Over twenty years after the events of 2003's Gettin' Square left the authorities assuming that Johnny 'Spit' Spitieri (David Wenham) is deceased, the international fugitive returns to his home country of Australia on a fraudulent passport. Border officials promptly detain Spit and attempt to ascertain his true identity, sending him to an Immigration Detention Centre along with a few refugees seeking Australian residency. Spit's return immediately catches the attention of corrupt policeman Arnie DeViers (David Field) and career criminal Chicka Martin (Gary Sweet), who recognise that Spit could send them both to prison if he decides to testify against them. Similarly, investigators at the Criminal Investigation Commission (CIC) see Spit's resurgence as an opportunity to reopen their old investigation and finally convict DeViers for his corrupt conduct. While DeViers and Chicka try to orchestrate Spit's demise through their inside connections, the hapless ex-con makes new friends in the detention centre, including a refugee named Jihad (Arlo Green), and he tries to conduct English lessons.


Legacy sequels are a tricky proposition, especially for a cult item like Gettin' Square that seemingly did not leave much room for a follow-up. However, returning screenwriter Chris Nyst and director Jonathan Teplitzky find fertile narrative ground by switching the focus to the titular Spit and delving into unfinished business from the first movie. Promoting a scene-stealing supporting character to the protagonist is also tricky, but the creative decision feels sufficiently motivated, and Spit benefits from fantastic writing and a sharp sense of humour. Let's not mince words here: this is a very, very funny movie that made me laugh out loud frequently and heartily. Teplitzky hits the ground running with Spit shamelessly shoplifting at an airport before his capture and interrogation, and the belly laughs scarcely stop throughout the picture's brisk 100-minute duration. It is hilarious to watch Spit try to teach English to refugees despite his tenuous (heavily bogan-esque) grasp of the language (and spelling), while Spit's interactions with border officials and investigators are equally side-splitting. Spit is the most consistently funny Australian comedy in a long time (perhaps since Kenny in 2006), and the volume of gags puts most of Hollywood's recent comedic output to shame. Happily, the humour is also genuinely witty and seemingly effortless, and it never feels like the actors are wildly improvising or simply mugging the camera for laughs.

Although Spit deals with criminals, it is a change of pace compared to Gettin' Square. Instead of a humorous heist picture, this follow-up focuses on Spit as he navigates detention and deals with personal issues, including his little sister, Julie (Sofya Gollan), and young nephew. Despite a considerable part of the narrative occurring in a detention centre and following refugees, Spit is not a political movie. Instead, it is a movie about Australian values, particularly mateship and the right to a fair go, and Wenham's non-judgemental Spit is the perfect vehicle to reinforce these messages without devolving into controversy or divisiveness. Additionally, the subplot about Spit's sister and nephew gives the former drug addict a renewed sense of purpose, and the material complements the humorous set pieces with genuine heart.


Despite the two-decade gap, Spit brings back most of the creative team from Gettin' Square, including producer Trish Lake, cinematographer Garry Phillips, production designer Nicholas McCallum, and make-up artist Tess Natoli, among others. Director Teplitzky brings the same infectiously enjoyable energy to Spit, including shrewd use of music to drive the proceedings and create memorable set pieces. (Like Gettin' Square, this sequel opens with a montage.) Teplitzky makes the most of a modest budget, shooting in and around the Gold Coast and even using some original sets from the first movie. Most interestingly, instead of filming at an actual detention centre, the production shot at a Queensland quarantine centre that was purpose-built during the COVID-19 pandemic to house returning citizens, but it was hardly used.

Several Gettin' Square cast members return here, each with an important and organic part to play in this story. Front and centre is the iconic Wenham, who's exceptional as Spit, effortlessly slipping back into the role of an uncivilised bogan wearing thongs and eccentric clothes (including a pair of maternity jeans that Wenham himself sourced from a charity shop in London). The schtick does not get old, with Wenham's distinct voice and body language remaining a constant source of amusement. His dialogue is frequently funny, while Wenham also delivers a few memorable moments of physical comedy, such as an erratic dance that is intercut with CIC investigator Niall Toole (David Roberts) reading Spit's 2003 arrest warrant. Teplitzky eventually brings Spit back to the courtroom, where he fixates on minor details yet again, stalling proceedings until his grievances are acceptably resolved. The scene is a fun callback to the memorable courtroom scenes in Gettin' Square ("Excuse me, who's paying for my bus fare today?"), but it thankfully does not feel forced or gratuitous. Other returning actors include Aussie acting veteran David Field, who is still as despicable as ever as DeViers, and Helen Thomson, who scores a few laughs as the now-widowed Marion Barrington. Some notable absences include Avatar star Sam Worthington (he was probably busy filming the sixteen sequels), while Timothy Spall's role of the now-deceased Darren 'Dabba' Barrington only features in photographs.


