Plot

While a zombie virus breaks out in South Korea, passengers struggle to survive on the train from Seoul to Busan.

Good Points

• Excellent use of the train setting.

• Fast zombies make every encounter feel genuinely threatening.

• Great balance of action, tension, horror, humour and emotion.

• Some proper emotion is invoked.

• Large-scale zombie sequences are visually impressive.

• Effective social commentary.

Bad Points

• A few character decisions require you to accept some movie logic.

My Thoughts on Train to Busan

Train to Busan is damn good

I really liked Train to Busan the first few times I watched it, and now rewatching it again, I am not sure I have ever loved it more than I do right now, because the movie does almost everything I want a zombie movie to do - itt’s violent, tense, funny in places, sad in others, and most importanlty, it never feels like a film that is simply going through the motions, or checking off boxes.

I’ve seen enough zombie movies where the whole thing eventually becomes people wandering around looking miserable while somebody bangs on a door for twenty minutes, before somebody gets bitten, everybody argues about it, and we’re back to the same thing again.

Train to Busan has some familiar ingredients, obviously, but it uses them properly, where it keeps giving the characters problems to deal with, and you really do end up caring about whether they managed to get through them.

You will end up ttense during the big attacks, irritated with some of the characters, and no doubt will feel a bit sad at times, too, and that’s a pretty good result for a movie about people being chased around by zombies, no?

The train is a great location

That sounds like such a simple thing to say, but it’s so true, a train is a fantastic setting for this type of movie - it’s cramped, it’s narrow, and once things start going wrong, there aren’t many places to go, and the film gets a lot of mileage out of it.

The characters can’t just run away in whichever direction they want either, they have to work out what’s happening in the next carriage and decide whether moving is actually worth the risk, so the zombies feel like an actual problem rather than something that’s simply thrown at the characters, while a train also means everyone is packed in together, fighting for space.

And once the zombies start filling those carriages, things get ugly very quickly, and here, the zombies are fast, really fast, and I personally much prefer this kind of zombie to the slow-moving variety because it makes every encounter feel that much more dangerous, plus you get some great shots of huge numbers of them packed together, which makes for some brilliant imagery.

The film’s social commentary

Train To Busan isn’t just about zombies though, because it also has something to say about wealth, class and selfishness, particularly the way people behave when they are frightened - people who would normally never interact with each other are forced into the same situation, and suddenly all the usual social boundaries become much less important, or, in some cases, people become even more determined to protect their own little group.

It also isn’t one of those films where every character suddenly starts explaining the director’s message to you, because you do, or should, see what the movie is getting at simply by watching the way people behave.

The movie lets you make your own judgment on them.

It gets emotional too

I know a film should make you care about the characters, but many do not as we all know, but Train To Busan really does make you give a shit, and a big part of why is because it gives the important relationships enough time to actually develop.

The father and daughter relationship is obviously central, and I thought it worked extremely well because it isn’t perfect, where the father has clearly spent too much time focused on other parts of his life, and his relationship with his daughter has suffered because of it, so you end up watching a relationship change under extreme pressure.

The movie also earns it, so when somebody is in danger, you will care, when somebody makes a sacrifice, it will mean something, and when a character makes a horrible decision, you will get angry. (Maybe/Probably).

The film can also be quite cruel with the characters as well, and I don’t mean that as a criticism, as it means the deaths have the appropriate emotional effect, and if here is one thing I always want from a film like this, I want it to make me feel something.

Train to Busan managed that.

The action is very entertaining

The action scenes are excellent, featuring some big zombie sequences, but I particulary like that the characters don’t simply solve everything by beating the hell out of the infected, as they actually have to be smart about it, and decide on the next move like it’s a game of chess, thinking two or three moves ahead.

There are also some great moments where the film suddenly ramps everything up, where things can be relatively quiet and then, within seconds, you’ve got a mass of zombies coming through a carriage.

Train to Busan was also Yeon Sang-ho’s first live-action feature, as before this, he was known for animated films, including The King of Pigs and The Fake, both of which dealt with darker subjects and social issues, and he clearly brought some of those interests into Train to Busan, particularly the film’s ideas about class and how people treat each other.

There was also a follow-up, Peninsula, released in 2020, although that movie takes things in a very different direction, as well as an animated prequel titled Seoul Station, which was released less than a month after the original film.

But the first is normally the best, and in this case, it not only is, but is also one of the best zombie films ever made.

Final Thoughts

Not sure what else to add, it’s a damn good movie on so many levels, that has a bit of everything thrown in.

Could I trust someone who doesn’t like this movie?

Probably not. ;)

Now to wait for the next film from Yeon Sang-ho - Colony!

Film Credits

Directed by Yeon Sang-ho

Written by Park Joo-suk

Produced by Lee Dong-ha

Starring Gong Yoo, Jung Yu-mi, Ma Dong-seok, Kim Su-an, Choi Woo-shik, Ahn So-hee amd Kim Eui-sung

Cinematography by Lee Hyung-deok

Edited by Yang Jin-mo

Music by Jang Young-gyu

Running time - 118 minutes

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Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

Plot

The Platt family bands together to navigate their new surroundings after a cosmic event transports their suburban neighborhood to someplace unknown.

Good points

• The dinosaurs are the clear highlight and is handled well.

• The suburban setting works really well.

• Anne Hathaway and Ewan McGregor work well together.

• Michael Giacchino’s score adds a lot to the sense of old-fashioned adventure and wonder.

• David Robert Mitchell’s ambition is impressive.

Bad points

• The family drama is too drawn out.

• The mystery becomes frustrating.

• Some of the dinosaur reactions don’t work at all.

• The ending is messy and feels indecisive.

• The whole movie doesn’t quite match its best moments.

My Thoughts on The End of Oak Street

The dinosaurs are absolutely the best part

There is a very simple reason I did not mind The End of Oak Street overall - the dinosaurs.

When this movie gets moving, it gets properly moving, and I am not sure I was expecting it to be quite as violent as it is either, but I was pleasantly surprised with that aspect - people get eaten, people get ripped apart, big creatures smash into things, and things get destroyed - basically, the neighborhood association meeting has gone slightly downhill here.

That side of the movie worked really well I thought, simply because the dinosaurs actually feel dangerous here, and the film isn’t constantly cutting away before something horrible happens, like some films do.

The creature variety helped a lot too, as there are raptor-like dinosaurs, flying creatures, huge predators and some enormous snake-like things, and the film also deserves credit in particular for making the dinosaurs look like animals rather than just CGI monsters, and maybe we’ve finally reached the point where Hollywood can stop making every dinosaur look like it was dipped in the same bucket of green paint.

For a movie with a reported $85 million budget, the creatures needed to look good though to be fair, and they generally do.

The dinosaur attacks are where it comes alive

The best scenes are the ones where the film just lets the creatures do what dinosaurs presumably would do if they suddenly found themselves surrounded by a bunch of suburban humans.

There is a great attack involving a huge predator and a car, and I certainly liked how physical the whole thing feels, and the larger attacks have that same quality too - a dinosaur appears, people panic, somebody makes a terrible decision, and suddenly everyone is running for their lives, and that’s the movie I wanted more of.

I also liked some of the smaller moments, especially when the film uses the houses and gardens of the neighborhood as part of the danger, because a dinosaur in a jungle is one thing, but a dinosaur wandering between houses is much more fun.

Anne Hathaway and Ewan McGregor

Anne Hathaway and Ewan McGregor are doing a lot here because their characters spend a good portion of the movie being annoyed with each other.

Hathaway gives Denise plenty of frustration, while McGregor makes Greg sympathetic even when he’s being irritating, and he also brings some warmth to the character that stops the family from becoming four people screaming at each other until the dinosaurs arrive.

Maisy Stella and Christian Convery are good too, and I liked the fact that the children don’t simply disappear into the background once the adults start dealing with the bigger problems.

You believe that these people cared about each other, even when they were behaving like they desperately needed a marriage counselor and a dinosaur-free weekend.

The family drama eventually pays off

I did get pretty irritated by the amount of time the film spent on the relationship between Denise and Greg I have to say, but I also have to admit the filmmakers eventually make it worthwhile, as the point isn’t simply that they’re having marital problems, the film is using that relationship to build towards the idea that family can become more important when everything else disappears.

I still think the movie could have reached the same destination with less arguing, but the emotional payoff was fine enough because we have spent so much time seeing how badly things have gone between them, so by the later stages, their situation feels different, because survival has stripped away a lot of the smaller stuff that seemed important earlier.

It at least gave the movie some heart without completely turning it into a sentimental family advertisement, and after watching people get eaten by dinosaurs for an hour, a little emotion isn’t exactly too much of a problem.

The 1982 setting is really well done

I really enjoyed the setting too, where everything has that slightly old-fashioned suburban feel, and you can see the dedicated the whole production has made to be designed around the period, which fits David Robert Mitchell’s idea for the film because The End of Oak Street is heavily influenced by the big adventure and creature movies of that era.

The music is another big part of that - Michael Giacchino composed the score, and the movie uses it to give the film that sense of old-fashioned adventure and wonder, so the combination of the music, the suburban setting and the dinosaurs creates a very specific mood that I liked.

It feels like a movie that loves the films it grew up with, and while at times I thought it leaned too hard into that nostalgia, but mostly I liked it.

David Robert Mitchell has some good ideas, but he also loses me

David Robert Mitchell is an interesting filmmaker because It Follows showed that he could create tension without needing to throw everything at the screen, and here, he’s working on a much bigger scale.

The End of Oak Street is his third feature as writer and director, and it’s a big jump from the smaller, stranger films he’s made before, and there are times when I think that ambition works brilliantly, but then there are also times when I did not.

The biggest problem is the movie’s mystery, as I don’t mind unanswered questions., and some movies are better when they leave certain things unexplained, but here, though, the lack of answers becomes annoying because the film eventually starts relying on the rules of what happened.

I did want a little more information about what caused everything and why it happened, but the film gives you enough clues to start forming theories, then basically shrugs, which personally, I found pretty frustrating.

