Plot

Hana, a lovelorn medical student, becomes terrorized by a sinister force after taking part in an obscure weight loss craze: eating human ashes.

Good Points

• Midori Francis delivers an excellent performance

• Body horror imagery is genuinely disturbing

• Strong atmosphere

• Captures modern wellness and body-image culture uncomfortably well

• Sound design makes everything feel extra disgusting

• Visual style is consistently striking

• Some skin-crawling horror moments

• Themes around shame and obsession hit hard

Bad Points

• The supernatural storyline weakens the film considerably

• Runtime feels way too long for the story being told

• Some emotional beats get repeated too often

• Themes become overcrowded and messy by the end

• Doesn’t really fully connect all of its ideas together

My Thoughts on Saccharine

Midori Francis

The best thing about Saccharine is easily Midori Francis, because she is really really good, where her character could have easily become a one-note “descent into madness” horror character, and to be honest, I was expecting it, but Francis helps to keep it all feeling painful to watch, even once the movie starts drifting into complete nightmare logic.

It feels like she’s trapped inside her own thoughts permanently and can’t switch the noise off anymore, with so much mental exhaustion and emotional vulnerability, which carries the movie through some of its messier stretches because even when the story becomes chaotic, you still feel Hana.

The film features some scenes that involve social interactions, and while I am not going to spoil much, these were some of the hardest to watch, because they’re incredibly accurate.

A lot of people are going to relate to Hana a lot, I think.

The movie understands how casually cruel wellness culture can feel

That’s where the horror works at its best in the film, because every conversation about appearance feels loaded, every “helpful” comment sounds slightly passive-aggressive, and even supportive people somehow still come across like they’re silently judging everything Hana eats, says, or looks like, where you also know exactly the type of person the film is talking about too - the “I just care about your health” crowd who somehow leave you emotionally destroyed after every interaction, the movie captures that pressure incredibly well.

And because it recognises how obsessive and performative modern beauty culture has become, that part of the horror isn’t just abstract metaphor, either.

The body horror

Respectfully, this movie is a bit vile, with scenes involving food, surgery tools, blood, chewing, slicing, body parts, and enough amplified squishing noises to make anyone physically recoil multiple times, and the sound design deserves partial blame for my suffering.

What really helps is that the gross-out imagery actually connects to the themes rather than existing purely for shock value - food never feels comforting here, where even normal meals are filmed like emotional breakdowns waiting to happen.

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

The visual style carries the weaker sections

Even when the pacing starts to drag a bit, the movie still looks fantastic, and Natalie Erika James clearly knows how to build atmosphere, because the lighting, neon colours, reflections, exaggerated food photography, and uncomfortable close-ups all work well together, with a constant sweaty, overfed-but-somehow-starving feeling hanging over the entire film, where everything looks unhealthy, and there’s also one dessert scene that genuinely made frosting feel threatening somehow, which is impressive.

The supernatural stuff is where the movie starts wobbling

At first, the haunting element worked OK I thought, because it felt connected to Hana’s mental state, and I thought the film was heading somewhere even more psychological.

But, once the supernatural element does become more central, the movie does start slipping into much sillier territory. with scenes where objects start flying around and suddenly the tone shifts from “slow emotional collapse” into “paranormal activity happening in somebody’s kitchen”.

I don’t think the issue here is that the supernatural horror element exists, but it’s just that the movie never fully figures out how all its ideas fit together emotionally - the body horror, eating disorders, addiction, shame, self-destruction, beauty standards, haunting, obsession, and guilt all start piling on top of each other until the actual story underneath starts to get buried, and the longer it goes on, the messier that balance becomes.

It did not need to be nearly two hours long

The middle section especially starts repeating itself emotionally - Hana spirals, somebody comments on appearance, disturbing imagery happens, repeat, and the movie keeps circling back to the exact same emotional beats, so that repetition hurts the pacing badly.

Especially because visually the film is already strong enough to communicate most of its themes without constantly restating them.

Saccharine will no doubt also be compared to a certain other body horror film that was popular not long ago, and it does have similiarities for sure, but it also has its own identity, especially emotionally, and you can definitely feel the difference in how tightly each film controls its escalation.

Final Verdict

Midori Francis is the best thing about this film, as she completely carries the emotional side, but I think the film does have some issues, but it also sticks with you too, has some really good scenes, and makes you think, which is always a positive thing in my book.

I liked it enough.

Trailer

Directed and written by Natalie Erika James

Cast includes - Midori Francis, Danielle Macdonald, Madeleine Madden and Robert Taylor

Cinematography by Charlie Sarroff

Edited by Sean Lahiff

Music by Hannah Peel

Running time 113 minutes

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Plot

Kyle and his friends hack for fun, pranking online scammers. Seeking a bigger thrill, they target billionaire Don Heard through his daughter Lindsey's social media, stealing his cryptocurrency.

Good Points

• Online friendships feel believable

• Dialogue sounds realistic instead of overly scripted

• Strong group chemistry throughout

• Fast pacing keeps the tension constantly moving

• Understands internet culture

• Captures online panic and group-chat energy perfectly

• Keeps suspense high despite mostly taking place on screens

• Soundtrack keeps up the energy

Bad Points

• Screenlife format feels visually restrictive at times

• Some of the chaos occasionally borders on overwhelming

• A few emotional moments could’ve hit harder visually

My Thoughts on LifeHack

This is one of the few internet movies that actually sounds real

Thankfully, in LifeHack, nobody talks like a 45-year-old executive guessing how teenagers communicate, because here conversations overlap, jokes die halfway through, people get distracted mid-sentence because another notification popped up, and half the group sounds like they’re operating on zero sleep and pure impulse, which feels accurate enough, doesn’t it?

The film also understands that online friendships can be incredibly close while also being slightly chaotic at all times, where everyone has that one group chat where somebody suggests a catastrophic idea and the rest somehow convince themselves it might actually work, and LifeHack captures that energy perfectly.

The group dynamic carries the film

Without the chemistry between the cast, this probably collapses instantly.

We spend most of the runtime staring at screens, video calls, messages, livestreams, and desktop windows, so if the characters didn’t feel believable together, the whole thing would become exhausting very quickly, but thankfully, the cast really sells the feeling that these people have known each other forever - they annoy each other naturally, they joke naturally, they panic naturally, and importantly, they make terrible decisions with the exact level of confidence real people do online.

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

The film actually understands what the internet looks like

Thank God this movie doesn’t treat hacking like glowing green code floating across a black screen while dubstep explodes in the background, as everything here feels ugly, cluttered, and stressful in the most believable way possible.

Twenty tabs open at once, terrible usernames, buffering, webcam lighting that makes everyone look vaguely haunted, and group calls turning into complete mayhem because nobody knows who should actually be in charge, with something constantly happening onscreen too, so the pacing is pretty good as well, and never reverts to just visual noise.

Everything is organised enough that you always understand the emotional momentum of a scene, which is probably the main reason the pacing works so well.

The screenlife format still has limitations

As much as I enjoyed it, there are still moments where the format holds the film back slightly, where some scenes clearly want to feel bigger and more cinematic, but there’s only so much visual energy you can get from watching small webcam boxes and desktop windows for two hours, and a couple of emotional moments lose impact simply because the film can’t physically break outside the screen format.

At the same time, the restriction also adds tension elsewhere, because when you see fragments of situations, hear panic through headsets,and watch people scramble between tabs, that does make everything seem worse and creates its own kind of anxiety, so the group-chat panic might be the most realistic part of the entire movie - nobody knows what’s happening, everybody suddenly thinks they’re an expert, and one person disappears at the worst possible moment.

Perfect online disaster management.

It’s not preachy about technology

The film also never turns into one of those exhausting “phones are destroying society” lectures, as it understands why these online spaces matter to people in the first place, even if they happen through screens, and it’s all done with a sincerity that stops the film from becoming just empty noise, so underneath all the hacking and mayhem, there’s still a story about people trying to matter to each other, and that emotional layer helps more than you might think.

I enjoyed the music as well, especially once everything starts spiralling harder, so it ends up working really well alongside the editing, and there were multiple stretches where I realised I’d been completely locked in for twenty straight minutes without even noticing.

And that’s always a good thing.

Final Verdict

I enjoyed LifeHack, even though I went in with low expectations, and found it fairly authentic about how people actually exist online, where the film understands internet culture without desperately trying to sound current every five minutes.

Trailer

Directed by - Ronan Corrigan

Written by - Ronan Corrigan and Hope Elliott Kemp

Cast includes - Georgie Farmer, Yasmin Finney, Roman Hayeck-Green, James Scholz with Jessica Reynolds, and Charlie Creed-Miles.

