There is something inherently amusing about watching a heist movie like 2025's Now You See Me: Now You Don't that unironically adheres to the convoluted formula Rick and Morty cleverly parodied in 2019. Although it's nice that this long-delayed sequel reunites the original cast - including Isla Fisher, whose pregnancy prevented her from returning in Now You See Me 2 - it's disheartening that the picture is so lifeless and tepid, unable (or unwilling) to rectify the issues that let down its two predecessors. The film is undeniably slick and well-executed by director Ruben Fleischer, who takes over from Louis Leterrier and Jon M. Chu, but the polish cannot overcome the clunky pacing, as the movie becomes weighed down by yet another overstuffed, twist-heavy plot.


A decade after the Horsemen's performance, three young magicians - Charlie (Justice Smith), Bosco (Dominic Sessa), and June (Ariana Greenblatt) - use holograms and deepfakes to pull off a heist, draining thousands of dollars from a shady crypto bro. The stunt catches the attention of J. Daniel Atlas (Jesse Eisenberg), who invites them to join a mission assigned by the enigmatic Eye: steal a valuable diamond from Veronika Vanderberg (Rosamund Pike), whose company helps launder money for criminals. Travelling to Belgium, Daniel soon encounters the other three original Horsemen: Jack Wilder (Dave Franco), Henley Reeves (Isla Fisher), and Merritt McKinney (Woody Harrelson), who reveal that a mysterious tarot card summoned them. They need all the assistance they can get to disrupt Veronika's criminal empire, with Lula May (Lizzy Caplan) also answering the call, and the team reuniting with Thaddeus Bradley (Morgan Freeman).

For a movie about magicians, Now You See Me: Now You Don't is too short on actual magic. Just like the last two movies, many of the acts depicted on-screen are absurdly over-the-top, and there's nothing special about watching digitally-enhanced magical illusions. There are isolated scenes when the picture comes to life, including an extended single take in a booby-trapped mansion showcasing intricate sleight-of-hand without the aid of CGI. However, such moments only highlight how artificial the rest of the illusions feel. And when Veronika finally catches the Horsemen unaware by trapping them and forcing them to improvise, the timing of their escape still perfectly aligns with their overarching master plan. Spontaneity simply does not exist in this universe; everything is always part of the plan.


This point neatly leads into the sequel's major downfall: its stubborn unwillingness to shake up the trademark formula. The climax involves an elaborate, immaculately orchestrated plan that unfolds with mechanical precision, and the magicians apparently possess endless time, money, and resources to construct flawless props and environments without any outside assistance, scrutiny, or even the faintest hint of logistical difficulty. At least heist films like Ocean's Eleven show the construction of replicas, whereas everything here appears out of nowhere. Rather than feeling exhilarating, the movie's intricate scheme feels preordained - another demonstration that the Horsemen's victories are the result of narrative inevitability instead of cleverness. And because the script cannot resist cramming in additional double-crosses, red herrings, mythological teases, and character subplots, the rhythm grows lumpy and erratic. It moves quickly, yet somehow drags.

However, there are positives here. When Now You See Me: Now You Don't finds momentum, the jazzy score and crisp editing give certain set pieces a playful energy, and the globetrotting locations and elaborate production design are undeniably handsome. However, Fleischer lacks a signature style or flourish, and the picture looks like a generic blockbuster rather than anything more eye-catching or distinctive. There's even a blatant nod to Christopher Nolan's Inception in a rotating corridor scene, underscoring the movie's derivative nature.


Isla Fisher's return adds a welcome spark, and Lizzy Caplan also drops in. (This is the first entry in the series without Michael Caine, who retired in 2023.) Meanwhile, Rosamund Pike is clearly having great fun here as a broad, cartoonish villain with a South African accent. She is the only performer who seems to understand that this series works best when it embraces its own silliness. But Pike's deliciously over-the-top energy only highlights how flat some of the returning cast dynamics have become. Woody Harrelson's familiar shtick feels reheated, Jesse Eisenberg's brooding control-freak routine has long since worn thin, and the ensemble's once-snappy chemistry mostly goes through the motions. Even the humour feels inconsistent, with jokes either landing out of rhythm or leaning too heavily on self-satisfied winks. Additionally, the younger magicians feel underdeveloped, more functional than charismatic, and never quite form a dynamic that justifies their narrative prominence.