Despite its connections to its predecessor, you can still watch Spit without having seen Gettin' Square, as this movie confidently stands on its own as a satisfying, heartfelt comedy. However, fans of Gettin' Square will, of course, get the most out of Spit since it is a fun reunion with several colourful returning characters. Spit is also an enormously charming win for the Australian film industry. At a Q&A following a preview screening of the movie at Sydney's Hayden Orpheum Picture Palace, director Teplitzky emphasised that he and Wenham would like to see more people supporting the industry by going to the cinema. Although Spit is a lightweight comedy that may not look like the type of movie that demands the big screen experience, it is worth seeing in a cinema with like-minded film-goers. Indeed, the picture is a side-splitting crowd-pleaser guaranteed to become a cherished cult favourite like its predecessor.

7.9/10

Illumination and Universal Pictures continue to make a lot of money from the Despicable Me franchise, branching out into Minion-centric prequels, a web series, short films, video games, a holiday special and even a theme park attraction. Nevertheless, it is becoming increasingly difficult to care about the movies after 2013's disappointing Despicable Me 2 and the equally forgettable Despicable Me 3. Unsurprisingly, 2024's Despicable Me 4 fails to revivify the series, but not because it feels like a lazy cash grab. On the contrary, the screenplay (by Mike White and franchise veteran Ken Daurio) bursts with intriguing ideas, expanding the lore and introducing several potentially fascinating plot threads, but there is simply too much going on here. With the script devising individual adventures for the central characters, directors Chris Renaud (who co-directed the first two flicks but only produced the third movie) and Patrick Delage tackle numerous plotlines without fully exploring or meaningfully connecting them within a coherent narrative.


A devoted family man and a diligent agent for the Anti-Villain League, Gru (Steve Carell) attends a reunion at his alma mater, Lycée Pas Bon, where he encounters his former class rival, Maxime Le Mal (Will Ferrell). Maxime holds a longstanding grudge against Gru and has turned himself into a cockroach hybrid with superpowers, but the AVL promptly arrest him, thwarting his plans for world domination. But when Maxime escapes from prison with the assistance of his girlfriend, Valentina (Sofia Vergara), he develops a weapon that transforms people into cockroach hybrids and turns his attention towards getting revenge on Gru. As a precaution, Gru and his family - including wife Lucy (Kristen Wiig), newborn son Gru Jr. (Tara Strong), and adopted daughters Margo (Miranda Cosgrove), Edith (Dana Gaier), and Agnes (Madison Polan, the third actress to play this role) - enter witness protection. As Maxime tries to find the family, they have their own troubles adjusting to life in the suburbs, with young neighbour Polly (Joey King) recognising Gru and blackmailing him into helping her with a heist.

Introducing the Mega Minions (a focal point of marketing) is one of the most promising developments here, with the AVL turning a few of the little yellow guys into superheroes. However, the movie does virtually nothing with the superpowered Minions aside from an irrelevant, though admittedly funny, sequence during which they fail to save a city and cause ample collateral damage, allowing the creative team to parody superhero cinema. But the most interesting aspect of Despicable Me 4 is the Lycée Pas Bon school, which is hidden away in the mountains and is essentially Hogwarts for aspiring supervillains, but again, the script does nothing with it. Instead, the school only serves as the backdrop for a heist set piece that also introduces the principal, Übelschlecht (director Chris Renaud), who has a high-tech wheelchair and is determined to prevent anybody from stealing the school's beloved honey badger mascot.


Properly investing in the story of Despicable Me 4 is impossible since the film consistently and erratically switches between plot threads, including Agnes questioning the morality of lying about her identity, Gru bonding with his newborn son, Lucy trying her hand at hairdressing, Maxime trying to get revenge on Gru for stealing his talent show act in the ninth grade, and more. These ideas deserve proper development, but the movie haphazardly glosses over everything, with too many characters vying for screen time. In theory, the way the directors breeze through everything over the feature's 95-minute runtime should, at least, result in fast pacing, but the lack of coherency and emotional resonance makes this sequel feel strangely leaden and unengaging. As a result, the experience feels aloof, and the directors keep us at arm's length. The sharp narrative focus of the original movie is sorely missed here.

