As the latest in a long line of musical demon hunters, Rumi (Arden Cho), Mira (May Hong), and Zoe (Ji-Young Yoo) balance stardom and heroics as they work to create the “Golden Honmoon,” a magical barrier that will protect the world from the threat of soul-devouring demons that live in an alternate dimension. The three young women form Huntrix, a renowned K-pop girl group on the brink of a much deserved vacation.

When Rumi enthusiastically pushes up the release of their newest song, she finds herself forced to confront the parts of herself she desperately tries to hide. That effort becomes much more difficult when she and her best friends and fellow hunters have to face off against an unusual threat: a demon boy band. The Saja Boys, the demon boy band led by the charismatic demon Jinu (Ahn Hyo-seop), quickly rushes to stardom, presenting a challenge for Huntrix as the two groups battle for the affection of fans and the fate of the world.

KPop Demon Hunters has been described as a love letter to K-pop, and it lives up to that description. Its catchy music, fashion, and fan culture echo current K-pop trends, and the power of music and fan affection amplify the stakes of the conflict between Huntrix and the Saja Boys. In addition to the K-pop appreciation, there are also nods to Korean history and mythology, from Rumi’s throne in the “Golden” MV to Jinu’s demon cat affectionately dubbed “Derpy.”

There is action and humour blended with touching moments of friendship. Themes of hope, companionship, trust, and self acceptance are woven throughout the narrative, in addition to messages about forgiveness and releasing harmful beliefs about yourself. The primary antagonist, and patron of the Saja Boys, is an entity known as Gwi-ma. He feeds off of human souls and uses negative messages to draw people to him. He will identify his victims’ flaws, fears, and shortcomings and bring them to the forefront of their minds before proposing that he offers an “alternative,” a way from them to escape the messages they believe about themselves. But if people let themselves fall for his wiles, they will find themselves turned into demons plagued by guilt and shame.

An opposing, but still harmful, coping mechanism is represented by Celine. Her mantra, which she passes on to Huntrix (it is implied to have been passed on to her as well from previous generations of hunters) is that in order to be an effective hunter and protect the Honmoon, “Your faults and fears must never be seen.” The effort to live by this idea leads to conflict between the members of Huntrix as Rumi attempts to rid herself of her own perceived faults before anyone can find out about them. The conflict has cascading effects as it leads to the Honmoon weakening–allowing more demons into the human realm as fans are won over by the Saja Boys–and it gives Jinu an opening and allows him to ingratiate himself to Rumi.

The character of Jinu is a complicated one. He’s well portrayed by voice actor Ahn Hyo-seop, and his guilt and path to redemption make sense, though his character arc would have been served by more time for exploration, as would everyone else’s. The movie is short, and while it managed to fit a lot in, some aspects are skimmed over.

Viewers are left to wonder about the nature of Rumi’s parentage. We’re told her father was a demon, and both of her parents have passed, but we don’t know what happened or how. In the same way, the movie does little to explain Rumi’s rapid attitude shift at the end, how society adjusted to the mass disappearances (it doesn’t seem like Gwi-ma’s victims returned at the end), or the complexity of demons and demonhood. There are several unanswered questions, leaving things open for a much-requested and now promised sequel, but the story would have benefitted from a deeper exploration of harmful generational messaging and dealing with past sins and shortcomings.

From an artistic perspective, KPop Demon Hunters is immensely enjoyable. Sony Animation utilised vibrant stop-motion-like animation, similar to that used in their Spiderman series, and there are some cute references to romance K-drama, for those who are fans of the genre. The music could have an article of its own. Huntrix’s singing voices are provided by EJAE, Audrey Nuna, and Rei Ami as Rumi, Mira, and Zoe, respectively. Andrew Choi provides Jinu’s singing voice as a member of the Saja Boys, and the vocals for the other Saja Boys are provided by Kevin Woo, Neckwav, SamUIL Lee, and Danny Chung. The songs are catchy and well suited for their scenes in the movie, and you may find yourself singing them long after the movie is over. In particular, the message of the final song, “What It Sounds Like,” provides an uplifting finale after the Saja Boy’s enticing invitation to darkness in “Your Idol.”

Ultimately, KPop Demon Hunters is a fun movie with a positive message that can be enjoyed by both children and adults.

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Before I even knew what the film was about, I had seen countless videos on TikTok and Instagram posts raving about how great the movie was, one person even stated it was the perfect horror movie.

However, whenever someone thinks about their version of the perfect horror film, what comes to mind will always differ from others so when you walk into a theatre with that expectation, you risk the feeling of leaving disappointed. While Longlegs was not my favourite horror film of the year, it is still a great movie.

The film follows FBI Agent Lee Harker as she is assigned to an unresolved serial killer case that takes an unexpected turn to the occult and becomes an even wilder ride as she discovers a personal connection to the killer, Longlegs.

