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Moana 2 (2024)

Straight-to-sailing.

Everyone knows by now that 'Moana 2 (2024)' started life as a Disney+ show, before being upgraded to cinematic status in the wake of the underperforming 'Wish (2023)' and 'Strange World (2022)'. Presumably, this was to get a known IP in the position to make as much money as possible. If that's the case, Disney definitely made the right move: this movie is going to make a lot of money. A win for capitalism is so often a loss for art, and it's easy to imagine the studio taking the wrong lessons from this recent success.

However, just because the film started life as a streaming series - and is raking in tons of cash for a corporation that just keeps getting bigger - doesn't instantly make it bad; after all, 'Toy Story 2 (1999)' started life as a direct-to-video outing. The issue isn't its origins on Disney+, it's its origins as a series. You can tell where each episode would have ended, and - even though the narrative isn't especially episodic (it clearly would have been a serialised mini-series) - splitting the story up into roughly five twenty-minute chunks causes some notable pacing issues. Certain characters disappear from the affair after their episode is over, and the finale creeps up on you as if it isn't interested in adhering to a sense of structure. These problems don't drag the movie beneath the waves, but they do prevent it from floating along quite as nicely as it otherwise could have and potentially dampens the power of the theming.

The film definitely does everything the first one did (you can tell they wanted to expand on elements that resonated with fans, which is why the pig comes along for the journey this time), except it makes it all bigger and it does it all (slightly) worse. The theming isn't as resonant because of this, even if there is an effective emotional undercurrent and some moments that aren't afraid to frighten or sadden (albeit typically in a bittersweet way). However, even if it's a notable retread, this is still an entertaining experience right the way through. There are several enjoyable, if unmemorable, songs, the voice work is convincing and charming, the animation is appealing and lively, and there are a handful of properly exciting set-pieces. It doesn't look, sound or feel as good as its predecessor, but it still looks, sounds and feels pretty darn good.

Ultimately, while I can agree on an intellectual level that this is fairly disappointing, I can't deny that I had quite a lot of fun with it and even connected emotionally to some key scenes. It's amusing, well-executed and breezy throughout. It's not the best Disney sequel, but it definitely isn't the worst, either. It's pretty good.

Wong Fei Hung II: Nam yee tung chi keung (1992)

The son fights the (actor who played) the father.

'Once Upon A Time In China II (1992)' is shorter than its predecessor, but it actually feels longer. Although there's an argument to be made that it's more focused, it still has a relatively lax pacing and it takes a while for its main aspect to come to the forefront. It also has two different endings seemingly stitched onto one another, which further increases the feeling that it just keeps going. However, despite these issues, this is still an enjoyable and well-made martial arts movie with plenty of exciting and inventive set-pieces.

The story this time concerns itself primarily with a religious group (White Lotus followers) who perform a series of xenophobic attacks during their efforts to purge Guangzhou of anything foreign. Wong Fei-Hung, again portrayed by Jet Li, happens to be in the city attending a medical conference with his 13th Aunt (by marriage)/ love interest (Rosamund Kwan returns in the role) and his apprentice, here portrayed by Siu Chung Mok instead of Yuen Biao. Much of the movie is focused on the protagonist's efforts to keep the peace amidst this violence, which becomes more complex by the arrival of a court official (played by Donnie Yen, who would later go on to play Wong Fei-Hung's father, Wong Kei-ying, in 'Iron Monkey (1993)') and his efforts to capture a pair of revolutionaries with little regard for collateral damage. This is a more brutal movie than its predecessor, with the anti-foreign carnage of the villainous White Clan gang resulting in some pretty horrific massacres and post-massacre scenarios (flayed skin, anyone?). Although the main character is still a traditionalist, and a lot of comedy is derived from his and his apprentice's ignorance of Western ways, there's amore sympathetic undercurrent to the whole 'outside influence' angle of the narrative because the picture clearly condemns violence - at least vigilante, mob mentality violence - as an approach to the problem. It also promotes working together to heal people, with Western and Eastern medicine being used in tandem rather than in competition.

In theory, the more focused nature of the story ought to make for a more straightforwardly compelling experience, but - even though the threatening nature of the antagonists increases the stakes and makes for some arresting sequences (children are endangered for some of this, which is a sure-fire way to make you care about the people on screen) - there's still a sense that it isn't quite as refined as it ought to be. The comedy and the drama isn't balanced as well as it is in some other examples of the genre - anything by Jackie Chan, for instance - and there are a few subplots that pop up without really intersecting in anything more than a superficial way. The White Lotus stuff eventually emerges as little more than background dressing, a way to create a tumultuous environment ripe for action and danger, because one of the secondary storylines overtakes it as being the most important as the plot nears its final third. This is why the ending is disjointed and seems to drag its heels: both plots have a climactic sequence, instead of one leading naturally into the other or the pair being inextricably intertwined. This is ultimately a negative for the pacing, which in turn reduces engagement and makes the affair seem longer than it is, even though it does allow us to see not one, but two epic final fights. That fact is the only thing that stops this from being as detrimental as it could have been, because the fights are thankfully full-blown adrenaline bursts that don't repeat one another.

Once again, Tsui Hark directs this with a sense of poetry that keeps it feeling light and free even during its darkest moments. Its period setting is wonderfully realised, with lavish sets and costumes really making you feel like you've been transported to late 19th-Century China. The lead actors are all charming and more than capable of what's needed from them, able to deliver the goods in terms of both comedy and action. Said action is really enjoyable, a free-flowing mix of exaggerated yet seamless wirework and fast-paced yet balletic hand-to-hand combat. The impressive set-pieces are all fight scenes (from what I can remember), but they vary themselves enough - in terms of location, number of combatants and central gimmick - to never feel repetitive. They're a little sparser than you may like in the opening movement, but they take centre stage in the picture's back half. It's these scenes that keep you invested in the affair even as its narrative begins to lose you.

In the end, this is a mostly entertaining effort that's well-made in every area but has a few narrative issues. Its pacing problems don't eclipse the thrill of its set-pieces, but they do mean that it's a notably less successful film than its predecessor. It's still a fun experience that I'd recommend to fans of the genre. Even if it isn't my favourite entry, its influence on later films is easy to see.

Wong Fei-Hung (1991)

There was a folk hero called Wong Fei-Hung.

