Reflections on a year of cinema trips in Sweden

Introduction

This time last year, I set off for a study abroad placement at Lund University in Sweden, as part of my film studies university degree. It ended up being an amazing experience, one that I've been looking back on very fondly since finishing around two months ago, and upon reflection, as you may expect, there are many observations to be made. I've thought plenty about the academic side as well as broader factors relating to the lifestyle and nature of this new country, mainly because I've had to write several papers and reports about such for my home university, but, something I haven't had the chance to properly reflect on, which I thought would be perfect to discuss here, are my experiences with cinema on my year abroad.

Lund Cathedral

Now, let me clarify exactly what I mean by this. When I say cinema in Sweden, I don't mean my experiences with films from the country. Even though I've become more adversed in Swedish cinema through some of the courses I took at Lund along with further material I subsequently sought out (Sjöström, Bergman, Östlund, etc.), much like the other broader factors of my exchange, I've already thought plenty about those in the form of writing numerous university assignments as well as some Letterboxd reviews, so I can't say I'm itching to relay any of that onto here. Instead, what I'm referring to is the physical act of going to the cinema while in Sweden; when preparing to move abroad, I was thinking about all the aspects of my day-to-day life in the UK and how they would compare to their respective equivalents in this new environment. There was obviously much to consider here, but one thing I was looking forward to trying was visiting the cinema, not only because I do so around three or four times a month at home, thus making it a key part of my everyday life, but also since I'd never been to the cinema abroad prior to starting my exchange, so I was intrigued to see what it would be like compared to what I was used to. Well, having wrapped up my time abroad, I've made a couple interesting observations and have had many fabulous experiences with the big screen in Sweden, so let's get into discussing them!

The Differences

Okay, let's start by answering the main question: is going to the cinema in Sweden any different from doing so in the UK? Simply put, not really. There are obviously some contextual differences (which I'll get into shortly), but, for the most part, there's not an awful lot that differs, and I don't think that's really to be taken as much of a revelation. You see, prior to starting my exchange, I was mentally preparing myself for an overwhelming and difficult process of adjusting to a new country and culture, simply because the prospect of going to live abroad for a year was quite a daunting one, and it was therefore easy for my irrational thoughts to get the better of me. But, after about a week or two in Sweden, it was quite easy to settle in, partially because I quickly got used to the unique aspects at hand as they became normal parts of my day-to-day life, but also because many things simply weren't that dissimilar from back home. This applies to the process of visiting the cinema; despite being on different soil, it functions in practically the same way: you go in, buy yourself a ticket, grab some popcorn, take a seat, and enjoy a film on a big screen. Furthermore, the films being shown (which I'll also delve more into shortly) were mostly the same selection as the ones I'd have had available back in the UK, and their release dates were generally around the same times too. It sounds quite silly to have expected these things to not be the case in some way, but believe me, it was at one point quite easy to get carried away and expect everything to be radically different from what I was used to.

Salong 1 at Filmstaden Lund

Despite this, there are a couple of minor differences that I couldn't help but notice. As someone who likes to keep their physical cinema tickets after a showing, a small thing that stood out to me was the shape of such at the cinemas I went to. They were obviously still rectangular, but orientated horizontally instead of vertically, making them feel less like the shopping receipt-esque tickets you usually get in the UK and more reminiscent of traditional cinema ticket stubs. As a result, collecting and displaying them became far more enjoyable (don't worry, I'll show off my collection later on). A slightly more substantial yet similarly welcome difference is what the adverts shown before films are like in Sweden. In the UK, I cannot stand how long the block of adverts and trailers at cinemas goes on for; the standard nowadays seems to be about thirty minutes, which is ridiculous, so much so that the allocated time on your ticket is often considerably far off the start of the film itself, giving some people the impression that you don't need to arrive at the cinema in time for that (which frustrates someone like me that prefers to be on time no matter what). In the Swedish cinemas I visited, while you still have your adverts and trailers, they're handled far better. Typically, the block of them is no more than fifteen or twenty minutes long, but, best of all, they start rolling around ten minutes before the allocated start of the showing, meaning that you've only got a short time to wait before the actual film if you arrive in time for that allocation. Alternatively, if you're ridiculously early (which I tend to be), it means you don't have to wait around in the foyer for long before the auditorium is ready to go. I didn't really notice the depth of this difference until my first cinema trips back at home, as it felt like the adverts just went on forever and ever when framed against what I was becoming accustomed to in Sweden. What's also nice is that they don't strictly separate the plain commercials and film trailers like in the UK; they often start with a trailer, then almost alternate between them and the regular adverts from then on. This makes the latter point even better because, since I was almost always there from the start of the adverts block, it meant I didn't have to trudge through the uninteresting commercials before getting to the trailers that I do enjoy watching. Although nothing remarkable, these differences were nonetheless quite pleasant to discover.

The Difficulties

Now, let's discuss those aforementioned contextual differences. The main factor I'll focus on is one I'm sure you're curious about, that being language. The national language of Sweden is, big surprise, Swedish, though mostly everyone there is practically fluent in English as well. Because of this, whenever a film featuring non-Swedish dialogue is shown at one of their cinemas, it's typically shown in its original language, but with all dialogue and on-screen text subtitled in Swedish. Based on the showings available at the cinemas I went to, it seems this is more common than Swedish dubs of foreign films, as the latter seemed to be reserved just for films aimed at younger audiences that may struggle with reading subtitles. However, even when dubbed versions were available, it was almost always alongside original language versions. As someone who can only speak English (but has been giving Swedish a try via Duolingo), this meant I would only be able to see films that were either entirely or mostly in English, as anything in other languages would be translated into a form I wouldn't understand.

Foyer at Filmstaden Bergakungen

Thankfully, most of the new releases I was interested in seeing that came out during my exchange were films where this was the case. For instance, The Holdovers, Poor Things, and Civil War are just a few of the many films that were entirely in English and presented no language issues whatsoever, and The Creator and Godzilla x Kong: The New Empire are examples of English-language films that were also perfectly easy to understand and follow despite featuring minor sections in different languages. There were also some English-language films where, for some reason, whenever any non-English dialogue was spoken, both the Swedish and English translations of such appeared on-screen. Two cases of this occurring were Meg 2: The Trench and The Fall Guy, which feature a few one-off scenes spoken in Chinese and French, respectively. During those scenes, two lots of translations came up on the screen, and while it was certainly a bit cluttered, I thought it worked just fine! What's curious about this is that Meg 2 was the first film I saw at the cinema in Sweden, leading me to assume that this was the standard practice for subtitling, though I came to realise such was the exception as opposed to the rule with the trips that followed. Another film I saw, Robot Dreams, offered a truly unique experience in that the way it was subtitled was no different from how it would have been subtitled in the UK, that is to say, there wasn't any! This film features no dialogue whatsoever, removing the need for any subtitles and thus providing what's probably the closest to a normal cinema screening I had during my exchange.

Unfortunately, there were some new releases I had to miss out on due to the issue of language, namely awards big-hitters such as the substantially Korean-language Past Lives, and the largely German-language The Zone of Interest. Had I been in the UK, I certainly would've seen them in cinemas, but the situation I was in meant I'd likely have some trouble. The same would've been true of the Japanese-language The Boy and the Heron, but, after releasing in Sweden around November of last year, it made its way to the UK while I was visiting home for Christmas, so I was able to see it on the big screen then, though ironically in the English dub as that was the only available option at my local cinema. However, on some occasions, there were films I simply could not skip seeing in cinemas even if language barriers were at hand, which just so happened to be the situation with two of my most anticipated releases during my exchange, Killers of the Flower Moon and Dune: Part Two. Both seemingly feature an almost even split of scenes in English and another language (Osage for the former and the made-up Fremen language for the latter), but both were also films I was all too eager to see on the big screen. So, fully aware of a potentially tricky viewing experience, I took the plunge and went ahead with seeing them anyway...

Dune: Part Two poster at Filmstaden Lund

My experiences with both films ended up being fairly similar; while I thoroughly enjoyed them and had some of the most memorable cinema experiences during my exchange with each (which I'll elaborate on later), there's no denying that they had some long stretches that were difficult to fully appreciate. That said, in both cases, it really only boils down to missing out on hearing what was being said in itself rather than struggling to follow or engage in the films as a result. With Flower Moon, it didn't seem like anything crucial to the plot was expressed during the scenes in Osage, as most of them were more focused on the wider mood and atmosphere, which was easy to register based on how the actors behaved beyond what they were saying, along with everything operating around them. I remember discussing this very issue with the people I saw the film with, neither of whom could speak Swedish either, and both agreed they also had minimal difficulty following along in spite of such. As for Dune, it is true that some crucial plot details seemed to be contained within the Fremen-language scenes, but it didn't affect me so much as I'd previously read the original Dune novel and generally knew the outline of the story. Moreover, the mood of each scene was once again a key driving force and similarly easy to register even if what exactly was being said was going over my head. I do intend on rewatching both films with English subtitles at some point so I can get the most out of them, but the lack of such evidently didn't spoil my experiences with them too drastically, which perhaps speaks to just how expertly made they are. In fact, I had some fun with the Swedish subtitles while watching Dune, as by that point I'd been doing Duolingo for a few months and could actually extract some of the basic meaning from what was appearing on screen, which was honestly quite a cool feeling even if it was far from perfect.

Just to clarify, this isn't to be taken as me complaining about the situation I encountered regarding language, as I respect that there's obviously no reason whatsoever for Swedish cinemas to accommodate people that don't speak their national language when showing films, and nor should there be. What I'm more trying to articulate here is how I was able to work around the limitations presented by my own abilities, in this case, my inability to speak any language aside from English. While this factor may have been frustrating at times, I can't complain because it's not something that can be argued with, it's just the way things are and have every right to be. All I could do as an outsider was respect that and try my best to adapt wherever possible, and I think it was mostly fine in the end.