Now You See Me: Now You Don't enjoys deploying twists in typical heist-movie tradition, while the mythology involving the Eye remains frustratingly muddled - expanded in some areas, ignored in others, and never clarified enough to justify its continued presence. Worse yet, the film cannot stand on its own: the third act pivots into setup for a fourth entry, dangling a new conspiracy and a fresh roster of adversaries, because apparently a self-contained story is the one illusion this series refuses to perform. Now You See Me: Now You Don't is watchable and even sporadically entertaining, but it feels less like a daring new trick than a familiar routine performed one too many times.

5.2/10

Writer-director Rian Johnson subverts the expectations of his own murder-mystery formula with 2025's Wake Up Dead Man, ditching the buoyant, tongue-in-cheek tone of Knives Out and Glass Onion for something darker, stranger, and narratively denser. Seemingly determined not to repeat himself, Johnson relocates the action to a small-town church and constructs a mostly compelling instalment that feels like a genre hybrid - part whodunnit, part religious thriller. It's a clear improvement on the preceding sequel, but Johnson still falls short of recapturing the lightning-in-a-bottle magic of the 2019 original.


Former boxer Jud Duplenticy (Josh O'Connor) shifts away from violence to pursue a life of faith by becoming a Catholic Priest, though he still cannot control his temper. After punching a rude deacon, Bishop Langstrom (Jeffrey Wright) moves Reverand Jud to upstate New York, working at a church alongside Monsignor Jefferson Wicks (John Brolin). Wicks becomes more volatile during his sermons, which drives away most attendees and only leaves a small, loyal group: town doctor Nat (Jeremy Renner), disabled cellist Simone (Cailee Spaeny), lawyer Vera (Kerry Washington), enthusiastic YouTuber Cy (Daryl McCormack), and best-selling author Lee (Andrew Scott), while Martha (Glenn Close) works as Wicks's dedicated right-hand man. After Wicks ends up dead with a knife in his back during the church's Good Friday service, everyone is quick to blame Reverand Jud, including local police chief Geraldine Scott (Mila Kunis). The case soon grabs the attention of detective Benoit Blanc (Daniel Craig), who believes the police are pursuing an innocent man.

Wake Up Dead Man initially feels nothing like a Knives Out mystery. Blanc briefly appears in the movie's opening minutes but is otherwise absent for the first act, which delves into Jud arriving at the church, clashing with Wicks, becoming acquainted with the regular attendees, and dealing with simmering tensions, leading up to the murder. Aside from a handful of stray comedic beats - Wicks's graphic confessions about masturbation being the most memorable - the first third plays things relatively straight, leaning heavily into religious drama. However, Johnson takes too long to get anywhere, and the film's pacing issues begin here: the setup is sturdy but unnecessarily protracted.


Once Blanc arrives, the film snaps into sharper focus. His investigation is the most engaging and compelling stretch of Wake Up Dead Man, buoyed by a typically eccentric ensemble. Johnson's casting remains impeccable: Josh Brolin brings thunderous authority, Glenn Close is reliably commanding, and Thomas Haden Church steals scenes as the church's gruff groundskeeper. Andrew Scott, Jeremy Renner, Cailee Spaeny, and Kerry Washington all add texture to the mystery's shifting alliances, and it's a pleasure to see Daryl McCormack - who was such a charismatic standout in Good Luck to You, Leo Grande - in more movies. At the centre of it all, young Brit Josh O'Connor turns in a terrific performance, finding nuance in a character torn between faith, fury, and fear.