There are also a few moments where the actual filmmaking was annoying, such as some of the reactions to the dinosaurs don’t line up properly, and characters will be looking towards something that appears to be in one direction, then the camera changes and they’re clearly looking somewhere else.

It’s a small thing, but once you notice something like that, you can’t unsee it, and sometimes it looks like Anne Hathaway is looking at a point in the air where someone has told her, “Yep, dinosaur. About three feet to your left”.

The ending made me feel completely conflicted

The ending is where I had the biggest problem with the film, and I won’t go into all the details because this is a review rather than a transcript of the final act, but the movie takes a pretty big swing with its ending, and then it basically takes another swing.

The frustrating thing is that I actually liked the emotional idea behind it, as the emotional conclusion works, but the mechanics of getting there don’t - and apparently the ending was changed during production, with the original version intended to leave Greg’s fate much more final, but the final version does feel like it is determined to give the family a happier resolution.

A lot more heart than I expected

For all my complaints, I don’t think The End of Oak Street is a cold movie, as I do think there is a genuine affection for family running through it, and the final stretch makes that clear.

The dedication to Mitchell’s late father also gives the whole project a more personal meaning, amd his father, Robert Allen Mitchell, died in 2024, and his love of dinosaurs and classic monster movies helped inspire the film, which actually made some of the movie’s nostalgic qualities make more sense to me, and there is clearly some personal affection behind it.

I still think the movie gets carried away with that idea, but I found myself being more forgiving of some of its softer moments once the family side of the story started coming together.

Final Verdict

I liked The End of Oak Street, but I liked parts of it much more than I liked the movie as a whole.

Film Credits

Directed and written by David Robert Mitchell

Produced by J. J. Abrams, Hannah Minghella, Jon Cohen, David Robert Mitchell, Matt Jackson and Tommy Harper

Starring - Anne Hathaway, Ewan McGregor, Maisy Stella and Christian Convery

Cinematography by Michael Gioulakis

Edited by John Axelrad

Music by Michael Giacchino

Running time - 99 minutes

More Film Posts

Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

And don’t forget to subscribe to get this email every Monday.

Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

Toy Story 5 - August 18th - Digital

Woody, Buzz, Jessie and the rest of the gang's jobs are challenged when they're introduced to electronics, a new threat to playtime.

Mutiny - August 21st - (Theaters)

After his billionaire industrialist boss is murdered in front of him, Cole Reed is set up to take the fall for the crime - leaving him on the run as he works to uncover an international conspiracy.

Spa Weekend - August 21st (Theaters)

Three friends go on a spa weekend that descends into chaos when their trainwreck friend joins, leading to hilarious consequences.

Insidious: Out of the Further - August 21st (Theaters)

Gemma, a young mother raising her daughter in the house she grew up in, discovers she can travel into The Further, where she possesses an ability to bring what lives there back to the real world.

The Magic Faraway Tree - August 21st (Theaters)

A modern family relocates to the countryside where the children discover a magical tree with eccentric residents. They're transported to fantastical lands, rekindling their family bond through adventures.

Hot Spot - August 21st (Limited Theaters)

As a private eye investigates a murder in a future world of sentient A.I., his identity and marriage suffer a hypnotic meltdown.

It Ends - August 21st (Theaters)

Friends on a late-night food run become trapped on an infinite highway with otherworldly terrors lurking beyond. Confined in their Jeep Cherokee, they must decide whether to accept their fate or attempt escape.

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And if you want to know where any of them are streaming in your country, JustWatch is your friend.

The Battery (2012)

The personalities of two former baseball players clash as they traverse the rural back roads of a post-plague New England teeming with the undead.

I have mentioned this on my underrated zombies film list, and while I get it won’t be a film for everyone, I do love it a lot - it’s zombie movie made for almost no money that also has more personality than films costing fifty times as much, and is also a great example of why you don’t actually need hordes of zombies and big scenes to make an undead movie work, as most of the film is just about two very different people trying to survive together.

There’s also a lot of quietness here, which is what I mean by not being for everyone, as I suspect some will find it a bit dull, but that’s exactly where the tension comes from too, so when the film finally does turn in another direction, you’ve had enough time with the characters for it to actually matter, and for me, everything is executed superbly.

Trailer

I Am Not a Serial Killer (2016)

In a small Midwestern town, a troubled teen with homicidal tendencies must hunt down and destroy a supernatural killer while keeping his own inner demons at bay.

The title sounds like it belongs to a completely different kind of film, which is probably part of the fun, and it also sounds like it could become a cheesy teenage horror film very quickly, but it doesn’t, but it does have a strange, slightly offbeat atmosphere, where there’s something very uncomfortable about watching a kid who is worried about becoming a monster encounter an actual monster - it’s dark without being miserable, weird without becoming ridiculous, and much more emotionally interesting than I expected it to be.

Trailer

Bellflower (2011)

Two friends spend all their free time building flame-throwers and weapons of mass destruction in hopes that a global apocalypse will occur and clear the runway for their imaginary gang "Mother Medusa".

Bellflower is one of those films where you can practically see the filmmakers having a ridiculous amount of fun making it - it’s a post-apocalyptic love story, a DIY movie, a revenge film and a bit of a fever dream all thrown together.

The homemade weapons and flamethrowers are obviously a big part of the appeal, but I actually like how rough the whole thing feels, as you can see the fingerprints of the people who made it everywhere, and there’s something wonderfully scrappy about watching people make their own insane machines and then actually put them on screen.

Underneath all the madness happening here, though, there’s also a pretty bruised relationship at the centre of it, and it’s ambitious and completely its own thing, which is a good thing.

Trailer

The Fits (2015)

While training at the gym 11-year-old tomboy Toni becomes entranced with a dance troupe, and as she struggles to fit in she finds herself caught up in danger as the group begins to suffer from fainting spells and other violent fits.

You could probably describe The Fits in a couple of sentences, but that wouldn’t really explain why I like it, and what could have been a straightforward coming-of-age horror story instead becomes something much more mysterious.

The film looks fantastic too, featuring lots of shots here that feel almost hypnotic, and the sound design is also brilliant without constantly shouting at you that something creepy is happening - it’s short (72 mins), strange and leaves plenty of room for you to decide what you think is actually going on.

Trailer

The Transfiguration (2016)

When troubled teen Milo, who has a fascination with vampire lore, meets the equally alienated Sophie, the two form a bond that begins to blur Milo's fantasy into reality.

Forget the glossy vampire stuff for a minute, because The Transfiguration takes the vampire idea and strips almost everything away, putting it into a gritty New York setting and following a troubled teenager who is obsessed with vampire lore, but it also doesn’t treat vampirism as some glamorous supernatural fantasy, as there’s something sad about the whole thing too.

The low-budget look suits it perfectly. well - a film that’s not trying to be the next Interview with the Vampire, because it’s doing something much smaller and much stranger, and is well worth a watch.

Trailer

Columbus (2017)

A Korean-born man finds himself stuck in Columbus, Indiana, where his architect father is in a coma, before the man meets a young woman who wants to stay in Columbus with her mother, a recovering addict, instead of pursuing her own dreams.

Columbus is another film I would describe as incredibly quiet, and I know that alone will be enough to put some people off (again), but there’s something beautiful about how little it needs to say as well, where architecture becomes part of the film without turning into some pretentious lecture about buildings.

There are long stretches where very little happens, yet the film never feels empty either, and it’s one of those films you put on when you’re in the mood for something calm and thoughtful rather than something that is constantly demanding your attention.

And visually, it’s absolutely gorgeous.

Trailer

The One I Love (2014)

A troubled couple vacate to a beautiful getaway, but bizarre circumstances further complicate their situation.

Go into The One I Love knowing as little as possible is my advice, as it starts out like a fairly straightforward relationship drama before taking a very weird turn, and I think the less you know about that turn, the better.

The concept also gives it plenty to play with, but the relationship at the centre is what keeps it from becoming just a clever high-concept thriller, and I guarantee you’ll probably start having theories halfway through before realizing you are completely wrong.

Trailer

The Little Hours (2017)

In the Middle Ages, a young servant fleeing from his master takes refuge at a convent full of emotionally unstable nuns.

If you like your comedies filthy, stupid and completely committed to the bit, The Little Hours is worth your time - the setting is medieval, the characters are nuns, and the dialogue is basically what you’d get if you dropped a bunch of modern idiots into a convent and let them loose.

There’s nothing particularly sophisticated about the humour here, and that’s exactly why I enjoyed i, because sometimes you just want Aubrey Plaza shouting abuse at someone in a medieval convent, right?

Trailer

Tangerine (2015)

A hooker tears through Tinseltown on Christmas Eve searching for the pimp who broke her heart.

Shot on iPhones and made with a tiny budget, Tangerine has the kind of energy that expensive productions spend millions trying to recreate, and Kitana Kiki Rodriguez and Mya Taylor give the film so much personality that it never feels like you’re watching a carefully constructed “indie movie”.

The colors, the locations, the conversations, the arguments — it all has this raw quality that makes you feel like you’ve been dropped into somebody else’s hectic day, but there’s a lot of heart here too.

And considering how cheaply it was made, it also looks great.

Trailer

Feel free to recommend your own, too.

Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

Plot

A family of four is suddenly sealed inside their house with no way out and must work together to survive against both their dwindling resources and the mysterious, looming threat that is keeping them trapped.

Good Points

• The basic idea works fine, and I thought the first half was decent

• I liked the slow approach

• The survival stuff is interesting

• Some decent moments

• The cast are fine

• It has some good ideas running through it

Bad Points

• It gets quite messy. and tries to do too much by the end

• The explanations don’t really work as well as they should

• Some of the ideas just aren’t developed enough

• The final act

• Some character decisions are as usual quite frustrating

• It could have been much better, as there is a genuinely good horror themed movie buried somewhere

My Thoughts on The Last House

It does have a good idea

I did like the basic idea behind The Last House quite a lot I have to say, as there is something very horrible about being unable to leave your own home, especially when you have absolutely no idea why it is happening or how long it is going to last, so the premise did interest me.