Cinematography by - Ciaron Craig

Edited by - Ronan Corrigan and Aleksandr Kletsov

Music by - Two Blinks, I Love You

Running time - 97 minutes

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That question hung around me while watching Is God Is, as this film has a confidence that’s slightly annoying in the way only confident debuts can be.

Plot

Two sisters embark on an epic quest for revenge, confronting a charged family history that pushes them to extraordinary lengths.

Good Points

• Strong directorial voice with real confidence and identity

• Never feels safe or restrained

• Consistent tone even when things get intense

• Natural chemistry between the leads

• Supporting cast also has real presence

• Visual choices add texture to scenes

• Commits fully to its emotional ideas

• Never boring, even when it overextends

Bad Points

• Occasional imbalance between ambition and execution

• A few scenes try harder to land impact than they actually achieve

• Not always easy to connect with emotionally

My Thoughts on Is God Is

The biggest personality trait of this film is that it doesn’t ease you in

That really sums up the experience of watching Is God Is, as it just starts, with no real soft entry point, and no attempt to slowly guide you in, it just ommits immediately and stays there, whether you’ve adjusted or not.

Every decision here feels ever so intentional as well - the framing, pacing, and rhythm of scenes all feel like they’ve been chosen rather than defaulted into, and while that doesn’t mean everything lands perfectly, it does mean the film always feels like it knows what it’s doing.

At times, the intensity did become slightly draining, and I am not even sure that’s a negative, as it feels draining in a way that makes you aware of how long you’ve been sitting in that same emotional register.

Still, there’s no attempt to smooth anything out, no sanding down the edges, and no obvious push toward accessibility, it just exists as it is and expects you to either engage with it or fall off.

The performances are excellent

The cast, and in particular the sisters Racine (Kara Young) and Anaia (Mallori Johnson), is one of the main reasons the film holds together, as the two leads have a chemistry that doesn’t feel constructed, and where nothing about their dynamic feels overly polished.

And that is what actually helps the emotional side of the film feel more believable, because even when the dialogue does get a bit forceful, they keep it grounded enough to avoid anything ever tipping into melodrama territory, where we get one performance that leans sharper and more outward-facing, while the other is quieter and more internal, but not passive, so that contrast gives the film its emotional balance without turning them into obvious opposites.

There’s also a slow-build antagonist presence in the background that’s handled with restraint early on, and that restraint pays off later, because when it finally becomes more direct, it actually carries some weight instead of just feeling like another escalation.

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

The film has a voice

What also works really well is just how consistent the film feels too, so even when it pushes too far or repeats itself, it still feels like it belongs to the same creative intention, and there’s no sense of it drifting or losing direction.

Visually, there are also moments where the direction genuinely elevates simple scenes - framing choices and pacing decisions give certain moments more impact than they would have on paper - where nothing ever feels careless, even when it becomes heavy or overwhelming.

If I had to say a main issue the film has, I would say it is that the film occasionally overstays its emotional beats, with stretches where the same idea is held for longer than necessary, as if the film is trying to extract extra intensity from something that has already landed, although I wouldn’t say it is a major issue either.

There are also moments where ambition slightly outpaces execution, but again, not in a catastrophic way, but enough that you can feel the gap between what the film is aiming for and what it actually lands.

What’s interesting though is that even the weaker parts don’t feel lazy, they feel like overconfidence rather than lack of control, which is a very different problem, and in a strange way, a more interesting one, because the film would probably be worse if it played it safe, so when it does occasionally push too far, it’s always with intention.

And when you can turn the negatives into somewhat of a positive too, you know you have something good going.

Final Verdict

Is God Is has a clear, stubborn identity running through everything, where it doesn’t aim for universal approval, and it doesn’t dilute itself to be easier to digest, and ends up being a strong, confident debut that never feels boring, never feels aimless, and definitely doesn’t disappear the moment it’s over.

Trailer

Directed and written by - Aleshea Harris

Cast includes - Kara Young, Mallori Johnson, Janelle Monáe, Vivica A. Fox, and Sterling K. Brown

Cinematography by - Alexander Dynan

Edited by = Jay Rabinowitz

Music by - Joseph Shirley

Running time - 100 minutes

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Plot

After breaking the mysterious “One Wish Willow” to win his crush’s heart, a hopeless romantic gets exactly what he asked for. However, he soon discovers that some desires come at a dark and sinister price.

Good Points

• Inde Navarrette gives an excellent, unsettling performance

• The horror escalates naturally from emotional discomfort

• Strong atmosphere of creeping obsession throughout

• The film balances sympathy and horror very well

• Great use of tension without relying constantly on jump scares

• The central concept is genuinely disturbing

• Strong emotional discomfort underneath the horror

• The film commits fully to its darker ideas

Bad Points

• Relies on shock value a bit too often at times

• Some emotional themes could’ve been explored a bit deeper

My Thoughts on Obsession

Nikki becomes terrifying because she still feels human

Nikki, played the brilliant Inde Navarrette, is the star of the show here, as she puts in a fantastic performane to join the scream queen ranks, and even when her behaviour becomes genuinely disturbing, there’s still enough warmth and familiarity to her that makes it all still feel believable in a deeply uncomfortable way, which just makes everything worse.

One minute Nikki feels playful and emotionally vulnerable, while the next minute she feels like someone emotionally tightening a grip around another person’s throat without fully understanding the damage she’s causing, so that constant shift makes every scene with her tense, and she nails it all wonderfully well.

She slowly turns affection into ownership

The horror here doesn’t arrive immediately, because at first, Nikki’s sudden attachment almost feels like an exaggerated romance - she’s attentive, affectionate, and intensely focused on Bear in a way that probably looks appealing to him at first because it validates everything he wanted.

Then things start slipping, where small moments become uncomfortable, conversations become controlling, and the affection starts feeling possessive, but the film handles this escalation really well because it never suddenly flips into full horror mode overnight, as it lets the behaviour build gradually until you suddenly realise things crossed the line a long time ago, which at that point, the tension is already sitting in your chest.

Bear is frustrating but believable

Something I did really like is that the film doesn’t suddenly make Bear smart once things get dangerous, because he is someone that keeps making bad decisions, and even when it’s obvious everything is spiralling, part of him still wants to hold onto the parts of the wish that benefit him.

There’s this selfishness underneath his panic where he keeps hoping he can somehow keep the affection without dealing with the consequences attached to it, and that feels painfully human - an ordinary person who wanted something badly enough that he ignored every warning sign attached to it, and thankfully, the film doesn’t turn him into an heroic victim.

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 discomfort matters more than the violence

The film definitely goes hard when it wants to as well, with some scenes that become genuinely brutal very quickly, and the violence lands because it feels emotionally ugly rather than entertaining, so when things explode, it doesn’t feel like the movie celebrating anything, it feels like consequences finally crashing through the room.

But the moments that worked best for me weren’t even the violent ones, it was the quieter scenes where Nikki’s behaviour becomes just slightly too intense, slightly too controlling, and slightly too emotionally dependent, simply because it all feels very possible.

The film really understands that obsessive love is terrifying, and a lot of stories like this accidentally romanticise obsession while pretending to criticise it, but Obsession mostly avoids that trap, where it makes it very clear that this isn’t love anymore, it’s ownership disguised as affection - Nikki doesn’t just want Bear’s attention, she wants complete emotional possession over him, and the more that need grows, the uglier everything becomes.

The tension keeps escalating without fully resetting

Structurally I also really liked what little breathing room the movie gives you once things properly unravel, and every time Bear thinks he might regain control of the situation, things immediately get worse again, so the tension keeps stacking on top of itself until the film starts feeling emotionally claustrophobic.

That pressure works really well for most of the runtime, and even when the movie occasionally leans too hard into shock value a couple of times, the underlying tension is strong enough to hold everything together.

But underneath all the violence and chaos, there’s something painfully believable about people wanting connection so badly that they destroy themselves trying to force it into existence, and all the other elements of the film almost becomes secondary after a while, as what matters more is the emotional desperation underneath everything.

Final Verdict

Curry Barker is a new gem in horror it seems, and I look forward to seeing what he is does next, and hopefully Inde Navarrette is involved, but if not, I will also look forward to what she does next as well.

I thought Obsession was excellent, with brilliant tension that escalates constantly, and the film commits fully to its disturbing premise without softening the ugliness underneath it - not subtle in the slightest, but definitely effective.

Trailer

Directed and written by - Curry Barker

Cast includes - Inde Navarrette, Michael Johnston, Cooper Tomlinson, Megan Lawless, and Andy Richter

Cinematography - Taylor Clemons

Edited by - Curry Barker

Music by - Rock Burwell

Running time - 109 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.