Jet Li takes on the role of Wong Fei-Hung, a real-life martial artist, physician, and folk hero who has gained fame as the protagonist of several unconnected martial arts movies. He's been played by several people, including Jackie Chan and Gordon Liu, but Jet Li's version of the character is arguably the most well-known nowadays (Kwan Tak-hing took on the role more than anyone else, though, appearing as the character in at least 77 films!). Alongside the protagonist, Tsui Hark's 'Once Upon A Time In China (1991)' features several other figures based in reality, such as "Butcher" Lam Sai-wing, so it's sort of the 'Avengers Assemble (2012)' of martial arts movie canon (admittedly a loose comparison). That's an overstatement, of course, but it's interesting to see different versions of these characters pop up and intersect across several different entries in the genre. It's unclear how accurate any of these portrayals are, but it seems as though the biographical aspects of these movies are more concerned with elevating their subjects to folk hero status than being completely true to life and that's perfectly fine.

This patriotic picture focuses primarily on China's changing landscape as the 19th Century comes to a close and foreign nations begin to encroach upon its borders. Although it does push against the idea of outside influence, with its characters lamenting everything from foreign politics to foreign clothes, it doesn't come across as especially xenophobic because there's enough nuance in its presentation of its period that it doesn't feel like anti-Western propaganda so much as a reminder that holding onto a nation's cultural and spiritual identity is important even as its borders become more fluid and its population diversifies. This hybrid actioner is highly influential, marrying the poetic feel of its Wuxia predecessors with the emphasis on fast-paced, highly choreographed hand-to-hand combat of its contemporaries. It's almost like 'A Touch Of Zen (1971)' mixed with 'Drunken Master (1978)', a blend of two distinct styles that emerges as something altogether different. There are some really great martial arts set-pieces, each of which are filled with enjoyable wirework and breathtaking athleticism, and it's clear that Hark is more interested in free-flowing artistry than outright realism or blunt brutality. The picture is violent and its combat has consequences, but it takes its time to really highlight the gentle balletic of its characters' movements and it presents martial arts as a noble practice used to quell conflict just as much as to stoke it. This is balanced nicely with several funny moments, most of which stem from the culture shock that occurs when traditionalist characters have to interact either with someone who isn't Chinese or someone who has more readily embraced Western influence. The lively acting brings the comedy and the action to life, while also allowing for more sincere drama from time to time. Although it's more pantomime than naturalistic, it works well for the material and is in keeping with the genre's typical style.

The narrative is a rambling mess that struggles to balance its various plot points and tonal shifts, and it's unclear where the picture is heading for a long time. It's tempting to say it's an epic, but it doesn't cover a particularly large portion of time or a particularly transformative series of events. However, despite its story issues and somewhat strained pacing, it ultimately comes together nicely in a third act that's really entertaining. The well-shot poeticism of the piece ensures that it's always aesthetically pleasing, and the action is really strong every time it rears its head. While I wasn't initially enamoured by this, I have to say that it definitely won me over in the end. I think its failures are significantly less impactful than its successes. It's a solid effort overall.

I Saw the TV Glow (2024)

Video killed the radio star, but it also made outcasts feel at home.

It's not that 'I Saw The TV Glow (2024)' takes a while to settle into itself, as it knows exactly what it is and is unashamed to be it right from its opening moments, but rather that it takes a while for you to settle into its unique rhythm. The purposefully slow pacing asks quite a lot of the audience, with some early scenes even bordering on being boring. Thankfully, the picture rewards your patience; when it poses its compelling central question around the midway mark, it becomes clear that each and every moment building up to this moment has been completely necessary. The work done to establish the nostalgic malaise so core to the feature's identity is what allows you to engage with the feature's relatively strange concept almost as soon as it becomes apparent. You don't question the importance of the TV show both main characters are obsessed or the impossibility of the idea that maybe that same show is more real than reality itself. Instead, you become immersed in the ramifications of the affair's thesis, willing to accept both ambiguous interpretations of the narrative as equally valid outcomes. At the same time, while the cryptic mechanics of the story may leave room for uncertainty, the allegory at the heart of the piece pierces your heart straight through the gentle glow of your own TV. There's no mistaking what this is about. The subtly presented exploration of identity, self, and the way in which these constructs intersect with one's lived experience of reality are no less powerful simply because they aren't spelled out at any point. This is the kind of film that creeps up on you and then punches you in the gut, an experience so relatable - even if you aren't going through what its characters are going through (imagine how potent it would be if you are) - that it almost hurts. Its use of startling uncanny imagery and uncomfortable confronting concepts make it genuinely disturbing at times, and the neon haze of its beautifully desolate world goes hand-in-hand with the universal isolation of both its filmmaking and its story.

It isn't perfect, though. Although it ultimately pays off, its pacing is an undeniable barrier to entry and the picture's overall success doesn't quite erase the impact of its less engaging segments. The story itself could also be considered slightly dangerous due to its incredibly relatable nature and the way in which it conflates an important transitional element with potentially harmful behaviour. Metaphorically, it works really well, but there is the possibility that a vulnerable audience member may draw the wrong conclusions from the affair if they identify strongly with its themes (this apparently did happened to director Jane Schoenbrun, who had to disabuse someone's interpretation of the feature's message). The decision to have Justice Smith portray the 14-year-old version of his character also distances you from him during this section; it's more jarring because a younger actor takes on the role when the character is around 12. Personally, I feel it would have been better to have the younger actor stick around for that segment, because it's so obvious that Smith is in his late twenties that no amount of acting could ever make him seem 14. The other route would have been to have Smith portray the role right the way through, as is the case with Brigette Lundy-Paine, as this would make it clear that the casting is a wholly stylistic choice and you'd be able to adjust to it earlier rather than being pulled out of one of the more important segments of the film. Smuth and Lundy-Paine are both good in general, though, and their deliberately stilted delivery adds to the uncanny nature of the flick. The same can be said of most of its oddities and issues, really. This is a strange film by design, and that's one of the things that makes it so beguiling. It stays with you not only because of the power of its content, but also because it's not quite like anything you've ever seen before.

In the end, this is a surprisingly powerful picture that benefits greatly from its bizarre nature. It doesn't hold your hand and is all the more interesting because of it. Although it has notable flaws, it's the kind of film that rewards patience and has something important to say. While it doesn't mean as much to me (I'm not directly reflected by the characters), I really love the fact that will mean a lot to a lot of people.

Sherlock Holmes: A Game of Shadows (2011)

The game is afoot.