The most expensive Despicable Me instalment to date, this fourth picture is expectedly visually lavish, but fluid and attractive animation is the absolute bare minimum at this point, especially with the mindboggling advances in animation techniques in the fourteen years since the first movie. Nevertheless, Despicable Me 4 does have its moments of ingenious invention, with amusing Minion antics as they continue to fulfil as many jobs as possible, while Gru needs to use his baby supplies to pull off a heist after mixing up his bags. However, several scenes fall flat, including an uninspired tennis match between Gru, Lucy and Poppy's wealthy parents, complete with a Minion umpire. Plus, the script lacks the side-splitting dark humour of the first movie. Sure, Gru no longer has a mean streak after becoming a father, but there are other villains here. On a more positive note, Despicable Me 4 brings back composer Heitor Pereira and musician Pharrell Williams, the latter of whom contributes another original song destined for endless radio air time: the incredibly catchy "Double Life." The jaunty music is still infectiously enjoyable.


Despicable Me 4 brings back most of the original cast, from Steve Carell and Kristen Wiig as Gru and Lucy to Steve Coogan as the AVL's retired director, Silas Ramsbottom. With seven years separating the third Despicable Me and this fourth picture, a new actress takes over to voice Agnes, who seemingly never gets older (neither do Margo or Edith, for that matter). Romesh Ranganathan also takes over from Russell Brand to play Dr. Nefario in a tiny cameo appearance. The most notable newcomer here is Will Ferrell, who plays the villainous Maxime. It is surprising that it took so long for Carell's Anchorman co-star to join the Despicable Me franchise, and Ferrell refuses to phone it in; instead, he goes for broke with manic, over-the-top energy. Unfortunately, with Despicable Me 4 trying to do too much, Maxime fails to make much of an impression with limited screen time, making the character feel tragically forgettable. Other actors join the fray, including Joey King and Sofia Vergara, but their appearances do not amount to much.

Despicable Me 4 is bursting with potential, particularly as the key ideas behind the movie will appeal to long-time fans of the series: more Minion antics, a colourful bad guy, a school for supervillains, and Gru engaging in villainous escapades while trying to maintain a healthy family life. However, the resulting sequel is a jumbled, discordant mess that lacks narrative cohesion and never coalesces into a compelling story. Despite the occasional comedic highlights, Despicable Me 4 is an enormous disappointment; another disposable, forgettable sequel that fails to recapture the lightning-in-a-bottle magic of the 2010 picture that spawned one of the most lucrative animated franchises in history. The law of diminishing returns is in full effect here, with this instalment easily the weakest in the ever-growing franchise so far.

5.4/10

September 5 is another dramatisation of the 1972 Munich Olympics massacre, but it offers a different and compelling viewpoint. Whereas Steven Spielberg's Munich was about the aftermath of the attack as Mossad agents assassinated the terrorists responsible, September 5 is an account of the events at the Olympic Village as they happened in 1972 from the perspective of the ABC Sports crew whose media coverage attracted hundreds of millions of viewers worldwide. Director Tim Fehlbaum (2021's The Colony) does not show the violence or shootouts that unfolded during the hostage crisis, instead concentrating on the reactions of the news crew as they receive accounts of what is happening from those on the ground. It is a tricky notion to orchestrate an engaging drama that perpetually takes place within the confines of a cramped newsroom decked out with analog broadcasting equipment, but Fehlbaum rises to the challenge, robustly executing the screenplay he co-wrote with Moritz Binder and Alex David. September 5 is a gripping, edge-of-your-seat period thriller that presents a tasteful dramatisation of the tragic events, buoyed by an exceptional cast and superb technical execution, making it one of 2024's standout motion pictures.


Optimism is high for Munich's 1972 Summer Olympic Games, with the West German government eagerly hosting the game to portray the country more favourably. The ABC Sports crew are in the country to cover the event, with channel president Roone Arledge (Peter Sarsgaard) and operational head Marvin Bader (Ben Chaplin) overseeing the complex technological task to televise the Olympic Games to the rest of the world. Stepping into the newsroom to continue orchestrating the live coverage is Geoffrey Mason (John Magaro), a rookie who is enthusiastic about becoming a director. When the team hears gunshots early in the night, they promptly investigate to find out what is happening, with local translator Marianne Gebhardt (Leonie Benesch) even listening to police radio broadcasts. Upon discovering that the Palestinian terrorist group Black September have taken the Israeli Olympic Team hostage, Mason scrambles to cover the event, facing broadcast cameras at the Olympic Village and covertly sending in a crewmember (Daniel Adeosun) to record 16mm footage from within athlete-only areas. With ransom demands coming out and a deadline approaching before the athletes lose their lives, the ABC Sports crew grapple with ethical considerations and limited satellite time as they try to maintain their coverage, with Mason desperately wanting to broadcast each scoop as it arrives.