To Love A Narcissist - May 19th (Digital)

Trust is weaponised in this obsessive love story that blurs the line between love and deceit.

Jack Ryan: Ghost War - May 20th (Amazon Prime)

Follows Jack Ryan who reunites with CIA operatives to navigate a treacherous web of betrayal against an enemy who knows their every move, facing a past they thought was long put to rest.

Passenger - May 22nd (Theaters)

A few weeks into their van life adventure, a young couple witnesses an accident that leaves the driver dead. Soon, they’re being pursued by a demonic stalker who’s impossible to outrun and follows them wherever they go.

The Mandalorian and Grogu - May 22nd (Theaters)

Once a lone bounty hunter, Mandalorian Din Djarin and his apprentice Grogu embark on an exciting new Star Wars adventure.

I Love Boosters - May 22nd (Theaters)

Professional shoplifters embark on a wild adventure as they target a cutthroat fashion mogul.

Corporate Retreat - May 22nd (Theaters)

Corporate executives on a team-building retreat face a deadly struggle when their leader turns violently against them.

Tuner - May 22nd (Limited Theaters)

A talented piano tuner’s meticulous skills for tuning pianos lead him to discover an unexpected aptitude for cracking safes, turning his life upside down.

Reckless - May 22nd (Limited Theaters/Digital)

A former convict on parole must outwit the police to get his share of an old heist.

Saccharine - May 22nd (Limited Theaters)

A hungry ghost terrorizes a lovelorn medical student after she takes part in an obscure weight-loss craze.

And in case you have missed the last few weeks of new movie releases…

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And it’s also one of the more confident horror debuts I’ve seen in a while.

Plot

Elvira battles against her stepsister in a realm where beauty reigns supreme. She resorts to extreme measures to captivate the prince, amid a ruthless competition for physical perfection.

Good Points

• Lea Myren delivers a haunting lead performance

• The body horror is purposeful and sharp

• Strong critique of beauty standards and cultural pressure

• Visually striking with a “rotting fairy tale” aesthetic

• Elvira’s arc is deeply unsettling and tragic

• Mother character is one of the most uncomfortable villains

• Silence and pacing is used effectively to build dread

• Consistently tense, even in quiet scenes

• Leaves a strong psychological aftertaste

Bad Points

• Some scenes repeat emotional ideas a bit heavily

• Occasional moments feel slightly heavy-handed with symbolism

My Thoughts on The Ugly Stepsister

Elvira is the emotional centre of the entire film

Elvira doesn’t operate like a traditional horror protagonist here, because she doesn’t scream her way through scenes or turn her character into a symbolic final girl figure, you just watch as she just slowly unravels right in front of your eyes, and that’s what makes it all so incredibly uncomfortable to watch.

Lea Myren is really fantastic playing her, with a quiet stillness that still feels louder than everyone else in the film, and you’re constantly aware something is being broken inside her, even when nothing explicit is happening on screen - it’s not a performance built on dialogue, it’s built on erosion.

The mother is the real horror of the film

This is where the film really gets under your skin, because the mother, Rebekka, is recognisable in a way that makes everything feel that so much worse, as she speaks like someone who believes she’s doing the right thing, and someone who thinks love is conditional, shaped entirely around appearance, status, and control, which is what makes her so disturbing.

Every interaction of hers feels like pressure being applied rather than open cruelty, so there’s no need for shouting when approval itself becomes manipulation, and it is something that is hard to shake as you watch her.

The body horror actually has something to say

The body horror in this film also isn’t just there for shock value, because it’s directly tied to the film’s ideas about transformation, control, and self-erasure, where every physical change feels like an extension of psychological pressure - not random gore, but visual storytelling about identity being reshaped against someone’s will, with what feels like a real a purpose behind all the discomfort.

The visual style feels like a decaying fairy tale

The aesthetic is one of the strongest parts of the film, as everything looks like it used to be beautiful, but isn’t anymore - grand interiors, soft lighting, elegant spaces - all slightly off, slightly wrong, like they’ve been left to rot under makeup.

The colour palette leans cold and drained, which makes the world feel emotionally dead even before anything happens, and a fairy tale, but one that’s already been corrupted, so that visual consistency really carries the atmosphere through on top of everything else.

It’s slow, but not empty

The pacing will probably divide some people, because there are long stretches where not much “plot” happens, but that’s because the film is more interested in psychological pressure than narrative momentum, and it wants you to sit in scenes, and absorb them with the tension building silently in the background.

At times though it does feel like it’s holding on a bit too long, but it’s also never random - it’s always feels like it is doing something emotionally, even when it feels still.

What really defines The Ugly Stepsister though is how unapologetic it is - there’s no safety net, no moral relief, no neat transformation where everything becomes okay again - it just shows the damage, and then it sits with it, which makes it more honest than most stylised fairy tale retellings.

Final Verdict

Disturbing, slow-burning, visually beautiful in a decayed way, and emotionally exhausting in the best and worst sense of that phrase - The Ugly Stepsister is the kind of horror film that stays with you long after you’ve stopped watching, at least, it did for me.

Trailer

Directed by - Emilie Blichfeldt

Cast includes - Lea Myren, Thea Sofie Loch Næss, Ane Dahl Torp, Flo Fagerli, Isac Calmroth, Malte Gårdinger

Cinematography by - Marcel Zyskind

Running time - 109 minutes

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Plot

When his neighbor asks him to take care of his cat, a former baseball prodigy now working as a bartender finds himself in the middle of gangsters without knowing why. He must use all his cunning to survive and understand what is happening.

Good Points

• Austin Butler is incredibly likable and charismatic

• The pacing never really lets up

• Strong supporting cast

• The humour comes naturally from the absurd situations

• Aronofsky keeps the madness surprisingly controlled

• Bud the cat almost steals the entire movie

Bad Points

• Tonal shifts can feel jarring at times

• Some smaller plot threads feel unresolved

• The chaos occasionally borders on overwhelming

• A few moments lean slightly too hard into randomness

My Thoughts on Caught Stealing

Austin Butler is the reason the film works emotionally

His character, Hank, could’ve very easily become exhausting in quicktime, as he’s basically the classic “normal guy trapped inside escalating insanity” character, which only works if the audience actually enjoys spending time with him, but thankfully, Butler absolutely nails the balance here, as he plays Hank as genuinely decent without making him boring.

There’s a charm to him that makes everything realy fun to watch instead of stressful - he feels intelligent without becoming smug about it, vulnerable without turning into a sad-sack cliché, and messy enough to feel believable - oh, and the guy is clearly struggling personally too.

There’s this low-level exhaustion and self-destruction sitting underneath the performance that gives Hank more depth than the film probably even needed, and Butler carries all of that effortlessly.

The supporting cast completely understands the assignment

Everybody in this film feels locked into the same weird energy, and they needed to be - Zoe Kravitz was a real highlight in particular, and she is excellent as Yvonne because she grounds everything emotionally without killing the comedy, where she reacts to the insanity around her like an actual person would - frustrated, exhausted, confused, but still emotionally connected to Hank, and that balance definitely matters a lot in this film.

Then you’ve got Liev Schreiber and Vincent D’Onofrio absolutely thriving as the Hassidic brothers, where they somehow manage to be genuinely threatening and hilarious at the exact same time, and every scene with them feels unpredictable.

Matt Smith also shows up looking like punk rock itself gained human form and decided to start problems professionally - massive mohawk, endless aggression, chaotic energy radiating off him constantly, and he enters scenes like a warning sign, which just works perfectly.

And of course we have Bud the cat, who nearly steals the movie.

This damn cat has more screen presence than half the cast in most crime thrillers, so every time Bud appeared, you genuinely had no idea whether he was about to calm a scene down or somehow make things worse.

Absolute professional.

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 pacing is relentless

If you like your films fast paced and maybe a little overwhelming at times, Caught Stealing will work for you, as it never lets up, and the second Hank gets pulled into this mess, the movie just keeps escalating from there, where every scene creates another problem, another bad decision, another increasingly dangerous situation, while somehow Aronofsky keeps all those moving parts from turning into complete noise.

The editing especially deserves credit because the film constantly feels energetic - it moves quickly, but you never lose track of what’s happening emotionally.

The humour

This isn’t comedy where characters survive impossible situations without consequences, because people get hurt here, badly.

The violence though actually makes the comedy funnier, where the film constantly balances absurdity and tension in a way that keeps scenes unpredictable, where you will laugh one second, then suddenly realise somebody’s about to die, and the film commits fully to both sides of that tone, even if it can feel a tad jarring at times.