 

The Venues

For this next section, I'd like to talk about the specific cinemas I visited and what I made of them. As mentioned, the university I studied at was in Lund, a city in the very south of Sweden that's primarily known for its university and is mainly built around such; think Oxford or Cambridge as a UK counterpart. It's home to two cinemas, one being a multiplex and the other independent, and these were the ones I visited the most. The multiplex belongs to the cinema chain Filmstaden, which to me seemed like the Swedish equivalent to Odeon, having a similarly ubiquitous presence across its country, also being priced on the more expensive end, and, at one point in time, also shoving their logo into the infamous Nicole Kidman advert. Their Lund cinema has seven screens, and I made it into most of them throughout the year, with Screen 6 (or Salong 6, as it's known in Swedish) being the only one I didn't see anything in. The sizes of the screens were decent, and their largest, Salong 1, was housed in a beautiful, old-fashioned auditorium, unlike the rest which were all very contemporary. As far as local cinemas go, this was about as much as I could ask for.

Filmstaden Lund exterior

But, as mentioned, that was not Lund's only cinema, as they also had a smaller, independent venue known as Kino. This only had two screens, though one of them was actually quite large, and it was a fair bit cheaper than Filmstaden as well with a lovely student discount. Being independent enabled some film viewings that probably wouldn't have been possible elsewhere; for example, my first trip there was to see David Fincher's The Killer, which, as a Netflix film, had a very limited theatrical release. What was also particularly sweet about this place is that it belongs to a network called Europa Cinemas, which is what my local cinema at home in London is also a part of. This made it feel a little closer to home, as they showed the same promotional video before each film.

Filmstaden Bergakungen exterior

Beyond Lund, I did a lot of travelling during my exchange, and while exploring some other cities, I couldn't help but visit their cinemas, espeically if I was there for more than one day. I mainly went to other Filmstaden cinemas, specifically those in Gothenburg and Örebro, and I also got to try a different cinema chain called Biostaden while visiting Kalmar, though I would guess it's operated by the same company as Filmstaden since their showtimes were available on the same website / app. These were all as nice as the Lund one, with the best easily being the Filmstaden Bergakungen in Gothenburg, home to what I believe is Sweden's only commercial IMAX screen, which, while not a traditional 70mm one, was just as awesome and immersive as others I've been to in the past. It's cool to have been to an IMAX cinema abroad, and I especially had a lot of fun listening to the pre-show in Swedish since I've heard it many times English! I'll discuss what I saw there soon, but I'm sure it'll come as no surprise...

Palads Copenhagen exterior

The one other cinema I went to was actually in a different country, that being Denmark, as its captial city, Copenhagen, is only an hour on the train from Lund. I love this city, and, since it was so close by, I visited a few times during my exchange, be it for activities such as visiting the Tivoli theme park or shopping at their large Lego shops. But, on one of my visits, I impulsively decided to try a lovely looking cinema near to the central train station named the Palads, and it was just as lovely on the inside, with stylish and modern auditoriums alongside a more traditional, almost regal atmosphere elsewhere, as indicated by the exterior. It gave me similar vibes to the Empire in Leicester Square, so perhaps think of it as Copenhagen's equivalent to that. The impulsive nature of my visit meant I didn't have the chance to check what the language situation was there beforehand, but I was quick to find out it was practically no different from the neighbouring country, as the film I saw there, the Mean Girls remake, was shown in its original English form but with Danish subtitles, which was a relief. I was hoping to visit this cinema again at some point since it was fairly nearby, but sadly never got around to it, though I may try to if I ever go back to Copenhagen, which I hope I eventually will.

The Highlights

To finish off, I thought I'd recount some of the very best experiences I had at the cinema in Sweden, some of which I've already alluded to. As mentioned, Meg 2: The Trench was my first cinema trip abroad, and while the film itself wasn't particularly good, I do have a soft spot for it since the new experience at the time was somewhat surreal and formed the basis of the observations I've detailed here. But, it was merely the beginning of many!

Me seeing Meg 2: The Trench at Filmstaden Lund

While I mostly opt to go to the cinema alone out of convenience, there were times when it proved to be an enjoyable social activity. While living abroad, my family came out to visit on several occasions, and, on some of their visits, I took them to the cinema, as they were keen to see what it was like to do so abroad almost as much as I was. This included seeing A Haunting in Venice with my Mum, which was nice as we'd previously enjoyed the other Kenneth Branagh Poirot films together, and seeing Dev Patel's Monkey Man with my brother and sister, which was a ton of fun. Additionally, the cinema presented itself as a good way to spend time with some of the people I met while studying abroad, with one friend in particular, a fellow film enjoyer from the USA, accompanying me on many cinema trips. As a result, we had a lot of memorable viewings and discussions, whether it was disagreeing on just how good The Creator was, completely tearing apart the terrible Five Nights at Freddy's after seeing it for a laugh, or me listening to him very passionately point out each and every historical inaccuracy in Ridley Scott's Napoleon.

Me seeing The Shining at Kino Lund

However, there's no competition for the best experience the two of us had at the cinema together. On Halloween night, the Kino cinema was showing The Shining, a film I'd seen only once about five years prior and wasn't so keen on, but was convinced to go along and see on the big screen by my friend since it was one of his all-time favourites. We found ourselves in a packed and buzzing auditorium, and proceeded to have just the most brilliant time with the film! It was a lot better than I remembered, and I think the context of where I was seeing it helped me in my reevaluation. I couldn't tell you how many times I was sat on the edge of my seat despite knowing where the story ends up! Definitely one of the highlights of my exchange, even outside of film-related things.

Entrance to the IMAX auditorium at Filmstaden Bergakungen

Another highlight of my exchange outside of film-related things would be my multiple experiences with what was one of my most anticipated films of 2024, that being the aforementioned Dune: Part Two. I first went to see this on opening night in the largest auditorium at the Filmstaden in Lund, once again with a packed audience. Despite the language issues I discussed, I had a phenomenal time with the film, which completely immersed me for its near-three hour runtime, causing me to completely forget about everything going on in the outside world at the time. In particular, I had an exam coming up in a few weeks, and after that was done and dusted, I treated myself with a weekend trip to Gothenburg, one of the largest cities in Sweden. I wanted to go to this city not just because it's a popular place to visit in the country, but also because of its IMAX cinema, and what better film to see on such than Dune: Part Two! On this second viewing, it was just as great, and especially neat to have seen in IMAX given the epic spectacle on display, and also since that's the way I saw the first Dune film. It made this trip a lot more special than others because the place I was visiting had some sentimental value instead of merely being somewhere nice to spend some time.

Kingdom of the Planet of the Apes display at Filmstaden Lund

Every year since cinemas have reopened post-pandemic, I've seen a film at the cinema on my birthday. In 2021, it was Judas and the Black Messiah, in 2022, it was Everything Everywhere All at Once, and in 2023, it was Fast X. My birthday this year was near the end of my exchange, just after I'd handed in my final assignment, meaning I had the perfect chance to celebrate it with a Swedish cinema trip. I chose to see Kingdom of the Planet of the Apes, another highly anticipated film of mine, and I had yet another great time with it. It was a nice thing to have done on the day, even more so when it turned out to be my final trip to the Filmstaden in Lund. My final cinema trip on my exchange overall ended up being with Furiosa: A Mad Max Saga, which I saw while visiting Kalmar, a city on the south-east coast of Sweden. Controversially, I didn't like the film so much, but it was still a fine way to go out with my big screen experiences in Sweden, especially since the cinema in Kalmar was somewhat unique with a slightly vintage feel about it.

Salong 1 at Biostaden Kalmar

Conclusion

Well, that's just about all I have to say. There was always going to be a lot for me to process after spending a year in another country, but as a film fan, I think my experiences with going to the cinema in Sweden will go down as some of my most notable and memorable. It's been quite fun to sit down and write this retrospective, not only for allowing me to fully make something of all that I've observed and experienced, but also for bringing back a ton of great memories and making me realise how grateful I am to have had this opportunity. I hope this isn't the last of my experiences with cinemas in other countries, and, should I get the chance to enjoy more of such, I may well be back here to write something further on this topic. But for now, that's it from me... hejdå!

My collection of tickets for the cinema trips throughout my exchange

If you'd like to know more specific thoughts of mine about some of the films I've mentioned today, head over to my Letterboxd (@Jack W) where you'll find brief reviews for most of them. I'm certainly a lot more active on there than I am on here, it seems.

Top 10 Films of 2023

Well, here we are, the end of yet another year for cinema, and 2023 has been an interesting one to say the least. While beset by the large strikes from actors and writers along with an onslaught of box office flops, as far as the quality of films being released goes, I'd honestly say this has been a very strong line-up. When it comes to the post-pandemic years, this has easily been the best in my opinion, with so many highly anticipated releases living up to their high expectations, so many surprises coming out of nowhere, and not that many disappointments. So, let's take a look at what I consider to be the ten best of 2023!

But before that, some honourable mentions:

Air - never in a million years would I have thought that I'd enjoy a film about the development of a sports shoe, but this true story was a feel-good and insightful watch with great performances from Matt Damon and Ben Affleck among others.

Asteroid City - Wes Anderson at his most Wes Anderson-ish, with all the delightful deadpan humour, immaculate craft, and ocassionally overly self-indulgent storytelling we've come to expect from him, which I've slowly started to find more enjoyment in.

Scream VI - a new entry into a franchise I've recently taking a liking to, and one that maintains the twisty-turny fun and doesn't feel repetitive or tiring despite sticking to the same, ever-reliable formula as all its predecessors.

Barbie - one of at least two films that everyone on the planet saw this summer, which undoubtedly succeeds as a crowd-pleaser with some excellent production values and hilarious performances, even though it's a bit muddled on the more artistic side.

Chicken Run: Dawn of the Nugget - a very enjoyable, albeit considerably less memorable, sequel to one of my all-time favourites, with beautifully tactile stop motion animation and plenty of terrific gags that had me chuckling and grinning the whole way through.

It's also worth mentioning that there are a lot of notable releases from this year that I haven't seen, many of which probably would've made this list. Some are for the simple reason that they haven't had their UK release just yet, such as The Holdovers and Poor Things, but there are others from earlier in the year that I haven't caught, such as Teenage Mutant Ninja Turtles: Mutant Mayhem, Past Lives, Bottoms, Saltburn, and May December. If it seems like there are some glaring exclusions on the list, it may well be for this reason, but I do have a full 2023 ranking over on my Letterboxd account along with reviews of most of the films on there, so go and check that out if you're especially curious. Anyway, let's get started!