Neon’s latest film directed by Osgood “Oz” Perkins, the son of Anthony Perkins, a Hollywood heavyweight and the star of Alfred Hitchcock’s Psycho (1960), both men have a great understanding of what makes people truly uncomfortable. While Longlegs’ storyline follows a conventional plot, its strength lies in its ability to unnerve. It excels in creating an atmosphere that crawls under your skin, wrapping its hands around your heart, willing it to not beat so loudly. Instead of focusing on scaring the audience, it fills you with nervous unease.

The opening scene is the most frightening sequence in the film and perfectly sets the tone for the story. It opens with a shot of a house covered in untouched snow, its whiteness refusing to look pure as it contrasts with the flashes of red from the opening titles. An eerie stillness pervades the air, mirrored by the deliberate stillness of the camera movements with its slow, measured pans. In just the first two minutes, a suffocating tension has been built—and nothing’s even happened yet!

It is a film to simultaneously lean into and wince away from.

But, what will ultimately decide if this film will be your favourite horror film of the year is whether or not you prioritise story over atmosphere. 

What follows is a plot that feels more like a psychological thriller than a horror, despite Agent Harker trying to capture a serial killer who believes in raising Satan but even at that, not once were we to actually believe that the supernatural was real in this film until the very end.

The film itself is jam-packed with motifs often associated with serial killer thrillers—the cyphers that Harker needs to decode, violent letters left to taunt the protagonist, creepy dolls, and even a visit to a mental hospital. You can already see the comparisons to films like The Silence of The Lambs (1991) and Se7en (1995).

Like many people, I left the theatre questioning what I had just seen, I had so many unanswered questions about the ending. But more importantly, I left the theatre questioning whether or not I liked the movie. Yes, the film perfectly toys with your senses. And yes, the film is scattered with atmospheric scares. However, throughout it, I felt like there was a lack of stakes in the plot. Not once did we feel like the main character was in any real danger nor did the final murders feel heavily distressing.

Nicolas Cage plays the character, Longlegs, and does so with such theatrics taking inspiration from real-life serial killers, like the Zodiac and Weepy-Voiced Killer, with his high-pitched lyrical tone. Visually, he looked the part too, like a botched Ozzy Osbourne if Ozzy Osbourne had a plastic surgery addiction.

Even with the film’s promotion they built upon the character’s fear factor refusing to show his face in the trailers and posters. Only glimpses of his torso and distorted cackle, crafting a shroud of mystery around him. As if implied that his visage was too horrifying to behold, reserved only for those who dared to watch the film.

With sparing yet impactful appearances, each moment Cage graced the screen sent shivers down the spine. Despite this, by the film’s conclusion, his role felt peripheral, as though his character lingered on the edges of the story rather than at its heart despite being the driving force in the narrative.

The main protagonist, Agent Lee Harker, is played by Maika Monroe. A familiar face to the horror genre having starred in It Follows (2014) and Watcher (2022). Monroe’s fear and anxiety throughout the film were so palpable and authentic that it was hard not to feel the same. In scenes like her finally meeting Longlegs, the terror she exudes is contagious. Her character is an inherently unsettled soul with an awkwardness that seems to vibrate with every interaction. There was a fresh, raw quality to her, reminiscent of Jodie Foster’s Agent Clarice Starling from The Silence of the Lambs (1991).

While the film’s ending was fitting for her story, by the time the credits started rolling, I felt like it was nowhere near done. Did Longlegs successfully raise Satan? What’s going to happen to the little girl? How is she going to explain the final scene to the FBI? What the hell actually just happened?

Like I said, I had many questions.

Despite all of that, the film does take you on such a hauntingly atmospheric journey that’s not often felt in many horror films today. I understand why Longlegs had garnered such great reviews from early viewers, especially when their opinions hadn’t yet been influenced by social media. I’ve learnt my lesson now on not falling for the hype traps.

So, can you call it the “best horror movie of the year”?

I guess that depends on you.

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Visually, MaXXXine is everything you want it to be. Packed with 80s nostalgia, the glitz of Hollywood, and shot with a LUT in-camera that made the film look like it was actually made in 1985. Yet despite all of that, it was a disappointing end to an otherwise promising trilogy.

Released on July 5th, MaXXXine is Ti West’s final instalment of the X trilogy and follows Maxine Minx as she finally gets her wish—to become a star.

Having been obsessed with this trilogy the moment X was released in 2022, I was excited to see where Maxine’s life would take her. Set six years after the events of X, we are reunited with Maxine as she lands a big role in a Hollywood movie.

The film opens up with a montage sequence that perfectly plants us in the right era and sets the tone of the film. We see news clippings of the oh-so dangers of Dungeons and Dragons, broadcasts of the latest victims from a serial killer unknown and religious groups protesting against porn and rock n’ roll outside the movie production studio where Maxine is auditioning at. We are placed directly in the middle of the 1980s satanic panic.

Gone are the days of ankle-length skirts and quiet women, Maxine presents herself as someone fully confident in her body and her talent as an actress. Having moved to LA, Maxine has become a popular VHS porn star and is the definition of sinful to the protesters outside.

