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

A legitimate internet phenomenon that seemingly emerged out of nowhere, 2025's KPop Demon Hunters mixes gorgeously stylised anime-inspired visuals with an annoyingly catchy and infectious K-pop soundtrack. Despite appearing niche on the surface, it is an enormously enjoyable watch for viewers of all ages and tastes, benefitting from a thoughtful narrative and well-developed characters to supplement the outstanding spectacle. Co-director Maggie Kang (making her directorial debut) originally developed the unique idea for KPop Demon Hunters, seeking to devise a story steeped in Korean culture that blends K-pop tunes with Korean folklore and demonology. The resulting picture is a refreshing breath of fresh air, and it is utterly unique in a cinematic ocean dominated by reboots, sequels and remakes.


To prevent demons from continuing to feed on human souls, three singers-cum-demon-hunters used their singing to forge a magical barrier known as the Honmoon. Over hundreds of years, each new generation brings a new trio of singing demon hunters to help build the Golden Honmoon, a permanent seal to stop demons from entering the human world. In present-day Korea, the K-pop girl group Huntr/x fights demons and releases songs under the guidance of a former hunter, Celine (Yunjin Kim). Rumi (Arden Cho), Mira (May Hong), and Zoey (Ji-young Yoo) comprise Huntr/x, captivating an audience of millions with their popular songs. Meanwhile, the demon leader, Gwi-Ma (Lee Byung-hun), sends a group of demons to form the K-pop boy band Saja Boys, with the intention of stealing Huntr/x's fans and weakening the Honmoon. Leading the Saja Boys is Jinu (Ahn Hyo-seop), who soon makes a connection with Rumi after discovering that the demon hunter has a dark secret: she is part demon.

Among the key strengths of KPop Demon Hunters is the characters, as the trio of women are immediately likeable. Rumi, Mira, and Zoey are not generic, stoic heroes or one-dimensional "strong female characters"; instead, they are silly, fun, and disarming, and they look believable during the demon-slaying action set pieces. Rumi wrestling with her demon heritage provides unexpected depth, and her desperation to hide her true self from her peers out of fear and insecurity is relatable. Likewise, the connection between Rumi and Jinu adds an appreciable dimension to the story. The subplot ran the risk of feeling contrived for the sake of a romantic angle, but it instead feels earned and genuine, emerging as an organic part of the narrative. However, the film struggles to juggle the enormous ensemble, with characters like former demon hunter Celine and Huntr/x's manager, Bobby (Ken Jeong), feeling underused.


The vocal performances are sensational from top to bottom, with directors Maggie Kang and Chris Appelhans opting for unknown actors over star power. The movie does feature a few well-known Korean actors, including Daniel Dae Kim (Lost, Raya and the Last Dragon) as an eccentric doctor, Ken Jeong (The Hangover, Community) as Huntr/x's manager, and Lee Byung-hun (A Bittersweet Life, I Saw the Devil) as Gwi-Ma, the king of the demons. However, this does not feel like stunt casting, as the performers are excellent in their respective roles. With the production carrying a $100 million price tag, KPop Demon Hunters is visually lush and striking.

The wizards at Sony Pictures Imageworks (the same company responsible for the aesthetically intricate Spider-Verse pictures) do not aim for photorealism; instead, the feature carries a distinct style with deliberately imperfect movement that takes visible inspiration from anime. A wonderful sense of visual wit also permeates the movie, such as Zoey's eyes turning into sweetcorn emojis upon seeing the Saja Boys for the first time, which then produce popcorn as the scene heats up. Additionally, the approach to the action sequences is refreshing and intriguing, again reflecting the movie's anime influences. KPop Demon Hunters is short and sweet at 85 minutes before credits (make sure to stick around for some additional content during said credits), which ensures the movie never devolves into tedium. Admittedly, the storytelling is not always engaging, especially since some aspects of the lore could do with further clarification; however, this is a minor quibble.