And the film takes that simple idea and gives it time to settle in, and I thought it was quite interesting in what was happening for parts of it, keeping just enough information away to keep you interested, until it doesn’t.

Plus, there is something quite miserable about watching people slowly realize that their situation isn’t going to sort itself out tomorrow - they have to adapt, make do with what they’ve got, and figure out how to live with something that has completely changed their lives, which does also give the whole thing a strange sense of time too.

The longer it lasts, the more depressing it becomes.

The family aspect works well

I thought the family aspect was probably the best thing about the film, because Wagner Moura and Greta Lee work very well together, and I believed them as a couple who have already got enough normal problems without the universe deciding to throw an enormous nightmare at them, so they did there bit.

The kids also didn’t annoy me, which sounds like a low bar, but these type of movies have made me lower that bar considerably over the years, but Ruth and Graham actually feel like part of the family rather than two characters whose only job is to wander into dangerous rooms at convenient moments, like I have seen so many times before.

There is also a decent amount of sadness in watching them adapt to their circumstances too, as you witness their childhood basically being eaten away by something they don’t understand, and the movie does occasionally make that feel pretty grim.

The slow start was actually one of my favorite parts

And I mention this because quite a few reviews seem to be hating on the slow start, and I get it, I know some people are going to find the first half slow, but I didn’t have much of a problem with it.

The film spends a lot of time showing the family trying to make their new life work, and I found that part quite interesting, watching people figure out how to grow food, repair things, find ways of getting meat and entertain themselves when there is basically nothing left to do.

And Imagine being trapped in your house for years and your entertainment options are Annie and Air Force One - eventually you’re either going to become very good at reading or know Harrison Ford’s presidential speeches word for word.

Then the movie does start adding too much

My feelings did change a bit though once the movie started piling more and more ideas on top of the original one, where the film starts bringing in its bigger explanations and the creatures, trying to work out whether any of this actually made sense.

That’s usually a bad sign, isn’t it?

The creatures themselves are pretty cool, so I won’t complain about the design because there are some good images here, and when they finally become more of a threat, the film does produce a few decent horror scenes.

My problem is what they are doing there in the first place.

My understanding was that the film seems to want the creatures to connect with its ideas about the environment and humanity’s treatment of the planet, but it doesn’t really develop that enough for me to buy into it completely.

It starts feeling like the movie has several different explanations sitting around the table and nobody could agree which one should stay, so they simply kept them all, and I did prefer it when I didn’t know much about them, as there is something much more effective about seeing something moving outside the house when you don’t know what it is.

And I get that it does need to be explained in some way of course, but I think a bit more of the mystery could have stayed too, as for quite a while, The Last House is this family survival story where the biggest enemy is time, hunger, isolation and the fact that nobody knows what the hell is happening.

Then suddenly, here come the creatures, although there are some good scenes once they become more involved,though few and far between as well, but I do wish the explanation behind everything had been stronger.

The ending

I didn’t feel the ending at all, as there are too many questions left hanging around, and some of the answers we do get aren’t particularly satisfying, and there is a difference between leaving something mysterious and making me think the writers haven’t quite figured it out either.

The final stretch also feels like it is trying to make everything bigger when I think the movie would have benefited from being simpler - the smaller story was working - the family, the house, the isolation and the mystery were enough.

The ending made me think about the mechanics of the story instead of the horror, and once I start doing that, the cracks became much easier to see, but despite all of that, I didn’t hate The Last House.

There are stretches where I really liked it, particularly before everything starts getting explained, and it does also have some decent moments, where things get pretty grim, but unfortunately, it also does start to lose confidence iin itself, so decides to just start throwing bigger things at you, hoping that works.

I would have happily watched more of the smaller story, but I got the bigger story, and I don’t think it was as good.

Final Verdict

The Last House had its moments, but it did also slowly lose me as it tried to explain too much, and everything seems to get buried under too many ideas - I enjoyed parts of it, though.

Trailer

Film Credits

Directed by Louis Leterrier

Written by Matthew Robinson

Produced by Peter Chernin, Jenno Topping, Kori Adelson, Louis Leterrier and Oly Obst

Starring - Greta Lee, Wagner Moura

Cinematography by Pål Ulvik Rokseth

Edited by Adam Gough

Music by Yair Elazar Glotman

Running time - 112 minutes

More Film Posts

Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

And don’t forget to subscribe to get this email every Monday.

Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

The Boy From Below - August 11th (Digital)

A horror movie nerd must put her genre knowledge to the test in order to survive as she finds herself targeted by a creepy killer in a creepy truck who is obsessed with Horror Movies on Halloween Night.

The End of Oak Street - August 14th (Theaters)

The Platt family bands together to navigate their new surroundings after a cosmic event transports their suburban neighborhood to someplace unknown.

The Brink of War - August 14th (Theaters)

President Reagan races to save a nuclear deal with Soviet leader Mikhail Gorbachev as pressure mounts all around him. Every word spoken could move the world closer to peace - or destruction.

The Rivals of Amziah King - August 14th (Theaters)

Amziah King, beekeeper, musician, and anchor of his community, reunites with former foster daughter Kateri after many years apart, and fends off threats to his honey business.

PAW Patrol: The Dino Movie - August 14th (Theaters)

The Paw Patrol lands on a mysterious dinosaur island after a storm, where they meet Rex, a stranded pup. When Humdinger's reckless mining triggers a volcano, the team faces their biggest rescue mission yet to save the island.

The Wrong Girls - August 14th (Theaters)

Two aimless young women inadvertently gain telepathic abilities after ingesting an experimental drug, pitting them against dangerous rivals pursuing the same powerful substance.

Don’t Say Good Luck - August 14th (Netflix)

Sophie Birenbaum is ready for the spotlight as the lead in her high school musical - until suddenly she's living with even more drama at home than on the stage.

Train to Busan - 10th Anniversary Remastered & Revived - August 14th (Limited Theaters)

While a zombie virus breaks out in South Korea, passengers struggle to survive on the train from Seoul to Busan.

Normal - August 14th (HBO Max)

Centers on a temporary small-town sheriff who uncovers dark mysteries after a local bank robbery.

Nimrods - August 14th (Limited Theaters)

Three buddies drive cross-country in a van, causing mayhem and mischief while racing to LA for their big break: opening for Green Day on New Year's Eve.

The Birthday Party - August 14th (Digital/Limited Theaters)

Markos Timoleon, a wealthy Greek businessman, hosts his daughter's 25th birthday party on his private island. Unforeseen events unfold, jeopardizing his power and challenging his life's foundations.

Evel - August 14th (Digital)

A young woman is held hostage in an EV self-driving car on an isolated northern highway. The car is controlled by a malevolent force that wipes out her digital footprint and her very existence then delivers her to a Billionaire predator.

Do Us Part - August 14th (Digital/Limited Theaters)

Ryan's wedding day becomes chaos when Rose, his college best friend and unrequited love, crashes the ceremony to come clean about her buried feelings.

Union Country - August 14th (Limited Theaters)

Assigned to a county-mandated drug court program, Cody Parsons embarks on the tenuous journey toward recovery amidst the opioid epidemic in rural Ohio.

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Plot

After a famous author is rescued from a car crash by a fan of his novels, he comes to realize that the care he is receiving is only the beginning of a nightmare of captivity and abuse.

Good Points

• Kathy Bates gives an unforgettable performance

• The tension is incredible

• James Caan provides the perfect balance

• The chemistry between Bates and Caan is fantastic

• Rob Reiner’s direction

• The mix of horror and dark humor works extremely well

• The pacing is excellent

Bad Points

• None

My Thoughts on Misery

A simple story that offers so much

Misery is proof that sometimes all you really need is one person with a serious problem and another person who has absolutely no idea how dangerous they are for it to work - simplicty on the surface, but underneath it offers so much for the film lover to enjoy.

I watched this when it first came out, or maybe slightly after, where it quickly became one of my favorites, and even when you watch it again years later, it still holds up too damn well, where the uncomfortable tension it offers still gets to you even though you know what is going to happen.

And considering it is just two people stuck together - one desperate to escape and the other completely convinced that she is in the right - it probably has no right to be as good as it is really, but everything is damn near perfect for me - the performances, the pacing, the tension - it all just comes together perfectly.

Kathy bates is terrifying

Kathy Bates as Annie Wilkes is probably the main reason this movie has remained so memorable for so many years, as she is brilliant playing someone who has completely lost control of her own emotions - one minute she can seem kind and almost sweet, and the next she becomes someone you genuinely fear being around, and it’s that switch that makes her so frightening.

Some of the funniest moments in the movie also come from Annie’s strange personality, as while she is terrifying, she is also unintentionally hilarious at times because of how seriously she takes everything, and her reactions are so extreme that you almost cannot believe what you are watching at times.

Bates completely understood that Annie is not just a scary character - she is also sad, lonely, and completely consumed by her obsession, and she delivers on the role ten fold.

And yes, the famous leg scene is still horrible to watch.

James Caan brings the balance

James Caan does not get talked about as much as Kathy Bates when people discuss Misery, but his performance is also really good, and Caan managed to keep his character interesting where you can see everything happening behind his eyes - he is scared, angry, frustrated, and desperate, but he also knows he cannot simply react emotionally - he has to think carefully about every move he makes.

The contrast between Caan and Bates is also fascinating to witness and watch, and while Kathy Bates is of course brilliant, Caan deserves a lot of praise as well I think.

And a word on Rob Reiner, who is someone probably best known for his comedies and dramas, so it is still impressive how well he handles a darker story like this, as while the film spends a lot of time in a single location, his direction helps to keep things focused, with no unnecessary distractions.

I also really like how the film balances the horror elements with the dark humor elements, mainly from Annie as mentioned, and that balance is definitely something that is difficult to get right, but Reiner handles it perfectly.

A different side of Stephen King

I won’t pretend to be an expert on Stephen King, although I am a fan, but one of the things I also appreciate about Misery is that I think it shows a different side to Stephen King’s storytelling, as people often associate King with supernatural horror, but some of his best stories are simply about ordinary people facing terrifying situations.