The mystery itself is layered and ambitious, with the third act introducing yet another twist that pushes Blanc's deductive powers to the limit. Johnson parcels out answers with care - even cheekily interrupting Blanc's trademark "reveal" speech - but indulges in several false endings. At 140 minutes, this is the longest Knives Out film, and it simply doesn't earn the runtime. The final stretch becomes especially baggy and overextended, disrupting the narrative flow just when the tension should be tightening. All the puzzle pieces eventually lock into place, but the journey meanders more than it should.


Johnson relies on his usual collaborators to help bring the picture to life, including cinematographer Steve Yedlin, who dials back the retro filmic look for something more straightforward. (Let's not forget that Knives Out had deliberate wobbling to emulate imperfect film projection.) The atmosphere is certainly thick, particularly during the shadowy third act, as a storm moves in at a crucial moment, giving the movie an almost horror-like feel. Nathan Johnson's score, meanwhile, deepens the sombre tone without overpowering the drama.

Wake Up Dead Man is a clever, competently mounted, and often gripping third instalment that demonstrates Johnson's refusal to coast on formula. However, its excesses - chiefly its bloated runtime and slow build - prevent it from matching the elegance and effervescence of Knives Out. It's a strong and memorable addition to the series, just not a definitive one.

6.7/10

After a nine-year break from feature films, director Derek Cianfrance (The Light Between Oceans, The Place Beyond the Pines) returns with 2025's Roofman, another dramatic romance with criminal undertones. Co-writing the screenplay with Kirt Gunn, Cianfrance turns his attention to a real-life crime spree whose details are almost too bizarre to be true, and the story is a terrific fit for the director's trademark tendencies. Darkly funny and tinged with nostalgia, Roofman is one of 2025's most unfairly overlooked movies.


Jeffrey Manchester (Channing Tatum) is a U.S. Army veteran who struggles financially, leading to problems with his ex-wife, Talana (Melonie Diaz), as he tries to provide for his three young children. Turning to a life of crime, Jeff begins robbing McDonald's restaurants, earning the nickname "Roofman" for breaking into buildings through the roof. Although his crimes eventually catch up with him, Jeff is unwilling to stay in prison for long, soon staging a simple escape and eluding the authorities. Jeff creates a makeshift home in a Toys "R' Us store, where he notices an employee, Leigh (Kirsten Dunst), a single mother without a positive male presence in her life. Jeff soon forms a relationship with Leigh after meeting her at a church toy drive, complicating the fugitive's plan and threatening to blow his cover. Planning to eventually flee the country and start afresh elsewhere, Jeff hopes to receive help from fellow veteran Steve (LaKeith Stanfield), who makes a living on the side creating fake IDs.

While constructing the screenplay, Cianfrance interviewed Jeff for several days a week over four years to hear the Roofman's stories, some of which were so unbelievable that the writer-director consulted the arresting officers, who corroborated everything. Roofman is a full meal, clocking in at over two hours as it traces a significant period in Jeff's life. However, the deliberate pacing of the midsection might not work for all viewers, especially due to the director's trademark stylistic restraint. The movie is not entirely accurate, as the script changes a few details to create a more effective dramatisation. For example, Leigh did not work at Toys "R" Us in real life, and Jeff did not hack the store's computer system, among other things. Streamlining and slightly altering the story, luckily, helps the narrative flow without undermining the core facts.


Roofman is brimming with early-2000s nostalgia, functioning as an effective time portal to an era when people still shopped in toy stores, smartphones did not exist, Blockbuster Video stores still attracted regular customers, and McDonald's restaurants still looked exciting and colourful. The production crew lovingly constructed the Toys "R" Us store from scratch for filming, even filling the shelves with actual early-2000s merchandise, and the illusion is so convincing that unsuspecting members of the public reportedly wandered into the building hoping to buy toys. Anybody who shopped at Toys "R" Us during their childhood will get a heartwarming kick out of this meticulous recreation.