The producers enlisted K-pop industry veterans to devise the soundtrack, and it's understandable why many of the songs have gone viral online. The movie's premise hinges on viewers believing that the K-pop tunes can unite people and, in turn, forge the Honmoon, making it all the more fortunate that the songs are so catchy. The songs of Huntr/x and the Saja Boys are noticeably distinct in style and tone, with the female K-pop stars singing soulful and emotionally honest songs while the demonic males sing impossibly catchy but hollow tunes. Netflix understandably cashed in on the soundtrack's extreme popularity, later releasing a sing-along version in cinemas and on their streaming service, which is sure to please the movie's avid fans.

KPop Demon Hunters is lightning in a bottle with its hyperkinetic filmmaking style, intriguing narrative, and those unbelievably captivating songs that will continue to receive hundreds of millions of hits. It is one of 2025's defining cultural moments in cinema, and it will undoubtedly be remembered with more reverence than Pixar's box-office bomb, Elio.

7.8/10

Nobody will ever be able to earnestly defend 2006's The Wicker Man as a serious piece of cinema, with its risible dialogue, awful digital effects, questionable acting, and slipshod pacing. Written and directed by auteur filmmaker Neil LaBute, this ill-advised remake of the beloved 1973 British horror picture is ineffective as a thriller and a drama, as it's not scary, thrilling or compelling. However, as an unintentional comedy in the same vein as Tommy Wiseau's The Room, this modern iteration of The Wicker Man is a masterpiss of the highest order that offers plenty of sheer absurdity and endless overacting from the inimitable Nicolas Cage.


Traumatised after witnessing a tragic roadside accident that results in the death of an innocent mother and her daughter, policeman Edward Malus (Nicolas Cage) is stood down by his bosses as he mentally recuperates. However, Edward soon receives word from his ex-fiancée, Willow Woodward (Kate Beahan), that their daughter, Rowan (Erika Shaye Gair), is missing. Willow and Rowan live in an isolated, neo-pagan community on an island in remote Washington, and Edward sets off to visit. Determined to find Rowan, Edward starts poking around and asking questions about the matriarchal community led by the elderly Sister Summersisle (Ellen Burstyn). Edward's investigation only leads to frustration as the villagers are unable to give him straight answers, but the police officer suspects that something more sinister is going on.

The first half of The Wicker Man is regrettably dull and plodding, with LaBute trying to set up a sense of intrigue and mystery as Edward travels to the island and begins searching for Rowan. But at a certain point, the tedium gives way to unintentional hilarity, and the movie undeniably picks up steam as it becomes funnier than most mainstream comedies. We get bear costumes, bees, bee costumes, burned dolls, and karate kicks, among many other unexplainable things. At the centre of the madness is Nic Cage, who demonstrates absolutely no subtlety or restraint as he navigates the movie's strange occurrences, including stealing a bicycle at gunpoint. ("Step away from the bike!" he orders while brandishing a pistol.)


It's difficult to figure out exactly where things went wrong for The Wicker Man, as the individual components are not awful per se. After all, Nicolas Cage and Ellen Burstyn are both Oscar winners, and writer-director Neil LaBute previously directed well-received titles like In the Company of Men and The Shape of Things, both of which are based on his plays. However, the combination of everything here - the writing, direction, and acting - results in this bizarre, surreal, incoherent picture that often defies logical explanation. Whereas the original Wicker Man is full of atmosphere and dread, concluding with a disturbing and harrowing climax, LaBute's redux is hurt by the PG-13 rating that robs the film of genuine horror. The lust and sexual subtext of the original picture are likewise missing here, which is all the more heartbreaking when one considers how many more unintentional laughs could stem from such content.

Attempts at nuanced horror fall drastically short, with hilarious moments like Edward recalling a memory of a fellow police officer who then turns into a swarm of bees. Plus, the combination of extremely dramatic music and the sight of Nic Cage riding a bicycle is oddly amusing. Another scene that involves bees pursuing Edward is side-splitting, but the pièce de résistance is the moment in the unrated version wherein the villagers torture Edward by covering his face with bees. There are many ways an actor can play such a moment, and Cage chose maniacal overacting, with his panicked cry of "Not the bees!" resulting in an instant internet meme. The computer-generated bees look both hilarious and unconvincing, which further contributes to the comedy. Similarly, the fight scenes are side-splitting, with Cage karate kicking and punching several women, including Leelee Sobieski. Meanwhile, the sight of Cage in a bear costume had this reviewer in fits of laughter, and the infamous "bear punch" is hilarious beyond description.