Especially now since she has just landed the lead role in the horror movie, The Puritan II.

In the previous two films, director Ti West would often pay homage to cult classics like Texas Chainsaw Massacre (1974) in X and The Wizard of Oz (1939) in Pearl. For this film, West takes a more direct approach with the fictional film, The Puritan II, drawing inspiration from Rosemary’s Baby (1968), The Exorcist (1973), and The Omen (1976). Horror films that were argued at the time as the main movies that “corrupted” children’s minds in the 80s as they all carry themes of satanism and the occult. Strangely enough, children being possessed by Satan was a very popular storyline in the 1980s.

This casting is a clever meta-commentary on Maxine’s own narrative arc as she is stalked by a supposed satanic serial killer. However, as the plot unfolds, the film’s initial promise of depth gives way to a series of predictable and underwhelming developments.

Maxine’s character lacks the depth and complexity needed to carry the film. Not to say that it was Mia Goth’s acting that was lacking, the fault solely lies with the writing. Her newfound steely disposition and simmering anger make her a figure of intrigue, but these traits are inconsistently developed. In some scenes, her silence and stoicism add to her mystique; in others, they create awkward moments, such as her one-sided interaction with Halsey’s character, Tabby, where Tabby is literally just talking at Maxine for a full minute. She doesn’t even say bye to Halsey when she leaves, you can’t help feeling bad for the girl. This inconsistency undermines the film’s attempts to present Maxine as a fully realised character. Either that or she’s just a horrible friend.

The film’s handling of its horror elements also leaves much to be desired. While technically a slasher flick, MaXXXine opts for a restrained approach to gore and violence, with many deaths occurring off-screen. This decision robs the film of the visceral impact and tension that defined its predecessors and even allows for a predictable ending.

As the movie comes to an end and her father is revealed as this overzealous Christian cult leader, the hypocrisy of the conservative public opinion of the time is painted on screen. From the father’s opinion that “Satan stole his daughter” to the reality that his oppressive and controlling upbringing is actually what drove her away, the film discusses a different type of obsession that the trilogy had yet to talk about—the obsession that men have to control women.

It is seen with her father and how he wants to control Maxine’s life. And it is seen again with Kevin Bacon’s character. Kevin Bacon plays PI John Labat, a man who we think at first is just hired help but quickly becomes a man obsessed with “putting Maxine in her place.”

But if there’s anything we know about Maxine is that she is not someone you can control.

Despite how badly I wanted to love this film, everything about it felt anticlimactic. In the final act when she kills her father, what was intended to be a moment of cathartic release and narrative culmination, instead, falls flat. The build-up to this moment lacks the necessary tension and stakes, making the final act feel unearned. This is mainly due to the messy, slow plot that leaves audiences feeling detached, unable to fully engage with Maxine’s ultimate act of reclaiming power.

It was Kevin Bacon’s death that felt more satisfying as he was the face of the majority of the danger throughout the plot. Once he died, it felt like the ultimate danger in the film died with him.

In the end, the film closes the same way that the trilogy opens—with Maxine staring at herself in the mirror as she snorts a spoonful of coke. Once again portraying the lack of character development and forces us to question if she even deserves her happy ending.

This film isn’t about showcasing growth away from debauchery; it’s about utilising it. From the religious groups protesting against porn and rock n’ roll outside the production studio at the beginning of the film to them still being there in the final scene suggests that debauchery and sin are inescapable. You might as well embrace it and use it to your advantage like Maxine does.

While the film re-explores past themes like obsession and new ones like religious trauma, it forcibly screams them at the audience rather than allowing viewers to arrive at their own conclusions. Every piece of subtext is spelt out, battering the audience with overt explanations and long-winded monologues, leaving little room for subtlety or personal interpretation. It breezes past every theme and motif, as though the audience is incapable of understanding ideas.

The trilogy as a whole has definitely cemented Mia Goth as an ultimate scream queen and has delivered us with iconic lines and Halloween costume ideas that will last us decades.

Unfortunately, this film will not be remembered with the same love.

In conclusion, MaXXXine, despite its visual allure and nostalgic charm, ultimately falls short of delivering a satisfying conclusion to Ti West’s X trilogy. While Mia Goth shines in her role as Maxine Minx, the film’s narrative inconsistencies and lack of depth hinder its impact. What could have been a powerful exploration of obsession and control in the 1980s horror genre instead feels like a missed opportunity, making it a forgettable end to an otherwise promising series.

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2012 called and the craze for The Hunger Games has returned. Director Francis Lawrence thrusts viewers into a President Snows’ villain origin story set 64 years before Katniss Everdeen enters the reaping. Lawrence directed Catching Fire and Mockingjay parts 1 and 2, and they did not waste any time, transporting the viewers back into the dystopia of Panem almost nine years later. Suzanne Collins, author of the best-selling book trilogy which the movies are based on, is an integral part of the writing process, keeping storylines true to their intention and fans of the books, mostly happy with the adaptations.