The film also explores the relationship between creators and fans in a fascinating way - Annie does not just like Paul’s books, she feels ownership over them, and she believes she has the right to decide what he writes and where his story should go, and that idea is still interesting today because fans can sometimes become incredibly attached to fictional worlds and characters.

There is also something darkly funny about an author being trapped by his own creation, as Paul wants to move on, but the character that made him famous has become the thing keeping him prisoner - it is a clever idea, and the movie does a great job exploring it without becoming too complicated.

All the brilliant tension here comes from just waiting, as you know Annie is dangerous, you know Paul is trapped, and you are constantly wondering when things will finally go wrong, that feeling never disappears, and more than 35 years later, the film still holds up, simply because it does not need anything complicated to work, it just takes a terrifying idea and executes it extremely well.

Final Verdict

Misery remains one of Stephen King’s strongest movie adaptations for me, where everything and everyone delivers - a brilliant psychological horror-thriller and an easy recommendation to make.

Trailer

Film Credits

Directed by Rob Reiner

Screenplay by William Goldman

Based on Misery by Stephen King

Produced by Rob Reiner and Andrew Scheinman

Starring James Caan, Kathy Bates, Richard Farnsworth, Frances Sternhagen and Lauren Bacall

Cinematography by Barry Sonnenfeld

Edited by Robert Leighton

Music by Marc Shaiman

Running time - 107 minutes

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Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

Good Points

• Tom Holland gives one of his strongest performances as Peter Parker.

• Jon Bernthal’s Punisher is a great fit and adds a fun new dynamic.

• The action is creative, energetic, and feels true to the character.

• Zendaya continues to be a highlight with a strong performance as MJ.

• The movie captures the fun comic book feeling that recent films have sometimes missed.

Bad Points

• Some emotional scenes do not hit as hard as they should.

• A few supporting characters feel underused.

• Some story ideas feel bigger than what the movie actually delivers.

My Thoughts on Spiderman: Brand New Day

A more personal Spider-Man story

I think everyone would agree that Tom Holland has always been good as Spider-Man, but this is probably the most interesting version of Peter we have seen from him yet though, which is saying something, featuring the same awkward humour and likeable personality, but we also get to see a lot more maturity here too, with a balance between the superhero and the person underneath, which is what makes Spider-Man such a great character.

It’s always easy for these films to get distracted by the superhero side of things and forget that Peter Parker is usually at his most interesting when his personal life is just as important as the fights, and Holland handles that really well here, as he is no longer playing a kid trying to figure out how to become Spider-Man, which also gives Holland more emotional material to work with.

The previous movies were still a lot of fun of course, but Peter was also often surrounded by other major characters and bigger events, but this time, the focus feels much more like it belongs to him, bringing the warmth to Peter, but also selling the harder moments.

The Punisher is a great addition

Jon Bernthal’s Punisher fits into this movie very well indeed, asnd while on paper it sounds like a strange combination - Spider-Man is usually the more light-hearted hero, while The Punisher is known for being much darker and more violent - Bernthal brings a different energy to the film, while never feeling like he is taking anything over.

The chemistry between Holland and Bernthal is really good too, and their conversations and interactions give the movie some of its best moments, mainly because neither character completely understands the other, as Spider-Man sees things differently from The Punisher, and that contrast creates some entertaining scenes - it is a pairing that sounds strange until you actually see it, then it starts making sense.

The supporting characters are a mixed bag

The supporting cast is mostly good here, but some characters deserved more time to make a bigger impact - Zendaya’s MJ remains one of the highlights, bringing the same strong chemistry, while Jacob Batalon’s Ned is still enjoyable and brings some lighter moments, but his role feels less important compared to the previous Spider-Man films.

Mark Ruffalo’s Bruce Hulk is also a lot of fun and adds some great moments to the film, but again, the character feels a bit underused considering how much potential there was.

The movie also introduces several other characters, but some feel like they are there more to excite fans than to fully develop them, as while they are entertaining enough when they appear, I do think a few could have benefited from more screen time and a stronger purpose in the story?

The action feels like Spider-Man again

The action in Brand New Day is exactly what I always want to see from a Spider-Man movie - it is fast, creative, and makes good use of everything that makes the character special - as Spider-Man should not fight like every other superhero, he should be flying through the city, moving in ways that seem impossible, and using his surroundings to his advantage.

The action has this great sense of movement, and there is a real feeling of energy during the bigger sequences, where it is also a lot of fun in seeing the character pushed into situations where his abilities are tested, as the movie remembers that watching Spider-Man overcome ridiculous problems is part of the appeal.

Final Verdict

Spider-Man: Brand New Day is a very enjoyable Spider-Man movie, and after everything this character has gone through, this also feels like a bit of a fresh start - a fun, emotional, and welcome return for one of Marvel’s best characters.

Trailer

Film Credits

Directed by - Destin Daniel Cretton

Written by Chris McKenna and Erik Sommers

Based on Spider-Man by Stan Lee and Steve Ditko

Produced by Kevin Feige, Amy Pascal. Avi Arad and Rachel O’Connor

Starring - Tom Holland, Zendaya, Sadie Sink, Jacob Batalon, Jon Bernthal, Florence Pugh, Tramell Tillman, Marisa Tomei, Mark Ruffalo

Cinematography by Brett Pawlak

Edited by Nat Sanders, Gina Sansom and Harry Yoon

Music by Michael Giacchino

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Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

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Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

One Night Only - August 7th (Theaters)

Two strangers named Owen and Allie cross paths in a fictionalized New York City on the single night of the year when premarital sex is legally allowed, and instead of a casual hookup, they look for a genuine connection while dealing with chaotic missteps and side quests.

Ice Cream Man - August 7th (Theaters)

An idyllic summer town descends into madness when an ice cream man serves kids sweet delights with horrifying results.

Super Troopers 3 - August 7th (Theaters)

When Farva's over-the-top Indian engagement to Thorny's sister spirals into chaos, the Super Troopers must navigate Thorny's schemes to break up the relationship, all while trying to bring down a pernicious new drug ring.

The Last House - August 7th (Netflix)

A family of four is suddenly sealed inside their house with no way out and must work together to survive against both their dwindling resources and the mysterious, looming threat that is keeping them trapped.

Teenage Sex and Death at Camp Miasma - August 7th (Limited Theaters)

A director making a slasher sequel becomes obsessed with casting the original film's 'final girl,' leading both women into psychological and sexual chaos.

The Run - August 7th (Limited Theaters/Digital)

In a dystopian, post-pandemic world crippled by a global fertility crisis, an aging smuggler struggles to protect a runaway teenager and her baby from ruthless criminals, while trying to complete his run for his vicious employers.

Cookie Queens - August 7th (Limited Theaters)

It's Girl Scout Cookie season, and four tenacious girls strive to be a top-selling "Cookie Queen," navigating an $800 million business in which innocence and ambition collide.

Late Fame - August 7th (Limited Theaters)

Legendary New York poet Ed Saxberger's forgotten works captivate an eccentric group of young creatives, reigniting his artistic passion. Their intrigue intertwines with the bewitching presence of actress Gloria.

Olmo - August 7th (Limited Theaters)

When Olmo gets invited to a party by his beautiful neighbor, he will do whatever he can to meet up with her, embarking on a night of laughs and chaos.

Julian - August 7th (Limited Theaters)

Fleur and Julian fall madly in love and decide to get married in all countries where they, as two women, are allowed to do so. After only four marriages, their journey comes to a painful and unexpected halt.

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Good points

• Strong performances from Cooper Hoffman and David Jonsson.

• More gripping then it has any right to be.

• The cinematography helps makes the journey visually interesting.

• The friendship between Garraty and McVries gives the story its strongest emotional moments.

• The dystopian setting.

• The pacing works far better than I expected.

Bad points

• Mark Hamill’s Major feels too one-dimensional.

• The ending felt slightly underwhelming.

• Some dialogue, especially in certain scenes with David Jonsson, was difficult to hear clearly.

My Thoughts on The Long Walk

A simple idea turned into a gripping film

I have to give The Long Walk a lot of credit, because this is the kind of movie that sounds like on the surface that it would be pretty dull - people walking, for hours - yet, director Francis Lawrence has taken that simple idea and manages to find a lot of emotion and tension hiding inside it, where it understands that the walking itself isn’t the interesting part, because the interesting part here is the watching of people change under pressure.

Everything that happens here seems to have an importance behind it, because the characters are constantly being tested - tired, scared, stubborn, and sometimes completely overwhelmed - and there is a massive confidence also in letting scenes breathe, allowing all the tension to slowly build instead of it constantly trying to force excitement onto you.

That approach won’t work for everyone, but for me, it worked just fine.

Two Key Performances

The acting would have had a massive impact on making or breaking this type of film, but the cast deliver, with two in particular - Cooper Hoffman is excellent as Ray Garraty., bringing s a quiet determination, just a person trying to keep going, and Hoffman makes that struggle feel genuine, and in turn, you feel that struggle.

David Jonsson is also fantastic as Peter McVries, and the friendship between Garraty and McVries gives the film some much-needed warmth, where their scenes help balance out the darker moments and make the movie feel a bit more personal.

My only small complaint is that some of Jonsson’s dialogue was difficult to hear at times, which is never ideal when you’re already trying to keep track of a stressful movie.

Mark Hamill’s villain needed more layers

Mark Hamill brings plenty of presence to the role of the Major, featuring a coldness to the character that he delivers superbly, and Hamill clearly understands how to make someone intimidating, but I did also feel like the character was missing something.

The Major is effective as a symbol of authority and cruelty, but I wanted a bit more depth to him, as there was an opportunity to explore what created someone like this - what motivates him, and how he sees himself - but he mostly remains a representation of the system around him, which I think is a missed opportunity because Hamill is capable of much more interesting work when given the material.