Caught Stealing could’ve easily become way too exhausting or self-indulgent very quickly, as there’s so much happening, so many strange personalities colliding, so much escalating nonsense, but Aronofsky keeps everything moving with a real confidence.

Not everything lands cleanly

The biggest weakness is probably that certain story threads feel slightly unfinished by the end, where a few characters disappear for stretches, some motivations get left a bit vague, and there are moments where the film seems more interested in momentum than fully resolving everything neatly - personally, I didn’t mind much because the energy carries you through most of it, but if you’re someone who wants every detail tied together perfectly, the film might frustrate you slightly, but overall, I had a lot of fun with it.

Final Verdict

Caught Stealing was way more entertaining than I expected it to be, and Aronofsky has managed to balance crime thriller tension with absurd dark comedy without losing control of either.

Oh, and Bud the cat.

Trailer

Directed by - Darren Aronofsky

Screenplay by - Charlie Huston

Cast includes - Austin Butlet, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito Martínez Ocasio, Griffin Dunne, and Carol Kane

Cinematography - Matthew Libatique

Edited by - Andrew Weisblum

Running time - 107 minutes

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Plot

Craig Waterman, a reclusive man, meets his new neighbour, Austin Carmichael, and forms an unexpected friendship with him. As their friendship grows, so does Craig’s obsession with Austin.

Good Points

• Tim Robinson gives one of the funniest performances in years

• Paul Rudd perfectly balances charm and passive-aggression

• Cringe comedy that works

• Sharp writing throughout

• Balances comedy and emotional discomfort brilliantly

• The escalating friendship dynamic is genuinely fascinating

• Never feels like a typical safe studio comedy

Bad Points

• Bianca deserved far more screen time

• Tami’s storyline feels emotionally thin

• Certain cringe-heavy scenes drag slightly too long

• Side characters mostly exist as props for Craig’s spiral

My Thoughts on Friendship

Craig isn’t trying to be funny - he’s trying to be liked

That’s really the core of the entire film, where Craig isn’t written like some quirky sitcom loser designed purely for laughs, as he actually feels painfully real in a way that becomes increasingly uncomfortable the longer the film goes on, and everything he does comes from this desperate need to connect with people, except he has absolutely no idea how human interaction actually works, so watching him try to force himself into social situations feels like you are actually witnessing a slow-motion breakdown, which actually makes it even funnier, in terms of the film.

Tim Robinson is unbelievable

This might genuinely be the best thing Tim Robinson has ever done too, where his performance feels completely natural in the best possible way, like Craig genuinely exists somewhere annoying the life out of everyone around him, and Robinson understands exactly how to make this role work perfectly.

There’s one scene where Craig starts talking enthusiastically about a 20,000-calorie meal called the “SEAL Team 6 Special,” fully convinced people are impressed by him, and it becomes both hilarious and deeply depressing at the same time, and that balance is incredibly difficult to pull off, but Robinson absolutely nails it.

Paul Rudd weaponises being likable

Paul Rudd is also the perfect casting here, because while Austin initially comes across like the cool, relaxed, effortlessly friendly guy everybody gravitates toward naturally, the longer the film goes on, the more you realise there’s something slightly shallow and passive-aggressive underneath all that charm, and Rudd plays that shift perfectly, but he never turns Austin into a villain either, which is important to note, he just slowly reveals somebody who likes being admired more than he likes genuine connection.

And as a result of that, it makes the relationship between him and Craig far more interesting than your usual standard buddy-comedy setup, with a dynamic that slowly transforms into something slightly tense and almost psychologically hostile without losing the comedy underneath it.

The cringe comedy actually has emotional weight

A lot of cringe comedies fall apart because they only care about making the audience uncomfortable, but Friendship works because the awkwardness always comes from something emotionally real underneath - Craig’s behaviour is funny, but it’s also sad because you understand exactly why he’s acting this way, and the film understands how humiliating loneliness can make people behave, so instead of mocking that from a distance, it fully leans into the discomfort of it - there were scenes where I genuinely laughed out loud while simultaneously wanting to crawl out of my own skin, which is probably exactly the intended reaction.

The weird little details

One thing I really loved was how oddly specific the humour gets - Craig’s horrible tan-and-brown wardrobe, the bizarre conversations he thinks make him sound cool, the tiny social interactions that slowly become catastrophes - all those details make the comedy feel much sharper, so nothing feels written purely for internet clips or forced punchlines, but it all feels observed, and some of the funniest moments end up being the smallest ones.

It slowly becomes darker than expected

The film starts off feeling like awkward friendship comedy, but by the end it edges surprisingly close to psychological collapse territory, but not in a thriller way exactly, but in that horrible feeling where you realise somebody’s desperation for connection is becoming genuinely unhealthy, so the film commits to that darkness much harder than I expected, and while it never fully loses its sense of humour, there’s definitely a point where the laughter starts catching slightly in your throat.

Some of the supporting characters needed more

The biggest weakness for me is definitely the side characters, as the main performances are so strong that everyone else occasionally feels underwritten by comparison - Bianca especially feels wasted as a character, which is frustrating because there’s clearly potential there for something more layered, while tami’s storyline also feels slightly too thin emotionally - kate Mara does what she can with it, but the character mostly exists to reflect Craig’s emotional cluelessness rather than feeling fully realised herself.

This absolutely will not work for everyone

I can already imagine some people hating this film within about fifteen minutes - The awkwardness is relentless at times, Certain scenes drag discomfort out so long they almost become endurance tests, so if you struggle with cringe comedy, this might feel unbearable.

But for me, that commitment is exactly what made it work, as the film never softens itself to become more broadly crowd-pleasing, and I for one am glad it didnt.

Final Verdict

A pretty weird and emotionally uncomfortable film, but also one of the funniest comedies I’ve seen in years, and while not everyone’s going to click with its awkward energy, but if you do, it’s worth the discomfort.

Trailer

Directed and written by - Andrew DeYoung

Cast includes - Tim Robinson, Kate Mara, Jack Dylan Grazer, and Paul Rudd

Cinematography - Andy Rydzewski

Running time - 101 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.

The Punisher: One Last Kill- May 12th (Disney+ - TV Special)

Follows Frank Castle (Jon Bernthal) attempting to live a quiet life after Daredevil: Born Again. He is forced back into violent action by an “unexpected force” to protect others, leading to a brutal final showdown against a rising criminal empire.

The Butcher’s Blade - May 12th (Digital)

A low-ranking constable faces persecution, becomes a scapegoat in a theft case, and gets rescued by his teacher. Now caught between serving corrupt officials or fighting for freedom, he must choose his path.

Is God Is - May 15th (Theaters)

A dark, Southern Gothic revenge thriller about twin sisters, Racine and Anaia, ordered by their dying mother to kill their abusive father who disfigured them.

Obsession - May 15th (Theaters)

After breaking the mysterious "One Wish Willow" to win his crush's heart, a hopeless romantic finds himself getting exactly what he asked for but soon discovers that some desires come at a dark, sinister price.

In The Grey - May 15th (Theaters)

A covert team of elite operatives embarks on a mission to steal back a billion-dollar fortune from a ruthless tyrant.

Driver’s Ed - May 15th (Theaters)

A group of teens hits the road in a stolen driver's ed car to help a lovesick high-school senior win back his college girlfriend.

The Wizard of the Kremlin - May 15th (Limited Theaters)

Tells the story of Vadim Baranov, a reality TV producer who becomes the main spin doctor and éminence grise for Vladimir Putin (”the Tsar”) in 1990s Russia.

Decorado - May 15th (Limited Theaters)

Arnold, a mouse in midlife crisis, sees his world as artificial theater set. As personal troubles mount, his suspicion of living in a fake reality leads him to search for what's authentic.

An Enemy Within - May 15th (Digital)

Caleb Wingate’s wedding night turns into a nightmare when a legendary assassin, “The Wolf,” forces him to kill his new father-in-law by midnight or his bride, Julia, will die.

LifeHack - May 15th (Limited Theaters)

Kyle and his friends hack for fun, pranking online scammers. Seeking a bigger thrill, they target billionaire Don Heard through his daughter Lindsey's social media, stealing his cryptocurrency.

Magic Hour - May 15th (Limited Theaters)

A married couple, Erin and Charlie, escape to a house in Joshua Tree to navigate profound grief and a challenging, pivotal moment in their relationship.