The film begins with protagonist, Coriolanus Snow (Tom Blyth), navigating a post-war Panem, set on suppressing District uprising by forcing children into a Battle Royal-esque, fight to the death for the entertainment of the winners of the war, The Capitol. With his eyes set on a scholarship to secure a full ride to university, he is assigned as a mentor to the 10^th annual Hunger Games tribute, Lucy Gray Baird (Rachel Zegler). The two develop a whirlwind romance as Baird is forced to fight for her life in the arena, while Snow watches the spectacle with the rest of the mentors.

Villain origin stories often leave the same question in their wake: “Should we humanise villains on screen?”. Coriolanus teeters the line of villain and victim carelessly throughout the film. Raised in poverty by his grandmother and cousin after the death of his father, Major General Crassus Snow, Coriolanus struggles to fit in to the prestigious and albeit, vicious environment of the Academy. The film continues the dichotomy of Snow’s character prequel character vs. the ruthless dictatory portrayed in the original trilogy, by introducing him as someone who would give up his own food rather than see his family go hungry. The writers and director truly do an incredible job at portraying Snow’s slow dissent into evil, as the movie highlights numerous scenarios where the theory of nature vs. nurture is exemplified. The movie really does succeed in questioning if future President Snow (and ultimately humankind) is born into violence and chaos or if it is the natural state of the world. Suzanne Collins’ direct involvement with production and writing of this instalment does keep the thematic questions of human nature and governance consistent throughout the franchise.

One catalyst to Snow’s downfall is his developing feelings for free-spirited songbird, Lucy Gray Baird. Unfortunately, the insta-love romance has the two characters falling in love so quickly, Baird doesn’t even have an outfit change before she is sacrificing her life for Snow. The quick shift from studious Snow to careless and risking not only his reputation but his life for the girl he is assigned to mentor truly made the coupling seem juvenile and unbelievable. This as well as the sporadic musical numbers, really pulls the viewer out of the serious life or death dystopic that the movie tries to set for previous slow-burn love triangle from the previous movies. Don’t get me wrong, Zegler is a phenomenal singer but breaking into song after being selected to fight to the death on screen is comical, in an otherwise very serious movie. It didn’t add the comedic value, it just had me laughing at the screen… and not in a good way.

In the conclusion, there really is no conclusion. The film ends leaving more questions than answers. While it succeeded in many ways of having the viewers question the sequence of events that lead to the dictator we know and hate from the previous movies, we don’t really get any answers. Without a sequel on the horizon, the film, arguably, leaves the viewer unsatisfied with dead ends on character development, gaps in storylines and questions still lingering between the Hunger Games we know and love and the new instalment.

With all this being said, the theatrical execution and production value was well executed.

It is apparent to viewers that there was thought put into the re-emergence of this franchise, with the carry-over of production personnel, star-studded score and dreamy A-list cast, it is no wonder that there’s been buzz (and an 89% audience score on Rotten Tomatoes) surrounding The Ballad of Songbirds and Snakes.

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Director: Steven K. Tsuchida
Writer: Eirene Donohue
Starring: Rachel Leigh Cook, Scott Ly, Ben Feldman, Missi Pyle

A Tourist’s Guide to Love tells the story of Amanda (Rachel Leigh Cook), a travel agent who is sent to Vietnam by her boss Mona (Missi Pyle) undercover to check out a local tour company that her company is considering purchasing. This comes after her boyfriend, John (Ben Feldman), tells  her that he wants to “take a break” so he can take a job in Ohio, much to Amanda’s surprise. While in Vietnam, she meets Sinh (Scott Ly), the group’s tour guide, and they end up developing romantic feelings for each other.

Scott and Ly are standouts in this film, bringing depth in their own unique ways to their roles. As Amanda, Scott starts out being almost completely focused on determining if the company is a good fit, but eventually is able to also enjoy her time in Vietnam. As Sinh, Ly balances romance and being a leader well, but is also able to be the voice of reason when needed. Their chemistry was also clear from their first meeting, and evident throughout the film.

Pyle and Feldman both do fine in their respective roles, with Pyle as Mona balancing being a boss and friend well. As John, Feldman does well with the material he was given, but his role unfortunately has a rather predictable character arc.

The film also boasts a decent-sized supporting cast, particularly in the Vietnam tour group. This includes Glynn Sweet and Alexa Povah as Brian and Maya Conway, respectively, Jacqueline Correa as Sam Gonville, Nondumiso Tembe as Dom Fisher, Morgan Dudley as Robin, Andrew Barth Feldman as Alex, and Quinn Trúc Trán as Anh, to name just a few. Trán is a standout as the upbeat Anh, who is Sinh’s cousin. The rest of the cast also did well overall in their respective roles. However, I found myself wanting to know more about them. Their roles lacked the same depth as Cook’s and Ly’s, and I would have liked to have seen at least some of them develop a little more.