'Sherlock Holmes: A Game Of Shadows (2011)' sort of feels like an unnecessary extension to its predecessor, a slightly less effective version of the same thing we saw back in 2009. However, it doesn't take too long to win you over; even though it is less successful than the first film, it's not a massive step down and remains a fun slice of popcorn entertainment. The action hero version of its eponymous character is no more or less difficult to reconcile with Sir Arthur Conan Doyle's iconic creation than it was last time, so it's easier to get on board with in some ways because you're more prepared for it. This time, the picture makes good on the teases of its predecessor by bringing Holmes' shadowy nemesis Moriarty to the forefront. While I don't think he's as intellectually intimidating or insidiously powerful as he perhaps ought to be, he makes for a decent counterpoint to Robert Downey Jr.'s hero and is portrayed with an effectively gentle menace by Jared Harris. Jude Law once again charms as Dr. Watson, and the banter-filled relationship between him and Sherlock is enjoyable if somewhat recycled. Where the feature really shines is in its set-pieces, which are typically really exciting and inventively executed. The absolute highlight is a gunfight/foot chase through a forest, which makes use of the series' signature slow-motion in order to emphasise the bark-shredding brutality of each and every bullet that whizzes by the heroes' heads. It's essentially like that scene in '300 (2006)' (and 'Night At The Museum: Battle Of The Smithsonian (2009)') where the camera zooms in when the action slows and zooms out when it returns to regular speed, but the sequence is no less effective simply because we've seen it before. The action is generally really entertaining, shot cleanly enough to be entirely legible while still retaining a somewhat visceral edge. It outshines the dramatic and investigative aspects of the plot, which are actually somewhat lacking even if they're more than serviceable (the detective elements ought to, in theory, be the most impressive part of a detective story). Still, the narrative is pacy and engaging, effectively propelling you from set-piece to set-piece. Ultimately, this is a fair bit of fun. It isn't quite as good as the first flick, but it isn't a massive step down. It's an entertaining popcorn picture.

Sherlock Holmes (2009)

Elementary, my dear Watson. Now, watch as I kick this guy's butt!

Guy Ritchie's take on 'Sherlock Holmes (2009)' is probably his best film to date (although 'Snatch (2000)' comes very close), and it's also one of his least 'Guy Ritchie' movies. This version of the eponymous detective and his cane-wielding colleague is very hard to square away with Sir Arthur Conan Doyle's initial creations, and the whole feature feels as though it's been cranked up to eleven. Sherlock Holmes isn't supposed to be cool, but this version seems frightened of portraying him as anything else. He's far more charismatic and likable than he perhaps ought to be. Furthermore, he's a veritable action hero here, using his incredible intellect not only to deduce (and, as it would happen, seduce), but also to cripple his opponents for life. Dr. Watson, too, makes excellent use of the training he received while working as a soldier, kicking ass almost as efficiently as his slow-mo-seeing buddy. To be fair, there are still plenty of sequences where Sherlock does actual detective work, and the broad strokes of the character are certainly recognisable. The mystery he finds himself dealing with here strikes a good balance between being local and having more global implications, while also suggesting that there may be some spooky goings on here and there. The latter element adds a specific texture to the picture, and it's fun to see Sherlock debunk the various otherworldly things he comes across (even if he's never really forced to consider the possibility that said things could really be supernatural). This is popcorn entertainment in every sense of the word, something with big stars and plenty of action and a story that's may be twisty but is ultimately easy to follow. That's not a bad thing, either, because it means the movie is as easy to watch as it is to enjoy. As far as blockbusters go, this is pretty good. It's engaging and entertaining and includes a handful of undeniably iconic moments (the slow-motion segments, particularly the fight with the handkerchief, are still seared in my brain from the first time I watched this). It's well-made stuff that puts a smile on your face.

Geung see sin sang (1985)

Yippee Ki-Yay, Mr. Vampire!

'Mr. Vampire (1985)' is a supernatural action-comedy about a trio of mortuary workers who must battle the undead when they dig up a coffin with the intention of reburying it and find that the person inside has transformed into a vampire. The picture makes use of Chinese lore and presents a version of its eponymous creature that's distinct from the Western variation Hollywood usually makes movies about. As such, the takes a distinct approach to its material and essentially twists audience expectation if said audience isn't particularly familiar with Eastern mythology. Although the narrative concerns itself with spooky goings on, it's never really all that concerned with being scary. Instead, it uses its horrific elements as texture for its comedic slapstick and well-choreographed action. Neither element are as foregrounded as they often are in martial arts movies from the period, but they come together to form a distinct tone and provide plenty of entertaining set-pieces. The picture never feels as though it has to go a certain route, which makes some of its stranger twists feel refreshing - even if they do some, I suppose, damage to the pacing and structure. The less conventional plot points are ultimately quite satisfying precisely because they ensure the affair never becomes overly predictable. Plus, they contribute to its unique atmosphere and general texture. While there are some notable lulls in engagement, the film is mostly entertaining for its majority. It also includes a few fantastic sequences with inventive choreography that makes excellent use of the supernatural elements so key to the concept at the feature's core. These exciting segments often make you smile due to their sheer creativity. Ultimately, though the experience is a little forgettable (it doesn't really leave a lasting impact), it's an enjoyable and well-made mix between supernatural strangeness and martial arts prowess. It's fun.

Gladiator II (2024)

Gladiator II? I hardly know her II.

This legacy sequel sets itself up almost as a remake, but it eventually subverts most of the archetypes it establishes and allows its third act to head in a radically different direction to that of its predecessor. 'Gladiator II (2024)' is a belated sequel that probably didn't need to exist, but is far better than you may expect it to be. Frankly, it's Ridley Scott's best movie in years. It isn't as good as the original, but it's an entertaining and well-made effort that features plenty of exciting set-pieces and a relatively interesting spin on its "dream of Rome" aspect. To be fair, there are underdeveloped plot points and characters, and the narrative itself is rather overstuffed (especially as it nears its finale). Still, it keeps things moving along at a nice pace and is never even close to being boring. Plus, the way in which it complicates certain aspects of its story is actually really intriguing and effective.

The all-star performances are sturdy across the board, not particularly flashy (except, perhaps, that of Denzel Washington, who's clearly having a lot of fun in his loose robes and jangly jewellery) but undeniably effective. Paul Mescal steps into the big leagues with ease, filling Russel Crowe's large sandals as if there was nothing to it, while Pedro Pascal continues to prove why everyone online is so obsessed with him. Joseph Quinn and Fred Hechinger follow in the footsteps of Joaquin Phoenix and portray whiny twin Emperors, but they differentiate themselves just enough by seeming as though they're not quite of sound mind. Connie Nielsen continues to impress as her returning character, remaining regal and poised even as she finds her personal stakes in Rome's wellbeing more than doubled by the events of the plot. The filmmaking itself is confident and considered, not especially showy but no worse off because of it.