Cinematographer Andrij Parekh (Blue Valentine) shot Roofman on 35mm film, resulting in a textured, grainy visual aesthetic to further evoke the early-2000s. Shooting on film and eschewing a glossy digital aesthetic is enormously beneficial, as the decision helps the film visually stand out in 2025. Another impressive detail is Cianfrance's casting of several people who actually participated in the real-life events, including most of the arresting officers and the truck driver who unwittingly helped Jeff escape from prison.


The role of Jeffrey Manchester is an ideal fit for Channing Tatum, who gets the opportunity to flex his unmatchable strength as a charismatic, likeable leading man. Even though Jeff continually shoplifts from Toys "R' Us to pawn video games, and his Boxing Day robbery goes sideways, Tatum still makes us root for him - we want to see Jeff successfully disappear and move to another country without an extradition treaty with the United States. Additionally, Tatum adds an emotional, human core to the story, delivering some of the most resonant and nuanced acting of his career. Thankfully, the supporting cast is equally effective, from the disarming Kirsten Dunst as Leigh to the always-reliable LaKeith Stanfield as Jeff's friend and former sergeant. Meanwhile, Peter Dinklage and the superb Ben Mendelsohn add further colour to the ensemble.

Engaging, emotional, and often humorous, Roofman is a terrific return for Cianfrance, whose cinematic voice has been sorely missed. He approaches the material with sincerity rather than sensationalism, crafting a character study that is both odd and unexpectedly affecting. An offbeat examination of loneliness and reinvention, it's full of small, human moments that accumulate into something quietly resonant. For audiences willing to embrace its gentle pacing and unconventional tone, Roofman is one of 2025's most rewarding discoveries - an unpredictable gem that deserves a broader audience and lingers on the mind long after viewing.

8.2/10

An unexpected but not unwelcome follow-up, 2025's Sisu: Road to Revenge sees writer-director Jalmari Helander (Rare Exports: A Christmas Tale, Big Game) returning to helm another exciting, badass period action film on a sensible budget. Whereas most action franchises seek to evolve in subsequent entries as they deal with lore and world-building (John Wick, Mission: Impossible, Mad Max), Helander sticks by the same formula that made the original Sisu such a standout: it's another brisk round of brutal, blood-soaked mayhem with minimal set-up and dialogue, and it does not want to waste time developing a larger universe. But instead of feeling like a stale retread, Helander achieves the seemingly impossible: Sisu: Road to Revenge recaptures the lightning-in-a-bottle appeal of its predecessor, and it's actually a superior movie. Bigger and gorier, this sequel is a godsend for fans of masculine action flicks.


In 1946, after the end of World War II, Finnish ex-commando Aatami Korpi (Jorma Tommila), "the man who refuses to die", crosses into a Soviet-controlled part of Finland to his former home, where his family was brutally murdered during the war. Dismantling the house, Korpi loads the wood onto a truck with the intention of rebuilding it somewhere safe in their honour. When the Red Army learns about the border crossing, a KGB officer (Richard Brake) turns to Igor Draganov (Stephen Lang), the Soviet Red Army officer responsible for murdering Korpi's family. The KGB break Draganov out of prison to stop the legendary ex-soldier as he makes the dangerous journey towards the Finnish border with his precious cargo and beloved dog. Korpi soon begins slaughtering the soldiers who stand in his way, while Draganov remains committed to the cause, even sending bombers to kill the man who refuses to die.

Helander wastes no time here, briskly establishing the time period and observing a broken Korpi at his former home before the KGB send Draganov into battle. The action starts almost immediately, and Sisu: Road to Revenge hits the ground running with an extended chase that takes up the first two acts and rarely lets up. The first Sisu was all about simplicity, and this follow-up is equally simple, but the storytelling is nevertheless efficient and effective. Watching Korpi mourn his lost family is more powerful than any stretch of dialogue about the event could be, and it wordlessly establishes what has occurred. With Helander dedicating much of Sisu: Road to Revenge's brisk 85-minute running time to brutal, no-holds-barred action, the flick effortlessly recaptures the spirit of 1980s action cinema with more verve and boldness than modern Hollywood.