The cinematography makes walking look interesting

The visual side of The Long Walk surprised me a lot too, because a movie built around people moving along the same road should have become pretty repetitive, but cinematographer Jo Willems does a great job making the experience feel cinemati, and the weather plays a huge role in this - rain, mud, sweat, and exhaustion become part of the atmosphere, and you can feel the physical strain building throughout the movie.

The camera also does a great job showing the gradual changes in the characters, where at the beginning, they look confident and full of energy, but later, every movement feels harder and heavier, and the exhaustion becomes impossible to unsee.

I also liked the repeated backward tracking shots throughout the film, and while I did think they were maybe being used too often, but eventually they started to make sense in the way they reinforce the feeling that there is no escape and no easy way out.

The road keeps going, and so does the pressure.

Also, the fact that the film doesn’t make every character easy to judge was well done - some decisions are understandable, some will frustrate you, and some will make you ask yourself what you would actually do in the same situation.

It’s easy to judge people from the comfort of your couch, so I probably shouldn’t pretend I would handle this situation particularly well, even if my head says I’m an action hero who can take on anything.

Final Verdict

The Long Walk is a film that really shouldn’t work as well as it does, but it does, and the overall experience landed pretty well for me, with more depth to it then I thought it would have had before watching it.

Worth watching.

Trailer

Film Credits

Directed by Francis Lawrence

Screenplay by JT Mollner

Based on The Long Walk by Stephen King

Produced by Roy Lee, Steven Schneider, Francis Lawrence and Cameron MacConomy

Starring - Cooper Hoffman, David Jonsson, Garrett Wareing, Tut Nyuot, Charlie Plummer, Ben Wang, Jordan Gonzalez, Roman Griffin Davis, Josh Hamilton, Judy Greer and Mark Hamill

Cinematography by Jo Willems

Edited by Mark Yoshikawa

Music by Jeremiah Fraites

Running time - 108 minutes

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Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

Good Points

• Saoirse Ronan gives an incredible performance.

• A realistic portrayal of addiction and recovery.

• The Orkney Islands are beautifully captured.

• Strong emotional honesty.

• Beautiful and careful filmmaking most of the time.

Bad Points

• The non-linear structure can be a bit frustrating, but I might be too thickm too.

• Some scenes feel a little overly artistic.

• The pacing is testing at times.

• The emotional impact is sometimes held back by the style.

• The final section feels slightly less natural than what came before.

My Thoughts on The Outrun

Saoirse Ronan gives one of the best performances of her career

Saoirse Ronan completely owns this film, and then some, with never a moment while watching it where I stopped believing in Rona as a person, as she brings so much detail to the role that every scene felt like it mattered.

She also does not try to make Rona someone who is easy to understand all the time, which feels quite genuine - she is funny in some moments, frustrating in others, and sometimes you are just wanting her to make better decisions, which feels pretty human - we have all watched someone make choices that leave us shaking our heads, and sometimes it is us ourselves..

She captures the uncomfortable side of recovery really well too, featuring moments where she seems confident and determined, then moments where she looks completely lost, and the film completely understands that people do not suddenly become a different person overnight.

It actually feels like the kind of role where you forget you are watching an actor doing a job, and that’s probably the best compliment I can give her.

The orkney setting is certainly beautiful

The landscapes in The Outrun are incredible to look at - The Orkney Islands look like the kind of place where you could stand outside for five minutes, feel the wind hit you, and question every life choice you have ever made - og how I wanted to be there.

The film makes great use of the location as well, because it feels huge and empty - the sea, the fields, and the rough weather create a feeling of isolation that fits the story perfectly - it is beautiful, but there is also something that feels a bit harsh about it.

There were a few moments where I did wonder if the movie was trying a little too hard to make sure I noticed how beautiful everything looked at though, as while, Yes, the landscape is amazing, and yes, the camera knows how to find a good view, occasionally the film seemed more interested in creating a beautiful image than staying focused on Rona.

Which to be fair, isn’t really a bad thing as such, but still.

The film takes addiction seriously without turning it into a simple story

The Outrun handles addiction by avoiding the usual approach where everything builds toward one huge dramatic moment and then suddenly everything is fixed, because as we know, that is not how life works, and the film understands that.

Instead, it focuses on the uncomfortable middle ground, where someone is trying to move forward but still has a lot of things to deal with - there are good days, bad days, and plenty of moments where progress probably does not look very impressive from the outside - it does not judge Rona or turn her into a warning sign, it simply allows her to be complicated.

A lot of movies about addiction fall into the trap of feeling like they need a big emotional scene where everyone learns a lesson - The Outrun though is far more interested in the smaller moments, which again feel closer to real life.

The storytelling style can be frustrating

The one thing that will probably divide people I think is the way the story moves around in time, because the film jumps between different periods of Rona’s life, and there were a few times where I had to remind myself where we were, which can be a little frustrating because the film does not always make things obvious, at least to me it didn’t.

Some people will love that though I am sure, but to be fair, the structure does match how memory actually works - people do not remember difficult parts of their lives in a perfectly organised timeline - things come back randomly, certain moments stay with you, while others disappear.

The problem is that understanding why something was done does not automatically mean it is always enjoyable to watch, so there were still sections where I felt the film became harder to connect with because of the way the story was arranged.

Some moments feel more like art than emotion

The film also does have a few scenes where I felt the filmmaking became more important than the character, where it occasionally reaches for a big moment and almost pushes too hard, where instead of simply letting a scene happen.

I personally just wanted to stay with Rona and understand what she was feeling, not admire how carefully a scene had been put together, and there is a difference between a powerful moment and a moment that is clearly trying to be powerful, where the final section especially comes close to crossing that line - it has some beautiful ideas, but it does feel slightly less natural than the rest of the movie.

Final Verdict

A thoughtful, beautifully made film with a fantastic performance from Saoirse Ronan, that is honest about addiction, recovery, and the difficult process of trying to change, and there is certainly a lot here to appreciate overall, even with a few little issues.

Trailer

Film Credits

Directed by Nora Fingscheidt

Screenplay by Nora Fingscheidt and Amy Liptrot

Story by Amy Liptrot, Nora Fingscheidt and Daisy Lewis

Based on The Outrun by Amy Liptrot

Produced by Sarah Brocklehurst, Dominic Norris, Jack Lowden and Saoirse Ronan

Starring Saoirse Ronan, Paapa Essiedu, Nabil Elouahabi, Izuka Hoyle, Lauren Lyle, Saskia Reeves and Stephen Dillane

Cinematography by Yunus Roy Imer

Edited by Stephan Bechinger

Music by John Gürtler and Jan Miserre

Running time - 118 minutes

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Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

And don’t forget to subscribe to get this email each Monday.

Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

The Gentleman Thief - July 28th (Digital)

A retired master thief must protect his impulsive brother from disaster when a $100M yacht heist spirals into a dangerous web of deception. Old foes emerge as the stakes rise, forcing him to use every trick he knows to stay alive.

Leviticus - July 28th (Digital)

Two teenage boys must escape a violent entity that takes the form of the person they desire most - each other.

Capps Crossing: Wrong Side of Dead - July 28th (Digital)

Amber’s birthday getaway with her friends deep in the woods of Capps Crossing takes a horrific turn when a demented park ranger with a tortured past turns their trip into a weekend of terror.

Due West - July 28th (Digital)

A small-town bartender in post-Dobbs West Texas borrows money from her brother Cody and embarks on a secretive, harrowing journey across the state to obtain an abortion.

Above & Below - July 29th (Limited Theaters)

Friends embark on a dream vacation of parties and diving, but their trip takes a terrifying turn when criminals attack them at sea.

The Devil’s Mouth - July 29th (Prime Video)

A group of college friends’ Thailand adventure turns deadly when they become trapped in submerged caves with a dangerous predator. As oxygen runs low, past conflicts emerge in their desperate fight for survival.

The Devil Wears Prada 2 - July 29th (Disney+/Hulu)

Andy Sachs reunites with Miranda Priestly as they navigate their careers amid the decline of traditional magazine publishing.

The Super Mario Galaxy Movie - July 30th (Peacock)

Mario ventures into space, exploring cosmic worlds and tackling galactic challenges far from the familiar Mushroom Kingdom.

Tin Soldier - July 30th (Hulu)

A former agent is recruited by the government for a dangerous mission that will force him to confront a past he would rather forget.

Spider-Man: Brand New Day - July 31st (Theaters)

A forgotten Peter Parker lives alone as a full-time Spider-Man until mounting pressure triggers a dangerous change and a powerful new enemy emerges.

I Want Your Sex - July 31st (Limited Theaters)

Elliot lands a job for Erika Tracy as her sexual muse.

Terrestrial - July 31st (Limited Theaters)

During a weekend reunion, a rising sci-fi author welcomes three college friends to his home, but strange events begin to blur the lines between reality and imagination.

Mustache - July 31st (Digital)

Follows Ilyas, a 13-year-old boy who navigates the social hierarchy of his new school in California with a mustache his parents won't let him shave.

The Samurai and the Prisoner - July 31st (Limited Theaters)

Based on Honobu Yonezawa's novel. Set in 16th century Japan, follows Lord Murashige Araki who, besieged in his castle, confronts mysterious crimes and allies with imprisoned strategist Kanbei Kuroda to uncover the truth.

Soulm8te - August 1st (Digital)

A man acquires an Artificially Intelligent android to cope with the loss of his recently deceased wife. In an attempt to create a truly sentient partner, he inadvertently turns a harmless lovebot into a deadly soulmate.

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Plot

When Cardinal Lawrence is tasked with leading the selection of a new Pope, he finds himself in a web of conspiracy and intrigue that could shake the very foundations of the Catholic Church.

Good points

• Strong performances across the board, especially Ralph Fiennes

• The Vatican setting looks great and adds a lot of atmosphere

• The tension builds well without needing big action scenes

• The film feels smart and controlled

• It makes a pope election feel a lot more dramatic than you would expect

• The movie stays engaging even though it is mostly driven by dialogue

Bad points

• The ending feels a bit too neat

• It gets a little heavy-handed near the end

• It can feel a little too polished at times

My Thoughts on Conclave

A pope election that works as a thriller

Conclave takes a subject that sounds like it could be painfully dull and makes it quite gripping, if I do say so myself, where the whole film is built around a pope election, leaning into all the tension around power, pride, and secrecy that it brings, at least in film format, anyway.