10. Priscilla

There's usually one film on my top ten of the year that I went into with hardly any expectations yet ended up loving, and for 2023, I believe Sofia Coppola's Priscilla suitably fills that role. A biopic about a real-life figure I knew nothing about, but one with a story I found absolutely fascinating. What unfolds here is an uncomfortably natural transition as a young and starry-eyed girl initially living the dream life becomes a mature woman who realises the lack of any true fulfillment in what she has. This is brought to life by an excellent lead performance from Cailee Spaeny, who subtly conveys the growth of the titular character over the course of the runtime, aided by some very clever use of hair and make-up. The film is somewhat let down by feeling more like an ordinary recounting of events than a nuanced introspective piece; I couldn't help but think about 2021's Spencer and the more unique approach to balancing history and character study seen in that film, which might have benefitted this. Still, a thoroughly engaging watch and one that I'm very glad to have seen. It's also a better Elvis film than Baz Luhrmann's Elvis from last year in case you were wondering!

9. The Creator

Without a doubt, the most underrated film of 2023. From its weak box office earnings to its lukewarm reception with critics and audiences, The Creator absolutely deserved so much better. Yes, we've all seen films tackling AI before, and I'm sure we'll see a lot more as anxieties surrounding such in the real world are at an all-time high, but this took a far more thoughtful approach to the subject matter than I expected it would in the current climate. It could have simply been critical of the technology and given audiences reassurance that humanity will always prevail against it, but it was instead more interested in questioning the latter's role in this supposed conflict and highlighting how it might be us and our attitudes that need to change in order for a bright future to lie ahead, a sentiment that extends beyond the specific topic at hand. Sure, it conveys this by borrowing many elements from existing works such as Apocalypse Now and Blade Runner, as well as relying on some additional overdone tropes, but I feel like it was overall a very distinct approach, and arguably an important one for this specific moment in history. On top of that, the execution is very elegant with some gorgeous spectacle to take in (despite somehow only costing about $80 million), and to see a completely original film on this scale with such high artistic aspirations is something I can't help but appreciate. In my opinion, it succeeds in most of what it sets out to do, so if you didn't see this on the big screen (which you probably didn't) definitely give it a go.

8. John Wick: Chapter 4

The John Wick films are ones that, up until earlier this year, had been sat on my back-burner for ages. As the fourth entry approached, it only seemed right to finally kick them off the watchlist and hop on board with this franchise that everyone seems to love, and I'm ever so glad that I did! These films are brilliant, and the fourth is no exception. It's not the best, but I love just how much it felt like a natural evolution of what's come before. We began with a tight, small-scale piece that was deliberately insular in its scope, and now we have a huge, long, all-round epic picture, with grand action scenes that left me in awe, and a surprising amount of thematic and emotional depth as the ending rolled around. It does perhaps go on for a bit too long for it's own good, with a couple dull stretches throughout, but as the conclusion to one of the coolest franchises to emerge out of the last decade, it more than did the job.

7. The Boy and the Heron

I only got into the wonderful world of Studio Ghibli during the pandemic, and by that point, their reduced amount of new content lead me to believe that I wouldn't be present as a fan for any new releases from them. But, three years later, not only do we have another new film from them, but one by the legendary Hayao Miyazaki, which was a pleasure to go and see at the cinema. As is the case with many renowned directors returning this year, The Boy and the Heron sees Miyazaki going all out with what we know him for. The narrative and visuals echo many elements of his previous films, be it the discovery a fantastical new world reminiscent of Spirited Away, the cuddly creature designs of My Neighbour Totoro, or the intimacy and terror combined with a World War II backdrop as seen in The Wind Rises, all of which make the film feel like a true amalgamation of everything Miyazaki. But, beyond that, it boldly takes a step back and ponders exactly what the films within this man's career represent, asking whether they actually are meaningful and impactful works of art as many of us believe them to be or just frivolous and trivial as the general stigma towards animation would dictate, as well as if what merit he has accomplished will persist as new artists take his place or if he is obligated to continue as much as humanly possible to ensure that it will. There's definitely more to the film than just that angle, but its place as a thoughtful meditation on legacy and the desire for meaning / value in what one does with their life is what stood out to me the most. Being a more intellectual piece, it doesn't quite reach the highs of films like My Neighbour Totoro or Spirited Away, whose more emotional stories came across as far more engaging and compelling, but there's nonetheless a lot to say about The Boy and the Heron, arguably more than those aforementioned films. I plan on revisiting this many times as it is extremely dense and I'd love nothing more than to unpack all that it has to offer. He's claimed to be retiring many times in the past, but if this truly is Miyazaki's final film, I believe it is the most perfect note he could possibly go out on.

6. Guardians of the Galaxy Vol. 3

Like many people, I've started to lose interest in the MCU in recent years. What was once one of my favourite ongoing franchises where each instalment was something to look forward to has devolved into a monotonous series of increasingly uninteresting films and bloated TV shows. But, as I prepared to call it a day with being a fan, they went and delivered an absolute banger, that of course being... Loki Season 2. Only joking, it's Vol. 3 of course (though Loki was great too). As the third and final film with the beloved Guardians, the characters whose first outing helped me get into the whole franchise in the first place, this was basically everything it needed to be, disregarding the nonsense going on elsewhere in this universe and purely focusing on making an exciting, funny, and emotional adventure with characters we all love and care about. I laughed, I smiled, and I was even brought to tears, a feat that very few other films have accomplished as I am not an easy film crier at all, especially when sat in a cinema. I can't say this has brought back my enthusiasm towards the MCU as it's more just given me further reason to move on now that most of my favourite characters have had their stories wrapped up, but I hope that Marvel can look at the success of this film relative to their other flops from this year and perhaps learn a lesson or two regarding what they ought to do next. Then and only then might they reach the heights of their glory days again, but I can't say I'm holding my breath for that moment.

5. Killers of the Flower Moon

If you're a long-time reader of Cinema Chat with Jack, you may remember back around 2019 when I mentioned how I found Martin Scorsese's The Irishman quite a tough film to sit through despite how I could recognise many obvious merits. Coincidentally, around the same time, I cited Avengers: Endgame as my favourite film of that year. Well, four years later and we've reached a point where I'm losing interest in Marvel and a new, three and half hour Scorsese picture is in the top half of my ten favourite films of the year. If that ain't character development, I don't know what is. I've recently become a fan of this master of modern cinema, loving films such as The Departed, Shutter Island, and Gangs of New York, so I was very excited for Killers of the Flower Moon, and it was unsurprisingly brilliant. What a fascinating yet deeply horrific story this is, conveyed so masterfully in every way. So many shots and sequences are nothing short of mesmerising, from the hypnotic, blurry imagery of men against a firey backdrop, to the chilling aftermath of a bombing as seen by the man partially responsible for such. All the acting is expectedly compelling, the score is atmospheric and easily my favourite of the year, and despite having such an extraordinary length, I can't say I was every bored or that it dragged for me. Marty really is one of the best filmmakers of all time, and the fact that he's still active and allowed to make films on this scale is just awesome. Needless to say, I'm glad to have reached a point where I enjoy his work more, and I've definitely got to watch everything else he's ever made!

4. Oppenheimer

Well, here we have another dramatic, epic picture based on real life from one of the best filmmakers working today. You've probably seen or at least heard about Oppenheimer; the way this and Barbie dominated the pop culture discourse back in July was so cool to see. I mean, yeah, the phenomenon they spawned definitely isn't something we'll see repeat itself any time soon and probably isn't indicative of anything concrete regarding the future of cinema, but it was at least neat to have a time where two original films created such infallible enthusiasm while so much standard blockbuster fare releasing around them did barely anything of the sort. Oppenheimer is easily my favourite of the two, giving me one of the best cinema experiences... EVER! I was able to see this in 70mm at the BFI IMAX on opening day in a huge crowd, and spent three hours completely and utterly transfixed. As a Nolan fan, it was basically everything I wanted. Non-linear storytelling that was extremely satisfying despite its density and overwhelming intricacy, dazzling and stellar visuals to take in, and the exploration of many thought-provoking ideas, leading to an ending that, despite being downright haunting in its implications, left me giggling with excitement at the brilliance I'd just witnessed, as most Nolan endings do. Seriously, that man knows how to finish his films better than anyone else, and this is just more proof of that. Is it my favourite of his? No, The Prestige and Inception are definitely still comfortably above it for me, but given that I've only seen Oppenheimer once and am yet to even begin dissecting and fully comprehending everything it has to offer, I can imagine it potentially becoming formidable competition for the top spot with time. Obviously citing Nolan as a favourite director is one of the most basic opinions a film-lover like myself can have, but when he puts out stuff of this calibre, I think that's easy to see why.

3. Spider-Man: Across the Spider-Verse

Spider-Man: Into the Spider-Verse completely changed the game for animation back in 2018, doing for stylised, unique, and inventive aesthetics what Toy Story did for computer animation all those years ago, and since its release, we've seen countless films build on what it brought to the table in their own ways, such as last year's Puss in Boots: The Last Wish and Entergalactic, to name a few. But, this year, the king made its triumphant return in the form of a sequel with Across the Spider-Verse, and it somehow managed to shatter expecations all over again. I know everyone has talked about just how unbelievable the animation is here... but like, that fact really cannot be overstated. I don't think I've ever seen a film quite as visually breathtaking as this, especially with its use of colour, which was absolutely masterful. But, that's not all there is to the film, as it's just as satisfying narratively and thematically as it is visually. The story naturally progresses things in following on from the original, with revelations and twists that feel so organic to the point where I'm convinced they were all planned out from the start. Plus, it tackles some admirably bold concepts, with Miles realising his place within the universe beyond his own surroundings and coming to terms with the extent of how much his place matters in any way, something that's fascinating to generally think about as much as it is to see articulated in a film. It's also nice to see Gwen have more focus, she's another really compelling character, and I love that this is just as much her film as it is Miles'. Many have criticised the ending for being too abrupt in leading into a direct sequel, but I honestly didn't mind it so much because the film gave me so much to adore up to that point that I felt sufficiently fulfilled instead of wanting more, although I will say it doesn't do the whole 'part one' schtick as well as the next entry on this list. It seems like it'll be a long time until we see Beyond the Spider-Verse given the extreme workload that this film's crew struggled to endure just to get this one released on time, but I will gladly wait as long as necessary for it because they've already given us two of the best animated films and superhero films of all time, and the one that ties everything together and forms a trilogy deserves to be the absolute best it can be.