Fehlbaum swiftly establishes the characters and their personalities before the crisis breaks out, ensuring viewers can easily discern who's who within the newsroom. An excellent cast tremendously aids the movie, and the lack of A-list superstars underscores that the performers were selected for their talent instead of their bankability. The likes of Sarsgaard and Chaplin make fantastic impressions, but Magaro (who was an extra in Spielberg's Munich) is arguably the star of the show, convincingly portraying confidence and nervousness throughout the ongoing situation. Since filming took place in Germany, the movie also features terrific European talent, with German actress Benesch making the most significant impression as a translator who is eventually assigned to help cover events on location.


The production's verisimilitude is overwhelming, with September 5 featuring extensive archival footage from the event. Editor Hansjörg Weißbrich (She Said) effectively intercuts footage of the actors with actual news reports (ABC's Jim McKay features prominently in archival footage) and media coverage, including 16mm material shot by ABC camera operators from inside the Olympic Village as the hostage crisis unfolded. Fehlbaum does recreate some material out of respect for the victims, as the crew understandably felt it was inappropriate to include footage of the real terrorists or hostages. However, it is genuinely difficult to discern the difference between the dramatisations and the archival material, with an astonishing sense of authenticity pervading virtually every frame. Additionally, with the production team going to great lengths to recreate ABC's newsroom in Munich, the resulting set bursts with authenticity, from the low-res monitors and the cameras to the vintage headphones and playback equipment. September 5 never leaves the newsroom, but the scope does not feel disappointingly restrictive as the movie creates a sense of the bigger picture through the media coverage at the Olympic Village and later at the nearby military airport.

Cinematographer Markus Förderer (who worked with Fehlbaum on The Colony) captures the action with Paul Greengrass-esque immediacy, opting for steady, engrossing handheld photography that further solidifies the "you are there" illusion. Although Förderer shot September 5 with digital cameras, the use of specific vintage lenses to soften the footage, combined with precise colour grading and thick film grain, creates an astonishing illusion, as the picture looks like genuine celluloid instead of a digital approximation of 16mm film. Förderer also uses the newsroom monitors to remarkable effect, as the screens provide a distinct but not overwhelming lighting source in the cramped space, and the imagery on the monitors is often reflected in characters' glasses. With the movie coming in at a reasonable 94 minutes, September 5 does not outstay its welcome, and interest seldom wanes as Fehlbaum stages tense exchanges as the characters feel the pressure and grapple with the gravity of the crisis, with human fallibility also inevitably creeping in. The director even mines fascinating material from the behind-the-scenes workings of news broadcasting in the 1970s, from sharing satellite time with other networks to the analog method for adding captions to news footage.


Understandably, the Israeli-Palestinian conflict makes the timing of September 5's release uncomfortable for some, particularly with the conflict causing much controversy and political unrest. However, Fehlbaum wisely avoids political grandstanding and condemnation, never using the material to make a statement on the ongoing Israel-Palestine conflict or draw clumsy parallels. Instead, September 5 is more about the ethical implications of broadcasting news that is shocking, violent and politically charged, with the crew emphasising the necessity for emotions over politics and discussing the possibility of on-air hostage executions and whether or not to broadcast unconfirmed reports, even with on-air caveats about the veracity of those rumours. Additional underlying themes relate to the Munich Olympic Games' significance, as the West German government hoped the event would provide catharsis after the Second World War by showing the country was eager to host other nations in a peaceful, democratic, uplifting setting. This material offers thought-provoking underpinnings to elevate the movie beyond a simple technical exercise. Instead of drab Oscar bait, September 5 is a sharp and thrilling feature brimming with anxious energy that recounts an important event from a compelling new perspective.

8.4/10

How can a filmmaker make another "ghostly presence in a haunted house" horror movie feel original and fresh? For Presence, writer David Koepp and director Steven Soderbergh (reteaming after 2022's Kimi) achieve precisely that by telling the whole story from the perspective of the spirit through a series of extended point-of-view shots. Soderbergh, who temporarily retired from filmmaking over his frustrations with the industry's lack of innovation, guides the story with a sure hand, orchestrating thrills and creating a thick, pervasive sense of atmosphere, making the low-budget feature (it only cost $2 million) feel more like an indie film than a mainstream horror flick. The resulting movie is not packed with big set pieces or endless jump scares, as Presence is more interested in characters dealing with domestic problems and dysfunctional relationships. It is not exactly an "elevated" horror film like The Babadook - instead, Presence is a psychological thriller with a mystery at its core.