Visually, Sisu: Road to Revenge is extremely distinct, as it does not look like a bright, slick mainstream blockbuster. Instead, the cinematography is shadowy and moody, with skies looking dark and sullen. Plus, instead of looking clean and glossy, the picture carries actual grit, with a fine layer of grain coating the image, furthering the old-fashioned aesthetic. Helander was playing with nearly double the budget of the original Sisu (reportedly $12.2 million, as opposed to the original's $6-7 million), which allows for a broader scale and more mayhem, including aeroplanes pursuing Korpi's truck for a bit of variety, as well as a climactic showdown on a moving train. Helander largely relies on practical effects and stunts, including real locations and vehicles rather than relentless green-screen, though there is some mild digital enhancement that thankfully never proves distracting.

The action is the big draw here, and Sisu: Road to Revenge consistently delivers - the set pieces are astonishing here, and Helander continues to up the ante and stage engaging battles without it feeling repetitive or boring. Like its predecessor, the film is boldly R-rated, and Helander pulls no punches during the visceral bloodshed as soldiers are shot, stabbed, and maimed. There's also a touch of gallows humour that runs throughout the movie - in one scene, for example, Draganov obliterates a hapless soldier in his vehicle and simply uses the windscreen wipers to wipe away the blood spray. Some of the action is ridiculously over-the-top, such as a moment with a tank jumping over a barricade, but it's all delivered with tongue firmly planted in cheek.


Korpi remains an impossibly strong force of nature who cuts his way through scores of anonymous soldiers in increasingly creative ways, and always comes out on top. However, there are still subtle vulnerabilities to the character, and he certainly does not execute everything perfectly. Jorma Tommila is note-perfect in the role once again, convincingly handling the physical action scenes and the poignant emotional moments without uttering a single word. One must also commend the adorable dog, alongside Tommila, who endures a lot throughout the film. The most recognisable addition to the cast here is Stephen Lang (Avatar, Don't Breathe), who's sinister and authoritative as the villainous Draganov. Meanwhile, terrific and distinct character actor Richard Brake (Game of Thrones, Barbarian) also submits a memorable performance as a KGB officer.

It's easy to see why Helander landed the job of helming the upcoming Rambo prequel - the action throughout Sisu: Road to Revenge is gloriously old-fashioned in its simplicity and brutality, while the director also effectively uses outdoor environments to stage compelling set pieces. For genre fans, Sisu: Road to Revenge is a home run - a thrilling, exhilarating action flick that deserves a spot on the Blu-ray shelf right next to the first Sisu. Count me in for any further sequels.

8.3/10

Movies like Fight or Flight are a potent reminder of how good an unapologetic action flick can be in the right filmmaking hands. There is nothing revolutionary about the set-up or narrative, but the magic lies in the slick execution, with bone-crunching, R-rated action scenes, vibrant visuals, splashes of dark humour, lively characters, and an unpretentious screenplay. Plus, with a lean running time of 102 minutes, the movie does not outstay its welcome.


When agents working for the United States government learn that an elusive hacker known as the Ghost is in Bangkok, department head Katherine Brunt (Katee Sackhoff) wants the terrorist apprehended. However, with no capable field agents nearby, Brunt turns to a disgraced former Secret Service agent, Lucas Reyes (Josh Hartnett), her former boyfriend who was stranded in the country two years ago after botching an assignment. Brunt offers Lucas the chance to win back his freedom and life if he delivers the Ghost to her in San Francisco, alive and unharmed, requiring him to board a flight and identify the enigmatic figure. Soon after take-off, Lucas learns that there is a bounty on the Ghost's head, and the plane is full of ruthless mercenaries who are determined to claim the reward. As Lucas works to identify the target, he deals with flight attendants Isha (Charithra Chandran) and Royce (Danny Ashok), while Brunt continually asks for updates.