2. Mission: Impossible - Dead Reckoning Part One

OH YES! Tom Cruise unexpectedly snuck into my top ten of 2022 with Top Gun: Maverick, and he's only gone and done it again here. Similar to John Wick, the Mission: Impossible series is one I wasn't all too familiar with for the longest time, as I'd only seen one or two of the recent entires but didn't really have a feel for the overall franchise. So, back in July of this year, with a new one on the near horizon, I watched all of them over the course of a week, and I have to say, what a spectacular set of films this is. It has everything that a mainstream film franchise nowadays should aspire towards, with no feeling of repetition across any of the films despite their broadly similar narratives, a sense of experimentation through different filmmakers and unique styles being given a chance to shine before the series found its footing, and each instalment being treated as a standalone piece that anyone can enjoy while also serving as a satisfying piece within a larger story, as well as not having an excessive intermedia presence beyond cinema. Over time, it's just kept getting better, and Dead Reckoning Part One honestly might be my favourite of them all. It goes without saying that the action is truly remarkable and reaches levels of tension I frankly never thought were possible, but I think what's more noteworthy is that such is only enabled because of the story having more depth than any previous entry. The danger this time around feels more real than ever before, and we see such a different side of these characters as they're at their most vulnerable, thus increasing our desire to see them succeed more than ever. What's also impressive is that, even in overtly being the first part of an overarching narrative shared by the next entry, it somehow retains the self-contained sensibility that defines each film in the Mission: Impossible franchise. By the end of it, I was the perfect mix of fulfilled from what I'd just seen and eager to see how it will continue, more so than other cliffhanger endings like those in Spider-Verse or Dune. Additionally, it's another very long film that just went by in a flash, as I had such an amazing time with it. Of all the box office disappointments we saw this year, Dead Reckoning's is easily the most crushing. It's so unfortunate that it was given such a dodgy release window merely one week before Barbenheimer entered the mix, as in my opinion it's a better film than both of those, even if its place as another instalment in an ongoing franchise is less attractive. Nevertheless, Dead Reckoning Part Two is on the way, and I will absolutely have the release date marked in my calendar once all is confirmed!

1. Rye Lane

When it comes to the films I have listed as my favourite of each year, it's usually something that's, against my best wishes, quite a generic choice. In 2021, it was Spider-Man: No Way Home, a massive event film that everyone was raving about at the time. In 2022, it was Everything Everywhere All at Once, a widely acclaimed hit that went on to be a winner of many awards. I don't really like it when this is the case as, even though I can't help it, I feel like it makes my lists a bit uninteresting. But this year, I feel like I finally have a somewhat unique choice for the top spot, and for that I could not be happier! Rye Lane is the biggest surprise of the year, a film that has absolutely no right being as clever, funny, charming, subversive, creative, heartwarming, and all round wonderful as it is. The romantic comedy is a genre I generally have little to no interest in, but this put such a fresh spin on it with two loveable leads, too many funny interactions to count, and a ton of memorable creative flourishes. Plus, it has some aspects that hit quite close to home for me personally, namely in its depiction of London, which might be my favourite version of the city that I've seen on-screen. I've lived in London almost my entire life, and while I'm unfamiliar with the specific area that the film takes place in, so much of it is reminiscent of places near where I live, and it captures the essence of them really authentically. No reliance on overused iconography or anything, just everyday surroundings inhabited by down-to-earth people. But, instead of being miserable as many slice of life depictions of London often are, such as your average kitchen sink drama, Rye Lane is so refreshing because it's the exact opposite! It recognises that there's enough doom and gloom in the real world and that films can allow us to see things a different way. It's lively, it's upbeat, it shows how colourful and vibrant the everyday world of London can be as its two protagonists navigate their way through many sides of it, and I love the film so much for that. I have mixed feelings about London overall, but this is a pleasant reminder that there's so much to love about it at the end of the day. On top of that, at a time when it feels like every film is three hours long, this manages to do so much in only eighty minutes of runtime! I don't mind a long film when it's done well, as seen by many entries on this list, but I think it's more admirable to see a film accomplish a lot in a short space of time, and Rye Lane is a model example of this. It's just an absolute joy of a film in every way, and I left the cinema with a right skip in my step after seeing it. While I'm not entirely sure if I prefer it to the likes of Mission: Impossible and Spider-Verse, I think it's absolutely worthy of the top spot because it's something I want to see more of. I want to see more short and sweet and, most importantly, original pieces with a distinct take on an otherwise fairly stale genre or series of tropes, more so than I want to see more of anything offered by the other best films of 2023. And, if they can give me a couple heartfelt laughs and smiles along the way, that's a more than welcome bonus in my book!

Well, there you have it. What a wonderfully varied and all-round brilliant selection we have this year! As mentioned, say what you will about 2023 in film overall, but I don't think I can deny that it's given us some absolute gems that I'll be thinking about and revisiting for many years to come. Speaking of years to come, let's take a look at what the next twelve months hold and highlight my most anticipated films of 2024:

Argylle - Matthew Vaughn is back, let's hope he makes another banger

Dune: Part Two - we've waited long enough so it better be good

Kung Fu Panda 4 - not particularly excited but Dreamworks have surprised me in the past

Kingdom of the Planet of the Apes - not sure if needed but looks pretty solid

Inside Out 2 - also not sure if needed but looks... like something

A Quiet Place: Day One - I love this franchise, I'll eat up any more of it

Deadpool 3 - only one MCU film this year? Probably for the best

Joker: Folie à Deux - I heard this is going to be a musical... I love musicals

Paddington in Peru - oh how I've missed this lovely little bear

Gladiator II - he let me down this year, but hopefully Ridley doesn't with this one

Nosferatu - yet to see the original but will absolutely see what Eggers has cooking

Top 10 Films of 2022

Well, 2022 has ended, so it's time to reflect on some of the very best films I've seen from this year. Apologies for being largely inactive over the last few months, as I continue my way through university I only just about have time to watch films, so I generally can't make time to write reviews of them on here, against my best wishes. But, I certainly won't allow my current workload to break tradition, so here are my top 10 favourite films of 2022!

First off, a few honourable mentions:

The Menu - a very fun and well directed watch. Some enjoyable social satire and very entertaining performances from Ralph Fiennes and Anya Taylor-Joy. Perhaps not revolutionary, but certainly solid stuff.

Avatar: The Way of Water - the sequel to a film I'd recently grown to love mostly lived up to my high expectations. Some truly unbelievable visuals on display creating another experience that was just spectacular. A bit too long and overstuffed with underdeveloped plot threads, but sitting down to watch something like this is a treat, being simply mesmerised from start to finish. James Cameron is clearly having the time of his life making it, so I'm excited to see what more he gives us as the saga continues.

Guillermo del Toro's Pinocchio - a retelling of a classic story that doesn't reinvent the material as much as I was hoping, but such is made up for with some intriguing additions and a thoroughly distinct presentation through the remarkable stop motion animation. 

Roald Dahl's Matilda the Musical - a delightful adaptation of the sensational stage musical that doesn't lose an ounce of its brilliance. The great acting and terrific songs had me laughing, smiling, and even crying throughout!

Aftersun - a film that manages to say a lot all while doing seemingly very little. While it doesn't take complete advantage of its premise in some areas, all the sentiments it raises are expressed very thoughtfully.

I should also mention that, due to when certain films get released here in the UK, there are some 2022 films that I haven't been able to see which would otherwise have probably made it onto this list, such as Babylon, The Fabelmans, and, most significantly, Puss in Boots: The Last Wish. So, if you're wondering why one of them or another film isn't on here, it may well be because of this. Anyway, onto the list!

10. Nope

This was such a mesmerising and unsettling watch, excellently crafted, well acted, and leaving me with plenty of food for thought. I'm not entirely sure if I enjoyed it as much as some of the listed honourable mentions, but Nope undoubtedly earns a spot on this list as it is easily one of the films from this year that I'd be most keen to rewatch, as not only am I sure I'll enjoy it all over again, but I can also fully imagine walking away from a second viewing having picked up on an array of new details or perhaps with a completely different interpretation altogether. I'm still yet to see Jordan Peele's other directorial outputs, but I'm ever so excited to do so if they're anything like as fascinating as this.

9. RRR

One of the biggest surprises of the year for sure. I hadn't remotely heard of RRR in any capacity at the start of 2022, yet it comfortably sits among my favourite films of this year through just how brilliantly it executes all its wildly varying attributes. A seamlessly blended action-adventure romantic comedy musical that's thrilling, dramatic, charming, feel-good, and just about everything I could want packed into a surprisingly brisk three hours. A highly enjoyable film and definitely one I'd be happy to sit through again.

8. Entergalactic

2022 has been a mostly great year for animation, easily outdoing 2021 in that regard. While studios like Disney and Pixar haven't been up to standard, we've seen plenty of greatness elsewhere, and one of the biggest contributors to such is Netflix. Say what you will about them in other regards, but their animated features this year have just been terrific. From the previously mentioned Guillermo del Toro's Pinocchio, to My Father's Dragon, The Sea Beast, and so much more, they've just been doing great work at giving a platform to some of the most creative and unique voices in the medium. My favourite of their output in this area this year, however, is Entergalactic, a nice, laid back, down-to-earth watch with some gorgeous, distinct visuals and a story featuring very amiable characters and many resonant themes. It's always a pleasure to see more adult-oriented animation in the mainstream world, and, along with films like The Breadwinner and Flee, this is something I'd love to see more of.

7. The Northman

Robert Eggers is undeniably one of the finest filmmakers currently working and The Northman is just more proof of his immense skill. From its magnificent visuals, epic scope, to its abundance of fascinating thematic material, I absolutely love both sitting through and thinking about this one. It may not always be something I'm in the mood to watch as it is very intense and overwhelming at times, but I think that just indicates how amazingly it does what it does. Eggers has reaffirmed all the reasons why I and so many others have got an eye on him.