While searching for a new place to live, Rebekah (Lucy Liu) and Chris (Chris Sullivan) pounce on a sizeable home in a good neighbourhood, moving into the residence with their two children, Chloe (Callina Liang) and swim champion Tyler (Eddy Maday). However, an invisible apparition already inhabits the house and silently observes everything, soon making itself known to Chloe, who believes the spirit is benevolent instead of evil. Chloe mostly withdraws from the family after losing her best friend to a drug overdose, while her parents encounter marriage trouble as Rebekah is committing financial fraud at work. Tyler also makes a friend in Ryan (West Mulholland), who soon connects with Chloe, a notion that the Presence seemingly disapproves of.

Avoiding the banal monotony of In a Violent Nature (a slasher film from the killer's perspective), Koepp and Soderbergh have an interesting story to tell for those with the patience to stick with the deliberately paced narrative. More than a simplistic horror movie about a poltergeist randomly appearing and terrorising a family, Presence has a few surprises and twists up its sleeve, with the apparition serving a legitimate purpose in the narrative beyond wreaking havoc. Plus, as the spirit silently observes the characters and their conversations, the movie provides crucial information about the family and their domestic situation without forced, unnatural dialogue. Koepp's script even has an answer for the usual "Why don't they move out?" crowd, even after the apparition reveals itself to the family. Although Rebekah broaches the topic of leaving, Chloe refuses to move because she believes the Presence is friendly, and Chris chooses to stand by his daughter by staying in the house. Admittedly, however, Presence incorporates a few well-worn genre staples, including a psychic medium who comes to help and investigate during the picture's weakest scene. Additionally, there is insufficient payoff for an intriguing subplot about Rebekah engaging in illegal activities at work, but these are the only real shortcomings.


Captured with smooth long shots by Soderbergh, who served as cinematographer and editor (under his usual pseudonyms, Peter Andrews and Mary Ann Bernard), Presence establishes a thick sense of atmosphere, while the photography deliberately makes the titular Presence feel like an unwelcome voyeur with unclear motivations. The house feels authentic and lived-in, with realistic lighting instead of obvious, over-the-top soundstage lighting, underscoring the feeling that Soderbergh's camera is observing a real family in their home. Equally worthy of praise are the special effects, as Soderbergh convincingly shows the unseen Presence interacting with objects around the house, from moving books to pulling down shelves and toppling dozens of trophies. The seams are invisible, making it unclear whether the director achieved these moments using CGI or shrewd practical effects with digital assistance to remove wires and crew. The impressive sound design further assists the production, and Zack Ryan provides an effective score that does not lean into jump scares.

With recent movies like Unsane, No Sudden Move, Kimi and now Presence, Soderbergh continues to prove himself as a reliable purveyor of fascinating and innovative features, making it all the more fortunate that the filmmaker did not stay in self-imposed retirement. Instead of another by-the-numbers ghost tale, Presence is a compelling, visually unique psychological thriller with terrific performances from a cast of recognisable performers and newcomers. The only well-known star here is Lucy Liu, who submits a nuanced, realistic performance and comes across as a highly believable suburban mother who dotes on her high-achieving son. Presence feels like an auteur movie all round, with Soderbergh ensuring viewers will not mistake it for a Paranormal Activity sequel.

7.9/10

The Purge meets Dog Soldiers in 2024's Werewolves, a lean and mean action-horror flick that delivers precisely what the title promises: hordes of bloodthirsty lycanthropes hunting, fighting, and ripping people apart. A throwback film in several respects that has the energy and attitude of '80s action flicks, Werewolves favours practical creatures and blood effects and has a terrific leading man in the underrated Frank Grillo, who is shredded to the extremes and looks primed to give Hugh Jackman's physique a run for its money. With direct-to-video purveyor Steven C. Miller (First Kill, Escape Plan 2: Hades) at the helm, the picture feels exceeding DTV in its plot and storytelling, but the narrative's purity and simplicity are precisely why Werewolves feels so refreshing, especially in an age of "elevated" horror. Plus, Miller avoids many of the pitfalls associated with DTV productions, as there are no extraneous subplots or egregiously cartoonish digital effects.


