate a love story between two misfits with beautiful cinematography and dialogue that is both riveting and grotesquely poetic. Who wouldn’t want to hear heartfelt confessions about devouring one’s love interest? Bravo to Chalamet for making cannibalism almost charming!

Perfect Blue, a cult anime film that remains as relevant today as it was when it was first released, follows the story of a teenage girl on the brink of insanity. Its exploration of unsettling themes such as consent and exploitation may make for uncomfortable viewing, but it's a stark reminder of the issues we still face. Despite some parts feeling dated, its prediction of the Internet as a tool for stalking and the rise of social media for harassment is particularly noteworthy.

Repulsion is an alarming and compelling psychological thriller that presents an unsettling exploration of a woman's descent into madness. Polanski masterfully creates an atmosphere of claustrophobic dread. What sets this film apart is its bold decision to centre the narrative on a female protagonist who, in a rare move for the genre, is the killer rather than the victim. The film's chilling portrayal of isolation and paranoia lingers long after the credits roll, making it an unforgettable entry in psychological horror.

The Menu starts with an intriguing idea, but don't get your hopes up—it becomes painfully predictable almost right out of the gate. You can see the ending coming from a mile away, and those so-called "twists"? Yeah, they land with all the excitement of a damp napkin. The only saving grace is the fantastic cast—Anna Taylor-Joy, Ralph Fiennes, and Nicholas Hoult—though even they seem to be phoning it in. It's honestly tragic how little they're given to work with. The film's popularity must be riding entirely on their star power, because of the plot? Let's just say it doesn't bring anything fresh to the table. Overall, it's a real letdown, especially with wasted talent like that, leaving a disappointing impact.

I'm always struck by how much jeopardy and peril there is in modern family films. Not that it's a bad thing... But I was also the child who had to be taken out of the cinema during 101 Dalmatians, Pinocchio, and Bambi.

Saoirse Ronan nails it with her amazing performance in this intense addiction-recovery drama, making it super powerful and engaging.

The Green Knight baffled me after the first watch; perhaps watching it at 4 am, I was too tired to fully appreciate its dreamy, slow pace. But on the second viewing, I discovered all the stunning visuals and deep symbolism I apparently slept through the first time. It turns out Dev Patel’s Sir Gawain isn’t just wandering around aimlessly, getting his end away.

Like a Matryoshka doll, this film moves from one story to the next, revealing layer after layer, each more intricate and captivating than the last.

While Speak No Evil fails to keep you on the edge of your seat, no other performance this year will scare you as much or beat the dramatic performance of James McAvoy's unexpected transformation into the Incredible Hulk.

Lee is a giant neon sign of a film with 'Made-for-award-season' written all over it while screaming 'Look how amazing Kate Winslet is!' But sadly, it's not until the third act, when things turn chilling, that she finally grabs hold of you and doesn't let go. Then there's Andy Samberg. Yes, that Andy Samberg, who somehow waltzed into this movie and decided to give us a 'Wait, is this guy about to win an Oscar?' performance. At this point, even the Academy are probably like, 'Well, guess we gotta nominate him now.'

Demi Moore's performance in The Substance is so potent that it's hard to tell what's more intoxicating; her inevitable Best Actress win or Coralie Fargeat's razor-sharp screenplay that's already got the Oscar in the bag.

This won’t be everyone's cup of tea—more like a psilocybin cocktail with a splash of ayahuasca for good measure. But hey, if you're brave enough to dive into its weird and wonderfully twisted world, you might just end up nodding along with Helen Mirren, who famously called it “an irresistible mix of art and genitals.” Buckle up; it's a wild ride between genius and madness.

“We want a Japanese remake of Jaws.”

 “No problem. But how about we replace the shark with a grand piano?”

 “A killer piano? That’s brilliant!”

Blink Twice is Zoe Kravitz’s dazzling directorial debut, a gripping, twisted thriller that confronts post #MeToo gender politics head-on. The film expertly combines razor-sharp genre storytelling with biting social commentary, all against a brutal, tension-filled backdrop. It’s as wildly entertaining as it is thought-provoking, making it a must-watch and one of the year’s standout films.

I Used to Be Funny is the indie release that deserved a wider audience, if only to witness Rachel Sennott's mesmerising, Oscar-worthy performance that somehow balances the film's uneven tone on her capable shoulders. Sennott delivers a masterclass in dark humour and raw emotion, leaving us wondering how a film this gripping could be so maddeningly frustrating at times. It's a curious case where Sennott's brilliance outshines its surroundings, raising the question: why didn't this film get a wider cinematic release instead of being buried in the depths of a streaming service?