Everyone here has an angle, even when they are trying very hard not to show it, giving the film an energy where it lets the pressure build until you start feeling it too, as everything becomes a battle of wills, with people trying to shape the outcome without looking like they actually are.

As said, it could have been dull, I mean, the whole setting is basically a series of rooms, hallways, and serious-looking people in robes, and even though the pacing is slow, it still manages to keep things interesting enough throughout too.

Ralph Fiennes carries the whole thing beautifully

Ralph Fiennes is the star here, playing everything with this tired, controlled, worn-down energy that fits the movie perfectly, and manages to give the film a strong center, and every time he is on screen, the movie gets that little bit better.

Stanley Tucci is also very good, and John Lithgow adds his own weight to the mix as well, all with different agendas and different kinds of messy - polished on the outside and much more difficult underneath, which is probably the most interesting thing about them.

The Vatican setting

The Vatican is used really well, because it could have been just a nice backdrop, but it actually ends up feeling big, which is what you want really for this kind of story - the long hallways, and formal processions all create a sense that everyone is trapped inside something bigger than themselves, where it simply just places these characters in a setting, then lets that atmosphere do the rest.

There is also something mildly funny, in a dry way, about how serious everybody looks at all times, as nobody is having a normal day in this movie, and nobody is casually grabbing coffee and relaxing - everyone looks like they have just been told the future of the Church is resting on their shoulders, which, to be fair, is pretty much the case.

The movie keeps the pressure on

What kept Conclave interesting for me though is how steadily it holds onto the tension, as you never get the impression that anything feels too rushed, but it also never drifts off - the conversations matter, the looks matter, all the silences matter, and even the smallest exchange can feel heavy.

It also understands that not every scene has to announce itself as being important, which gives it a much smoother and more natural feel than a lot of movies built around political maneuvering, it keeps things controlled and lets the strain build little by little.

There is also a nice amount of restraint in how the story is told, with that slow, careful pace working in its favor because it lets the atmosphere settle in, so by the time things really start tightening up, the movie has already done half the work superbly.

The ending is where it slips a little

My main issue is the ending, and without spoiling anything in case you have not watched it yet, it all felt a bit too tidy compared with everything that comes before it, as the film spends so much time building uncertainty and letting things sit in a more complicated place, then the final stretch gets a little too eager to put a neat point on it all.

That did not ruin the movie for me, but it does take a little shine off what was otherwise what I thought was a very solid experience, but the ending feels more determined to make a statement than the rest of the movie, and that pulls it slightly out of balance.

Even so, it is not the kind of ending that destroys everything before it, and like I said, what was an an enjoyable film overall to watch I thought.

Final Verdict

I found it to be a pretty smart, well acted, and much more engaging movie about electing a pope has any right to be, with a good knack for building the atmosphere and tension well.

Trailer

Film Credits

Directed by Edward Berger

Screenplay by Peter Straughan

Based on Conclave by Robert Harris

Produced by Tessa Ross, Juliette Howell, Michael Jackman, Alice Dawson and Robert Harris

Starring - Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini and Sergio Castellitto

Cinematography by Stéphane Fontaine

Edited by Nick Emerson

Music by Volker Bertelmann

Running time - 120 minutes

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Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

Plot

In a mist-covered futuristic metropolis, a young actress named Elle (Sophie Thatcher) navigates jealousy and betrayal when her former lover (Havana Rose Liu) marries her father.

Good Points

• Stunning visuals/cinematography

• Strong performance from Sophie Thatcher

• An atmosphere that feels unique

• An excellent score

Bad Points

• Story feels too thin for its ambition

• Style often just takes over the emotional side of things

• Too many ideas make it a bit messy

• Lacks the emotional punch it is aiming for

Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

My Thoughts on Her Private Hell

A very Refn return to the big screen

Nicolas Winding Refn has never really been someone who is interested in making things easy with his films, as they have always asked you to meet them halfway, and accept that sometimes a neon-lit hallway or a character staring into space for what feels like five minutes is apparently the point, and Her Private Hell definitely continues that tradition.

There is no mistaking who made this movie though - the colors are extreme, the environments feel artificial, and every shot looks like it was carefully arranged before the camera was even switched on - and it is the kind of film where you can pause almost anywhere and probably have a pretty cool poster sitting there - the problem is that looking impressive and actually being interesting are two very different things.

I did like being inside this strange world that has been created, but I also often felt like I was standing outside the glass looking in, with plenty of moments where the movie feels like it is about to reveal something bigger, something that will pull all of its weird ideas together, but it simply kept drifting away before it got there.

Refn clearly wanted to create a feeling more than a straightforward story, and there is nothing wrong with that really, as some of my favorite movies are the ones that leave room for interpretation, but I also have to say Her Private Hell sometimes feels like it is hiding behind its own mystery a bit too much.

A beautiful movie that sometimes feels empty

Visually, Her Private Hell is fantastic, no doubt about it - it looks expensive, strange and completely disconnected from normal reality - where the city, the lighting and the production design all feel like they belong to some twisted dream where everyone has unlimited money for dramatic mood lighting.

There are scenes here that stick in your head simply because of how they look, and the music also gives the movie a very specific identity, so major props for the score as well, and I am sure plenty of filmmakers would love to create something half as visually confident as this.

At the same time, the film needed more behind those impressive visuals, as a great-looking movie can carry you for a while, but eventually you start looking for something more, where you want the characters, emotions and ideas to hit with the same force as the images on screen, and that balance is where Her Private Hell struggles.

It does have plenty of interesting themes at play, but they also often feel like separate pieces sitting next to each other instead of parts of the same story in a way that feels deliberately distant, which creates a fascinating sense of mystery that never really lets you, as the viewer, completely in.

The performances bring the heat

The performances are probably the biggest reason this film remains watchable when the story starts becoming frustrating - Sophie Thatcher is excellent as Elle. and the movie asks her to exist in this very exaggerated world, but she still manages to make Elle relatable rather than just another strange figure wandering through Refn’s dream, where she has this great ability to show anger, vulnerability and frustration without effort.

Havana Rose Liu is also a lot of fun to watch, fully embracing the movie’s heightened style and brings a confidence that fits perfectly with Refn’s world, and she seems completely comfortable delivering the kind of dialogue that could sound ridiculous in another movie.

Charles Melton’s performance gives the film some much-needed emotional weight, and there is a seriousness to him that helps balance out some of the stranger moments.

Theweirdness works, until it doesn’t

A lot of Refn’s best work comes from his willingness to be uncomfortable, as he has always been interested in damaged people, strange relationships and characters who are not exactly easy to understand.

That approach can be incredibly rewarding when everything clicks, but when it does not, it can feel like the movie is asking for patience without giving enough back, and this film has plenty of ideas that could have made for a fascinating psychological thriller, as there is clearly something underneath all the style, but the film keeps covering it with more layers of symbolism, strange conversations and dreamlike moments.

There were times when I certainly admired what Refn was doing, even when I was not completely enjoying it, and that is probably the most frustrating thing about the movie - it is hard to dismiss because there is so much talent involved, but the filmmaking is maybe a bit too confident.

You can certainly feel that there is a purpose behind it all, but I just wish the movie made that purpose easier to connect with.

Final Verdict

Her Private Hell is quite a fascinating film, but also equally frustrating and for fans of Refn’s stranger work, there is plenty to appreciate here, but for everyone else, you might find yourselves admiring the movie more than actually enjoying it.

Trailer

Film Credits

Directed by Nicolas Winding Refn

Screenplay by Nicolas Winding Refn and Esti Giordani

Story by Nicolas Winding Refn

Produced by Nicolas Winding Refn

Starring - Sophie Thatcher, Charles Melton, Havana Rose Liu, Kristine Froseth, Shioli Kutsuna, Aoi Yamada, Dougray Scott, Diego Calva and Hidetoshi Nishijima

Cinematography by Magnus Nordenhof Jønck

Edited by - Matthew Newman

Music by - Pino Donaggio

Running time - 110 minutes

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Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

Plot

After the Trojan War, Odysseus faces a dangerous voyage back to Ithaca, meeting creatures like the Cyclops Polyphemus, Sirens, and Calypso along the way.

Good Points

• Nolan has put his own stamp on Homer’s legendary story

• Brilliant to watch on the big screen screen possible.

• Stunning visuals

• The cast are excellent pretty much all round

• Balances the ancient themes with some modern emotional storytelling.

• Reminds you why huge theatrical experiences still matter.

Bad Points

• Some scenes feel like they are trying to explain the themes a tad too hard

Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

My Thoughts on The Odyssey

A classic story with Nolan’s fingerprints all over it

Christopher Nolan was always going to put his own stamp on The Odyssey, and you can feel it almost immediately, because this is not a simple “bring the old story to life and move on” type of adaptation, as Nolan has taken something that has been around for a long time and gives it the kind of treatment only he could, and would.

The huge ideas, the complicated storytelling, the conversations where characters talk like they are explaining the universe over dinner, which is very much his thing by now, and at this point, if someone in a Nolan movie does not spend five minutes explaining a concept, you almost start wondering if something went wrong.

But underneath all of that is a genuine respect for the source material too, as Nolan understands why this story has lasted so long., and it is not just because of the mythology either - the battles, or the larger-than-life moments - it is because the emotions still work - the themes of regret, ambition, loyalty, and human mistakes still feel relevant, even after centuries of people telling the same story - that is where the movie really finds its strength, and it feels like a filmmaker looking at an ancient story and asking, “Why does this still matter?” rather than simply recreating something because it is famous.

A massive movie that actually feels like an event

One thing that is impossible to ignore is the scale, because The Odyssey is absolutely enormous, and while Nolan has always been a director who likes making movies that feel bigger than just a two-hour trip to the theater, this might be one of his biggest swings yet.