6. Top Gun: Maverick

If you told me this time last year that at the end of 2022 I'd be regularly humming / whistling the Top Gun theme music in my day-to-day life, I absolutely wouldn't have believed you. But, alas, here we are. I never would've guessed Top Gun: Maverick to be on the list of my favourite films of the year, let alone this high up. A legacy sequel to a film I'd never seen before seemed like it'd have no chance of appealing to me, but, through the dedication of a filmmaking team determined to deliver a film that's simply as engaging, emotional, and entertaining as possible for all audiences, it easily manged to. What only enhances my liking of it is that, similarly to how I praised Dune last year for delivering a marvellous cinematic experience that demonstrated how much we ought to preserve the viewing of films in cinemas during these uncertain times, the exact same can be said for both this as well as Avatar: The Way of Water from this year, which I'm extremely pleased about. There's nothing quite like going to see a new, exciting, big-screen blockbuster in a cinema, and it's important that we have films like Maverick to remind us of that.

5. The Banshees of Inisherin

Everyone has spoken about how great The Banshees of Inisherin is, and all I can do is add to that discussion. Like many of the afore mentioned films, this addresses so many truly understandable thoughts and sentiments that strongly resonated with me, amounting to a really riveting dramatic watch. I often worry about how I might be a dull person and that my friends may some day just move on from associations with me, so I really understood the central conflict with Colin Farrell's character. It's also nice that the film didn't necessarily side with him but also showed understandable reasons for why Brendan Gleeson's character would want to end their friendship, offering a balanced take on the matter. The excellent performances from these two actors as well as the rest of the cast really enhanced the profundity of the story further. But, most impressively, amid all the drama, this manages to also be one of the funniest films of the year too, and not in the slightest to the detriment of the latter. Martin McDonagh is definitely a talented filmmaker when it comes to these black comedy type films, and this is easily my favourite of his and one that has left me keen to see whatever he has in stall for us next!

4. See How They Run

Probably the most underrated film of the year now that I think about it. I can understand why See How They Run might not have worked for many people, with its derivative style compared to that of Wes Anderson as well as perhaps seeming a bit unremarkable as a modern take on whodunnits when compared to a certain other film higher up on the list. But, for me, I found it so damn irresistable. The self-reflexive spin on this genre with a delightfully satirical tone amplified by a wonderful array of performances, especially from the ever-fabulous Saoirse Ronan showing off her strong comedic chops, made this an easy winner for me. I'm still yet to revisit it after my first viewing but I can safely say that whenever I do I'll be in for another round of clever, jolly good fun.

3. The Batman

It's amazing just how unbeatable The Batman has turned out to be when reflecting on the year; being one of the first 2022 films I saw way back in March, and still one of my favourites. This just speaks to how well it did everything it set out to do - reintroducing this character and world in a way that's so unlike any previous version and, on top of that, just unlike many other films from this year, with some immaculate filmmaking and a truly unforgettable score creating an utterly enthralling atmosphere used to convey a thoroughly thought-provoking story. At a time when I'm slowly getting exhausted by franchises and just want to see more standalone material, it's nice that this just exists as its own thing, and although it seems to be the basis for yet another cinematic universe, I'm content with it existing independently as it currently does.

2. Glass Onion: A Knives Out Mystery

I've been so excited to discuss this for ages! I managed to see Glass Onion during its time being shown at the London Film Festival in October and it has stuck on my mind ever since. Making a sequel to a film that completely shattered so much of my prior understanding about films and how they can be put together is certainly no easy task, especially with the large risk of plainly riding off of the momentum of the predecessor without trying anything new. But, Rian Johnson, who has quickly become one of my all-time favourite directors, has managed to do it all over again. Everything about this film retains what made Knives Out so wonderful, but also manages to be just as subversive, unpredictable, and exciting in its own ways. The plot is really clever, the structure is insanely intricate and satisfying, and the new cast of characters are all fun and enjoyable. Plus, it's absolutely hysterical, definitely the funniest film of the year, despite not being an outright comedy. After two viewings, I feel I can comfortably say it doesn't all come together in a synthesis quite as perfect as that of the original film, but it's undoubtedly a worthy follow-up and I will gladly eat up any further entries in this series, whether it be for all the stupendously fun twists and turns they may offer, or just to hear more of Daniel Craig's glorious Southern accent.

1. Everything Everywhere All at Once

Chances are you've heard an awful lot of praise directed towards Everything Everywhere All at Once, and you've probably seen it on or at the top of many other people's lists of the best films of 2022. It's so unanimously lauded that I didn't bother reviewing it back when I first saw it as I felt I'd just be merely reiterating everything that everyone else had said, and I can't say I'm too proud of me now labelling it as my favourite film of the year as it does seem like a generic choice. But, the fact of the matter is, it's a generic choice for very clear reasons, and although you probably already know why, here are my words to explain such. This is undeniably one of the most profound, jaw-dropping, and audacious films I've seen in ages, not feeling conventional or comparable to anything I've seen before in the slightest. It takes such a thorough, unique, and inventive approach to the concepts of the multiverse and parallel realities that it's just unbelievable, putting the many other recent explorations of such to shame. Beyond that, it manages to be fun, hilarious, bonkers, exhilarating, heartfelt, visually stunning, but, above all else, I think it impacted me more than any other film this year. I praised films like The Banshees of Inisherin and Entergalactic for their resonant themes, but neither them nor any other film from this year managed to speak to me the way Everything Everywhere All at Once was able to. Throughout 2022, I've found myself going through phases where I'm plagued by existential dread; sometimes fleeting, other times swallowing me up for days or even weeks. I feel so fortunate therefore that this film, which expertly addresses existentialism and nihilism, came around when it did, providing me with completely honest and accurate articulations of how I felt along with much to help guide me moving forward. Whether in complex ways like somehow deriving compelling drama from rocks with googly eyes, or just in stating something simple about life like "there's always something to love." This is just an extraordinary film in so many ways and, honestly, I've barely scratched the surface of why here. Like most entries on this list, I'm also still yet to revisit this, but I cannot wait to do so when the time comes, as it's not only got a lot of what I love and enjoy, but it's also got a lot of what I think I'll always need, a bizarre form of comfort in a daunting world.

Well, that's it, and what a grand year for cinema this was! Many special films I'll be thinking about and revisiting plenty of times. Plus, this is the first time since COVID began that we've had an entire year of traditionally released films! It finally feels like we can say with complete certainty that we're back to normal, and I really hope things stay the same going forward. Speaking of which, the end of one year is merely the start of another, so here are my most anticipated films of the upcoming year, 2023:

Ant-Man and the Wasp: Quantumania - begrudgingly not giving up on Marvel just yet

Scream VI - just got into this franchise and can't wait to see where it goes next

The Super Mario Bros. Movie - genuinely looks like an absolute banger

Guardians of the Galaxy Volume 3 - Marvel's last hope, fingers crossed it delivers

Fast X - I mean, sure, why not?

Spider-Man: Across the Spider-Verse - better late than never

Elemental - not even really excited for this but... it's Pixar? Does that mean much anymore?

Inidiana Jones and the Dial of Destiny - somehow still going but I'm absolutely here for it

How Do You Live? - Hayao can't commit to retirement but I'm not complaining

Oppenheimer - Nolan is back with a stacked cast, the excitement is formidable

Barbie - Greta Gerwig is also back with a film that looks... interesting

Dune: Part Two - about damn time to finish what was started

Don't Worry Darling - Movie Review - A stylish stack of missed potential

At the start of the year, when noting all the upcoming releases I was interested in seeing, Don't Worry Darling was certainly one on my radar. My main interest came from it being directed by Olivia Wilde, whose previous film, Booksmart, was absolutely delightful. Despite this sounding very different, I was still keen to see what Wilde would do next as a director. However, after the initial reactions, my interest began to dwindle, thus I didn't rush out to see it as soon as possible. But, a part of me was still eager to give this a go, so I did. 

 

The story involves a woman named Alice living a seemingly happily life with her husband, Jack, in a place known as the Victory Project. However, after a series of unusual occurrences, she begins to suspect that her reality is not what it seems.

 

After hearing that plot summary, you've probably got a decent idea of where the plot is likely going to go. It bears a lot of similarity to films such as The Truman Show and The Matrix, which in itself is perfectly fine as I usually have no issue with films employing the skeleton of existing films in their own narratives, as long as the spin they put on it is distinct and unique. This is where my major issues with Don't Worry Darling present themselves, and to discuss them I will going into spoilers, so consider yourselves warned. Fundamentally, it's not saying anything new. It follows the narratives of the afore mentioned films in ways that don't feel refreshing or particularly unique, raising all the same questions and having plot points that are all too similar, making it a frustratingly predictable watch.

 

What's also very peculiar about the film is exactly how it executes this narrative. The reveal of the Victory Project being a simulation is designed to be a twist; the film spends the first two thirds alluding to it only to finally clarify in the last act. This is a very baffling choice because we more or less know that there's something suspicious going on behind the curtain from the beginning, so why does the film waste time treating this like a big revelation? The Matrix and The Truman Show don't have this issue as they waste no time in explaining exactly what is afoot in their respective worlds, because they know that this is what the audience has signed up for and thus don't want to be weighed down by making a mystery out of what is essentially already known. 

 

You could argue that the exact specifics of the reveal in Don't Worry Darling not being known is the twist here, but this doesn't help the film's case because, to reiterate, this is coming after other films that have had the same plot points, so as we're watching this film with those films in mind, we're likely speculating which way it'll go, and when it eventually does so by explaining the simulation, it isn't that impactful. You could also argue that the twist isn't supposed to be the simulation itself but rather the fact that Jack entered himself and Alice into the Victory Project without her say in the matter. While this definitely has the potential to be a profound revelation, it isn't particularly as Jack is clearly shown throughout the film to be annoyed by Alice's claims regarding Frank, the man controlling the Victory Project, manipulating everyone, so it's natural for one to assume that he doesn't want her to think this way so that his actions can remain a secret. If the film perhaps made Jack completely sympathetic and kind towards Alice and only subtly shutting down her suspicions, then it may well have had a greater impact, but it doesn't, so the impact remains non-existent.