Many scenes throughout The Wicker Man do not make sense. In one early scene, a pilot staunchly refuses to take Edward to the reclusive island because it's a private community, but he quickly changes his mind with the offer of money. Why didn't Edward specify that he had an invitation? Why would the pilot so passionately want to prevent an outsider from travelling to the island, but change his mind in seconds when Edward pulls out some cash? Another baffling but incredibly hilarious moment involves Edward flashing his "Freeway Patrol" badge while conducting enquiries, as if it's a detective badge. Does he hope the villagers won't notice? Or does Freeway Patrol give him such authority, even while not on active duty and nowhere near his jurisdiction? Who cares?

Without Nic Cage, this version of The Wicker Man would simply be an atrocious, boring attempt at a horror movie that tarnishes the name of a classic. But with Cage in the lead role, the movie is a hilarious car crash. It's still a disgrace to the original film, but at least it's entertainingly terrible, which is more than what I can say for many other bad horror films. It's also rare for me to not want a movie to end, but I genuinely did not want The Wicker Man to finish, because every scene brought immense new hilarity. It is genuinely baffling to consider that the picture went through all stages of production - scripting, shooting, editing, rough cuts - without anybody apparently recognising the serious flaws or indescribable goofiness. If you have an appetite for this kind of thing, The Wicker Man is an essential watch.

Will I watch this again? Yes, I watched it twice. Will I buy it on Blu-ray? Also yes.

4.6/10

The third and final Aardman collaboration with DreamWorks, 2006's Flushed Away is a bright, colourful and enormously enjoyable animated movie from the acclaimed British animation studio. With a screenplay credited to five writers, the picture is a gender-swapped version of The African Queen that takes place in a sewer, involves rats, and also includes elements of gangster and pirate movies. Although Flushed Away carries the feeling of a shallow DreamWorks Animation production from the era (Shark Tale, Over the Hedge), and it lacks the dramatic heft and emotional resonance of a Pixar offering, the sharp British wit and boundless creativity undeniably elevate the endeavour. It's no Ratatouille, but it's fun and funny.


Roddy St. James (Hugh Jackman) is a spoiled pet rat who lives in an upscale area of Central London. But when his owners are away on holiday, Roddy's idyllic life of luxury comes to an end with the arrival of a lazy, overweight sewer rat named Sid (Shane Richie). While attempting to get rid of Sid, the sewer rat flushes Roddy down the toilet, leading him to the underground city of Ratropolis. Desperate to find his way home, Roddy seeks out Rita Malone (Kate Winslet), a boat captain who may be able to use her vessel to return him to his luxurious apartment. But the situation becomes more complicated when Rita and Roddy get mixed up with a local gangster, the Toad (Ian McKellen), who has a devious plan to eradicate Ratropolis.

Flushed Away sees Aardman dabbling in computer animation for the first time instead of their traditional claymation approach. (At the time, the studio was fresh from Chicken Run and Wallace & Gromit: The Curse of the Were-Rabbit.) Using CGI here was not a permanent move away from claymation but merely a necessary alternative because the picture contains several scenes involving water, which is a logistical nightmare for claymation, and it is expensive to add digital water to practical animation in post-production. The impossibly smooth digital sheen of Flushed Away makes it obvious that this is not a stop-motion film, though the deliberately jittery movements (particularly the mouth movements) emulate claymation. Similarly, the character designs are uniquely Aardman, including British overbites and large, round eyes, which resemble the studio's traditional plasticine maquettes. The animation is undeniably lush, but a bit more cinematic texture could have augmented the movie's sense of visual personality.