The middle portion is another strength of this film. It is paced well, and while it did have some predictable elements, it did a good job of keeping my attention, and highlighting the wonderful scenery of Vietnam. Unfortunately, I cannot say the same for the beginning and end of this film, both of which I found to be very predictable. The beginning was also slow-paced, even bordering on cheesy at times.

With that being said, I did enjoy that this movie contained elements of a standard romance movie and added to it. With a robust supporting cast, and a unique location choice, it made for a familiar yet different experience, which I particularly appreciated as someone who often watches films in this genre.

Overall, despite a few issues, this was still an enjoyable film to watch overall. Those who enjoy romance movies, or enjoy them but are looking for something a little different likely won’t be disappointed.

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Director: Stephen Herek
Writer: Nick Santora
Cast: Rob Lowe, Johnny Berchtold, Kimberly Williams-Paisley, Nick Peine

For many people, it’s easy to enjoy watching dog movies. After all, they feature a protagonist that’s easy to root for in the form of a dog, and the movie often chronicles the dog’s heartwarming bond with another person or family. “Dog Gone”, adding another dog movie into the mix, follows this formula, and on the most part does well.

Based on a true story, “Dog Gone” chronicles the story of Fielding Marshall (Johnny Berchtold), a college student who decides in his senior year to get a dog after seeing his ex-girlfriend dating someone else, despite his friend Nate’s (Nick Peine) advice that he was not making a good decision. Fielding decides to get a dog anyway, names him Gonker, and the pair instantly become best friends. When Fielding’s parents (Rob Lowe and Kimberly Williams-Paisley) and sister (Savannah Bruffey) stop for a visit before he graduates, they too meet Gonker, and initially have a similar reaction to his friend. They feel he made a poor decision. However, they eventually decide to allow him to bring the dog home following graduation, and seemingly form a bond with him too.

One day, Gonker goes missing while he and Fielding are walking the Appalachian Trail with Nate, the same friend from college who initially encouraged him not to get Gonker. He rushes home in a panic to tell his parents the news. The next day, together with his dad, Fielding sets out on the Appalachian Trail in a race against time to find Gonker before he needs his next dose of medication, and to repair their broken relationship. While they do this, Fielding’s mom stays at home and works to track any possible sightings and contact places like animal shelters to find out if they’ve seen Gonker, or in hopes that they’d be willing to help with the search.

Beyond the search for Gonker, this movie packs a lot in overall. There’s the father-and-son relationship repairing between Fielding and his dad, Gonker’s medical issues, Fielding’s medical issues, which are gradually revealed throughout the film, and even flashbacks to his mother’s childhood.

Each of the actors did a fine job overall. As Fielding, Berchtold did an excellent job of portraying a person who had a clear bond with his dog—this relationship is what helped make the movie heartwarming. Lowe did a great job as Fielding’s dad, John Marshall, with a few particularly well-done monologues about why he cares so much about his son’s future. Fielding’s mom Ginny Marshall, played by Williams-Paisley, did a good job of portraying her role with depth, which seems to be aided by the flashbacks to her childhood, which chronicled the relationship that she had with her dog, and how her parents felt about said dog. As Nate, Peine played a supportive friend quite well, that also had a few moments of comedy.

The flashbacks, despite bringing depth to Williams-Paisley’s character overall, did feel a little random and even disjointed at times. Perhaps one more between the first and second one would have helped add more to her story.

Another area of the film I felt could have used more was the father-son relationship between Fielding and John. I recognise that they were attempting to repair their relationship on the Appalachian Trail, but even at the end of the film I would have liked to have seen a bit more depth in their father-son relationship.

I did find it heartwarming to see how many people joined in the search for Gonker. It seemed like almost everyone they gave a flyer to or that his mom contacted was willing to help with the search in some way. It was easy to tell that the people helping in some way with the search genuinely wanted to make sure Gonker was found safe, before he needed his next dose of medication.

Overall, despite a few concerns, this is still a good film overall. Those who go in expecting a heartwarming story primarily about the relationship a boy has with his dog will likely be quite pleased.

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Director: Daryl Wein
Starring: Zoey Deutch, Kendrick Sampson, Ray Nicholson, Shay Mitchell, Leah Jeffries
Written By: Tamara Chestna, based on the book by Melissa Hill

Christmas rom-coms are a staple of the holiday season for many, whether they’re from Hallmark, Netflix, Amazon Prime, or another streaming service or channel.

Something From Tiffany’s is unique in that, though there are mentions of Christmas, the focus is primarily on the romance and other aspects of the film, meaning it can just as easily be watched in March, or even during the summer, as it can be during the holiday season.

The movie chronicles the story of the accidental swap of two pieces of Tiffany’s jewellery, and the events that take place afterwards. The two pieces of jewellery are an engagement ring, which Ethan (Kendrick Sampson) has selected with the help of his daughter Daisy (Leah Jeffries) so that he can propose to his girlfriend Vanessa (Shay a Mitchell), and a pair of earrings, selected by Gary (Ray Nicholson) as a gift for his girlfriend Rachel (Zoey Deutch). The swap occurs when Ethan assists Gary after he is hit by a cab, and inadvertently takes Gary’s Tiffany’s bag when he leaves.

