After revisiting old characters by finally returning to the View Askewniverse, Kevin Smith continues his nostalgic streak with 2024's The 4:30 Movie, a standalone, semi-autobiographical coming-of-age tale that represents a love letter to a bygone era of cinemagoing. With Smith once again undertaking writing and directing duties, the filmmaker delivers a sweet, personal story with a nice message, reinforcing a love and passion for cinema at a time when streaming has become the dominant way to enjoy new movies. (How ironic that the flick only received a limited theatrical release.) Unsurprisingly, The 4:30 Movie is full of cute Easter Eggs, in-jokes, and an almost endless stream of knowing pop culture references, and Smith recruits many of his long-time acting chums to fill out the cast in minor cameo appearances. Although the end result is perfectly pleasant and watchable, it's a surprisingly lightweight and unmemorable endeavour from the filmmaker, lacking the spark that elevated Smith's early movies.


The year is 1986, and avid cinephile teenager Brian David (Austin Zajur) spends most of his time attending his local cinema, expressing an enthusiastic passion for all things film-related. After mustering up the courage, Brian calls his crush, Melody (Siena Agudong), and asks her on a date to see a new detective comedy called Bucklick. In the lead-up to the date, Brian and his two pals, Burny (Nicholas Cirillo) and Belly (Reed Northrup), intend to spend the day theatre-hopping: they pay to see a teen-friendly sci-fi fantasy movie, then plan to sneak into R-rated features. However, the trio immediately attract unwanted attention from the multiplex's strict manager, Mike (Ken Jeong), who is not shy about handing out lifetime bans to problematic patrons. The ensuing misadventures test their friendship, but Brian perpetually remains laser-focused on his impending date with Melody.

With The 4:30 Movie taking place in New Jersey during the 1980s and with shooting occurring at Smith's retro-themed Smodcastle Cinemas, the writer-director incorporates many of his teenage experiences and early romantic encounters into the script to shape this story about filmgoing, friendships, crushes, and adolescent life in general. Smith also does his best to recreate the '80s, incorporating things like wrestling, Starlog Magazine, Quasar CRT televisions, and Hands Across America participants, while the characters frequently reference well-known movies. (Curiously, Poltergeist II: The Other Side is mentioned the most.) Regrettably, however, the story is almost as on-the-nose as some of the dialogue (a specific Star Wars conversation with a cynical usher is more exasperating than funny), with characters predictably encountering the right people at the right time in the third act to learn the right lessons, making the screenplay feel incredibly lazy.


Smith dials back his regular penchant for foul language and profanity here in an attempt to deliver a PG-13 comedy that is accessible to a younger demographic. However, the masturbation jokes ultimately scored the film an R rating despite the director's appeal efforts. It's a shame that this rating came too late for Smith to lean into it a bit more, as the humour could use more kick, and the movie largely feels PG-13. At times, the script is a pleasing showcase for Smith's razor-sharp writing instincts, reminding us why he became such an indie film wunderkind; the opening phone call between Brian and Melody is effortlessly charming, for example, and several of the conversations between the three boys are witty and amusing. However, the film feels too self-referential at other times, making it feel like yet another movie specifically tailored for long-time followers of Smith's podcasts and films, leaving general audiences in the dark.

Although The 4:30 Movie looks slick and polished, with specific lens choices and colour grading to generate an old-school look, it is challenging to get past the layer of digital gloss. As a result, it looks like a made-for-Netflix movie instead of a proper filmic throwback. No matter how you look at it, nostalgic pictures of this ilk should resemble genuine celluloid productions. At least the fake trailers and films within the movie show a far more agreeable filmic aesthetic, down to print damage and soft focus. These segments also show a firm understanding of low-grade '80s productions, including rickety special effects and hammy acting. The performances are otherwise not much to write home about, with the actors coming across as believable enough but lacking in charm. Composer Bear McCreary (whose name is referenced in the opening radio announcement since he has apparently become Smith's favourite composer after they collaborated for Masters of the Universe: Revelation) is also on hand to provide a retro-infused score that thankfully gives the picture some much-needed flavour.


The 4:30 Movie closes on a curiously anticlimactic note, with the shenanigans coming to an abrupt end as Smith stages an extended conversation between Brian and Melody before the film suddenly concludes. One supposes that Smith was aiming for a sweet conclusion reminiscent of '80s teen films like The Breakfast Club, but it lacks power and impact. With the feature clocking in at a scant 76 minutes, excluding credits, Smith pads things out with a mid-credits scene and a post-credits blooper reel, though neither segment is a standout. Smith's heart is in the right place with The 4:30 Movie, and it is far better than many of Smith's recent endeavours, showing a promising creative direction for the writer-director. Ultimately, though, it is difficult to imagine anybody revisiting this one as much as Clerks, Chasing Amy or Dogma.