The action is staged a lot cleaner than in the original, with less shaky cam and more emphasis on wider compositions. There is an increase in the use of CGI, with some fairly outlandish moments featuring animals and Colosseum-set naval battles, and this does take you out of the experience on occasion. At the same time, though, fights with computer-generated animals are preferable to fights with real animals because they completely eliminate the possibility of on-set animal cruelty (intentional or otherwise). The fights are choreographed convincingly and are relatively brutal.

Ultimately, this is an enjoyable experience that looks good, sounds good, and features a few fun set-pieces. It isn't a groundbreaking sequel, but it justifies its existence by doing what a gladiator should: entertaining the masses.

Gladiator (2000)

Gladiator? I hardly know her.

'Gladiator (2000)' tells the story of a Roman general who, after being betrayed and having his family killed, finds himself rising up the ranks as, you guessed it, a gladiator and using his new role to get closer his revenge. In many ways, it's somewhat of a sweeping epic, with large outdoor environments and massive battle sequences accompanying the classic vengeance-driven melodrama of its narrative. While a lot of the backgrounds feel intangible in that specifically turn-of-the-millennium way that also affects something like Star Wars: Episode I - The Phantom Menace (2001), the picture remains an impressive achievement to this day. Immersing you in Ancient Rome and its various locals and traditions, Ridley Scott's historical action-drama remains engaging throughout its slightly bloated runtime. The set-pieces are shot with quite a bit of shaky cam and edited in a purposefully frenetic fashion, but they're mostly legible and convey the brutality of combat in a relatively visceral way. The performances are all really sturdy and the music, while undeniably uneven, often soars just as much as it stirs. The moments in which the picture explores its more spiritual aspects are surprisingly effective, beautifully ethereal moments that add a much needed gentle side to the otherwise potentially boringly macho affair. Ultimately, this is an entertaining and well-made effort that isn't massively deep but is consistently compelling and sometimes rather moving.

Joshû sasori: Dai-41 zakkyo-bô (1972)

A visual masterpiece.

'Female Prisoner Scorpion: Jailhouse 41 (1972)' is, in a word, gorgeous. Visually, this thing is absolutely, positively stunning. Its surrealistic use of light, colour, and blocking crafts several compositions each more compelling than the last. Moment after moment, shot after shot, scene after scene, the film imprints itself on your brain, searing itself into your memory the second it hits your eyeballs. There are things in here I've never seen before, and the feature doesn't even pretend its going to let something as trivial as real-word logic or propulsive narrative get in the way of its presentation. The audio combines with the aesthetic in a cohesive and entirely complementary way, cementing the experience as a delicious treat for the senses. It may be an exploitation movie, but Shunya Ito shoots it like a work of art and elevates the potentially crass base material to gallery-worthy levels.

While I have no reservations about this as a visual and aural pleasure, there are some elements that prevent me from liking it more (at least in the traditional sense). For one, its story is fairly light, which makes its pacing feel lax and leads to a few marked lulls in interest (particularly in the second act). Furthermore, its characters work more as icons than as actual people, undergoing little to no development and often making choices that distance you from them. The exception to this is the enigmatic lead, played by the queen of cool Meiko Kaji. It's not that she's given more development than the other characters, it's that her lack of development is her character. Though she's afforded just a couple of lines of dialogue, she tells you everything she needs to just with the icy intensity of her watchful gaze. Her desire for freedom and vengeance go hand in hand, and both are impossibly patient. She will never give up, she will never give in, she will persist until her enemies have perished. She is a symbol by design. Another issue with the picture is that it isn't massively entertaining for relatively long portions of its runtime, and that its cruelty - while artfully shot and far less exploitative than it could have been - is occasionally a bit too much (did we really need this much sexual violence?). However, even when it isn't entertaining in the traditional sense of the word, it's constantly making you smile with its vibrant, distinct, almost experimental filmmaking. Plus, there are quite a few scenes that are properly enjoyable, and it's during these moments that the feature's execution and its design coalesce into one beautiful effort that's absolutely freaking awesome.

This is a hard one to rate because it's far more visually engaging than it is emotionally gripping or, for lack of a better word, fun. The strength of its execution is so strong that I'd easily recommend this to any self-identified cinephiles, and especially to those interested in either the genre or the art of cinematography, staging, and lighting. It's a great example of visual storytelling that remains a treat for the senses even during its weakest moments. Don't let my arbitrary star rating put you off; it invariably won't capture how I truly feel about this one and is likely to change at a moment's notice.

Fei lung mang jeung (1988)

The finale rockets this straight into all-timer territory.

'Dragons Forever (1988)' is the last film Jackie Chan, Sammo Hung and Yuen Biao made together, which is obviously a real shame because these guys are total fire when they're working separately, never mind together. The film sees its stars playing somewhat against type, their characters being morally grey and kind of slimy, but it still makes sure to utilise their unique skills to deliver an experience that's both hilarious and exhilarating in equal measure. While the feature doesn't have a standout stunt or a set-piece so groundbreaking it transcends the overall experience, it's a consistently entertaining and energetic affair that knocks your socks clean off when it needs to. Sammo Hung's direction favours the brutality of each hit over the balletic fluidity of the choreography, so the fight scenes here often really hurt (especially the finale). That doesn't mean there aren't more playful segments, though. An earlier scene sees its two of its leads comedically fight while a third tries to hide them from his date, which is quintessential martial arts movie farce at its finest. There's also quite a lot of focus on romance, with two central relationships being developed to a point that they're actually quite sweet (a scene of in-court entrapment, which is accompanied by some casual homophobia, notwithstanding). However, the film really takes flight when it gets to its third act. As is customary with these types of films, the climactic battle goes hard. It's difficult to describe just how hard this particular segment goes, though, as it's a total rush of bone-crunching carnage that easily sits among the very best of its peers. Yuen Biao leaps through broken windows, narrowly avoiding being cut to ribbons, and flips his way around the environment as if he's an even more badass version of Spider-Man; Sammo Hung kicks the living snot out of anyone who dares get in his path, then takes an on-screen breather (presumably to focus on directing the rest of the carnage) before leaping back into action equipped with a drug needle; and Jackie Chan does what he does best, taking as good as he gives while fighting off a variety of foes in the build-up to a two-on-one (or, more accurately, one-and-a-half-on-one) showdown that's absolutely staggering in its unrelenting ferocity. The finale is an absolute blast, and it rockets the overall experience straight into all-timer territory (something the first two acts didn't quite achieve). As I mentioned earlier, it's unfortunate that these three never worked together again after this, but - although this isn't their best collaboration - what a way to go out. This movie rules.

My Old Ass (2024)

Old but not infirm.