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Plot

Johnny Cage joins other fighters in the ultimate, no-holds-barred battle to defeat the dark rule of Shao Kahn, a powerful tyrant who threatens the very existence of the Earthrealm and its defenders

Good Points

• Karl Urban absolutely nails Johnny Cage

• The gore and Fatalities go ridiculously hard

• Fight choreography is a huge improvement

• Humour lands far more consistently this time

• Embraces the franchise’s ridiculousness instead of fighting against it

• Several arena designs look fantastic

• Crowd-pleasing energy throughout

Bad Points

• The plot is paper-thin*

• Some CGI looks painfully artificial

• Emotional moments get rushed through quickly

• Some dialogue is extremely cheesy

• Non-fans probably won’t get much out of it

• A few fights are edited a little too heavily

My Thoughts on Mortal Kombat II

This sequel finally remembers why people liked Mortal Kombat in the first place

If you have watched the first movie, you will know that it spent so much time setting things up that it forgot the actual tournament mattered, so you’ll be glad to know this one fixes that problem almost instantly, as it finally knows people bought tickets to watch fighters beat each other senseless in increasingly ridiculous ways.

Everything also feels bigger this time - bigger fights, bigger personalities, bigger gore, bigger stupidity, which is exactly what Mortal Kombat should be.

Karl Urban completely steals the film

The second Johnny Cage appears on the screen, the energy changes completely, simply because Karl Urban clearly undersood the assignment perfectly, where he plays Cage as arrogant, washed-up, irritating, funny, and somehow still lovable underneath all the ego, and I also liked that the film lets him look genuinely out of his depth at times, as he’s not treated like some flawless action hero, so half the fun comes from watching him panic, get thrown around arenas, or slowly realise he’s surrounded by people who can literally freeze him solid.

The violence goes absolutely overboard

And thank God for that.

The fights here are brutal in the exact way they needed to be, and the fatalities especially are completely ridiculous, so we end up getting multiple moments where no doubt the audience watching will be reacting and cheering when certain scenes hit, and you know what, that’s Mortal Kombat baby.

Another issue from the first film that is fixed here is how flat some of the fights felt, because the characters actually fight differently now and everything just feels different - the arenas are more memorable, powers get used creatively, and the choreography feels much more confident overall, where some of the locations genuinely looked ripped straight out of the games, so on the big screen in particular, it all looked fantastic.

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 story barely matters

Look, the plot here is incredibly thin, so this is very clearly one of those films where the story mainly exists to move people between fight scenes, and I don’t think the filmmakers were particularly worried about hiding that.

You also have some supporting characters barely leave an impression before disappearing again, several emotional moments feel rushed, and certain returning characters are sidelined hard.

But, none of that damaged the experience much for me because the pacing keeps everything moving quickly enough that you rarely stop to think about it, because the film survives entirely on momentum, and for Mortal Kombat, that feels like the right approach.

Some of the CGI definitely struggles

Not all the visuals work though, because while some/most scenes look fantastic, you do get others that look like actors standing inside a very expensive video game cutscene, where afew backgrounds feel distractingly artificial, especially during some of the larger arena moments, but thankfully, the movie rarely slows down long enough for the weaker effects to completely derail things.

But there are definitely moments where you can feel the green screen working overtime.

It’s finally comfortable being dumb

And I mean that as praise, as so many modern action films desperately want to feel important or emotionally profound, but Mortal Kombat II knows it’s a movie about people punching monsters until somebody explodes, so it accepts that reality immediately, and because of that, it ends up being far more entertaining than I had hoped it would be, and granted, I went in with low expectations, but what can I say, I had a lot of fun with it.

Final Verdict

Mortal Kombat II is incredibly entertaining I thought, maybe it was my low expectations as mentioned that helped with that, but this one was a total surprise for me.

It was exactly the kind of sequel this franchise needed.

Trailer

Directed by - Simon McQuoid

Written by - Jeremy Slater

Cast includes - Karl Urban, Adeline Rudolph, Jessica McNamee, Josh Lawson, Ludi Lin, Mehcad Brooks, Tati Gabrielle, Lewis Tan, Damon Herriman, Chin Han, Tadanobu Asano, Joe Taslim and Hiroyuki Sanada

Cinematography by - Stephen F. Windon

Running time - 116 minutes

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The film is a both a prequel and companion piece to the 2001 film Suicide Club.

Plot

Teenager Noriko Shimabara abandons her family, seeking Kumiko, an online group’s leader. She joins Kumiko’s circle, which spirals after 54 students commit mass suicide.

Good Points

• Deeply unsettling exploration of identity and loneliness

• Emotional performances across the cast

• Strong atmosphere of emotional disconnection

• Takes some bold risks

• Cold visual style perfectly fits the tone

• Themes lingerin your hrad

Bad Points

• Extremely overlong and demanding pacing

• Some scenes drag far beyond their purpose

• Certain themes get hammered repeatedly

• Sometimes drifts into pretentious territory

• Logic behind parts of the mythology feels a bit shaky

My Thoughts on Noriko’s Dinner Table

This film is emotionally exhausting on purpose

That’s honestly the best way I can describe it this film, and after you finish watching it, you will feel like you have spent a week trapped inside these characters’ emotional breakdowns.

But despite how draining it is, you have to admire the commitment to that feeling tje film puts on you.

Also, if someone goes into this expecting another chaotic film like Suicide Club, they’re probably going to spend the first hour wondering if they accidentally clicked the wrong film, as this trades almost all of that earlier film’s tension and unpredictability for long conversations, emotional collapse, identity crises, and existential sadness - a lot of sadness.

The pacing is absolutely brutal at times

At 159 minutes long, the pacing is tough, so some scenes continue way past the point they need to, and then they keep going even longer, just in case you somehow missed the emotional devastation happening in front of you.

But there’s definitely a line between immersive and exhausting, and this film crosses it repeatedly, even if the themes of loneliness and identity is raw and honest, and will hit you hard too.

Nobody gets magically fixed here, nobody suddenly figures themselves out, as here the characters spend the entire film trying to become someone else because they no longer know how to exist comfortably as themselves, which is painfully believable at times.

Daily Movie Thoughts

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

Everyone feels disconnected

You get this constant emotional emptiness hanging over almost every scene, so even when characters are talking directly to each other, it feels like they’re separated by invisible walls, and the film keeps circling the idea that people have become performers in their own lives rather than genuine versions of themselves - and when say it circles it, I mean it hammers that point repeatedly.

The performances stop it collapsing

The cast are a big reason the emotion heaviness lands hard, and aweaker version of this film could’ve become unintentionally ridiculous very quickly, especially because parts of the story get incredibly strange and theatrical, and even during the film’s more abstract or awkward moments, the actors make it feel sincere.

It also refuses to clean up its characters to make them audience-friendly - they’re selfish, distant, messy, frustrating, emotionally damaged people - where they hurt each other, drift apart, and cling to unhealthy things because they don’t know what else to do.

It’s a film that also shifts tone - one minute it feels profound, and the next it feels fairly exhausting, and that balance shifts constantly, featuring moments where the film genuinely says something powerful about isolation, identity, and emotional detachment.

But then there are other moments where it feels like the cinematic equivalent of someone cornering you at a party to explain why modern society has lost its soul, and you’re just standing there wondering how long this conversation is going to last.

And you will feel like that.

Also, one thing I did really struggle with was how heavily it tries tying itself back into Suicide Club, as part of what made that film work was how chaotic and unknowable everything felt, but here, the more it tries to explain or connect ideas together, the shakier things become, where some of the logic genuinely falls apart if you think about it too hard.

But after a while, I did stop caring about the mechanics because the emotional atmosphere became more important than the actual plot.

Final Verdict

Noriko’s Dinner Table is a very exhausting film, but there’s something very very human buried underneath all its emotional chaos, and it’s a film you won’t ever forget watching.

Trailer

Directed and written by - Sion Sono

Cast includes - Kazue Fukiishi, Ken Mitsuishi, Yuriko Yoshitaka and Tsugumi

Cinematography - Souhei Tanigawa

Running time - 159 minutes

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Plot

Follows parolee Taylor whose fresh start hopes are jeopardized by cellmate Dee's arrival. As Dee takes Taylor under his wing, a vicious attack tests their bond, forcing Taylor to choose between protecting Dee and his own parole chances.

Good Points

• David Jonsson delivers a genuinely tense, vulnerable performance

• Tom Blyth puts in a intimidating performance

• Violence feels ugly and consequential

• Suffocating atmosphere

• Prison environment

• Strong emotional tension throughout

• Leaves an impact

Bad Points

• Some familiar prison drama clichés creep in

• Could have explored race and class issues a bit more deeply

• A few scenes feel designed purely for shock value

My Thoughts on Wasteman

Nobody in this film feels safe

Wasteman has a constant high emotion tension running thorughout everything, and the entire prison system is running on fear, exhaustion, and paranoia, where nobody relaxes nor seems able to ever breathe properly.