6.0/10

Adam Elliot's second animated feature after 2009's brilliant Mary and Max, 2024's Memoir of a Snail further confirms the filmmaker's impeccable talents, showing that his debut was not a fluke. Retaining the superb aesthetic and storytelling qualities of his previous feature, Memoir of a Snail is another almost unbearably poignant and honest examination of loneliness, loss and humanity, yet it is also consistently hilarious through a combination of tender and dark humour. Elliot treads similar thematic ground to Mary and Max, and the story is ostensibly quite ordinary, but the director enlivens the material with profound emotional resonance and top-notch character work, making this another serious awards contender for the Australian animator. Although animated, Memoir of a Snail is another film demonstrating that the art form is not purely for children. Indeed, this is a movie for adults and is not suitable for younger kids, particularly due to its intense thematic content and subject matter.


Born in Australia during the 1970s, Grace (Sarah Snook) and her twin brother, Gilbert (Kodi Smit-McPhee), endure intense loss during their formative years. Following their parents' deaths, the government separates Grace and Gilbert by sending them to separate foster homes, with Grace ending up in Canberra while Gilbert lives with a religious fundamentalist family in Western Australia. Memoir of a Snail traces the bittersweet story of the twins who stay in touch through heartache and tragedy while hoping to reunite and yearning for greater things, with Grace aspiring to follow in her father's footsteps by pursuing a career in stop-motion animation. Through the years, Grace maintains an affinity for snails, as she began collecting and breeding them after her mother's death. Grace also develops a bond with an elderly woman named Pinky (Jacki Weaver), who helps her deal with the challenges of adulthood, including a short-lived marriage to a sleazy mechanic (Tony Armstrong).

Whereas Mary and Max built to an emotional climax, Elliot goes straight for the jugular in Memoir of a Snail, with the first act involving the deaths of several people who are close to Grace. Anybody who has lost a parent or a grandparent might find some of these moments extraordinarily affecting, with characters suffering from ailments like sleep apnea and Alzheimer's. Elliot does not shy away from life's brutal realities, but the story is not relentless doom and gloom, as humour consistently livens the proceedings, and the picture closes on an optimistic note that feels wholly earned. With Elliot developing Memoir of a Snail over an eight-year period, the screenplay perfectly balances drama and humour, to the point that some scenes will make you both laugh and cry. Elliot maintains a robust sense of pacing, never dwelling on anything for too long, while Sarah Snook confidently drives the movie with her nuanced, almost omnipresent narration. Like Mary and Max, narration drives the story of Memoir of a Snail, as the low budget makes it difficult to execute dialogue-driven stories due to the challenges of synchronising dialogue with lip movements.


Elliot brought back several collaborators for Memoir of a Snail, including editor Bill Murphy and cinematographer Gerald Thompson, whose contributions to the production are superb. Like Elliot's previous animated endeavours, including his Oscar-winning short film Harvie Krumpet, there is a handmade quality to the stop-motion animation, with animators primarily using clay, wire, paint and paper for the puppets. The production design is immaculate, with each set featuring astonishing detail, making the world feel wholly believable. The 90-minute feature consists of over 135,000 still photographs, and while the character models are deliberately imperfect instead of photorealistic, the sense of visual style is engrossing, and the motion is impossibly smooth. The animation possesses a distinct personality, with subtle movements that make the characters seem genuinely alive. Additionally, the movie features no digital effects, as the animators created all of the special effects by hand, including flames. The Melbourne-based claymation team worked patiently for several months to bring Memoir of a Snail to life, creating only 10 seconds of footage each day throughout the painstaking and intricate process, and the result feels incredibly special in an era dominated by computer animation. Furthermore, composer Elena Kats-Chernin provides a gentle and moving original score, complementing the visuals without overwhelming them.

With a terrific voice cast consisting of recognisable Aussie acting veterans like Eric Bana and Jacki Weaver (musician Nick Cave even plays a role), who bring the material and characters to life with palpable nuance, it is easy to become invested in Memoir of a Snail, which stands as one of 2024's best movies, animated or otherwise. In short, it is a masterpiece of intense pathos and uproarious comedy, and it is impossible to imagine the year begetting another animated movie that tops it. With Mary and Max receiving no attention at the Academy Awards, one can only hope that Memoir of a Snail is not similarly ignored.