The visuals too are stunning throughout - the locations are incredible, the production design is full of detail, and there is a real sense that you are watching something carefully built, mainly because that’s exactly what you are watching, where the decision to lean heavily into practical filmmaking works for the most part.

There is also something quite refreshing about seeing a modern blockbuster that actually looks like people built things, dressed sets, and put effort into creating a real world, and you can feel the amount of work that went into every frame, even if Nolan’s commitment to practical effects does come with a few moments where you can see the limitations as well.

Still, the overall experience is hard to argue with, and this is the kind of movie where you understand why people still care about seeing massive films on the biggest nd best screen possible.

The performances

The cast is of course packed, and thankfully, it is not just a collection of famous names standing around looking serious in ancient clothing.

Matt Damon brings a lot of emotion to the central role, and what I particulary liked about his performance is that he does not play the character as some unstoppable legend, as there is more sadness and exhaustion there, which helps to give the film a much more human feeling.

Anne Hathaway is also excellent, bringing a lot of strength and emotion to her role, and while she has some of the quieter moments in the film, they do carry a lot of weight because she seems to understand the importance of the character beyond simply being part of a famous story.

Tom Holland also brings a lot of energy and sincerity, and fits naturally into the world Nolan creates and gives the movie some much-needed warmth, while Robert Pattinson clearly understands how to make a character enjoyable to watch while still making you want to throw something at the screen - Nolan has ended up assembling a group of actors who all bring something different, and while some performances naturally stand above others, nobody feels wasted either.

The mythology feels fresh without losing its identity

The biggest challenge with a movie like this I think is making ancient mythology feel interesting without making it feel like a history lesson.

Thankfully, Nolan avoids that trap.

The film treats the mythology with respect, but it also gives everything a more mysterious quality, where the gods and legendary elements are not just there as fantasy decoration, they actually feel connected to the characters and the way people try to understand things they cannot explain.

It also does not spend every second trying to remind you that you are watching a myth, as it allows the world to feel strange and larger than life without constantly stopping to point at it, with a nice balance between the old and the new.

The film has the scale and imagination you expect from a legendary tale, but the characters speak and behave in a way that feels much easier to connect with, and while some people will probably complain about the modern approach, especially the dialogue and performances, but I think it works.

A few little issues I had

As impressive as The Odyssey is, it does have a few little issues for me.

The biggest one is the runtime, and while Nolan clearly has a lot he wants to explore, but sometimes the movie felt like it was trying to include every single idea he had while making it, and there are certainly moments where you can feel the length starting to catch up with the pacing.

I can only imagine how long the uncut version will be.

The film also occasionally falls into the classic Nolan problem where the characters are discussing ideas more than actually experiencing them, with some scenes being fascinating, but others feel like they exist mainly to explain the themes, and while Nolan is clearly aiming for something grand and meaningful, sometimes you just want the movie to relax for a minute.

Minor issues aside, The Odyssey also ends up being a reminder of why I love going to the movies, and that my friends, is a fantastic feeling.

Final Thoughts

The Odyssey is classic Nolan, for better and occasionally for worse - a bold, impressive adaptation that proves some stories really do last forever.

Trailer

Film Credits

Directed by Christopher Nolan

Screenplay by Christopher Nolan

Based on Homer’s Odyssey

Produced by Emma Thomas and Christopher Nolan

Starring - Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson, Lupita Nyong’o, Samantha Morton, John Leguizamo, Zendaya and Charlize Theron

Cinematography by Hoyte van Hoytema

Edited by Jennifer Lame

Music by Ludwig Göransson

Running time - 173 minutes

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Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

And don’t forget to subscribe to get this email each Monday.

Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

Her Private Hell - July 24th (Theaters)

In a mist-covered futuristic metropolis, a young actress named Elle (Sophie Thatcher) navigates jealousy and betrayal when her former lover (Havana Rose Liu) marries her father.

72 Hours - July 24th (Netflix)

A 40-year-old executive ends up at a three-day bachelor party with twenty-somethings after being mistakenly included in their chat group.

Motor City - July 24th (Limited Theaters)

In 1970s Detroit, John Miller falls for a local gangster's girl. In retaliation, the gangster enacts a frame job to send the innocent man to prison. Life ruined, Miller plots a revenge campaign against the man who took his girl away.

The Dink - July 24th (Apple TV)

A washed-up tennis pro tries to save a club by reluctantly playing pickleball to earn his father's respect.

Kill Code - July 24th (Digital)

In a crime plagued future, a power-hungry corporation has issued deadly watches to criminals, forcing them to eliminate each other for freedom, and only one of their own can topple the entire system from within.

Haunted Heist - July 24th (Limited Theaters)

Four estranged friends reunite at a house, where one plans to find a valuable antique by robbing it. However, the haunted house's ghosts force them to overcome differences to survive.

A Sad & Beautiful World - July 24th (Limited Theaters)

Across three decades, Nino and Yasmina are bound by a magnetic relationship. Torn between love and survival, they must decide whether to build a family in Lebanon, or leave their home amid the country's unfolding tragedies.

Pinocchio: Unstrung - July 24th (Limited Theaters)

A dark coming-of-age reimagining of Pinocchio, this unsettling tale follows the iconic puppet's disturbing journey toward becoming real.

Avatar Aang: The Last Airbender - July 25th (Paramount+)

Avatar Aang, the world's last Airbender, learns of an ancient power that could save his culture from extinction. With the help of his friends, he embarks on a global quest to find it before it falls into the wrong hands.

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Plot

Based on Denis Johnson's beloved novella, Train Dreams is the moving portrait of Robert Grainier, a logger and railroad worker who leads a life of unexpected depth and beauty in the rapidly-changing America of the early 20th Century.

What I Liked

• Joel Edgerton is excellent, as is the whole cast really.

• The narration fits well.

• The cinematography is beautiful.

• The humour works well.

• It gets better after watching it again, at least for me it did.

What I Didn’t Like

• The pacing is very slow, and yes it’s intentional I know, but still…

• It takes a while to get into, again, least for me.

My Thoughts on Train Dreams

You have to let this one sink in

I will be honest, I wasn’t completely sure what to make of this film first, because the pacing in particular was something I wasn’t overly on board with, but I did a rare thing for me and re-watched it the day after, and then it clicked better - the questions, the small moments the film is portraying, and it seemed to sink in more and click in my tiny little brain.

It certainly asks for a lot of patience, but once I got it, I got much more out of it, but even now, I still don’t think I got everything that I should have got from it, which is why I want to re-watch it again at some point.

Joel Edgerton and the whole cast are great

Joel Edgerton full of restraint here, without him making anything ever feel empty, letting things stay quiet when they need to, and it’s the little details that matter with him.

You also get the sense that this is someone who has experienced a lot, even when he isn’t talking about it, and it’s one of those performances where the more you think about it, the better it gets.

Felicity Jones is another one that shines, bringing a lot of warmth, and I liked the way she and Edgerton interact, with their scenes feeling comfortable and natural, which mdes their connection much easier to believe and connect with.

William H. Macy also makes the most of his role, where he has a way of making even smaller appearances feel memorable, while the rest of the cast add a lot too,because even the rief appearances feel like they belong to actual people with their own lives.

The narration

I’ve mentioned before that I’m usually a bit unsure when films use narration because it can go wrong very quickly, as sometimes it feels like a movie is telling you how to feel instead of letting you figure things out yourself - but thankfully, that wasn’t my experience here.

Will Patton’s narration fits the mood and doesn’t take anything over, and it feels like someone looking back and remembering things rather than someone explaining every little detail, where it also leaves enough room for the acting and visuals.

It adds something without becoming the main focus, which is exactly what a narration should accomplish.

One of the best-looking films

The visuals in Train Dreams are fantastic too - the landscapes, the forests, the open spaces, everything looks incredible, and there’s a real sense of care in how the film has captured the world around its characters, with a great sense of atmosphere without constantly trying to show you how beautiful it is, and while some movies almost beg you to notice their cinematography, this one just gets on with it, which makes the beautiful moments feel more natural.

There were a lot of shots that stayed in my head simply because they looked so good.

It’s also quite funny

The little bits of humour throughout the film really add a lot to the overall experience, and going by the overall tone, I certainly wasn’t expecting many moments that would make me laugh, but there are quite a few.

All of it comes from normal conversations and the way people are behaving around each other, which actually helps you connect with the characters more too, because life isn’t just serious moments one after another, and the film knows that.

Those small moments are what give the film a nice balance.

Final Verdict

Train Dreams is a film that rewards patience, and I am glad I gave it a re-watch as well, as it ends up becoming a lovely reminder that sometimes the simplest stories can leave the biggest impression.

Trailer

Film Credits

Directed by Clint Bentley

Screenplay by Clint Bentley and Greg Kwedar

Based on Train Dreams by Denis Johnson

Starring - Joel Edgerton, Felicity Jones, Nathaniel Arcand, Clifton Collins Jr., John Diehl, Paul Schneider, Kerry Condon and William H. Macy

Narrated by Will Patton

Cinematography by Adolpho Veloso

Edited by Parker Laramie

Music by Bryce Dessner

Running time - 102 minutes

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One Battle After Another definitely falls into the second category.

Plot

A washed-up former radical, Bob (Leonardo DiCaprio), goes on the run with his daughter, Willa, when his extremist nemesis, Colonel Steven Lockjaw (Sean Penn), resurfaces sixteen years after the dissolution of their militant rebel group.

Good Points

• It clearly doesn’t care about playing things safe, and is a very confident film.

• The cast are great, especially Leonardo DiCaprio and Sean Penn.

• The humor treats ridiculous situations completely seriously.

• The action has a lot of creativity.

• Jonny Greenwood’s score.

Bad Points

• It can feel like a lot at once, with so many ideas happening.

• The pacing is a tad uneven at times.

• The unusual style is the movie’s biggest strength, but also its biggest weakness.

My Thoughts on One Battle After Another

A strange movie that takes big swings

I really enjoyed One Battle After Another I have to say, and while it did also have some moments where I wasn’t really sure what direction it was heading, it’s a film that always keeps you interested in finding out - weird, funny, intense, and full of personality.