One year before the story takes place, a unique supermoon event awakens a dormant gene in humans, causing them to turn into werewolves if the moonlight hits them, leading to worldwide chaos. With another supermoon event about to occur, the CDC hopes to control the situation and prevent another werewolf outbreak, with Dr. Aranda (Lou Diamond Philips) leading a team searching for a cure. The team includes Dr. Wesley Marshall (Frank Grillo) and Dr. Amy Chen (Katrina Law), who are testing a new spray-on "moon screen" treatment that shields participants from the moonlight, preventing them from turning into werewolves. The experiment goes awry, with the treatment only proving effective for an hour. After werewolves kill their colleagues, Marshall and Chen head out to cross the werewolf-infested city, hoping to reach Marshall's late brother's wife, Lucy (Ilfenesh Hadera), and daughter, Emma (Kamdynn Gary), to protect them from the hordes of attacking lycanthropes.

Mileage may vary depending on expectations, as Werewolves is the antithesis of plodding, critic-pandering horrors like Robert Eggers's Nosferatu or anything Ari Aster has directed. Without any pretensions, arthouse sensibilities or core messages, Werewolves is all about visceral thrills, and it is extremely silly, but Miller delivers the mayhem with tongue firmly planted in cheek. It is preposterous that Grillo is both a badass special forces operative and a scientist, and the "moon screen" serum preventing Marshall and Chen from turning in the moonlight for an hour at a time is a convenient plot contrivance so the actors can show their faces throughout the action scenes. Plus, the characters use a fun and varied arsenal of firearms, including a massive Gatling gun mounted to a vehicle in one memorable scene. Luckily, the actors are in tune with the material, with the superb Grillo showing once again that he deserves to lead more action movies, and it is fun to see Lou Diamond Phillips in a minor role as a respected doctor.


Although a budget figure is not available at the time of writing, Werewolves does not look cheap or nasty. Despite the bizarre insistence on lens flares, the movie looks slick and expensive, with robust production values, and Miller never uses slipshod CGI in an egregious attempt to enhance the scope. The movie's scale is small, but Miller makes the most of the resources at his disposal, and he nails the most important thing: the werewolves look amazing. They were designed by special effects maestros Alec Gillis and Tom Woodruff Jr., who also worked on several Alien films, as well as the AvP movies and 2018's The Predator. Not since Neil Marshall's Dog Soldiers have we seen practical lycanthropes look this convincing, while the impactful sound design gives them unnerving growls and roars, making these creatures seem wholly real instead of cartoonish digital creations or performers covered in obvious prosthetics. Miller also uses practical blood squibs, and the sparing use of digital effects for the transformations is practically seamless, resulting in some of the most satisfying transformation scenes since An American Werewolf in London. The attack scenes are enormously satisfying, with the lycanthropes biting and ripping hapless victims to pieces, and the terrific, gory prosthetics give a strong visceral edge to these scenes. Miller even delivers a memorable werewolf-on-werewolf fight scene for the climax, which left this review grinning like the Cheshire Cat.

Werewolves is a B movie through and through, standing in stark contrast to something like Leigh Whannell's Wolf Man, which was more about characters and allegory than pure werewolf action. Even though Werewolves is primarily an action movie, there is legitimate mood and atmosphere throughout the flick, with tense moments (an unseen werewolf growling in the dark) and ominous images (a character peers out a window to see a werewolf standing silhouetted against the night sky). Admittedly, though, the movie is not perfect, as the editing is too restrictive during certain action scenes, leading to a few awkward-feeling beats, and the muzzle flashes are obviously digital whenever a character discharges a firearm (a strange misstep considering the production's otherwise excellent special effects). Additionally, even though there is some badass dialogue at times, a lot of the dialogue is cheesy and standard-order, with characters feeling the need to vocalise the obvious. Matthew Kennedy's screenplay does not do enough with the intriguing premise; like The Purge, it feels like the budget-restrictive introduction of an excellent idea ripe for further exploration in sequels. But there is still plenty to enjoy here, with Miller creating an all-in-good-fun action romp that seldom slows down and feels like a return to classic, old-school horror fun.