Thankfully it’s also not a film trying to make prison look cool or cinematic either, because everyone is tired, angry, emotionally wrecked, or just completely hollowed out by the environment around them, which while I have never been in prison, probably echoes how it actually is?

But throughout the tension and what is going on, the two main performances are a delight, with David Jonsson taking on the role of the emotional core of the film, where half the time he barely says anything, but you can still see exactly what’s happening internally, with a constant nervousness sitting underneath everything he does.

He also spends most of the film looking like someone seconds away from panicking, breaking down, or completely losing control, and just watching him makes you feel uncomfortable in the best possible way.

Tom Blyth though is unpredictable, and was genuinely unsettling, and watching him play this kind of role was very interesting, especially when he finally explodes, you actually feel it, where you dread him showing up because you knew somebody’s situation was about to get much worse.

The violence is ugly

The violence here might be hard to watch for some, but it all fits in with the story for the most part, as nothing feels slick or stylised - fights are messy, sudden, and uncomfortable, so the film makes sure you sit with the aftermath instead of treating violence like entertainment.

Even the moments that make you laugh still have this dark bleakness underneath, because you know this is a prison system that as an environment is designed to grind people down, where every attempt at staying calm or doing the right thing gets crushed almost immediately.

Fear, boredom, violence, addiction, ego - it all feeds into itself until everyone starts becoming worse versions of themselves, and the film understands that prison violence doesn’t just come from “evil people”, it also comes from pressure, hopelessness, and survival instincts taking over everything else.

Nobody here exists purely as “the good one” or “the evil one”, and it shows that different people can be vulnerable, pathetic, threatening, and sympathetic all within the same space, which helps the film from becoming repetitive emotionally.

Daily Movie Thoughts

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

It brushes against bigger ideas without fully committing

The one area where I think the film could’ve gone further though is via the race and class isues, as you can really feel those themes sitting underneath the story constantly, but the film never really digs into them, as it brushes past them rather than really exploring how deeply they shape the prison system.

Maybe that’s on purpose of course for reasons I don’t know, and maybe, it might havealso made it a bit more formulaic, but I would have liked to have seen how it was handled.

A few prison drama clichés still sneak in

For the most part, Wasteman avoids the usual prison-drama nonsense, but every now and then, you still get scenes that feel slightly too designed for shock value, which is probably to be expected, but thankfully, it never becomes overwhelming.

But overall, Wasteman certainly isn’t a film that cleans things up neatly or leaves you feeling hopeful afterwards - it’s emotionally exhausting, bleak, and relentlessly tense from start to finish.

But because it commits fully to that ugliness, I thought it worked pretty well overall.

Final Verdict

Wasteman is harsh, stressful, and uncomfortable at times, but it’s elevated massively by David Jonsson and Tom Blyth, both of whom deliver excellent performances.

Not an easy watch in the slightest, but definitely worth a watch if you like these kind of films.

Trailer

Directed by - Cal McMau

Screenplay by - Hunter Andrews and Eoin Doran

Cast includes - David Jonsson and Tom Blyth.

Cinematography - Lorenzo Levrini

Running time - 90 minutes

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Plot

A horror writer visits an Irish inn to scatter his parents' ashes, unaware the property is said to be haunted by a witch

Good Points

• Strong focus on mood, behaviour, and character

• Patient pacing that builds tension very well

• Atmosphere is consistently unsettling without being in your face

• Performances are controlled across the cast

• Resists over-explaining

• Supporting characters feel purposeful rather than just filler

Bad Points

• Some parts feel a bit uneventful

My Thoughts on Hokum

It doesn’t rush to impress you

Hokum is a film that’s slow and patient, all purposely so, with no desperate attempt to hook you with in from the off with loud scares or constant escalation, instead it lets everything breathe while it sets everything up, being confident enough to be comfortable just existing for a while before anything significant happens.

Also, if you’re someone who likes to watch your phone while watching movies, I would avoid Hokum, because one its strongest aspects is how much it leaves for the viewer to interpret, so you need to pay attention, because mothing is over-explained - you’re given information, and it’s up to you to connect the dots, and is a film that rewards focus, because if you drift, you genuinely feel like you’ve missed something important.

The main character keeps you at a distance on purpose

The lead character isn’t immediately easy to like or understand in Hokum, as he’s distant, reserved, and emotionally closed off in a way that initially makes him hard to read, but the film doesn’t rush to correct that or soften him for the audience, as it wants you to understand him gradually through behaviour rather than explanation.

I also liked that the supporting characters are handled with care, because no one feels thrown in just to fill space, as even the smaller roles carry some presence, and it avoids one of the most common horror issues - characters existing purely to move scenes forward without feeling like actual characters.

The atmosphere and tension

This is where Hokum really succeeds, because the film builds its atmosphere slowly and steadily, without relying on obvious tricks, where it’s not about jump scares or loud moments, it’s about how the environment feels over time, with a constant sense that something is slightly wrong in a low-level discomfort kind of way, even when nothing is really happening.

Everything is earned

When the moments of horror do arrive, they do feel earned rather than inserted, with a clear sense of build-up behind them, even if it’s subtle, and the film doesn’t interrupt its own rhythm just to remind you it’s a horror film - it stays committed to its tone with a confident restraint.

The pacing is also deliberately slow, but it never felt hollow to me, as there’s always something developing beneath the surface, even if it isn’t immediately visible, so it creates this sort of sense of quiet pressure, like you need to stay engaged or risk missing key details, with a valance of patience and anticipation that works in the film’s favour.

There’s also enough ambiguity left in place to keep you thinking after it ends, without it feeling like the film forgot to finish, because not everything is answered, but not everything needs to be either.

By the end, I respected how controlled it was in its execution a lot - it builds mood consistently, maintains tone without drifting, and never tries to become something more conventional than it is.

Maybe some people will have issues with the pacing, but honestly, I would say that’s a you problem, and after Caveat and Oddity, Damien McCarthy has another hit on his hands as far as I am concerned.

Final Verdict

Hokum is slow, restrained, and deliberately understated, but it uses those qualities well, as it’s not interested in overwhelming you - it’s interested in unsettling you quietly and steadily.

Not for anyone looking for constant horror payoff, but for anyone who prefers atmosphere, patience, and control, it’s one of the more confident recent entries in the genre.

Trailer

Directed and written by - Damian McCarthy

Cast Includes - Adam Scott, Peter Coonan, David Wilmot, Florence Ordesh, Michael Patric, Will O’Connell, Brendan Conroy, and Austin Amelio

Cinematography - Colm Hogan

Running time - 107 minutes

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Quite a slow week this time, with not many new releases.

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 Sheep Detectives - May 8th (Theaters)

Every night a shepherd reads aloud a murder mystery, pretending his sheep can understand. When he is found dead, the sheep realize at once that it was a murder and think they know everything about how to go about solving it.

Mortal Kombat II - May 8th (Theaters)

The fan favorite champions - now joined by Johnny Cage himself - are pitted against one another in the ultimate battle to defeat the dark rule of Shao Kahn that threatens the very existence of the Earthrealm and its defenders.

Remarkably Bright Creatures - May 8th (Netflix)

Through unlikely bonds formed during night shifts at a local aquarium, Tova, an elderly widow, learns of a life-changing discovery that may bring her joy and wonder once again.

Affection - May 8th (Limited Theaters)

Ellie confronts a disturbing condition resetting her memory, unable to recognize her husband and daughter. Each reset disorients her, leaving haunting recollections of an unfamiliar life.

Couples Weekend - May 8th (Limited Theaters/Digital)

Four adults navigate deception and desire when a fallen tree on New Year’s Eve triggers a chain of events that challenges their relationships.

Silent Friend - May 8th (Limited Theaters)

Set in the botanical garden of a medieval town in Germany. Three epochs, three personalities, three sometimes clumsy but sincere attempts to free themselves and to create links with the plants and the world of the garden.

The Python Hunt - May 8th (Limited Theaters)

Every year the Florida government invites the public to compete in an invasive python removal contest in the Everglades. For 10 nights, an eclectic group of hunters confront the dangerous terrain, nocturnal creatures and their own desires.

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Plot

A dysfunctional married couple retreats to a secluded cabin to repair their relationship, but each secretly plots to murder the other.

Good Points

• Sharp, mean-spirited humour early on

• Jason Segel and Samara Weaving’s chemistry

• Energetic supporting cas

• A few genuinely funny, unexpected moments

• Some clever setups and payoffs in the writing

• Violence has some initial shock value and impact

Bad Points

• Tone shifts too abruptly in the second half

• Relies too heavily on violence as it goes on

• Loses the sharp dialogue that made the first act work

• Final stretch feels more like escalation for the sake of it

My Thoughts On Over Your Dead Body

It starts sharp, and then forgets why that worked

The opening is easily the strongest part of the film, and I loved the humour on show, which is biting, fast, and just uncomfortable enough to keep it interesting, and Jason Segel and Samara Weaving spend most of that first stretch tearing into each other with a kind of controlled rhythm to it, so, for a while, it looks like the film knows exactly what it’s doing.