The compact runtime of Fight or Flight is a significant asset, as the screenplay avoids getting mired in unnecessary secondary subplots or convoluted complications. Screenwriters Brooks McLaren (2018's How It Ends) and D.J. Cotrona (an actor known for Shazam! and From Dusk Till Dawn: The Series, making his writing debut here) fill the picture with big personalities and engaging conflicts, consistently leaning into the tongue-in-cheek tone. Since the movie gets extremely violent at times, the light-hearted tone ensures the set pieces do not feel mean-spirited or uncomfortable.


Veteran visual effects artist and second unit director James Madigan makes his feature-film debut here after a couple of television credits, and he keeps the picture moving along at a confident pace. Considering the director's experience with second-unit action, it's no surprise that the action sequences throughout Fight or Flight are top-notch, featuring smooth camerawork and terrific choreography despite the confined setting, and often incorporating eccentric song choices. The plane being a gladiatorial arena full of killers gives the director a chance to incorporate some variety with the assailants, including Chilean martial artist Marko Zaror (John Wick: Chapter 4) and a skilled shaolin monk assassin played by JuJu Chan Szeto (Crouching Tiger, Hidden Dragon: Sword of Destiny).

Considering Madigan's extensive VFX background, it is unsurprising that the director can effectively integrate sufficiently convincing digital effects, belying the modest budget (reports peg the cost at under $20 million). Admittedly, Fight or Flight is not as impossibly slick as the likes of the John Wick or Nobody films, but it carries more visual gravitas than any number of nasty, direct-to-video endeavours. Madigan even includes some trippy imagery when Lucas is high on toad venom towards the end of the film, adding an additional humorous touch. There's a hint of Bullet Train in the flick's stylistic execution, particularly since both movies take place on moving vehicles full of expert assassins, but the endeavour doesn't feel overly derivative. Madigan largely relies on practical bloodshed, but there are a few instances of phoney digital gore that detract from the visceral excitement.


Hartnett has great fun here, embracing the opportunity to play this goofy role as sincerely and believably as possible. There's a delirious, Looney Tunes-esque energy to Hartnett's performance at times, especially during the action scenes, and Lucas's blasé attitude towards killing is enormously funny. Plus, it's encouraging to see a male action hero in a 2025 movie who isn't subject to deconstruction or humiliation. Hartnett also reportedly performed all his own stunts and fight choreography, despite being nearly 50. Meanwhile, Katee Sackhoff makes a pretty good impression as a stock-standard shadowy government operative, trading sharp banter with Hartnett over the phone. However, there is not much for Sackhoff to do here except talk sternly (she was jealous of the amount of action Hartnett performed for the picture).

Perhaps my rating towards Fight or Flight is too generous since the movie is nothing profound, groundbreaking, or thematically rich. But with so much forgettable and underwhelming slop polluting multiplexes and streaming services, a genuinely fun action flick like this deserves its due credit. Minor flaws and all, Fight or Flight is a home run that genre fans will almost certainly enjoy.

7.8/10

Most moviegoers will immediately think of the true-life story of the USS Indianapolis upon approaching 2025's Beast of War, as it's set during World War II and features shipwreck survivors confronting a monstrous, man-eating shark. Quint's infamous speech about the event in Steven Spielberg's Jaws influenced writer-director Kiah Roache-Turner to spearhead the project, though the filmmaker also took inspiration from another historical event: the sinking of the HMAS Armidale in the Timor Sea in 1942, during which sharks presumably devoured hundreds of Australian soldiers. Instead of the campy, B-movie vibe of the Nicolas Cage-starring USS Indianapolis: Men of Courage, Beast of War is a dark monster-horror movie offering visceral thrills, nail-biting suspense, and violent attacks.