10/10

A hastily-assembled remake of the Spanish horror gem Rec, 2008's Quarantine failed to make much of an impact or justify its existence, as it merely recreated memorable moments from the original film without sufficient intensity or panache. Rec spawned three sequels, making it relatively unsurprising that Screen Gems endeavoured to capitalise on Quarantine's modest box office success with a follow-up in the form of 2011's Quarantine 2: Terminal. Wisely jettisoning the found footage conceit, writer-director John Pogue (making his directorial debut here) finds fertile creative ground in a new setting and a new group of characters, resulting in a vicious, engaging horror picture that makes the most of its limited budget. Quarantine 2 is a far better picture than its predecessor, delivering competent thrills and edge-of-your-seat set pieces instead of lifelessly recreating scares from a superior film, making it worth your attention even for those who did not like Quarantine. Even though Quarantine 2 is a direct-to-video production, it could have scared up a fair bit of business at the box office.


In Los Angeles, flight attendants Jenny (Mercedes Masohn) and Paula (Bre Blair) prepare for a late-night flight to Kansas City, facilitating the arrival of the passengers and pilots. Before departure, Jenny helps a 12-year-old boy (Mattie Liptak) who is flying alone, and she gets friendly with Henry (Josh Cooke), an intelligent kindergarten teacher transporting his class pets. Once in the air, an obese passenger (George Back) shows signs of illness, and his condition deteriorates as he vomits and foams at the mouth. With the passenger beginning a rampage as he tries to access the cockpit, the pilots coordinate an emergency landing with reluctant directions from the closest air control tower, pulling up at a jetway manned by a baggage handler named Ed (Ignacio Serricchio). As the passengers frantically disembark, they realise that the government has no intention of allowing them to leave the building, with scientists and armed soldiers surrounding the de facto quarantine area as the passengers fight to survive.

Whereas Rec 2 directly followed on from the events of its predecessor and returned viewers to the apartment building, Quarantine 2 takes a different approach; it's a standalone sequel with tenuous ties to the first movie. (It would be unsurprising if Quarantine 2's screenplay started as another movie entirely before a rewrite to turn it into a sequel.) Pogue's sequel efficiently explores the virus's origins, even including discussions about the value of the human race that become relevant as the script reveals more details. Pogue also smartly connects to the original Quarantine, with characters watching news reports and hearing rumours about the apartment building outbreak while government agencies respond to the mid-air situation with awareness of the virus that turns people into bite-crazy, frenzied zombies. Pogue maintains a furious sense of momentum as the first attack happens on the aircraft, and the sense of peril is all the more immediate due to the confined space. Unfortunately, the movie hits a demonstratable lull once the action shifts to the baggage handling area, particularly with the characters bickering and squabbling too much, leading to uneven pacing.


With a lower budget, Quarantine 2 lacks scope and does not feel overly cinematic - there are no external shots of the aeroplane in mid-air, nor are there any exterior shots of the airport or the plane disembarking once the characters reach the ground. Additionally, the movie lacks visual gravitas, as the cinematography and general appearance give away the picture's straight-to-video origins - in fact, it looks more like a found footage movie from an aesthetic perspective, making it ironic that Pogue decided against a found footage approach. However, Pogue's handling of the set pieces is frequently top-notch, with an astonishingly unnerving initial attack sequence on the plane and several intense interludes within the airport, including effective use of shadows and dark hallways. Pogue favours sturdy handheld cinematography (he cited Paul Greengrass as an inspiration) that augments the immediacy without affecting the coherency of the set pieces, as director of photography Matthew Irving does not devolve into a routine of headache-inducing shaky cam.

Quarantine 2: Terminal lacks star power as the cast consists of unknowns to keep the budget under control, but the performances are surprisingly robust across the board, even if the actors essentially play stock characters. Although the movie achieves nothing groundbreaking, Pogue's approach to this sequel deserves major plaudits, arranging an organic and satisfying continuation with limited sets and a small ensemble cast while paying attention to the visceral ingredients that generate effective horror. Catching sight of an infected individual is unsettling, while the exceptional sound design ensures the zombies remain scary even when not on-screen. Although it lacks strong characters and emotional resonance, it is a recommended late-night watch for genre fans. Considering the low bar for direct-to-video sequels (and direct-to-video horror movies in general, for that matter), it is pleasing to see something as competent and thrilling as Quarantine 2. Despite feeling zero excitement for this sequel considering the lacklustre first movie, it is now a shame that no further instalments have materialised as of 2024, especially since this follow-up is better than all of Rec's hit-and-miss sequels.