Samara Weaving and Jason Segel

I do love Samara Weaving, and here her performance is very much a two-person engine early on with Jason Segel, who leans in hard into playing someone irritating and quite self-absorbed - sometimes it’s funny, but sometimes it crosses into just being a bit much - so there’s a thin line there, and he doesn’t always stay on the right side of it.

Samara Weaving on the other hand is sharper, more precise, and has a better handle on the tone, even when the script starts to wobble later, with a control to her performance that the rest of the film could’ve used more of.

The shift

Once the film expands beyond the central dynamic, everything changes, and just flips, with more characters entering the picture, so the focus moves away a bit from controlled dialogue into something more chaotic, and where what we had before turns into more of a situation where scenes just want to escalate as quickly as possible.

And while I wouldn’t say that shift is inherently bad, it is jarring, and it makes you feel like you’ve stepped into a slightly different film that just happens to share the same cast.

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 supporting cast adds energy, but not depth

Timothy Olyphant slides in with that calm, slightly offbeat presence he always brings, and it works fine, because he doesn’t overdo it, which actually helps balance some of the louder elements.

Juliette Lewis goes the opposite way - more chaotic, more unpredictable - which fits the tone the film is aiming for in the second half, while Keith Jardine is a bit of a surprise, as he fits the physicality of the role very well and helps sell some of the more over-the-top moments.

But here’s the issue, none of these characters really go anywhere - they show up, add energy, serve their purpose, and that’s about it, so there’s no real development, no shift, and no deeper layer.

Violence takes over, and doesn’t know when to stop

This is where the film started to lose me a bit, as early on, the violence worked because it was unexpected, and it catches you off guard, adds to the humour, and pushes the tone into something darker without completely overwhelming it, but then it keeps going back to that same idea, so after a while, it stops being surprising.

It doesn’t enhance anything, but it just replaces what made it work in the first place - the sharp dialogue fades out, and the violence steps in to fill the gap - but it’s not as effective on its own.

There’s only so many times escalation works before it starts feeling repetitive, and what’s very frustrating is that the film already had something working - that early balance of mean humour, tight dialogue, strong performances - that was the hook.

And then it just drifts away from it, so by the second half, those quick, cutting exchanges are mostly gone, replaced by shouting, chaos, and physical conflict, and while there’s still energy, it has a lot less personality.

Also, oddly enough, one of the standout moments comes from a smaller role, where Paul Guilfoyle shows up briefly and immediately freshens it all up compared to everything else going on, and ends up bcoming a quick reminder that when the film focuses on character and interaction, it actually works really well.

There are also a few clever setups and callbacks scattered throughout that show some thought went into the writing, but just doesn’t build on them enough.

The ending tries to pull it back

By the final stretch, the film is running on momentum, where the humour has taken a back seat, the violence has done most of the work, and what’s left feels more like escalation for the sake of it rather than a natural progression - it does try to soften things though, which wasn’t a bad idea, but it all feels rushed, like the film suddenly remembered it needed to land somewhere, not just keep going, but despite these grievances, there’s still some fun to be had here, but it never quite holds onto what made it work in the first place.

Final Verdict

Strong start, some sharp humour, and a decent enough cast, but it just forgets what made it work in the first place - entertaining in bursts, but pretty uneven overall.

Trailer

Directed by - Jorma Taccone

Screenplay by - Nick Kocher and Brian McElhaney

Cast Includes - Jason Segel, Samara Weaving, Paul Guilfoyle, Keith Jardine, Timothy Olyphant, and Juliette Lewis.

Cinematography - Matt Weston

Running time - 105 minutes

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Plot

An ex-military convict seeks a fresh start in a small town, but his past catches up as he finds love amid danger.

Good Points

• Strong Shameik Moore

• Clear, uncompromising tone

• Raw, messy confrontations

• Doesn’t soften or dilute its themes

• Some visual choices

Bad Points

• Middle section drags a bit

• Tone can feel a bit uneven

• Some moments felt out of place

• A few logic gaps if you look too closely

My Thoughts On One Spoon of Chocolate

The town decides everything before the story even starts

From the moment we see Unique showing up, it’s obvious this isn’t going to go well, because you notice straight away that the environment is already working against him, in a mindset that doesn’t change, doesn’t adapt, and definitely doesn’t welcome him - there’s no slow reveal here, as it’s immediate, blunt, and clear what kind of place this is.

The film works best in the early parts, showing how hard Unique tries to keep things together with a lot of effort, which makes what follows more frustrating to watch, because you can see how avoidable it should be, and yet it isn’t, where every interaction feels like a test he didn’t sign up for.

The tension builds in small, ugly steps

You will also notice a lot of smaller moments in the film that mean a lot more - looks, comments, interruptions - things that might seem minor on their own but build into something heavier, and ydefinetly ou can feel where it’s going before it gets there, and the basketball court scene in particular is where it really clicks.

It starts normal, then shifts just enough to make you aware something’s off, and when it finally breaks, it’s quick and messy with little polish, just frustration boiling over, and there’s no attempt to make the antagonists complex, either.

They are exactly what they appear to be - loud, aggressive, and completely unchecked, so that lack of nuance might bother some people, but it does fit the film’s approach, and what makes it land fairly well is just how normalised they are within the town - no one really pushes back, no one intervenes in a meaningful way, and that silence adds weight to everything they do.

It doesn’t look away when things get ugly

The film goes further than some will be comfortable with I think, with a certain subplot involving their actions that pushes things into genuinely disturbing territory, presented directly, without softening the edges, and that’s going to be a dividing line for some - I am sure some will respect it for committing, while others will check out completely.

Visually, it’s purposely a mixed bad, as some scenes are simple, almost plain, letting the situation carry everything, while others lean into the heavier choices - color isolation, sharper lighting, with more dramatic framing.

Sometimes it did feel like the film was underlining its own point bit too much too, but as things escalate, the shift in style matches the change in tone.

Daily Movie Thoughts

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

Once it flips, it doesn’t go back

There’s a clear turning point too, where the film stops building and starts releasing everything it’s been holding, and Unique shifts from reacting to acting.

From there, it becomes a revenge story, but not a clever one - just direct, forceful payback - and after everything that’s been set up, it’s hard not to feel some level of satisfaction watching that shift happen though, but the film doesn’t frame it as a clean win.

Not everything around it fits

There are moments that didn’t quite land for me - a few side characters and tonal shifts feel like they belong to a different version of the film., and one or two scenes introduce a kind of awkward humour or distraction that pulls you out of the momentum.

And the middle stretch is where you can feel the film taking longer than it needs to move things forward, and while the tension doesn’t disappear, it plateaus for a bit before picking up again, and I think a tighter edit would’ve helped keep the pressure more consistent here.

It doesn’t pretend this fixes anything

The ending doesn’t offer comfort either, and there’s no sense that what happened resolves the bigger issue - the town doesn’t changege, the system doesn’t shift, and it just shows what happens when pressure builds too far and finally breaks, which I liked, as it’s probably more honest than a cleaner alternative.

Final Verdict

One Spoon of Chocolate is raw, angry, and incredibly direct, and while I think it has its issues, I also liked just how in your face it is, with little subtleness.

Trailer

Directed and Written by - RZA

Cast Includes - Shameik Moore, Paris Jackson, RJ Cyler, Harry Goodwins, Johnell Young, Michael Harney, Rockmond Dunbar, E’myri Crutchfield, Blair Underwood, Jason Isbell, Isaiah Hill

Cinematography - Brandon Cox

Running time - 112 minutes

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If someone can attract millions of viewers online, there’s a good chance those same people will buy a ticket to see their film, and studios have certainly started to pay attention to this.

Granted, that is also not easy to accomplish, otherwise we would all have massive following, but it is easier, and cheaper than the usual way I would say.

Daily Movie Thoughts

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

A Different Way In

For years, online creators have been invited to premieres or hired as actors to help promote films, and not normally in the most honest or authentic of ways, but now we have situations where they are actually writing and directing them too.

Chris Stuckmann is one example, someone who built a large following reviewing movies on YouTube, before later directing Shelby Oaks, a horror film that began as a small idea and grew with support from his own audience.