The overall plot line of this movie felt very predictable, and there weren’t many moments where I was particularly surprised by what happened. Having said that, I do think the story flowed well overall, and was relatively easy to follow. Also, I do think it was a smart choice to start the movie off with both men buying the jewellery for their girlfriends in the same store—this made it clear from the start of the movie that their stories would likely connect in some way.

The actors in this movie do quite well overall. As Rachel, Deutch does a fine job of portraying an upbeat, fun restauranteur, running a restaurant with her friend Terri (Jojo T. Gibbs). Gibbs was a good choice to portray the role of Terri; as Rachel’s friend, she is clearly supportive of her, and provides a few moments of comedy as well. Sampson is compassionate and clearly dedicated to the people he cares about in the role of Ethan, and as his daughter Daisy, Jeffries is supportive, full of joy, and, like her father, compassion. Though Mitchell does well in the role of Vanessa, I wish she would have gotten more screen time so that viewers could get a better idea of her character’s personality. Mitchell did well overall, but nothing about her character particularly stood out. Though he got more screen time, I felt similar about Ray Nicholson as Gary. He did well overall in the role, but his character, similar to Mitchell’s, could have been more developed, and I recognize that this is neither the fault of Mitchell nor Nicholson.

The movie’s choice of location serves it particularly well. Set primarily in the city, the location brings the Christmas feel into the movie, with Christmas trees occasionally being seen, while providing an excellent backdrop for some of the movie’s more romantic moments.

Another thing that serves this movie particularly well is its soundtrack. With a mixture of holiday favourites and old classics, the choice of music is perfect for a Christmas rom-com such as Something From Tiffany’s.

Overall, Something From Tiffany’s is a good movie. While there are a few issues with the movie’s overall plot line, the actors do a great job overall creating a movie that rom-com and Christmas movie fans alike can enjoy, throughout the year.

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Director: Matthew Warchus
Writer: Dennis Kelly
Cast: Alisha Weir, Lashana Lynch, Andrea Riseborough, Stephen Graham, Emma Thompson

The story of Matilda Wormwood has seen quite a few iterations. First as a book by Roald Dahl released in 1988, a movie was eventually released in 1996 starring Mara Wilson, Danny DeVito and Rhea Pearlman. The story has also seen a musical adaptation that first began performances in Stratford-upon-Avon in 2010, followed by a West End transfer in 2011, with several other productions having occurred worldwide since then.

Now, the story has been adapted again, into another movie, this time based on the musical. Matilda Wormwood (Alisha Weir) is a bright young girl, unfortunately with neglectful parents (Stephen Graham and Andrea Riseborough). After forgetting to sign her up for school, Matilda’s parents send her to Crunchem Hall, a school run by Miss Agatha Trunchbull (Emma Thompson), an evil headmistress.

However, inside the school, there is a glimmer of kindness in Miss Honey (Lashana Lynch), one of the only adults who understands that Matilda is smart beyond her years, and therefore attempts unsuccessfully to advocate to Miss Trunchbull for her to be placed in a higher grade level. Other glimpses of kindness come from Mrs. Phelps (Sindhu Vee), a traveling librarian who we meet at the beginning of the film, when Matilda is reading at her library past closing time.

The film also boasts a robust children’s ensemble, who portray Matilda’s fellow students at Crunchem Hall, from students in Matilda’s class, to Prefects in “School Song”, to roles in the first song discussing the birth of Matilda, “Miracle”.

If you’re familiar with any iterations of Matilda’s story, a lot in this movie will likely seem familiar. However, the film also has many unique aspects as well, that set it apart from the other iterations, so you likely won’t be bored while watching it.

One particularly unique aspect of this film is the casting. Each actor brings their all to their respective roles. As Matilda Wormwood, Weir exudes the confidence and determination needed for standing up to the evil adults she faces. Lynch brings an incredible level of depth to the role of Miss Honey. It is clear from the beginning of the film that there is more to her character than what initially meets the eye. Graham and Riseborough are able to balance moments of comedy with villainous moments quite well, something not often seen. Thompson creates a particularly imposing, fear-inducing Trunchbull, that I found too intense at times.

The kids ensemble is also incredibly well-cast. Their immense talent not only allows them to act and sing parts small and large alike well, but perform the wonderful choreography by Ellen Kane with ease.

The film also contains a new song, “Still Holding My Hand”. Songwriter Tim Minchin (who also wrote songs for the stage musical) has done a wonderful job creating a song that wraps up the film well. It chronicles the journeys both Matilda and Miss Honey went on, to eventually find their way to each other.

Overall, this film is very well done. While there are some particularly intense, dark scenes that potential viewers should be made aware of, those who are completely unfamiliar with Matilda’s story, and those who are familiar with every adaptation alike are still likely to find something in the film that they do enjoy.

What did you think of the musical to movie adaptation? Tell us in the comments below!