6.8/10

An old-fashioned action-thriller from director Brian Goodman (2017's Black Butterfly with Antonio Banderas), 2022's Last Seen Alive seemingly appeared out of nowhere, releasing in a handful of cinemas in select territories with no fanfare. Despite this and its current 5.7/10 rating on the Internet Movie Database, Last Seen Alive deserves your attention. Led by the reliable Gerard Butler, this is a taut, gritty action-thriller that moves at an agreeably frenetic pace and never becomes bogged down in extraneous subplots or politics. It certainly emanates more gravitas than your usual bog-standard direct-to-video revenge film starring the likes of Steven Seagal.


Will Spann (Gerard Butler) is a well-off real estate developer going through a rough patch with his wife, Lisa (the beautiful Jaimie Alexander), who committed an act of infidelity and needs a break from their marriage. The two are travelling interstate to Lisa's hometown for her to stay with her parents while she works things out, but after a somewhat tense exchange, she mysteriously vanishes during a pitstop at a gas station. Will immediately springs into action to find her and alerts the local authorities to assist, contacting Detective Paterson (Russell Hornsby), who begins coordinating the investigation. However, the struggling husband cannot sit idly by while the police conduct their official enquiries in the crucial hours after her disappearance. Determined to do whatever it takes to retrieve his wife safely, Will pursues his own leads, leading him to uncover the town's seedy criminal underbelly.

Written by long-time movie producer Marc Frydman (his second screenplay credit after Black Butterfly), Last Seen Alive is relentless and no-nonsense from the word "go"; in fact, Lisa's abduction occurs within the first ten minutes. The feverish pace and the lack of narrative flab are reminiscent of the classic Kurt Russell/Jonathan Mostow movie Breakdown, though the scope is more modest in comparison, and there are no expensive, large-scale set pieces here. Indeed, Goodman derives satisfying thrills from smaller moments, such as a tense scene involving Will creeping into a suspect's trailer and getting into a brutal brawl or another sequence during which Will sneaks around a drug camp trying his hardest to remain undetected. The lack of scope does not mean that the movie feels cheap or nasty, however, as it feels expensive and skilful outside of a few moments (there's a shonky-looking digital explosion in the third act that will not impress anybody). Nevertheless, the screenplay feels overly clichéd at times, and the dialogue is relatively standard-order – there is not much wit or humour. Then again, I doubt anybody expected sharp dialogue.


Last Seen Alive is, thankfully, an R-rated action-thriller. Any viewers fearing another sanitised action offering will have their fears quelled within the first ten seconds, as the word "motherfucker" is said in the first line of dialogue before the movie's freaking title card. Do not expect non-stop profanity or excessive bloodshed, but Goodman does not shy away from bloody bullet wounds or swearing, nor does it feel like the director is pulling any punches. Action is sparse but brutal and effective; easy to follow, with solid choreography despite some set pieces taking place in dim locations. The picture also benefits from the inclusion of Butler, who expectedly shines in the leading role. Although the Scottish actor is not on the same level as Stallone or Schwarzenegger (nobody is, really), he is a reliable action star who looks believable when wielding a firearm. Plus, it is fun to hear Butler embrace his natural Scottish brogue here. Viewers who enjoyed Butler's turn as Mike Banning in the Fallen movies (not to mention his roles in Copshop and Den of Thieves) will have a good time with Last Seen Alive.

Goodman sometimes struggles to maintain a strong pace, especially with the picture delving into flashbacks to examine Will and Lisa's marriage before the abduction. Additionally, since the picture opens with a flash-forward that reveals who the real criminals are at the beginning, it makes all the red herrings and growing suspicion feel somewhat moot. Nevertheless, these points are not a deal-breaker. Mid-budget, R-rated action-thrillers like Last Seen Alive are becoming rarer in 2022, as direct-to-video rubbish mostly dominates the genre and studios are more concerned with superhero movies or blockbusters as they seek to generate another profitable franchise, which makes the film all the more refreshing. The screenplay often feels like a relic from the 1990s, as the narrative is gloriously old-fashioned in all the best ways, evoking pictures like Frantic and the aforementioned Breakdown. If this sounds appealing, Last Seen Alive is a worthwhile, enjoyable time-waster.

6.7/10

Aside from being notable for bringing Cameron Diaz out of retirement over ten years after her last feature-film appearance, there is nothing conceptually groundbreaking about 2025's Back in Action, which tells a familiar story and trots out numerous clichés. Heck, the narrative is even distinctly similar to the recent 2023 flick The Family Plan. But it's the execution that saves this Netflix action-adventure, as Back in Action is genuinely funny, exciting and involving, and it features a charismatic and capable cast. Director Seth Gordon (Horrible Bosses, Identity Thief), who co-wrote the screenplay with Brendan O'Brien (Neighbors, Mike and Dave Need Wedding Dates), orchestrates a high-energy espionage yarn with slick visuals and robust pacing, resulting in an entertaining if relatively unmemorable romp that eclipses most of Netflix's recent action offerings.