'My Old Ass (2024)' doesn't put as much focus on its main quirk as you may expect, instead opting to use its vaguely fantastical central concept as a gateway to a coming-of-age drama that explores the expected theme of appreciating what you have while you still have it without taking the most obvious route to do so. I never thought I'd be saying that less Aubrey Plaza was a good thing, but the decision not to rely on her here works wonders for the overall narrative. It means that the movie isn't encompassed by its - for want of a better word - gimmick, and that it remains relatively grounded and (at least texturally) realistic for its majority. With a strong central performance from Maisy Stella, the feature manages to capture the feeling of knowing everything's about to change and that you can't do anything to stop it. It's a feeling we all innately understand, the thing that gnaws at the back of our mind even while we're too preoccupied - or, perhaps, afraid - to acknowledge it. It's often only in hindsight that we realise when we were on the precipice of a new chapter in our lives, and by that point it's too late to fully acknowledge and relish what's already passed. Although the protagonist has transformed her future hindsight into current foresight via impossible means, the movie basically makes a point of saying that we're all able to do something similar simply by taking the time to live in the moment. It's a generic message, sure, but it has quite a lot of power and is conveyed convincingly here. Although the final act rushes through some key revelations and developments, the film is generally a well-paced and enjoyable experience that feels honest and keenly observed right the way through. There is some online discourse about how it handles its lead character's sexuality, with the concern being that its events threaten to erase something in favour of something else more traditionally seen in media (I'm being vague to avoid spoilers but I don't know how successful I've been). While I can definitely see this side of things and agree that it didn't need to be presented in this way considering it has no real baring on the overarching narrative or theming (at least in terms of its specifics), I can also see how it may have been included to try and capture an aspect of a particular sexuality that is often erroneously considered to undermine the validity of said orientation (again, I'm being vague on purpose, so hopefully what I've written makes sense). Ultimately, this is an entertaining, fairly funny and quietly poignant movie with an underlying sense of nostalgia (the kind you feel for something that already is, or is perhaps yet to come, or is perhaps never to be) and naturalistic lead performances.

The One (2001)

...is the loneliest number.

'The One (2001)' may be a bad film, but it's not a bad time. To be fair, "bad" is too harsh a descriptor for this sci-fi actioner. Giving major 'Demolition Man (1993)' vibes, the feature pits Jet Li against himself as he takes on the role of both hero and villain. Everyman cop Gabe dukes it out with malevolent multiversal variant Yulaw when the latter's quest to wipe out all other versions of himself and become the eponymous one brings him into the former's reality. In a sense, the flick basically wastes Jet Li because it opts to favour reality-bending strength and speed, clearly inspired by 'The Matrix (1999)', over genuine fast-paced action and the result is often unconvincing, making use of weightless turn-of-the-century CGI and necessary but cumbersome editing that has to hide the fact Li can't actually be in two places at once. Plus, it wants us to believe that Li couldn't instantly take Jason Statham and Delroy Lindo apart with his bare hands even if he wasn't superpowered. However, there are plenty of enjoyable moments - even those that are certifiably cheesy while clearly thinking they're icy cool - and the Li on Li action is quite a lot of fun when it's finally allowed to fully flourish. It's entertaining enough for what it is, even if it isn't massively compelling and its narrative is extremely predictable. I'd even be tempted to recommend it to fans of its star. I'm not feeling massively generous towards it, though, so all I can say is that it's fine. It's not bad, but it's also not all that good.

Small Things Like These (2024)

It doesn't need to shout in order to be heard.

'Small Things Like These (2024)' is a quiet character study about a working-class man who learns of a long-ignored abusive situation and grapples with his conscience - as well as those around him - as to whether he should, or even could, do anything to prevent it. It feels incredibly relevant in today's society, essentially making the case that we shouldn't turn a blind eye to suffering just because it's easier - and expected - to do so. It posits that you should help in whatever small way you can, that kindness is courage and that going against the grain to do what's right is paramount even when the weight of the world's injustices feel so overwhelming that to ignore them seems like the only option. At the centre of the picture is Cillian Murphy's low-key, almost entirely insular performance. He puts in some phenomenal work and is able to convey a complete character arc with very little dialogue and even less on-the-nose exposition. The screenplay mostly implies rather than states, forcing the audience to interpret its events in order to fully understand the narrative (which isn't so much ambiguous as it is not spoon-fed). This makes for a deceptively quiet and mundane experience that feels really realistic. It's not the most entertaining movie in the world, but it isn't supposed to be and its creeping power can't quite be denied. Although I wish it did expand its ending somewhat to deliver at little more denouement, the final frames make it clear that the film has been about a choice rather than its aftermath. The climax cements the film as a character study, reinforcing the fact that each and every moment has been building up to the decision the lead makes in the last act. While the affair is generally rather slow and its pacing initially feels somewhat skewed, it's ultimately a rewarding and distinct effort that doesn't need to shout in order to be heard. It's pretty strong stuff.

Rukku Bakku (2024)

But not in anger.

'Look Back (2024)' is a mediation on friendship, passion, and art, examining what happens when these elements intersect. It essentially aims to answer the question that plagues all artists: what is it for? Is it driven by ambition? Success? Fame? Is it to tell a deeper truth? To say what can't be said with words? To get what's inside out for all to see? Is it to connect with strangers? To make someone feel less alone? To make someone smile or weep or take a step back and look at their place in the world? Or is it simply to do something you love with someone you love? If so, why do you carry on even when one of those things has gone? The film explores these ideas through the relationship between two girls who grow up together making manga after one of them confesses to being a fan of the other's school newspaper strips. Taking place over a number of years, the picture depicts their evolving relationship with both each other and the art they create, ultimately taking an emotional turn when life inevitably catches up with their ambitions. There's a semi-fantastical element here that could be interpreted one of two ways, and interestingly I prefer the more literal version than the metaphorical one (which is tend to lean towards). Either way there's a lot of thematic resonance to be found here, and it's unsurprising that it's connecting so deeply with so many people.

Clocking in at just under an hour, the piece doesn't waste any time. It sort of feels like a long short film, but it's actually a short long film (it's over the minimum length to be classed as a feature). In some ways, it feels like it could have been expanded by twenty minutes; in other ways, it's exactly as long as it needs to be. It's a focused experience that mimics the insular nature of the central dynamic, as the two leads are the only important people to us just as they seem to be the only important people to each other. The animation sometimes seems slightly rough, in that it isn't consistently refined and some movements don't quite keep things on model, but it also includes several scenes that must have been really tricky to pull off because they include sweeping camera moves and changing perspectives. I can't tell if the animators used 3D models and custom shaders for these scenes or if they, much more painstakingly, animated everything in 2D; either way, if I can't tell, it's equally as impressive. There's a meta element to the movie, too, because it's based on a manga that's about producing a manga (obviously the meta aspects are watered down somewhat by the adaptation process, but the parallels between the film and its subject are still strong nevertheless). This makes each and every frame, as well as the time and effort that's gone into it, all the more relevant, and it's a perfect example of a film's form enhancing its content.