 

I say this is a 'frustratingly' predictable watch because, as I both watched and subsequently reflected on the film, I imagined so many other, more novel ways this could have gone to make its take on this particular narrative more refreshing. The film wants to have a mystery and twists, but it makes such out of factors that aren't especially shocking when revealed, as I've said. So, here are some things that I think it could have done to fit the mysterious / twisty nature that it desires to make such more effective and seem fitting. 

 

Firstly, with Alice being suspicious of Frank manipulating the people in the Victory Project throughout the film and everyone around her claiming she's delusional, what if the twist was that she was in fact delusional and that Frank wasn't manipulating anyone? Sure, it'd be anticlimactic, but that anticlimax could have left such a profound impact on the audience, as they realise they've been restricted to a character who doesn't view the world for what it is, similar to something like Shutter Island. 

 

Alternatively, after it's revealed that the Victory Project is a simulation and that Jack entered himself and Alice into it, instead of having Alice try to escape, what if the film had her concede and accept that this was her reality now? That'd be an interesting change of pace from other films that employ this sort of narrative. Or, even better, what if the film questioned the idea of a fake reality being inherently bad? After being shown Alice's stressful life in the real world, the film could have suggested that maybe life in the Victory Project, despite being fake and out of touch with reality, can remain preferable due to the happiness and fulfillment it produces being genuine. This would have been an enormously refreshing idea, as other films that question reality tend to imply that fake / simulated lives are wrong by default. The film wouldn't even have to take a definitive side on the matter either, as it could merely present both sides of the argument and leave it to the audience to decide, you know, like a properly thought-provoking film ought to do?

My friend who I saw the film with brought up another potential path the film could have taken - involving the character played by Gemma Chan. With her being the wife of Frank, what if it was revealed that she was actually the one running the show? She already controls the women in their dance classes, as shown, so perhaps the film could have found an interesting twist in revealing her to be the ultimate antagonist instead of Frank, who is built up to be the main authority all throughout the film. Again, this would also be an effective way to subvert the audiences expectations.

The amount of different hypothetical versions of this film that I've outlined here should serve as a valid indication that Don't Worry Darling screams missed potential. It's annoying that it follows such a conventional and unsurprising narrative path despite an insistence that it's new and bold. In an age where so many filmmakers are taking familiar tropes and taking pride in subverting them, this film presented the perfect opportunity to do so for the "reality is not what it seems" story, which is exactly why it frustrates me that it doesn't. 

 

The one somewhat unique attribute of the narrative is also what likely has caused the film to end up so narratively weak, and that is the political angle. The film very clearly has feminist undertones and wants to make no secret that it's all about challenging the patriarchy among various other things. Based on the end result, it's believable to assume that the fairly ordinary narrative was adopted purely as a vehicle to get these messages across, or that perhaps the filmmakers believed the power of these messages would be enough to compensate for the lack of an engaging story. There's absolutely nothing wrong with trying to spread political ideas on paper, but no matter how agreeable they may be, it can't be all the substance a film has; I believe the first priority should always be on making a compelling narrative, and any messages that it can convey should be no more than second. 

Okay, so the film doesn't do much interesting stuff from a narrative / thematic standpoint. Elsewhere, it's all rather fine, but nothing more. Florence Pugh is great as Alice and certainly makes the best of the material she's been given, and I also enjoyed Chris Pine as the creepy and conniving yet suave head of the Victory Project. The 1950s aesthetic and Wilde's clearly competent directorial skill made the film easily watchable, and there are some abstract, dreamlike elements that added some appeal in and of themselves, even if they made the overall product feel pretentious. There are also some sequences that are very well crafted, particularly a scene at a dinner table where Alice is sat opposite Frank and indicates how he is maniuplating everyone in various ways, which managed to create a solid amount of tension, though it was unfortunately ruined as it went on with her accusations becoming decreasingly subtle. The score by John Powell, one of my favourite composers, was fairly memorable if a bit overbearing at times. Unfortunately, this is where my praises end. 

Despite a clearly solid amount of talent on display in various areas, Don't Worry Darling is all rather shallow. It insists that it has big things to say but fails to recognise that almost all of such has already been said in far better ways. It had every opportunity to actually be bold and audacious in executing its narrative, but just never took advantage of that. I can't say it was the worst experience I've ever had as there's enough going for it to make it passable, but I think I can safely say that it is undoubtedly one of the most wasteful films I've seen in recent memory, which is saying a lot as I've seen quite a few films also stocked with missed potential this year, such as Jurassic World Dominion or even Doctor Strange in the Multiverse of Madness. I'm sure we'll see more good stuff from Olivia Wilde as a director and certainly from Florence Pugh (I'm so excited to see her in the sequel to Dune), but this is an entry into both their filmographies that's probably better off being ignored when looking back. 

I'm going to give Don't Worry Darling a 5.5/10

Bodies Bodies Bodies + See How They Run - Movie Reviews - Satires with varying success

Coming to the end of the summer film season of 2022, we now reach what I believe to be the worst time of the year for new releases - September. Honestly, I can't express how dull and lifeless this month of the year usually is for new releases. People often flag up January and February as the worst time for new films, and while that is true, with it also being a season that directly follows on of the most marketable and busiest times of the year, at least we get a lot from the previous year receiving wider releases in that time, most of which are some of the most acclaimed with it being "awards season" and all. But September always makes me yawn with barely anything exciting of note, say for a few exceptions. Recently, the state of new releases has been no different, with the last exciting one being Nope, which came to cinemas here in the U.K. about a month ago. However, things aren't all that bad with the arrival of not one, but two new and original films, both of which are, oddly enough, satires.

Bodies Bodies Bodies is a horror satire that I'd heard some positive things about and liked the look of, enough to make me check it out. It involves a group of teenagers staying in a massive house during a storm, where the murder of one of them begins a descent into extreme paranoia. 

From the trailers, this looked like it was going to be a fast-paced, fun, and enjoyably chaotic watch, but in actuality, it isn't so much this. It's quite a slow moving film that speeds up in small doeses and honestly doesn't lean in on the comedy too much. It derives a lot of its humour from character interaction, and while a lot of this seems funny, the film almost seems unsure whether it wants to follow through with it, to the point where I was sometimes left unsure how it wanted me to react. On the one hand, certain lines / occurances are inherently comical and seem like they're designed to be laughed at, but on the other, the emphasis is so minor that it could be interpreted as something to be taken seriously. I understand the film is trying to be more subtle and natural in its humour, and I can imagine it faring better upon rewatch when I have a better idea of what to expect, but I still think it would have been better off if it just went all out in this department. 

The thing is, there's no shame in doing so, at least in my opinion. One film that came to mind quickly when thinking about this film is Scream (the original from 1996). This is also a horror satire, which mocks the state of the horror film industry at that point in time, doing things such as making fun of plot twists by deliberately misleading the audience only to not pay it off, and pointing out other ridiculous trends and tropes that it adheres to in itself in a blatantly satirical way. But, what Scream does that Bodies Bodies Bodies doesn't is that it is overtly comedic - the actors go way over the top with their line delivery, facial expressions, and so on, making it a far more enjoyable and irresistable watch, as the satirical, self-referential angle is clearly felt. With this film, it isn't so obvious, and while I can respect it for not wanting to be, it shouldn't have felt any need to do so as this can result in a satisfying experience.

So, slight tonal confusion aside, how is the rest of the film? All very good. The set-up for the film is very efficiently done, and the narrative construction is very clever. It's designed in a way that keeps the audience guessing right up until the very end, and amounts to a final twist that is honestly genius. The confined setting worked as well here as it does in many other films that adopt such a setting, and it was all brilliantly acted too. The characters struck the right balance between being hatable enough for the film's commentary to come across, but still extremely fun to watch and be in the company of, though my afore mentioned issue with the film's tone did hinder me from fully engaging in the latter. The film's commentary on paranoia and how the younger generations handle situations was well integrated and paid off perfectly, so it succeeds in being a satire in that regard, using the horror genre to go about exploring these ideas. 

Overall, Bodies Bodies Bodies is a solid film and fun watch but I feel it could have been something even better if it didn't hold back so much as a comedy, or maybe if its trailers gave off a more accurate vibe. But even with that, an original film going for something slightly audacious is always welcome, so I can't complain too much.

I'm going to give Bodies Bodies Bodies a 7.5/10 

Next up, See How They Run, which is coincidentally also a satire, in this case of the whodunnit genre. It concerns a grumpy police inspector, played by Sam Rockwell, and enthusiastic officer, played by Saoirse Ronan, who are tasked with solving a murder in the backstage area of The Mousetrap. I was ridiculously excited for this film; whodunnits are always fun but a more comedic take on the genre seemed like a recipe for brilliance, I love almost every member of the cast, namely Ronan, who I was looking forward to seeing in a comedic role for once, and the overall set-up tying into theatre and The Mousetrap was also intriguing. So, I went in with high hopes.

Expectedly, this was just delightful, and for a whole number of reasons. First of all, I was worried the film would do what a lot of supposedly satirical films tend to do, that being point out and make fun of certain tropes despite adhering to those very tropes, using a cheaply 'self-aware' nature as a way to excuse lazy writing, which often comes across quite smug and disingenuous. What works about See How They Run is the fact that it deliberately subverts a lot of whodunnit tropes as well as the typical structure of a story of this type. For example, one of the plot threads involves a filmmaker explaining how The Mousetrap could be made more distinct from the typical whodunnit structure, and the way the film pans out is in line with a lot of what is said here. I'm being vague as I don't want to spoil any of it, but just know that there is some very clever, if somewhat predictable, foreshadowing. The film also mocks particular tropes while adhering to those very tropes, but it didn't feel lazy here as you get the sense that the film only included them so they could be laughed at, and not that it wanted to get away with being conventional. The way the film ties itself to The Mousetrap is also very interesting - I've seen the show once before, though I don't remember an awful lot of the specific plot details. After seeing this film, however, I certainly want to see it again! The whole prospect of having a murder mystery occurring in and around an in-universe fictional murder mystery really solidified the film's self-reflexive angle and gave way to most of the film's best jokes.