CIA spies Emily (Cameron Diaz) and Matt (Jamie Foxx) retrieve an Industrial Control Systems Key in Eastern Europe to ensure that America's enemies cannot use the device to disrupt crucial infrastructure. Although they successfully steal the Key from terrorist Balthazar Gor (Robert Besta), their getaway goes awry, with the two narrowly escaping a plane crash. With Emily finding out she is pregnant with Matt's child, they decide to use the crash as an opportunity to disappear, starting new lives away from the agency and letting everyone believe they are dead. Fifteen years later, Emily and Matt have two children together, Alice (McKenna Roberts) and Leo (Rylan Jackson), and they maintain a pleasant, unremarkable suburban existence. However, when a viral video exposes Emily and Matt's location, their former handler, Chuck (Kyle Chandler), quickly finds them and explains that Gor's men are coming after the couple to retrieve the ICS Key. Grabbing the kids and fleeing, the former spies plan to travel to England to visit Emily's mother, Ginny (Glenn Close), while Gor's men relentlessly pursue them. Also on their tale are MI6 agents led by Baron (Andrew Scott), who knew the pair during their CIA days and similarly wants to retrieve the Key.

Although Back in Action is largely predictable and relies on well-worn genre tropes (including a resentful teenage daughter, Hollywoodised high-tech computers, and a powerful MacGuffin), there are a few surprises along the way, and the picture deploys red herrings to nice effect. Fortunately, the dialogue does not merely amount to tone-deaf action-movie speak, as there is a genuine spark of wit to many of the character interactions, and the movie consistently scores easygoing laughs. (However, the scenes with Baron and his MI6 agents are extremely bog-standard). Perhaps Back in Action could have been improved with an R-rated spark to the dialogue, especially since Gordon and O'Brien specialise in adult-oriented comedies, but the flick thankfully never feels unnaturally neutered by the restrictions of its PG-13 rating.


Back in Action is silly and stretches credulity at times, but knowingly so, never asking viewers to accept the proceedings with a straight face. The goofiness even extends to using the combination of Mentos and Diet Coke as a weapon during a vehicular chase. With Gordon eschewing a dark or gritty tone, the flick sometimes feels like an old-fashioned action-comedy from the 1990s or early 2000s, recalling pictures like True Lies, Mr. & Mrs. Smith, and the two underrated Charlie's Angels films starring Diaz. Gordon also makes great use of music during the action set pieces to enhance the energy, selecting classic tracks like At Last, Ain't That a Kick in the Head and James Brown's Papa's Got a Brand New Bag while the characters engage in butt-kicking. Admittedly, the picture's prologue features imperfect special effects, including obvious blue-screening and videogame-level CGI, which made this reviewer miss the days of location shooting and practical models. Thankfully, however, most of the action throughout the rest of the picture is more grounded, with competent fight choreography that is actually comprehensible thanks to smooth camerawork and editing.

Returning to acting for the first time since 2014 (when she starred in The Other Woman, Sex Tape, and Annie), Diaz lights up the screen with genuine charm, and she shares terrific chemistry with the equally energetic Foxx, who was determined to convince the actress to take the role. Glenn Close also makes a delightful impression as the smart, savvy, resourceful Ginny, a fun reprieve from the usual mother archetype. Meanwhile, Jamie Demetriou is the film's comedic secret weapon as Ginny's lover, Nigel, who aspires to be an MI6 agent by putting himself through self-devised training regimens. The Stath Lets Flats actor brings immense energy to the picture with his lovable goofiness, scoring belly laughs whenever he appears and never overdoing the schtick. Back in Action gives all the characters a time to shine, with Nigel even getting in on the action during the climax. Other recognisable performers here include Andrew Scott and Kyle Chandler, who are perfectly sufficient, while newcomers McKenna Roberts and Rylan Jackson make a positive impression as Emily and Matt's kids.


A throwback spy caper, Back in Action succeeds because it's an action-comedy that delivers actual humour and fun action. Despite the unoriginal narrative, the movie does not fall victim to the usual flaws associated with such productions - indeed, it is far funnier and more engaging than similar streaming likes like The Family Man and Ghosted. Back in Action ends with a blatant sequel tease, and the prospect of another light-hearted adventure with these characters is surprisingly enticing.

7.2/10