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Directors: Anthony Russo, Joe Russo
Writers: Joe Russo, Christopher Markus, Stephen McFeely
Cast: Ryan Gosling, Chris Evans, Ana de Armas, Billy Bob Thornton, Jessica Henwick, Regé-Jean Page, Julia Butters

When a CIA operative who goes by the codename Sierra Six (Gosling) uncovers agency secrets, a bounty is put on his head. Brutal, torture-loving contractor Lloyd Hansen (Evans) is hired to hunt him down, leading to a ruthless global manhunt.

Spy-thriller isn’t the easiest category to play in, not when you’ve got to compete against the death-defying stunts of Mission: Impossible, the legacy of Bond, and the compelling ruggedness of Bourne. The Russo Brothers gave it a red-hot go, plugging the script with big explosions, big names, and big set pieces, but though The Gray Man makes for an entertaining watch, it ultimately fails to truly stand out from the crowd.

After a brief foray into serious drama with their last film Cherry, the directing duo behind the back-to-back box-office successes of Avengers: Infinity War and Avengers: Endgame have returned to big budget cinema with another action-packed affair. The film begins with a bright and colourful bang, and then the bangs and crashes just keep coming; with nine massive action sequences spread across its two hour runtime, The Gray Man is made up of high-octane attention-grabbing moments.

Based on the books by Mark Greaney, it’s a generic but not uninteresting plot line – a good-at-heart assassin finds himself entangled in a web of conspiracies, while a psychotic gun-for-hire is engaged to silence him. It all centres on the chase of a MacGuffin; a USB which conveniently (or inconveniently if you’re the bad guys) contains all the evidence needed to bring the whole web down. Injecting some fun into the proceedings, scriptwriters Markus and McFeely ham up the stereotypes of the genre –  instead of directly emulating what has been done before, they opt for a knowing, tongue-in-cheek tone that lightens the mood, and affords distinction from serious heavy-weights like Bond and Mission: Impossible.

That’s not to say it’s all rib-tickling humour – there are a few quippy comebacks and chucklesome comments, but little in the way of laugh-out-loud moments; most of the fun comes purely from Evans chewing up the scenery as he doubles down on his role as the torture-happy baddie Lloyd Hansen. After his long stint as the ever strait-laced good guy Captain America, Evans seems to be loving the chance to play some jerks; ethically devoid and proud of that fact, Lloyd is Evans’ Ransom Drysdale from Knives Out turned up to eleven – he’s basically Ransom if Ransom had access to military grade weaponry.

Evans’ manic, moustachioed Lloyd is balanced by Gosling’s more reserved Six. Six is the reluctant man on a mission; his involvement in the plot a combination of the hand life dealt him, and his choice to actually listen to his moral compass rather than throw it out all together. With Evans and Gosling both sharing the spotlight however, there’s little room devoted to fleshing out the other characters. Ana de Armas’ Dani Miranda has some kick-ass hand-to-hand combat scenes but no real character development. Jessica Henwick’s Suzanne Brewer is also similarly short-changed; her big moment is quickly passed over in the final third of the film. Though both Armas and Henwick work their magic with what the script affords them, their characters are left largely two-dimensional.

The film delights in going over-the-top in every possible way; it’s a pacy watch full of fireworks, bombs, and excessive assholery. The gritty fight sequences are a stand out, and the actors bring a mediocre script home with their punchy performances. On the downside, some of the big-ticket action scenes become overly chaotic and borderline indecipherable at times, and the ending is rushed; a last ditch move made by the baddies is easily resolved a few minutes later, and there are revelations and power plays made late in the game that get glossed over and tied up too quickly.

The Gray Man had a budget to rival its biggest competitors, and it’s easy to see where the money went – with hectic action sequences involving multiple different modes of transport, plus grenades and guns going off every sixty seconds, it’s a circus of splashy stunts and VFX work being performed by an A-list cast. Yet, for all its spectacle, the film is liable to be lost in the sea of cinema; it needed more humour to reign as a comedy, more character development to stand out for its story, and more distinctive set pieces to be remembered for its action. Nevertheless, while not as show-stopping as its competitors, The Gray Man is undeniably entertaining; an explosive, energetic, unapologetically superfluous caper that goes all out in the name of fun.

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Director: Taika Waititi
Writers: Taika Waititi, Jennifer Kaytin Robinson,
Cast: Chris Hemsworth, Natalie Portman, Christian Bale, Tessa Thompson, Taika Waititi, Russell Crowe, Jaimie Alexander

After fighting for thousands of years, Thor (Chris Hemsworth) is searching for peace – both across the galaxy and within himself. However, his quest is interrupted by Gorr the God Butcher (Christian Bale), who is trying to bring about the extinction of the Gods. Thor returns to Asgard to enlist the help of King Valkyrie (Tessa Thompson) and Korg (Taika Waititi)—only to discover that his ex-girlfriend Jane Foster (Natalie Portman) has shown up, wielding his old hammer Mjolnir and fighting under the mantle of ‘The Mighty Thor.’