A cheeky, extremely British sense of humour permeates Flushed Away, as the movie contains plenty of uproarious sight gags, slapstick, and satire, with the almost omnipresent slugs being particularly memorable. The script even mines humour from Hugh Jackman's participation that avid fans will appreciate, including Roddy thinking about wearing a traditional yellow Wolverine costume in the opening credits (how quaint this looks in 2025), and Roddy dressing in a tuxedo like James Bond after the actor legendarily turned down the role of 007 for 2006's Casino Royale. Flushed Away also references other movies (there are even sound effects from Star Wars), and Roddy's DVD collection features several recognisable films with slight title changes: Ratman, Ratman Returns, and My Big Fat Greek Bottom feature on the shelf, among others. It's clear that the creators are big movie fans.

Flushed Away was the feature-film debut for co-directors Sam Fell and David Bowers, two English animators who worked on other projects for Aardman before tackling this picture. The directors keep the movie zipping along at an agreeable pace and incorporate a satisfying array of recognisable and catchy songs, from "Dancing with Myself" for the opening credits to Jet's "Are You Gonna Be My Girl?" and Tina Turner's "Proud Mary." However, the movie is a touch too lightweight. The story hits several predictable beats in the third act, but none of the character arcs amount to anything meaningful or poignant, nor are there any heartwarming messages to convey. Flushed Away is all surface, and although this is not necessarily a bad thing, it's a shame the script does not make more of an effort to incorporate emotion amid the laughs. Additionally, the pace slows down when the directors deal with the Toad's evil plan, which takes the focus away from the movie's charming centre: Roddy and Rita. Flushed Away is still sufficiently fun, but it does start to run out of steam in the third act despite only running a scant 75 minutes.


The ensemble cast bursts with international talent, and each of the performers contributes an immense sense of personality to their respective roles. Jackman ably stifles his natural Australian accent to play the suave, upper-class Roddy, giving the character a distinct voice that sounds nothing like the beloved performer. Kate Winslet provides terrific support, turning Rita into a spunky and feisty rat. Additionally, the always reliable and iconic Ian McKellen is a superb pick for the Toad, while Bill Nighy and Andy Serkis (McKellen's The Lord of the Rings co-star) play the Toad's top two hench-rats. Jean Reno also contributes further colour as Le Frog, the Toad's French cousin, who's a master of martial arts.

Flushed Away does not reach the heights of Aardman's best efforts, and it's not particularly memorable, but it's an enormously entertaining movie with colourful characters (the slugs!), some inventive action scenes, and plenty of side-splitting British wit. Children will appreciate the feature's cheeky sense of humour and the adorable character designs, and the movie is not a monotonous chore for adults to sit through.

7.4/10

1998's The Parent Trap won me over almost immediately, and by the half-hour mark, I was so invested in the story and characters that I did not want the film to end. It's a broad, formulaic cornucopia of Hollywood romantic comedy clichés, and it is also a remake of the 1961 film of the same name, but the picture nevertheless works on every level: it's a charming, wonderful delight, the equivalent of a warm cinematic hug. The Parent Trap might be a Disney family movie, but it's one of those rare family movies that will appeal to children and adults alike.


At an all-girl summer camp, eleven-year-old Hallie Parker (Lindsay Lohan) meets Annie James (also Lohan), who looks exactly like her and is the same age. Although a rivalry initially breaks out as the pair play pranks on each other, they develop a bond and soon realise they are identical twin sisters who were separated when they were babies. Hallie lives in Napa Valley with her father, Nick (Dennis Quaid), while Annie lives in London with her mother, Elizabeth (Natasha Richardson). Since Hallie has never met her mother and Annie has not met her father, and they share a mutual interest in getting their parents back together, they hatch a plan to switch places and push for Nick and Elizabeth to reconcile. Annie pretends to be Hallie as Nick takes her to Napa Valley, where she discovers that the gold-digging Meredith Blake (Elaine Hendrix) is engaged to marry her father in a matter of weeks. Meanwhile, Hallie pretends to be Annie as she spends time in London with her mother while endeavouring to reunite Elizabeth with Nick. Meredith's presence complicates the plan, leading to radical action between the sisters.