If you’re looking for a straight forward action type movie though where everything is neatly explained and every moment exists just to move the story along, this is not it, but if you want one that fully embraces its strange sense of humor, its unpredictable energy, and its willingness to get a little ridiculous, I am sure you will like it what this has to offer.

I can definitely see why some people might find it all a bit overwhelming though, because there are moments where the movie feels like it has five different ideas happening at once, but it’s an incredibly confident film, and that confdience in trying to be a bit strange is what I think makes it a bit memorable, with a real sense of fun running through the entire film.

And even when it does get serious,you still have this feeling that the movie knows exactly how unusual it is and how unusual it exactly wants to get.

Leonardo DiCaprio leads with a different kind of hero

Leonardo DiCaprio can pretty much not really do too much wrong whatever film he is in, and here is no different, where he manages to balance the humor and heart really well, and the movie definitely benefits from having someone who can handle both sides.

He fully leans into all the awkwardness, the stress, and the uncertainty of the character and everything around him, and is also willing to look ridiculous doing so, while bringing a ton of emotion to the role as well, as behind the comedy and the strange situations, there’s a genuine warmth that is very hard to not like.

The rest of the cast bring a ton of personality too

To be fair, the entire cast understand the strange tone of One Battle After Another and bring an A game.

Sean Penn is absolutely fantastic, giving a performance that is intimidating, hilarious, and completely unpredictable all at once, where he goes big with the role, but he knows exactly how far to take it, and he will make you laugh one second and make you uncomfortable the next.

Chase Infiniti is another standout, and she brings a lot of confidence and personality, with a screen presence that makes her scenes immediately more interesting., which is also a great contrast to DiCaprio’s more nervous and messy energy.

Teyana Taylor too also brings humor, intensity, and emotion really well, and she adds a lot of life to the movie, fitting perfectly into the film’s unusual style.

The humor finds the absurd in everything

The film definitely has a very particular sense of humor, which I loved, and it isn’t afraid to make you laugh at moments where you might feel like you probably shouldn’t, and a lot of the comedy comes from how seriously the film treats some completely ridiculous situations.

The characters are often seen behaving as if everything is perfectly normal, even when the world around them is anything but normal, so that contrast creates a lot of the funniest moments, and I also liked that the humor wasn’t forced, which is one of my pet peeves.

There’s also a bit of smartness behind the jokes, as the film uses humor to look at serious topics, but it also avoids feeling like it’s giving a speech, where it’s much more interested in making you think while you’re laughing, so the satire feels that much sharper but not lazy.

The action has real style and creativity

The action scenes are are simply put, pure energy - creative, and filled with moments that feel carefully put together, especially the chase sequences which are excellent, featuring a real sense of movement and imagination, and they also don’t feel like typical action scenes that you’ve seen repeated in dozens of other movies, which is nice.

You will probably also notice that the action also has its own personality, where it matches the weird tone of the rest of the film, intense, but it’s also strange and sometimes funny, which fits everything else happening.

Jonny Greenwood’s score

The music deserves a mention, because it is fantastic, and Jonny Greenwood’s score brings a lot of energy and gives the movie an extra layer of personality.

The soundtrack is loud, unpredictable, and helps build the mood and makes certain moments feel even more memorable, contributing to the experience rather than just fading into the background.

And that’s always what the best soundtracks accomplish.

A bit overwhelming at times…

The biggest weakness of One Battle After Another is that it can sometimes become a little exhausting, simply because the movie has so many ideas, jokes, and tonal changes that there were moments where I felt like it needed to slow down for a second.

The shifts between comedy, drama, and action also felt a little uneven at times, and while ,ost of the time, I enjoyed the unpredictability, but there were certainly moments where the transitions felt a little too awkward.

I also think some people may struggle with how much the film expects them to simply go along with it, as it doesn’t always explain every detail, and it isn’t interested in making everything simple.

For me, that was mostly part of the experience, but I understand why that could frustrate some people.

Final Verdict

One Battle After Another is the kind of movie that takes risks, and while there are moments where it did become a little too much, I still had a great time with it.

It’s messy, but it’s the kind of mess that makes a movie interesting, so for me, One Battle After Another is absolutely worth watching if you haven’t already.

Trailer

Film Credits

Directed and written by Paul Thomas Anderson

Based on Vineland by Thomas Pynchon

Produced by Adam Somner, Sara Murphy and Paul Thomas Anderson

Starring - Leonardo DiCaprio, Sean Penn, Benicio del Toro, Regina Hall. Teyana Taylor and Chase Infiniti

Cinematographyby Michael Bauman

Edited by Andy Jurgensen

Music by Jonny Greenwood

Running time - 162 minutes

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And if you get bored after, here are my other underrated film lists I have done so far.

The Aura (2005)

I’ll start with te one I think is the most underrated, and that’s The Aura, and if you like crime thrillers, defo check it out, not to mention Ricardo Darín is brilliant here, playing a very different kind of thriller lead from what you usually get.

This whole film has a very strange, almost hypnotic pace as well, and you will know what I mean if/when you watch it, where it doesn’t feel like it’s following the usual rules of the genre.

Certainly not a film I’d recommend to someone who wants a fast thriller with something happening every five minutes though, but if you like slower films that get a bit under your skin, this is a great one to discover.

The Spanish Prisoner (1997)

Brilliant writing and a lead in Campbell Scott who is great here, playing someone who feels completely believable, just a normal person trying to understand a situation that keeps getting more complicated.

Steve Martin is also really interesting here because it’s not the kind of role most people would associate him with, bringing a completely different energy, and it’s one of those performances where you’re never quite sure what to make of him.

If you like thrillers where the conversations actually matter, and where someone saying the wrong thing or trusting the wrong person is more important than a car chase, this one is for you.

A proper old-school thriller.

The Minus Man (1999)

If you only know Owen Wilson from comedies, watch this one, as he givse one of his most unusual performances, and you will see, and appreciate a completely different side of him.

Wilson’s character is incredibly unsettling,, simply because he doesn’t behave like someone you expect to see in a typical thriller, and everything in the film just has this very uncomfortable feeling to it all, but it’s definitely not for everyone, as it is quite slow, but I think those are usually the films that are worth discovering because they’re not trying to copy anything else.

Oh, and Sheryl Crow has a part, too.

The Last Seduction (1994)

Linda Fiorentino completely owns this film, where she brings so much confidence and attitude that every scene becomes more interesting just because she’s in it, and once you have watched it, you will understand why people still talk about the performance even if the film itself doesn’t get mentioned as often anymore.

It also has that great 90s crime thriller style - sharp dialogue, and morally questionable people featuring characters who are always trying to get one step ahead of each other.

What’s not to love?

The Signal (2007)

Half horror, half thriller, it’s a very rough around the edges film made with a $50k budget, but I still think it deserves more attention, featuring a very independent film vibe, rather than something neatly designed to fit perfectly into a genre, and the cast, especially AJ Bowen, helps give it a lot of personality which helps carry some of the weaker moments.

But it’s a film that s at least it’s trying something a bit different, which is sometimes more interesting than a perfectly made film that feels way too safe.

Not to be confused with a film from 2014 with the same name.

Red Riding: 1974 (2009)

This film is part of a trilogy, and they are all worth checking out as they are all seriously underrated, and before Andrew Garfield became known for his bigger roles, he was doing films like this, playing someone who feels completely out of his depth, and I promise you will find this very interesting, a world that feels genuinely unpleasant.

It’s a dark watch though, but if you like crime thrillers that feel realistic and less polished, check all 3 films out, as they are all a masterful, bleak descent into 1970s and 1980s Northern England.

The Guilty (2000)

Bill Pullman is really good here, and another film that has a much darker, more uncomfortable edge than a lot of mainstream thrillers from the same period, where it completely flips the script on the standard morality tales of the early 2000s, with a rather achilling examination of cause and effect.

It features claustrophobic framing and Hitchcockian type suspense sequences to force you to watch a man compromise every shred of his humanity just to stay ahead of his lies.

The Silent Partner (1978)

A very clever 70’s thriller without constantly needing to show you how clever it is, with characters that are constantly trying to figure out their next move, and that makes every scene feel like there’s something underneath it, which will keep you watching.

It also has a really sharp sense of humour running through it, and when you do finish watching it, you will wonder how it never became a film that everyone talks about, so if you like cat and mouse dynamics, brilliant writing, and brilliant performances, you owe it to yourself to watch this.

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And don’t forget to subscribe to get this email each Monday.

Daily Movie Thoughts

Some daily movie thoughts from a middle aged man who has watched way too many movies, and continues to do so.

The Odyssey - July 17th (Theaters)

After the Trojan War, Odysseus faces a dangerous voyage back to Ithaca, meeting creatures like the Cyclops Polyphemus, Sirens, and Calypso along the way.

The Bay - July 17th (Limited Theaters/Digital)

Two best friends, Emma and Lani, attending a destination wedding in Thailand, find themselves trapped on a sinking tour boat in the heart of a tiger shark sanctuary.

Descendants: Wicked Wonderland - July 17th (Disney+)

The latest installment in the fantasy teen series. When Wonderland plays host to the Kingdom Cup Games, Red and Chloe Charming must fight to save everyone from an unexpected villain.

They Fight - July 17th (Hulu)

Follows a group of adolescent boxers and their formerly incarcerated coach in Southeast Washington DC on the road to defend their national titles.

Kill Trip - July 17th (Digital)

On the way to a Texas music festival, a group of friends catches a ride with a magnetic van driver. But when people start vanishing, the real headliner becomes survival.

The Kidnapping of Arabella - July 17th (Limited Theaters)

An Italian woman named Holly is convinced she's the wrong version of herself until meeting a 7-year-old girl who changes her perspective.

Horsegirls - July 17th (Limited Theaters)

As her mother Sandy (Gretchen Mol) grapples with an uncertain diagnosis, autistic 22-year-old Margarita (a revelatory Lillian Carrier) must reluctantly grow up.

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