In 1942, hundreds of Australian soldiers board a ship bound for Europe to join the Allied war effort after completing their basic training. Among them is an Aboriginal man, Leo (Mark Coles Smith), who makes friends with young Will (Joel Nankervis) during boot camp. But the warship sinks in the Timor Sea, resulting in countless casualties and leaving a small group of survivors on a makeshift raft, including Leo, Will, Des (Sam Delich), and Thompson (Sam Parsonson). With Japanese planes still in the area, the men cling to the hope of rescue as they drift with the tide and collect supplies from the floating debris field, but a more immediate threat emerges in the form of an enormous great white shark.

The Australian-born Roache-Turner is no stranger to monster movies after tackling zombies in his Wyrmwood flicks, and a giant spider in last year's Sting. The filmmaker sought to make a war movie with Beast of War, but since the horror genre is more marketable, adding a man-eating great white shark to the mix made it easier to raise the required financing. The oversaturated shark genre is full of hit-and-miss flicks about tourists who become stranded in the middle of the ocean (Great White, The Requin, Open Water 3, Shark Bait, Something in the Water... heck, a new one probably dropped on Netflix while writing this review), making Beast of War a welcome and enjoyable change of pace with its evocative WWII setting and distinctive visual style. The script also adds a unique angle by centring on an Aboriginal lead and respectfully representing Indigenous culture. Roache-Turner even has fun with the age-old trope of somebody eating all the food.


Before the carnage begins, Beast of War opens in the dense jungles of Australia (the Byron Bay hinterland, to be more specific), observing the military recruits as they train and bond. This opening segment offers welcome, efficient character work and varied scenery, resulting in more colourful, dynamic cinematography before the characters become stranded on a small raft in the middle of the ocean. After all, it is essential to care about the characters in a horror movie, but Roache-Turner's screenplay and casting are imperfect. Indeed, several of the characters are interchangeable, names do not always stick, and there's an element of villainy among the Aussie men that feels contrived and unnecessary.

To mask the small budget and disguise the lack of scope while shooting inside a studio tank in Brisbane, the movie relies on thick fog and shallow depth-of-field cinematography. The illusion is hugely effective, and the striking cinematography by Mark Wareham (Boy Swallows Universe, Clickbait) gives the picture honest-to-goodness visual gravitas, ensuring it does not look like another nasty low-budget distraction.


Miraculously, Beast of War also features an animatronic great white shark (affectionately known to the crew as Shazza), created by a Brisbane-based special effects company. The tangibility of the practical fish convincingly surpasses the dodgy CGI of countless other shark movies - because our brains can accept that this thing is real, the attack scenes are more terrifying and immediate. Additionally, instead of a realistic-looking shark, Shazza looks more grotesque and unnerving, with countless scars. Even the occasional digital effects shots (primarily when the shark appears underwater) look convincing, which is rare for an Aussie film. The attack scenes benefit from an R-rated punch that allows for plenty of bloodshed, and one soldier is even blown apart by a grenade. Wisely, Roache-Turner does not dwell on the gore, as he keeps the attacks taut and brutal while still delivering plenty of effective money shots.

Roache-Turner manages to have fun with the premise without Beast of War devolving into a mindless B-movie, incorporating moments like a climactic showdown with a Japanese soldier, and Leo facing down the monstrous shark. There are also splashes of humour to liven up the proceedings, including a desperate moment when the soldiers discuss drinking their own urine. Beast of War does start to wear out its welcome during the third act, as there is only so much material that Roache-Turner can mine from the premise of soldiers on a raft. However, with an economical running time of 87 minutes, the movie does not feel too prolonged or dull. If shark movies and/or horror flicks are your thing, Beast of War is worth your time and attention.

7.0/10

The last time Shane Black directed a feature film, the result was the cataclysmic disaster of The Predator, a project that woefully squandered its incredible potential and nearly killed the franchise for good. On the surface, 2025's Play Dirty is the perfect comeback vehicle for the filmmaker after a seven-year hiatus, as it's a story with eccentric characters, action scenes, profane dialogue, dead bodies, and a few twists and turns. However, the movie is a far cry from what we used to expect from the talented screenwriter who penned such classics as The Last Boy Scout and Lethal Weapon. Although it comes to life at times, Play Dirty struggles with a punishingly long running time and limp storytelling, making it another baffling misfire for the director.