For anyone wondering how Marvel was going to follow up a film that featured flying animals, super powerful gods, and battle scenes played out to classic rock songs, it’s now possible to report that the answer is with more flying animals, more super powerful gods, and more battle scenes played out to classic rock songs. After the technicolour triumph that was Thor: Ragnarok (2017), Taika Waititi returned to the helm to tell the tale of not just one Thor, but two; this go-around Chris Hemsworth’s Thor shares the stage with Natalie Portman’s ‘The Mighty Thor,’ a.k.a. Dr. Jane Foster.

Full of rainbows, raucous music, and rib-tickling humour, Thor: Ragnarok, Waititi’s first Marvel outing, was a sharp turnaround from its slow, dark predecessors. Doing away with the Shakespearean stuffiness and making Thor fun again proved to be a success; Ragnarok hit the screen like a bolt of lightning, reinvigorating Thor’s character and reigniting interest in his individual storyline. While Love and Thunder still goes to town with the razzle and dazzle (there are giant, screaming goats, electrifying displays of godly power, vast and majestic settings, and a ton of good old jokes filling the script), it’s a song that’s been written in a different key—one that reflects the heavy weight of Thor’s struggles, and of Jane’s. If the films truly were music, then Ragnarok, bright and loud and self-indulgent, would be a soaring guitar riff, high energy and high octane, making the blood roar. Love and Thunder, by contrast, is a great, keening orchestral composition, full of up beats and down beats; a melody that is, appropriately, felt more in the heart than in the blood.

Waititi’s speciality (as seen with Jojo Rabbit, Hunt for the Wilderpeople, and Boy) has proven to be in striking harmony where there should have been discordance, in deftly offsetting the exploration of difficult topics and delicate vulnerabilities with offbeat quirks, humour, and vibrancy. Love and Thunder is more true to this than Ragnarok; while the hammer-wielding space-viking may exchange his dad-bod for a god-bod, post-Endgame Thor is still awash with grief and pain, trying to work out who he is and what he lives for after suffering through the loss of his parents, his brother (multiple times), and his break up with Jane, his one true love.

As the 29th Marvel movie, there’s a lot of history behind the tale, but never fear, Thor’s trusty side-kick, the one and only rock-man Korg, is on deck for an information download, chirpy narrator style. Since Avengers: Endgame (2019), Thor’s been on a slate of adventures with the Guardians of the Galaxy, but their team-up comes to a close when Gorr the God Butcher appears on their radar, by, unsurprisingly, going on a murderous god butchering rampage. With New Asgard in danger, Thor returns to Earth to help, not expecting to find his ex-girlfriend in Asgard too.

As suggested by the title, the film is an exploration of love—its costs, its worth, and its many different forms. With that also comes an exploration of pain, of emptiness, loss, the rise and fall of hope—byproducts of love lost. Yet, as each character grapples with finding peace and purpose amidst the grief that love has left in its wake, Waititi imbibes a message of hope, suggesting that where it has led to hurt, love can bring healing and happiness again, that where it has been lost, love can be found again. The film plays out positing that love is a path worth following, even though it won’t always be without pain.

Much of the impact of the message comes from Jane’s story; Portman’s return to the MCU is an abrupt turnaround from her last appearance in Thor: The Dark World (2013), where she was disappointingly short-changed. Love and Thunder is, as even Korg acknowledges, as much Jane’s tale as Thor’s, and given the chance to step off the sidelines, Natalie Portman packs a punch in a role that finally does her, her character, and females as a whole justice—Jane Foster is a vision of strength and fortitude, in more ways than one.

The film moves so fast that at times it verges on emotional whiplash; laughter one second, a punch in the heart the very next—it’s a jagged rollercoaster of ups and downs. Jane’s story steals the show, and her and Thor’s interwoven arc is one of the places in which the film truly shines. Bale does well to convey a fair amount of depth in a short amount of screen time, his ability to stand out no doubt helped in part by the abrupt shift from vibrant colour to greyscale during his appearances. Alongside the main plot, we get a little more (than perhaps needed or wanted) about Korg’s origins. Unfortunately, Valkyrie falls short on character development, largely ending up on side-kick duties with Korg. With so much to cram in, it’s natural that something had to give, nevertheless, it’s a shame that her role lost out in the run-time sacrifice, particularly given how much Valkyrie has to offer in her own right, especially now bearing the title of King.

Ending on just the right note to uplift the film, Thor: Love and Thunder is packed full to the brim, overflowing with Waititi-ness. It’s a wild ride of so many oppositions, of kaleidoscopic colour and greyscale, of love and loss, hope and hopelessness, laughter and sorrow. Waititi does well to balance such severe juxtapositions—bright, bold, and ambitious, Love and Thunder is a momentous, memorable spectacle that, despite depicting the trials and triumphs of gods, is gut-wrenchingly, hopefully human.

What did you think of Thor: Love and Thunder? Tell us in the comments below!

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