At the helm of The Parent Trap is Nancy Meyers, a veteran comedy screenwriter (Father of the Bride, Once Upon a Crime...) who would later direct films like Something's Gotta Give and The Holiday. Meyers was making her directorial debut here, but the picture is astonishingly slick and competent, boasting the talents of several talented creatives, from cinematographer Dean Cundey (Jurassic Park, Apollo 13) to composer Alan Silvestri (Back to the Future, Predator). Meyers even packs the movie with joyous songs that perfectly accompany Silvestri's music, from the timeless "Bad to the Bone" to Bob Khaleel's rendition of "Here Comes the Sun." Additionally, through the use of body doubles and seamless split-screens using motion-controlled cameras, Lohan believably plays both Hallie and Annie, and the illusion never falters. You easily forget the gimmick and accept that there are two Lindsay Lohans.


As with most of Meyers's films, The Parent Trap is a touch too long at a beefy two hours, and the narrative is not exactly surprising, but it's easy to go along for the ride. Meyers wrote the screenplay with her husband, Charles Shyer (director and co-writer of 1991's Father of the Bride), to update the story for the 1990s. However, the writer-director of 1961's The Parent Trap, David Swift, also receives a credit because the narrative so closely resembles the original film. Although remakes are often useless, especially if there's no narrative reinvention, 1998's The Parent Trap more than justifies its existence with the charming cast and witty, disarming sense of humour. Meyers finds a distinct cinematic voice for this iteration, and it's significantly better and more agreeable than most contemporary family movies.

Despite all the contrivances at the centre of the story, Meyers elevates The Parent Trap with her superb execution of the material, making it easy to care about the story and characters. The moment that Hallie and Annie realise they are twins is incredibly touching, and it is equally heartwarming to watch Nick and Elizabeth as they reunite with the daughter they have not seen for over a decade. These moments do not feel manipulative or false, as the acting thoroughly sells it, while Silvestri's poignant score adds another layer of emotion. Likewise, Nick's effort to win Elizabeth back in the finale undeniably works because you want to see them end up together, regardless of how predictable the outcome is.


The Parent Trap was Lohan's film debut after a few television appearances, and the actress is remarkable here in the tricky dual role. She espouses a wholly convincing British accent to play Annie, while she also believably plays an American pretending to be English, and a British girl pretending to be American - virtually four characters in one movie. It's easy to see why the talented Lohan went on to star in several more iconic cult movies, including Freaky Friday and Mean Girls. Thankfully, the other cast members are equally appealing, including Dennis Quaid (Innerspace, DragonHeart) as Nick, and the late Natasha Richardson (The Handmaid's Tale) as Elizabeth. Elaine Hendrix is also easy to despise as the stereotypical "evil stepmother" figure, while Simon Kunz is hilarious as Elizabeth and Annie's butler, Martin.

In 2018, rumours circulated of another The Parent Trap remake for Disney+, but it thankfully has not yet come to pass. (Judging by the quality of Home Sweet Home Alone, nothing good can come from a D+ remake.) There were also sequel talks, but with the tragic passing of Natasha Richardson in 2009, it seems impossible to make a satisfying follow-up at this point. 1998's The Parent Trap remains an enjoyable product of its time, a breezy and amicable rom-com that does not need any further remakes or sequels to tarnish it.

7.8/10

Far above the usual standard for straight-to-streaming comedies, 2025's Deep Cover is a hilariously madcap twist on British crime films that incorporates the subculture and art of improvisation. Bizarrely, Jurassic World masterminds Colin Trevorrow and Derek Connolly conceived of the unique premise of improv actors going undercover to infiltrate a criminal organisation, with British comedy duo Ben Ashenden and Alexander Owen penning the screenplay. The feature is full of comedic highlights, particularly with such an ideal cast capably handling the clever material, making this a rare streaming production worthy of repeat viewings.