Ultimately, this is a moving and engaging anime that doesn't waste a moment in conveying its story and themes. Its a gentle, bittersweet experience that's both devastating and life-affirming, and it feels as though it grasps at a deeper truth about artists and their work. Its a strong effort.

Rebuilding Coraline (2024)

One step at a time.

This behind-the-scenes short played at the end of the 15th-anniversary re-release of 'Coraline (2009)'. It features several people involved with recreating the Coraline puppet for an updated promotional animation detailing what went into that process, providing insight into the different crafts involved with its construction and highlighting the technological advancements that have occurred in the years since the original puppets were made. It's formatted as a roundtable discussion interspersed with b-roll footage of whatever's being spoken about. Although it is interesting enough to hold your attention if you're at all concerned with how movies are made, it doesn't seem to get as detailed as it could have. You can tell it's been edited down from a much longer, perhaps deeper conversation. I would have personally liked more insight into each aspect of the process, and potentially would've preferred a focus on puppet creation rather than puppet re-creation (as in a focus on how Laika makes its puppets in general, rather than how they've improved that process over time). If you know nothing about making puppets, perhaps you'll be a tiny bit out of your depth. Similarly, if you have no interest in making puppets, you may not be all that intrigued by the featurette. However, I do appreciate the peek behind the curtain at one of cinema's leading stopmotion studios, as well as an insight - however limited - into the development of such an iconic character. In some ways, it highlights just how impressive Laika's animation has always been, how boundary pushing it is even in the studio's least kinetically and aesthetically ambitious effort. Although this isn't the best behind-the-scenes material I've seen, and it does feel a little underwhelming considering its essentially the little treat that comes packaged with the 15th-anniversary re-release, it's still an enjoyable and interesting effort.

Batman: Dead End (2003)

The caped crusader, indeed.

I had no knowledge of 'Batman: Dead End (2003)' until I saw a TikTok reposted as an Instagram Reel (or was it a Facebook Reel?) that featured the lead actor talking about how he became Batman when the cameras were rolling and scared the director. After seeing that video, I decided to see if the short was on YouTube and, lo and behold, it was.

The only thing I'd read, from the comment section of the above video, was that it had a cool cape shot. And it does, indeed, have a cool cape shot. It's very atmospheric and crafts a distinct visual style with what must have been a limited (although not shoestring) budget. The Batman costume is grey and black, with a permanently sculpted scowl and beady white eyes peering out from the blackness. The chiseled, square chin of the lead actor suits the short's hefty take on its intimidating main character. Its interpretation of the Dark Knight feels aesthetically similar to Batfleck, albeit grittier and a little less refined. The overall vibe is arguably darker than that of the Tim Burton movies, and it's impressive to think this low-key and 'serious' take on the character - likely a reaction to Joel Schumacher's recent silly efforts - predates even Batman Begins (2005). Visually, the short nails exactly what it's going for. Narratively, it's a little less compelling. Not all that much happens and its character dynamics are very basic if you're familiar with the source material. That is... until a certain something happens.

• I recommend going into this as blind as possible, so if you haven't seen the short I suggest you go watch it before reading any further (spoilers below). -

As I mentioned earlier, I had no prior knowledge of this short and went into it knowing only that it had a cool cape shot. Imagine my surprise when, after some very clunky and on-the-nose dialogue from the Joker, a Xenomorph shows up. Then imagine my surprise when, just as I'd adjusted to the idea that this is a secret 'Batman vs Alien film', a Predator shows up. It's a 'Batman vs Alien vs Predator' short film that I've never heard of before... how is that possible!? Even though you can definitively tell this is a fan film, it's undeniably pretty awesome. It's a hint at what might have been, and what might have been is really damn exciting (if inherently a little silly). The short predates the two official vs movies featuring two thirds of these characters, and it's potentially better precisely because it doesn't need to craft a logical and compelling narrative around its premise. It just gets in, does what it needs to do and gets out again. Most of it's a battle between Batman and a Predator, and - even though it's a little clumsy - it's compelling and fun. There is a sense that there's not all that much to it, though, and it isn't as refined as it potentially could have been. Still, it's entertaining enough and benefits massively from the element of surprise. You'd think that would be a negative, but I think that the way its reveals are executed - bluntly, yet with glee - afford the piece a sense of... muscular wonder.

Ultimately, this is a well-made and unpredictable fan film with some fantastic visuals and a solid sense of atmosphere. It's light on story and isn't as compelling as it perhaps could have been, with some clumsy dialogue and a generically gritty vibe, but it's a really solid effort. I'm surprised I hadn't heard of it sooner.

Time Cut (2024)

Time Cut? More like Time to Cut it out.

'Time Cut (2024)' is one of those movies that's tempting to call "fine" simply because it's watchable. However, it's so lazy and half-baked that to do so would be disingenuous. Everything about it feels designed to tick a box rather than tell a compelling story. It's designed from the ground up to exist within the current trend of time-travel slashers and take advantage of the sub-genre's current momentum, and it feels very cynical because of it. It has some interesting ideas and themes, but it doesn't have the ability or desire to actually explore them. Instead, things just happen because they have to, and each plot beat seems as though it's been designed with the least amount of thought and effort possible. The whole thing looks and feels like one of those 'live-action cartoon' movies Nickelodeon used to do, which is to say cheap and unconvincing but likely serviceable for small children. It's the kind of film that was clearly put together in a short amount of time, scribbled onto paper and commuted to film as quickly as possible so it doesn't just fade into the nothingness Netflix's own algorithm has all but ensured for more enthusiastic fare. It's not terrible, but it isn't good. It's filmmaking as business. Time Cut? More like Time to Cut it out.

'A' gai wak 2 (1987)

(Project) A fantastic sequel.