Speaking of which, easily the most effective part of the film is the comedy, as this is an absolutely hilarious film. So much of the interaction between characters is just inherently funny, not least because of some excellent delivery from the actors. I was very impressed by just how funny everyone in the film is, as I don't necessarily associate many of these actors with comedy. Sam Rockwell and Adrien Brody have done their fair share and are just as terrific here, but Ruth Wilson, Harris Dickinson, and especially Saoirse Ronan are all people I've mostly seen in dramatic roles, so it was a pleasure to see that they all have very strong comedic chops too. It isn't purely down to the material; their unqiue ways of conveying it are what made it so entertaining, and also so quotable. I saw this film with my family and we spent most of the journey home recalling all our favourite lines, and my goodness there were ever so many to choose from. There's also a lot of well executed physical comedy too, with people being tackled, breaking down doors, flopping around while drunk, and more, which also impressed me as it can sometimes be hard to pull that off in a live action setting.

There's only one thing that I thought was particularly problematic about the film, and that was the style. It very clearly owes a debt to Wes Anderson in various ways - mainly the cinematography being a mix of static shots and sharp pans, and the humour being very dry and witty. However, because the film isn't actually helmed by Anderson, it doesn't go all out with his style, making it feel like an off-brand version of such. This was a bit distracting as, while the narrative and comedy kept me engaged, it felt very blatantly derivative in this regard. I wish it adopted its own style rather than attempting to go for an established one without completely committing to it, as not only would that have given it a unique identity, but it also could've further cemented how the film doesn't behave conventionally, in other words, the icing on the cake of what is already quite a subversive film. That being said, this doesn't apply to the humour in my opinion, as Anderson obviously didn't invent the dry / witty style of comedy he's best known for, so it's unfair to say it's a rip-off in that sense. It was mostly the ways the filmmaking mimicked his work around such that ticked me off.

As a whole, this was just everything I hoped it would be. Despite its unoriginal style, See How They Run is nonetheless a refreshing take on whodunnits that lovingly laughs at the tropes of the genre while also offering something new. Add in a marvellous ensemble and some pitch-perfect comedy and it's just the complete package for me. Needless to say, I cannot wait to rewatch this an endless amount of times. One of my favourite films of 2022 by far!

I'm going to give See How They Run a 9.0/10

A brief overview of summer releases I saw but didn't review - Elvis, Nope, Bullet Train, more

The summer is just about coming to a close, leaving us all to look back on one of the most exciting film seasons of the whole year. You may have noticed that I haven't reviewed an awful lot of films in this time, and that's not because I haven't seen enough to review, it's for a number of reasons such as me not feeling I have anything interesting or unique to say about certain new release, the film in question being out for some time and thus not really being so relevant anymore, or, most of the time, just laziness. But, I've began to notice that this has slowly become commonplace for most films I see, as I now tend to only review the odd film here and there. So, today I thought I'd change that by briefly running through all the new releases I saw over the summer that I haven't discussed. These will be listed in the order in which I saw them and, unlike usual, I'll also discuss the new streaming releases I've seen as well, which I'll signify when necessary. So, you may want to put the kettle on as this will be a long one. Let's get started!

To quickly inform you, I won't be discussing Top Gun: Maverick, Jurassic World Dominion, Lightyear, Minions: The Rise of Gru, or Thor: Love and Thunder here, as I have reviewed them all in more detail. 

Chip 'n Dale: Rescue Rangers (Streaming - Disney+)

This was the very first film I watched this summer, all those month ago. With no attachment to the source material whatsoever, I was surprised that I found myself having a decent time with Chip 'n Dale: Rescue Rangers, as the film manages to be a fun time for anyone watching despite its many references and connections to what has come before. It also has the occasional clever aspect in being a more self-reflexive piece. However, I couldn't help but notice how much this film was essentially a rip-off of Who Framed Roger Rabbit, a film that did basically everything this sets out to do many years ago in a far funnier, more creative, and smarter way. So, I did just spend a lot of the runtime wishing I was watching that instead. Still, I have to say, it certainly could have been a lot worse. 6.0/10

Men

This is the new film from Alex Garland, a director who I often forget how much I admire. His prior two films, Ex Machina and Annihilation, are both really solid pieces of work, with such well-crafted atmospheres and rich yet horrifying themes present throughout. So, I was intrigued to see Men. For the most part, this has a lot of Garland's signature trademarks, as the atmosphere created is just the right amount of unsettling, and in addition to this, it's got some great performances from Jessie Buckley and Rory Kinnear. Overall, I found myself very engaged in what the film offered. However, it's by far the director's weakest film to date. While something like Ex Machina felt very low-key but had a lot going on beneath the surface, this film is almost the inverse with lots of overtly horrific things going on but not so much thematic brilliance to make them feel worthwhile. It's essentially a story about trauma with a pseudo-political edge, which if I'm honest is something Garland is a bit beyond as a filmmaker and certainly doesn't need conveyance with such extreme means. Nevertheless, I still enjoyed Men and found it to be one of the more interesting films I've seen so far this year. 7.0/10

Brian and Charles

A simple film, but an effective one. Brian and Charles is a very gentle and charming comedy about a lonely man who makes a robot to keep him company. The dynamic between the two is really sweet and the overall nature of the film is quite hard to resist, even if there's not much going on. The plot is predictable and it doesn't say much that we haven't heard before, but as a pleasant bit of escapism, this more than sufficed for the ninety minutes it was on for. 7.5/10

The Sea Beast (Streaming - Netflix)

My expectations for The Sea Beast frankly couldn't have been any lower. It looked extremely generic in terms of both story and animation style, so I didn't have high hopes. Upon watching, while I certainly still think it is derivative and a bit plain, I was really surprised at just how much I found myself swept up in this delightful film. The adventure it displays has its charm and is exciting at times, the animation is ordinary but still stunning in its own right, the characters are basic but still really likeable, and there are some solid if unremarkable messages to be found. Along with The Bad Guys from earlier in the year, it's proof that my expectations can often be completely wrong, because this is probably my favourite animated film from 2022. 8.0/10

Elvis

So, this is obviously one of the biggest hits of the summer. I was ambivalent about Elvis going into it as I have no real connection to the real life figure upon whom the film is based, outside of his obvious recognisability, and I'm also not a fan of Baz Luhrmann. The two films I've seen from him, The Great Gatsby and Romeo + Juliet, are so obnoxiously frantic and overly glossy that not only are their stories undermined in places, but they're also just tiring for me to watch. Thankfully, Elvis is the first film from this director where this exact style wasn't terribly ill-fitting. The frantic and glossy nature actually alligned itself with the main character and the struggles he experiences, as well as evoking the time and setting very successfully, so even though I still don't particularly like it, I can at least say it worked here better than it has elsewhere. Performance wise, this was a mixed bag, with Austin Butler being brilliant as Elvis, but Tom Hanks not being so brilliant as Colonel Tom Parker. I mean, it's not a bad performance, but it just left a bad taste for me as I usually want to love Tom Hanks, so having him play such a horrible character wasn't nice at all. On a similar note, I did find the film quite questionable in terms of how it tried to make Parker, who narrates the story, a sympathetic character, as the way the film pans out makes him seem like anything but that despite its attempts to convince you otherwise. On the whole, I enjoyed Elvis - it's a suitable mix of insightful and enjoyable if a bit muddled here and there. Also it's way too long. 7.0/10

RRR (Streaming - Netflix)

I'd heard a bit about RRR earlier this year but didn't really have any interest in watching it. Well, I'm glad that I eventually did over the summer because this was an absolute blast. What impressed me about this was how seamlessly it managed to blend a variety of styles and genres into one piece. It's a period drama that addresses British colonisation and the rebellion against their rule, has the scope of an epic as well as an array of bonkers yet exhilarating action set pieces, also has a feel-good, somewhat comedic tone through the relationship of the two leads, and, on top of that, is also a musical. How this film isn't a complete mess is just beyond me. The story is fairly predictable and padded, but the level of brilliance on display elsewhere made this a terrific watch, and the three-hour runtime didn't bother me too much. Just thinking about it honestly makes me want to go back and revisit! 8.0/10

The Gray Man (Streaming - Netflix)

What a complete yawn of a film. With every passing second, I forget more and more about The Gray Man. It's got big stars who have been excellent elsewhere and a load of money behind it but not much else, with a dull narrative and tiring, CGI-filled action scenes. Honestly, when it comes to the Russo brothers, I'm starting to wonder if their MCU contributions (Infinity War, Endgame, etc.) were only as great as they were because the material they were working with was fun and interesting, because outside of this franchise, they've done nothing to prove themselves worthy of being such highly-revered directors. Cherry with Tom Holland from last year was barely okay, and this was just nothing. It's not terrible but I feel like it should be a lot better than it is. 5.0/10

Where the Crawdads Sing

I enjoyed this mystery thriller for the most part but couldn't help be disappointed with the overall path it ended up going down. With some great performances and a well realised setting, Where the Crawdads Sing is highly watchable. But, it falters in terms of how willing it was to commit to a particular narrative. For the vast majority of the film, it seems to be a story about how a dysfunctional and isolated upbringing can shape someone into a violent and generally dangerous person, which I liked as this idea feels very refreshing and to have an unsympathetic protagonist is something films can be afraid of committing to. However, in the literal last five minutes of the film, it suddenly backtracks and adopts a far safer thematic standpoint by being a story that's anti-discrimination and essentially tells the audience 'don't judge a book by its cover' - perfectly sound messages for sure but so much less subversive and less intriguing than what it was originally doing. What's then really confusing is the fact that one of the last shots of the film returns the story to where it originally was but doesn't give it the necessary development, almost as if it was too afraid to do so. This isn't a story that would likely go down well with general audiences, so clearly they attempted to make it more 'Hollywood happy', which is a shame because there was definitely something more interesting going on here. Keep in mind I have no knowledge of the novel it is based on but I'm assuming that sticks to the more unconventional narrative and themes, and that the film was just making it all more accessible. Overall, a fine watch but definitely something that feels like it's holding back. 6.5/10