Another example is Kane Parsons, who created The Backrooms as a teenager, a series of short videos set in empty, unsettling spaces, and these videos spread very quickly online, and guess what, now he has his own feature length film being released by A24 next month.

There are also creators like Curry Barker, who proved with short films that he could build tension and tell a story with very little money, and has had success with Milk & Serial, a free online found footage film he done, and will be releasing Obsession in May and is also set to direct The Texas Chainsaw Massacre’ Reimagining for A24.

More and more studios are going to show interest in YouTube creators going forward, so instead of them only buying scripts or adapting books, they will be backing people who already have a voice and a following.

And it makes perfect business sense, too, because even if the films aren’t very good, the loyal following of the creators almost guarantees a profit.

And boy, are the fans of these creators loyal, as I know when I was browsing Reddit reviews/thoughts of Iron Lung, his fan base were almost toxic like when someone popped up saying they wasn’t a fan of the film.

And while I wasn’t a huge fan of it, as I didn’t think it translated well to the screen, among other reasons, I did respect the journey a lot.

But anyway, more on Iron Lung…

Creating Iron Lung

Another way you can do it, rather than waiting for a studio to come to you, is how Markplier did it with regards to Iron Lung - he paid for it himself, spending around $3 million, where he also helped handle the release, rather than handing it over completely to a traditional distributor, starred in itm, and well, pretty much ran everything - The result?

The film earned about $36 million worldwide - and how did he do this?

He spoke directly to his fans, he encouraged them to ask their local theaters to show the film, so as more people requested it, major cinema chains added more screenings, showing that a strong fan base can replace a large marketing budget.

Why This Model Works

There are a few simple reasons why online creators are succeeding here- first, they already have viewers who trust them, so when they release something new, people will pay attention, and as mentioned, they are damn loyal.

Second, they know how to keep an audience engaged, as they’ve spent years learning what people respond to and what they ignore, slowly building tha following, third, they often work with smaller budgets, so this means their films don’t need to earn as much money to be considered successful, and finally, they can promote their work instantly, where a single post or video can reach millions of people without extra cost.

It’s pretty perfect, really.

What Does This Mean Going Forward?

Studios are certainly going to start to think differently about where talent comes from, and they are going to be looking at audiences - a creator with a loyal following can be just as valuable as a well-known actor or a popular franchise.

This doesn’t mean every online creator will succeed in film, as making a movie is still difficult (Not that I have any experience in it), and not every project will work, but the door is open in a way it wasn’t ever before, and there is now more than one way to become a well known filmmaker - if you can tell a story that people care about - and if you can get their attention - you have a real chance of bringing that story to the big screen.

This is just the beginning.

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Plot

A grieving woman seeks solace in the wilderness only to become ensnared in a deadly game of cat and mouse with a serial killer.

Good Points

• Charlize Theron

• Effective physical, non-verbal storytelling

• Tension built fairly well through environment and silence

• Visuals

Bad Points

• Predictable structure and rhythm

• Repetitive at times

• Action is solid but not memorable

• Some pacing issues

My Thoughts On Apex

The landscap, Theron and Egerton

I am not actually sure if this is a good thing, but the best thing about Apex I thought was the Australian wilderness, which dominates everything - wide, empty, and quietly threatening - even more so than the human tension around it, and probably would have looked really good in a big screen in a theater.

Charlize Theron plays Sasha, who feels like someone who’s been holding everything together for too long and is now operating just on habit and her own stubbornness, where a lot of what she’s doing is internal, carried through movement and reaction rather than dialogue.

And what can I say, she is solid enough here, especially as there’s not much talking from her character, and that was actually one of the film’s better decisions, as this is a film that trusts silence to do the work, and while it doesn’t always land, it still feels like the right approach.

Taron Egerton as Ben does manage to shift the energy slightly, and he doesn’t play it as an obvious antagonist, which helps, but there’s a looseness to him that makes it harder to pin down exactly where he actually sits in the story for a while.

Daily Movie Thoughts

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

Eric Bana shows up, then makes you want more

Eric Bana doesn’t get much time here unfortunately, but he is someone that has that effect where his presence immediately feels underused - he appears, delivers what he needs to, and then the film moves on, which leaves you slightly aware of what the film could’ve expanded on.

The structure settles into repetition

Once the setup is done, the film falls into a pretty predictable cycle - move, hide, run, repeat - with little variation, and certainly not enough to stop it from feeling familiar quite quickly - it’s not unwatchable, just mechanically familiar.

The action itself is functional enough too, and fairly restrained, but it’s focused more on survival pressure than choreography, so it does its job without drawing too much attention to itself, but nothing really sticks in the memory after it’s over.

Final Verdict

Apex is one of those Netflix films that lands somewhere between a bit better than expected and limited and predictable - competent, and watchable enough in a casual sense, but it’s a hard one to actually recommend.

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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.

Seven Snipers - April 30th (Limited Theaters

A retired sniper in hiding on an Australian ranch must reunite her elite kill squad when a vengeful warlord threatens her daughter.

Animal Farm - May 1st (Theaters)

Following an animal revolution, the pigs seize power and a farm is transformed into a ruthless dictatorship.

The Devil Wears Prada 2 - May 1st (Theaters)

Miranda Priestly struggles against Emily Charlton, her former assistant turned rival executive, as they compete for advertising revenue amid declining print media, while Miranda nears retirement.

Deep Water - May 1st (Theaters)

Terror strikes when a flight from Los Angeles to Shanghai goes down in the Pacific Ocean. Stuck on a sinking plane, survivors soon find themselves in a fight for their lives as man-eating sharks start to circle the wreckage.

Hokum - May 1st (Theaters)

When novelist Ohm Bauman retreats to a remote inn to scatter his parents’ ashes, he’s consumed by tales of a witch that haunts the honeymoon suite. Soon, disturbing visions and a shocking disappearance force him to confront dark corners of his past.

Swapped - May 1st (Netflix)

A small woodland creature and a majestic bird, two natural sworn enemies of the Valley, that magically trade places and set off on an adventure of a lifetime

One Spoon of Chocolate - May 1st (Limited Theaters)

An ex-military convict seeks a fresh start in a small town, but his past catches up as he finds love amid danger and chaos.

Two Pianos - May 1st (Limited Theaters)

A virtuoso pianist returns to Lyon from Japan, and he reunites with his mentor Elena for concerts, but becomes consumed by a past secret, his first love Claude, and a child who is his double.

An Autumn Summer - May 1st (Limited Theaters)

An 18-year-old spends the summer with his girlfriend, family and best friends before heading off to college.

Casa Grande - May 1st (Limited Theaters)

A privileged Rio de Janeiro teen falls for a fellow student while his hedge-fund manager dad tries to hide that the family are going broke.

The Last One for the Road - May 1st (Limited Theaters)

Two losers on a road trip to the last one for the road and the secret of life drag a university student along and down with them.

And in case you have missed the last few weeks of new movie releases…

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 Night Eats the World

A weird little movie in the streets of an empty Paris, and it kind of unravels from there - not much “big zombie action” actually, but more pacing around and trying not to freak out.

The Battery

Much like The Night Eats the World, The Battery is more of a character-driven movie that focuses on the relationship struggles between two former baseball players, than on action packed zombie fights, and has been described as an “anti-zombie zombie movie”.

Wyrmwood: Road of the Dead

Chaos and DIY brilliance with some pure punk energy, this one’s a bit nuts, with lots of yelling, weird homemade armor, trucks, and zombies exploding, the whole thing’s kinda bonkers and a ton of fun.

Ravenous (Les Affamés)

Super quiet, and a bit slow, yet beautiful, with zombies stacking chairs into weird piles that don’t make sense but somehow creep you out more than if they attacked.

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It Stains the Sands Red

It Stains the Sands Red is kind of a weird film with a woman stuck in the desert, and one zombie just trudging after her nonstop - it sounds dumb but it ends up kinda emotional??

Blood Quantum

Set on a First Nations reserve where the people there don’t turn, which already makes it way different from most zombie movies, and while some of it is really rough, the story underneath it all has real meaning - not a “fun” zombie movie, more like a “damn, ok” one.

The Dead

Shot in beautiful West Africa, with not a lot of dialogue, just long stretches of trying to survive and everything feeling sorta hopeless, with buckets of quiet atmosphere oozing throughout the film.

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The Plague of the Zombies

While this one is certainly well regarded among the hammer horror fan elite, it’s also very underrated in my view, where the makeup in particular is pretty creepy, especially for the time, and it also has a strong gothic atmosphere vibe going for it if that’s your vibe.

Dance of the Dead

This one was a huge surprise when I watched it, and is way better than it has any right to be, featuring a “made for fun” energy with some absurd humor and heart, and plenty of tropes.

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