Kat (Bryce Dallas Howard) is a struggling stand-up comedian from America who teaches an improvisational class in London while hoping her career will lead to bigger and better things. Among her students is Marlon (Orlando Bloom), a frustrated actor who yearns for bigger roles and struggles to escape his reputation as "The Pizza Knight" from a television commercial. Also joining the improv class is Hugh (Nick Mohammed), an introverted corporate employee who hopes to develop his confidence. After Detective Sergeant Billings (Sean Bean) recruits Kat to participate in low-level sting operations in London, she convinces Marlon and Hugh to form a trio with her. Unexpectedly, the three manage to win the trust of a mid-level dealer named Fly (Paddy Considine), who answers to ruthless importer Metcalfe (Ian McShane). The actors rapidly find themselves in over their heads, but they are at the mercy of Billings, who insists that they stay undercover.

Unlike most mainstream comedies, Deep Cover carries an R rating, which permits bloodletting and profanity. It is difficult to imagine a comedy set in this world that would work within the confines of a PG-13 rating, as the swearing makes the characters more believable and amplifies the humour a hundredfold. However, Deep Cover's story is slightly overstuffed, and some of the twists and turns are not exactly surprising. Clocking in at 95 minutes, the movie does not outstay its welcome, but it does try to juggle too many elements, including Albanian gangsters, police actively pursuing the acting trio, and the various levels of the drug-dealing organisation. Nevertheless, this is a minor drawback to an otherwise extremely entertaining comedy.


The script's innate and accurate understanding of actors is one of the cleverest parts of Deep Cover, with the frustrated Marlon continuing to veer off-script during improv scenes and auditions as he desperately begs his agent for proper dramatic work, and Kat enduring ridicule from her friends while pursuing things like solo shows as she tries to crack the big time. Meanwhile, Hugh is inexperienced and struggles with his confidence, unsure about how to act as he takes cues from his fellow performers. Actors will relate to the experiences and characteristics here, with the recognisable traits turning the central trio into likable, relatable people who are easy to care about. Incorporating such characters into an action comedy is simply ingenious.

Deep Cover soars when it puts Marlon, Kat, and Hugh together as they try to navigate tricky situations, including a spectacularly cringey attempt to buy counterfeit cigarettes while a bewildered Billings listens from a distance, and their attempt to intimidate and extract money from a former hitman. Going undercover also necessitates the use of aliases, with Kat, Marlon, and Hugh becoming "Bonnie," "Roach," and "The Squire," putting the improv principle of "yes, and?" to the test. Orlando Bloom, Bryce Dallas Howard, and Nick Mohammed are note-perfect here, playing off each other with ease. The unhinged Bloom is the standout, as Marlon continually takes things too far. It's also fun to see Bloom interact with Lord of the Rings co-star Sean Bean, who's a straight man amid the chaos. Other recognisable also appear, including the always reliable Paddy Considine, who brings personality and edge to the role of fly, and Ian McShane, who turns Metcalfe into a sufficiently sinister kingpin type.


At the helm of Deep Cover is Tom Kingsley, a British television veteran who directed episodes of sitcoms like Stath Lets Flats, Ghosts, and Pls Like. Thanks to his television background, Kingsley brings a high level of energy and a frenetic pace to the production, never dwelling too long on any joke or comedic set piece. Stylistically, the picture emulates the look of British crime movies and TV shows, featuring shadowy, stylish cinematography and an abundance of handheld camerawork. Despite the absurdity of moments like a police chase involving bicycles, Kingsley treats everything with sincerity. An unexpected sense of visual gravitas elevates Deep Cover, as it eschews the bright, clean digital visual style typical of most streaming content. Indeed, even though the picture is frequently uproarious, it carries the appearance of a serious crime thriller rather than a parody or a low-budget imitation.

The decision to send Deep Cover to streaming is baffling, as the picture carries the polished look of a theatrical feature and is far funnier than most comedies that made it to cinemas recently. (It's infinitely better than A Minecraft Movie.) It's an unexpected delight that seemingly emerged out of nowhere, and it will appeal to viewers who enjoy unpretentious action comedies like 21 Jump Street and Hot Fuzz. With its strong British flavour and plenty of laugh-out-loud moments, Deep Cover is a funny and highly satisfying romp.

7.4/10