Although its narrative isn't as compelling (primarily because it isn't as focused), 'Project A Part II (1987)' is every bit as enjoyable as its predecessor. Sammo Hung and Biao Yuen are sorely missed, but Jackie Chan is as excellent as ever and he's surrounded by a rock-solid cast of returning members (such as Mars) and series newcomers (such as Maggie Cheung and Bill Tung). The film constantly drops your jaw with its ferociously creative choreography (there's a moment in which Chan does that classic bit of pulling the cloth off a table without knocking over any of the glass on it but he does so within the context of a fight scene, sending his opponent crashing to the ground with the graceful flick of the fist usually reserved for party tricks) and utterly brazen stunts (the Buster Keaton homage is made all the more impressive by the fact that Chan has previously run down a gigantic wall as its collapsing). The picture is exciting and funny in equal measure, an action comedy that tickles the ribs and knocks off the socks. It's an exhilarating experience that puts a smile on your face and keeps it there for its entirety. It's really great. You'd expect nothing less from Jackie Chan, but sometimes you need to take a step back to appreciate the utter excellence he constantly brings to our screens; even his worst effort is better than a lot of martial artists' best, and he's almost always the most enjoyable part of the films he's in.

'A' gai wak (1983)

(Project) A blast from beginning to end.

Striking a perfect balance between action and comedy, 'Project A (1983)' stands out as one of the best entries in Jackie Chan's impressive filmography. It's quintessentially madcap martial arts, everything you'd expect from its director/star, and it's an absolute blast. Splitting its time evenly between ferocious fights, propulsive chases, death-defying stunts, farcical mix-ups, and slapstick set-pieces that would do Buster Keaton proud, the gleefully frantic and perfectly choreographed picture hits every note you could ever want it to with the nonchalant excellence that can only come from something crafted by true masters. Sammo Hung and Biao Yuen join Chan in this pirate-punching adventure, capping off an already rock-solid cast (which includes the likes of Dick Wei and Mars) and solidifying this as one of the most iconic collaborations of its era. It's a really, really entertaining effort that's well-made in every area and constantly has you kicking your feet with glee. It's a total blast. So much of it looks so painful and yet it's almost all intended to make you smile; these people truly do bleed for their art and, when their art is as good as this, it's worth every drop. If you have any interest in action cinema, do yourself a favour and watch this movie. It's brilliant.

Paddington in Peru (2024)

A perfectly pleasant Peruvian adventure.

'Paddington in Peru (2024)' isn't as good as 'Paddington 2 (2017)', but it isn't as big a step down as some early reactions led me to believe. For the most part, this is still an entertaining and delightfully polite experience that's as pleasant as it is brisk. Although the more standard adventure narrative is less idiosyncratic than the vignette approach of the first two pictures, it still works well enough in this context and allows its lovable characters to continue to charm even as they're subjected to the classic sequel thing of being taken out of their natural habitat to explore the as-yet-unknown origins of the main character. There are plenty of funny moments and the film is good-natured from its very first frame. It's a really nice movie, and sometimes that's all you need.

What it does lack in comparison to its predecessors is a strong emotional core. Even though a handful of its moments are moving, the piece isn't especially poignant and it isn't going to get your tear ducts working. Plus, some of its character work is rather superficial and, as my brother pointed out, almost feels like an obligatory afterthought. The narrative in general is rather conventional and follows a specific formula almost to a tee. It's fairly predictable and feels relatively generic, almost like it was retrofit for Paddington after its basic beats had already been pencilled in.

Despite its few issues, there's still more than enough to like about the feature. Its lovable cast is as strong as ever, with some delightful newcomers (Antonio Banderas and Olivia Coleman) chewing the scenery with glee whenever that's what's needed. The special effects are consistently good, believably bringing the eponymous bear to life in such a way that it's strange to think he's never actually in the same space as the other characters. When he naturally doesn't turn up at the red carpet, it feels like someone is missing. The film is light and bouncy; it truly flies by and is generally a lot of fun. It's marmalade-packed with gags, both visual and dialogue-based, and scenes of slapstick action that sweeps you off your feet. It's a really good time.

Ultimately, this is a perfectly respectable addition to its series that's well-made and enjoyable throughout. It's unfortunate that it follows 'Paddington 2 (2017)', as there's an argument to be made that's the best - or, at least, most universally appealing - picture of all time, because this is genuinely a great family film. If you're expecting the best film of all time (again) or even the second best film of all time, you'll obviously be disappointed. However, it's a rock-solid effort that's charming and entertaining in pretty much each and every scene. It's a lot better than plenty of similar fare. If you don't go in expecting a miracle, I think you'll be pleasantly surprised.

Juror #2 (2024)

He was #2!

'Juror #2 (2024)' is the latest film directed by Clint Eastwood, who continues to impress with the relative consistency of his output even as he continues to require more and more candles on his birthday cakes. Known for his reserved, to-the-point directing style that always brings his features in on time and under budget, the nonagenarian filmmaker clearly has an eye for cinema and the desire to continue contributing to it. There's pretty much nobody more experienced in Hollywood, and he clearly loves making movies enough to do it every couple of years despite being well past the age most folks want to retire. All that is to say that if Eastwood is involved, it's unlikely a picture is going to disappoint (although not impossible, *cough* 'The 15:17 To Paris (2017)' *cough*).

The best way I can describe the film, as well as most other Eastwood efforts, is solid. Someone on Letterboxd (I'm paraphrasing Matt Lynch, I think) said this could have been made at any point in the last 75 years, and that's pretty much on the money. Although it does attempt to say something about truth, justice and the American way (it can't be a modern Eastwood movie without some good ol' fashioned conservatism), it isn't particularly contemporary in its themes or aesthetic. That isn't a bad thing, though. It plays like a take on '12 Angry men (1957)' but focus the morality play more specifically onto one person, a recovering alcoholic who thinks he holds the key to a 'not guilty' verdict but can't come completely clean for reasons I won't spoil. There is some focus on a couple of secondary characters and the way in which they each have to decide if the truth is more important than their personal gain, but the narrative is anchored around the protagonist and we very much experience the story from his point of view. It's interesting to see him navigate his dilemma, and the flick does a good job of getting you to think about what you'd do in his situation. It does skip over some key internal development at a certain point in order to generate a sense of suspense in the build-up to a reveal, and I feel as though this does a slight disservice to the film as it prevents us from fully grasping why the lead does what he ultimately does. Still, most of the experience is engaging both intellectually and emotionally.

The piece isn't massively affecting and it also isn't always the most compelling - or, perhaps, exciting - take on its genre, but there's a sense that it's close to the best version of itself possible and it's entertaining enough for what it is. The performances are all really good, the writing is relatively naturalistic, the cinematography is refined, and the direction is consistent. It's a solid movie, but it isn't really something you'd write home about. Then again, it's the sort of thing that will probably play differently for a certain generation. I could easily see it eventually being a sleeper hit on cable television for those who still consume their media that way. It's good, but not great. However, as I've said before, sometimes that's all you need. It's a nice Sunday afternoon movie.