A professional thief, Parker (Mark Wahlberg) orchestrates a heist to rob a racetrack count room with several trusted offsiders, including Philly (Thomas Jane) and Zen (Rosa Salazar). After the thieves escape with the loot, Zen betrays them, gunning down the team and leaving Parker for dead. Parker recuperates and looks to take revenge, but learns that Zen used the stolen funds from the horse track to finance another heist to steal treasure recovered from the Lady of Arintero shipwreck. The corrupt Ignacio De La Paz (Alejandro Edda), the president of a South American country, plans to retrieve the treasure and display it at the United Nations. The crucial part of De La Paz's plan involves hiring a crime syndicate known as the Outfit, led by Lozini (Tony Shalhoub), to steal the treasure from the UN, allowing the politician to sell it for billions and walk away with a substantial cut, leaving his country bankrupt. However, Zen wants to steal the treasure on behalf of the country's citizens. Parker quickly takes the lead on the heist, building a new team with a fellow thief and theatre company owner, Grofield (LaKeith Stanfield).

Filmmakers routinely adapt Donald E. Westlake's "Parker" book series for the screen, leading to movies like 1967's Point Blank, 1999's Payback with Mel Gibson in the lead role, and 2013's Parker with Jason Statham playing the titular part. Instead of adapting an existing novel, Play Dirty is an original story from screenwriters Shane Black, Charles Mondry, and Anthony Bagarozzi. With Parker recovering from his wounds and wanting to track down Zen, there's a simple set-up here for a revenge actioner in the mould of Payback, but the screenplay adds too many characters and complications. The execution is reminiscent of the helmer's timeless directorial debut, Kiss Kiss Bang Bang, but that movie clocked in at under 100 minutes.


Unsurprisingly, Black fills the picture with his recognisable trademarks, including a noir feel and a Christmastime setting, while Alan Silvestri's catchy, jazz-infused score and the stylish animated opening credits sequence evoke Kiss Kiss Bang Bang. Unfortunately, Play Dirty ends up feeling like a below-par imitation of a Shane Black movie. It lacks the snap, crackle, and pop of the director's best works, with the dialogue here sounding very ordinary and unremarkable, rather than razor-sharp and witty. Funny moments are present, but they are startlingly rare. Pacing is also off, and by the third act, the viewing experience feels exhausting and unnecessarily prolonged.

Shot with digital cameras and featuring a noticeable reliance on CGI, Play Dirty exhibits the clinical, unremarkable digital look characteristic of contemporary streaming movies. Put simply, there is no visual gravitas here that demands a big-screen viewing experience, making it unsurprising that the movie launched on Amazon Prime Video without any theatrical release. The small-scale shootouts and action beats are far more enjoyable than the over-the-top moments, which feature cartoonish digital effects that immediately stand out as fake and unconvincing. An opening chase is especially egregious, as it features digitally-created horses and wonky greenscreen work, kicking off the feature on an underwhelming note. The climactic heist is also not especially thrilling, as the characters never truly feel in danger. However, the R-rated punch to the violence is appreciated.


Wahlberg brings his trademark attitude to the role of Parker, never stepping outside of his comfort zone as he fires weapons and cracks wise. Black originally wanted Robert Downey Jr. for the lead role, which would have undoubtedly brought more spark and magic to the uninspiring ensemble here. LaKeith Stanfield and the always-reliable Keegan-Michael Key add some personality to the feature as thieves, but Black wastes talented names like the underrated Thomas Jane, and none of the performers can elevate the material above the ordinary. Too long, too plodding, and too forgettable, Play Dirty is a missed opportunity that only shows occasional glimmers of promise. It's watchable, but that's about it.

5.2/10