Nope

Along with the likes of Jurassic World, Lightyear, and Thor, this was one of my most anticipated films of the summer season. Despite their immense popularity, I haven't actually seen Get Out or Us, the first two directorial outputs from Jordan Peele, though I do somewhat feel like I have due to how extensive the discussion is around both. However, I finally got around to watching one of this director's films with Nope, which looked brilliant and had me excited to see what it had to offer. Unsurprisingly, it was amazing. For the longest time, I planned on writing a full length review of this, but ended up not doing so because I didn't want to just drone on about stuff that had essentially already been said by countless others. But, here are a few of the things I really liked. The film expertly takes on tropes from several genres, namely sci-fi, horror and westerns, with clear influence from particular directors, namely Steven Spielberg, and creates an experience that is exciting, disturbing, thought provoking, and even funny at times, all without feeling confused, much like RRR. Peele crafts what is essentially a Jaws-esque monster blockbuster in a western setting that comments on society and our peculiar fascination with disastrous spectacles. The cinematography is stellar and I wish I could have watched this on an IMAX screen to fully appreciate its beauty. So many scenes vividly live in my mind because of how they manage to be extremely alarming yet somehow also full of awe. If I had one criticism, it would be that the pacing could have been a little more effective; we get enough of an image of the central evil force in the film a bit too soon, and I wish the film left the audience in suspense for a bit longer. But, this is still a vastly successful film and honestly one of the few new releases from this summer that wasn't underwhelming or disappointing in any way. In terms of 2022 summer blockbusters, this and Top Gun: Maverick have kind of been doing all the heavy lifting, so I'm very thankful mostly everything about it came together in the end. 8.0/10

Luck (Streaming - Apple TV+)

Luck feels like a poor man's Pixar film, which makes sense given that it's produced by former Pixar dream-team member John Lasseter, but for a different animation studio. I really enjoyed the first fifteen minutes or so in this film, as they explored the concept of good and bad luck in a way that was really charming and ever so funny. However, it takes a nosedive once it stops doing this and proceeds to do for this concept what Inside Out did for human emotions and memories; providing a completely literal take on the subject via the means of a 'secret world'. This is disappointing as it is more of what almost every animated film has been doing for the last five years, but it's made even worse by the fact that the secret world behind luck depicted in the film is so overly complicated and poorly thought out, to the point where you don't get the chance to engage in it as your stuck working out all the mechanics and logistics the whole time. Inside Out, while also providing a very literal interpretation of its themes, at least created a wonderfully inventive world that was easy to engage in, as well as also having emotional beats that landed perfectly, which Luck most certainly doesn't have. Beyond that, it's just terribly ordinary, with derivative characters, familiar themes, and animation that despite not being bad is lacking any unique flair. As the first film from Skydance Animation, I can't say I'm awfully excited to see where they go next. Well, except for Brad Bird's next film being one of theirs. 6.0/10

Fisherman's Friends: One and All

Of all these summer films, this is the one I have the least to say about. It's exactly what you'd expect from a film called Fisherman's Friends: One and All - it's simple and sappy, but very charming and certainly smile-inducing. That's not much, but it did the job. If there is one thing to note from my experience with this film, it'd probably be the fact that out of the twenty or so people in the cinema I saw this in, I was the youngest by a considerable margin. Make of that what you will. 7.5/10

Beast

Similarly, Beast also isn't a film there's much to say about. It's a disposable but fairly competently crafted survival thriller where Idris Elba faces off against a big old lion to protect him family. He's great in the film, the set-up was effective enough, and the cinematography was actually quite memorable, mostly due to the extensive usage of tracking shots. But yeah there's not really anything more I can say about this. I probably won't see it again but it worked fine. 6.5/10

Bullet Train

This was a wildly fun time with some really excellently put together action sequences and very funny character interactions. Brad Pitt is still a terrific leading man even after a couple decades of doing so, and the supporting cast all had something fun to offer each, namely Bryan Tyree Henry and Joey King. Tonally it's a bit of a mess, with lots of bonkers and comedic antics but also trying to be dramatic and profound too, which didn't go well together at all. Also, it does lose its uniqueness as it goes on, starting as a distinct, cleverly constructed and contained piece but ending up as a more commonplace, ridiculous, CGI-filled load of nonsense. So, while definitely one of the most entertaining films I've seen this year, Bullet Train certainly has its shortcomings and could've been a lot tighter and more intelligent. Still, as I said, I had a great time watching it and would happily revisit. 7.5/10

Spider-Man: No Way Home - The More Fun Stuff Version

To finish, I thought I'd briefly mention this re-release of one of the best films from 2021, which was mostly as good as before. The film itself is beginning to considerably lose its charm with each rewatch I give it, as a lot of the excitement from that first viewing is most definitely wearing off. Luckily, there's still plenty of excellence to be found, so I can't bring myself to think much lower of this film than I always have. As for the new stuff, some of it was good such as the additional scene with Matt Murdock and extensions of scenes such as that of the three Spider-Men bonding over their experiences, but a lot of it didn't really add anything and often felt abrupt in their inclusions, making it evident why they were excluded. It was funny to see that scene with Tom Holland's brother that he discussed on The Graham Norton Show though. Overall, still a brilliant film with a few neat additions. 9.0/10

Well, that's about it. I will try to do more in-depth reviews for upcoming releases as I do enjoy writing them, and it is a bit sad that I haven't done so for most of the things I've seen lately. There's lots to look forward to later this year, whether it be See How They Run, Don't Worry Darling, Black Panther: Wakanda Forever, or Avatar: The Way of Water, among many others, so let's hope there will be plenty of detailed reviews for each of them when the time comes!

Minions: The Rise of Gru + Thor: Love and Thunder - Movie Reviews - Decent additions to fun franchises

I've been a bit busy lately and thus haven't been able to go to the cinema for over two weeks, which is very long by my standards. However, this week, I was able to make a return, and what better time than the release of two new entires in two franchises I'm a fan of!

First of all, Minions: The Rise of Gru. I'd say I'm a fan of the Despicable Me series, or at least some of the films in the series. The first two entries are great, both getting the perfect balance of comedy and heart, as well as having some solid animation, though I don't remember an awful lot about the third film. As for the spinoff, Minions is okay in my opinion; I do enjoy the antics of the little yellow blobs but only in small doses, so when they're made the protagonists of a feature film it just doesn't work as well. So, with that in mind, the prospect of another minions-led film was something I wasn't so keen on. In this film, after becoming servants to the young Gru, the minions aid their boss as he tries to impress his villainous idols, the Vicious Six. 

Despite my ambivalence towards this film, I'm glad to say I enjoyed it. It succeeds by simply being much funnier than I expected. After rewatching Minions the night before and not laughing or smiling much throughout, I was anticipating more of the same here. But, instead, I chuckled very frequently. This might be because the jokes in the first film are ones I'm more familiar with whereas these are all fresh, but the fact remains that this new film was more entertaining. It is a lot more bonkers overall with the minions learning Kung Fu and fighting big monsters among many other set pieces, and I think this is beneficial. What also might be working in the film's favour is that, even though it's titled after the minions, it feels more like it's structured with Gru as the protagonist, thus resembling the nature of the main Despicable Me films where the minions are on the side of the main narrative. This helps because, as I said, the minions work best in small segments, and making them the protagonists is purely overkill. Other than that, the animation is terrific and a lot of the voice acting is solid. If I had to point out any issues I'd say that, obviously, it's quite a shallow watch and doesn't offer much beyond the jokes, thus making it a bit tiring and somewhat forgettable. But, because it made me laugh at a fairly consistent rate throughout its concise runtime, I'd say Minions: The Rise of Gru is a good enough watch.

I'm going to give Minions: The Rise of Gru a 7.0/10

Secondly, I was also able to see the latest MCU film, Thor: Love and Thunder. Being a film in this franchise, obviously I was happy to check it out, but I honestly wasn't really that excited for it. This may be because it's following not one but two entries in this universe that I was extremely excited for and so, in comparison, it just seems a lot less interesting. But, I also think it could be because I just don't think that more Thor is something we needed, even if it's coming from Taika Waititi, who basically salvaged the reputation of this character's solo films with Thor: Ragnarok, which was my favourite MCU film for a short period of time. So, my expectations were relatively low but I still hoped I'd find it enjoyable. In the film, after getting back into shape following Avengers: Endgame, Thor is faced with a new threat as the evil Gorr the God Butcher seeks to murder him and all other gods, and things only get more complicated when his ex-girlfriend, Jane, returns wielding his old hammer, Mjolnir.

Thankfully, I very much enjoyed this! What I admired most about Love and Thunder was the way it balanced its comedic elements with its dramatic elements. Ragnarok is a hilarious film for sure and I love all the comic flair that Taika brought to this previously dull side of the MCU, but I do think it goes a bit too far in a few places and that some of its emotional beats could have been fleshed out more, as most of them are undermined by jokes. Here, however, it feels as if that issue has been recognised as we get more of the zany and quirky humour, but also a fair amount of compelling drama that is sufficiently explored, and they intertwine rather perfectly, leading to an ending that is delightfully wholesome. This was something I really appreciated as it felt like a direct improvement of my only key flaw with Ragnarok. That being said, it is unfortunately true that this film isn't as funny nor as quotable as the latter, which is a shame. Narratively, I liked what the film did with Thor and Jane's relationship, being both heartfelt and also funny in places. However, the best relationship in the film is a highly unconventional one, that being between Thor and his axe, Stormbreaker. The film does a brilliant job at personifying this weapon and creating a hilarious conflict of sorts between it and Thor, where they seemingly don't get along now that Mjolnir has returned. Visually, it's another absolute treat, with some very dazzling settings and very creative uses of colour, particularly when the characters enter a shadow realm where everything is black and white with a few glimpses of normal colours. All the performances were great; Christian Bale is very effectively creepy as the Gorr, the film's villain, though not as memorable as Cate Blanchett's Hela from Ragnarok. Overall, I'm happy to report that this was a very enjoyable, albeit slightly superfluous, entry into the MCU.

I'm going to give Thor: Love and Thunder an 8.0/10