Siu nin Wong Fei Hung chi: Tit ma lau (1993)

Steal from the rich... and kick their butts while you're at it!

Essentially the martial arts movie version of 'Robin Hood', 'Iron Monkey (1993)' is an entertaining actioner that's essentially a blend between the more ground-level choreography of a Jackie Chan or Lau Kar-Leung film and the more heightened wirework of a traditional Wuxia effort. The result is a feature that favours absurd, semi-slapstick acrobatics and impossible, semi-slapstick Kung fu over 'realistic' - or even particularly feasible - fight scenes, all without compromising the sincerity of its premise. It has its funnier moments, and some of its eventual brutality is so disarming you can't help but smile at it, but it's generally played relatively straight, feeling less like an action-comedy and more like an action with comedy in it. The tone works well for the material, and the narrative plays with classic Kung fu tropes in a way that feels naturalistic. Director Yuen Woo-ping also choreographed 'The Matrix (1999)' and you can easily see this film's influences on that film's style. Although it's a little shaky in terms of story and pacing, the picture is generally quite a bit of fun. It isn't massively engaging for a fairly large part of its first half, but it gets more and more enjoyable as it heads into its final third and you've had more than enough time to acclimatize to its vibe. It has some really entertaining, expertly choreographed and executed action. It's also really stylish and feels as though it knows exactly what it is. It's a really solid effort overall.

Heretic (2024)

He's a creep; he's a weirdo.

'Heretic (2024)' is a religious horror film about two Mormon missionaries who visit a strange but seemingly friendly man with a passion for theology and the sound of his own voice. It soon becomes clear that the homeowner has an ulterior motive for letting them in: he isn't buying what they're selling, he's selling them something much more radical. Despite his claims to the contrary, the young women have no real choice but to listen to his rhetoric thanks to a strange front door that bolts itself shut and apparently can't be opened again until morning. With essentially only three characters, the chamber piece relies mostly on back-and-forth dialogue for its first two movements, establishing a simmering sense of suspense which eventually boils over in its final third. What's fairly refreshing about the set-up is the fact that the two missionaries (excellently portrayed by Chloe East and Sophie Thatcher) don't blindly walk into an obviously dangerous situation, and they pick up on the clues that things aren't quite right earlier than most characters in their situation historically have. They make the decision to cut and run right around the same time the audience is screaming at them to do so, but unfortunately it's too late; both character and viewer are locked in with Hugh Grant's verbose theologist, left with no choice but to consider what he's saying. He's the kind of guy that thrives on a captive audience, speaking with such conviction that he almost convinces you he knows what he's talking about. Even though he makes some interesting points, you start to see the holes in his arguments when he's challenged on some of the stuff he says (or doesn't). You're never quite sure if he's genuine in his desire to convert the two would-be converters to his own way of thinking, as everything he says is overshadowed by the fact that he's saying it to a (literally) captive audience. What's his game? That's basically the question at the core of the piece, and the narrative does a good job of taking you on a journey which twists and turns whenever it threatens to get stale. Although it is fundamentally rather silly, especially when it heads in certain directions, it remains engaging for its majority, largely due to the strength of its performances (Grant is having tons of fun) and the consistency of its writing. There are some less-than-believable moments and contrivances, but none of those are massively detrimental to the overall affair because they're par for the course with this kind of stuff. It doesn't take itself particularly seriously, even though it is played pretty much totally straight, and it isn't afraid of its genre, never really suggesting that it may be 'elevated horror'. It's good fun for what it is, an enjoyable and interesting take on a well-worn format that's pacy and fairly thrilling. It's a really solid effort.

Anora (2024)

'Cinderella' if the prince was too wasted to find the glass slipper...

'Anora (2024)' is another humanist look at the sex work industry from writer-director Sean Baker, in many ways a spiritual successor to his earlier 'Tangerine (2015)'. The film focuses on the eponymous Anora - or Ani, for short - as she becomes involved with a rich Russian man-child and is swept away on a whirlwind romance... until reality finally hits like a truck. It's essentially 'Cinderella' if the prince was too wasted to find the glass slipper and too cowardly to pick it up even if he could.

Shot and acted with an urgency normally reserved for more overtly guerilla fare, the feature toes the line between Baker's usual fly-on-the-wall realism and a more traditional, specifically plotted narrative. It's naturalistic, sometimes devastatingly so, but it also tells a fairly propulsive story that has a relatively commercial appeal. That's not a bad thing, as it allows the picture to potentially reach a wider audience than Baker's usual stuff while still preserving the distinct vibe and charm of that same work. The grounded performances are so lifelike and raw that it's almost difficult to believe everyone is just acting; there are moments where this feels close to a documentary, in a way. The screenplay is so keenly observed that it's difficult to tell what's penned and what's improvised in the final result, and the direction knows exactly when to push itself forward and when to pull itself back. The film disarms you by presenting itself cinematically, then switches gears and allows its established style to take a backseat when the romance fades in the back half. For example, the deliberate pacing initially sweeps you off your feet, then drops you to the ground and forces you to sit in the same uncomfortable situations as its protagonist for extended periods of time.

Alternating between humour, heart, and the horror of reality, the feature keeps you engaged throughout its admittedly long runtime. It never feels as though it's dragging, even if some elements could have potentially been tightened up with little detriment to the overall affair, and its subtle character work remains interesting even though it's arguably non-existent in places (it's the kind of development that takes place in-between the lines). While it isn't massively affecting, it does make you feel for its protagonist and it does a great job in making you root for her from very early on. Mikey Madison is truly brilliant here, as striking as the tinsel in her hair. She's at once outwardly resilient and inwardly vulnerable, a force to be reckoned with who's also deeply human. This is certainly a star-making role for her and she deserves all the praise coming her way. The other actors all do a really good job, too, delivering the kind of work that's so naturalistic it's all too easy to overlook. This is an expertly performed picture and it's difficult to overstate just how important that is to its ultimate effect. It's the kind of movie that sort of creeps up on you in terms of how much it has moved you. The more you think about it, the more fondness you have for it.

Its charm is somewhat difficult to describe, but it's utterly undeniable. It's a really strong picture, even if I would have perhaps liked it to dig a little deeper into the psyches of its characters. It does start to lose me a bit as it heads into its third act, and its denouement is somewhat drawn out. Having said that, the final moments are actually key to understanding the emotional tapestry of the overall affair. The ending feels more and more necessary the longer you let it sit with you. When it comes down to it, this is an entertaining and compelling feature that stays with you after it's over. It's beguilingly beautiful.