6.7/10

Horror luminary Stephen King's first (and, to date, only) directorial undertaking, 1986's Maximum Overdrive finds the author-cum-filmmaker adapting one of his own short stories for the big screen. A critical and commercial failure, Maximum Overdrive has a lousy reputation in serious cinephile circles, as the picture garnered two Golden Raspberry nominations (including Worst Director), and King himself disowned the finished product, calling it a "moron movie" and resolving never to direct again. Nevertheless, for fans of campy '80s horror, the film undeniably delivers, and it remains an enormously enjoyable sit that deserves more love than it appears to receive. With a generous though not overwhelming budget, King executes the high-concept science-fiction premise with corny dialogue, an underlying sense of dark humour, oodles of campy '80s horror goodness, and hard rock music courtesy of Australian band AC/DC.


In 1987, as Earth passes through the tail of the mysterious Rhea-M comet, inanimate machines suddenly come to life to terrorise and attack their human creators. With the homicidal machines making quick work of anybody in their path, a group of survivors band together at the Dixie Boy Truck Stop in North Carolina while big rig trucks and other killer vehicles circle outside. Among the group of humans is a cook named Bill Robinson (Emilio Estevez), who takes it upon himself to maintain order and sanity while developing romantic feelings for a hitchhiker, Brett (Laura Harrington).

The characters are pure clichés, and King paints them with broad strokes of black and white, never adding an ounce of nuance. The film features a rugged, resourceful male protagonist who's an ex-convict but is nevertheless heroic, while there is also a vulnerable female love interest and a newlywed couple to raise dramatic stakes. Additionally, the story introduces an antagonistic truck stop owner (with a secret arsenal of high-powered weapons) and other idiotic characters who only exist as cannon fodder for the machines. Indeed, one character even walks outside into the line of fire to berate the machines before meeting their demise. The performances do not do much to elevate the corny, on-the-nose dialogue, with the Razzie-nominated Emilio Estevez (who was hired at the insistence of Dino De Laurentiis; King wanted Bruce Springsteen) coming across as stiff and self-serious, while none of the other actors (including future Bart Simpson, Yeardley Smith) make much of an impression. However, Pat Hingle's over-the-top performance as the Dixie Boy's owner, Bubba Hendershot, is a highlight.


Reports from the set of Maximum Overdrive are almost as crazy as the film itself, with King professing that he was high on cocaine during the shoot and did not know what he was doing, while cinematographer Armando Nannuzzi lost an eye following a special effects shot gone wrong. Nevertheless, the flick does not come across as the slapdash work of an inexperienced filmmaker - instead, everything from the stuntwork and special effects to the editing and story progression is surprisingly assured, exhibiting no signs of a troubled production. Despite King's disillusionment with the production, the set pieces are proficient and exciting, and the picture highlights the risk big rig trucks pose to comparatively small humans. King's screenplay takes full advantage of the premise's gleefully crazy and inherently humorous possibilities - the first machine to malfunction is a bank sign that displays profanity before an ATM calls a customer an asshole, while everything from bascule bridges and lawnmowers to vending machines and electric knives try to kill everybody in sight. Vehicles even start honking in Morse code to communicate with humans. How the machines gained the ability to know Morse code remains a mystery.

Instead of a soundtrack comprising subtlety, intensity and nuance by a well-known composer, Maximum Overdrive only features rock 'n' roll music by King's favourite band, AC/DC, who released the soundtrack as an album entitled Who Made Who. The use of hard rock makes the set pieces all the more memorable - the song Who Made Who accompanies the opening montage of machines going haywire, and the humans refuel as many trucks as possible to the tune of Hells Bells. This curious creative decision further solidifies this movie as utterly unique in the annals of cinema, as it is difficult to imagine any studio investing a significant amount of money into a film as bizarre as this. Indeed, if a movie like Maximum Overdrive was made in the 21st Century, it would look cheap, digital and artificial. But there is an inherent charm to old-school practical effects, authentic location shooting, and the visual gravitas of 35mm film - it feels like a proper motion picture instead of a low-rent joke.


With Maximum Overdrive boiling down to a movie about a space comet causing machines to attack humans, it is nearly impossible to take the material seriously, even though King ostensibly tried. Instead of a white-knuckle suspense thriller, the film is a tongue-in-cheek delight with enough memorable kills and gore to satisfy genre fans. The pacing does grind to a halt when King concentrates too much on the human characters since the drama is not exactly riveting, and there is a fair bit of inexcusably silly behaviour, but there is still enough of worth to justify a watch, particularly for those with a taste for campy '80s horror. Just do not expect a chilling masterpiece like The Shining, an adaptation of King's work that, let's not forget, the author despises.

6.8/10

A theatrical expansion of Batman: The Animated Series, 1993's Batman: Mask of the Phantasm is often regarded as one of the best motion picture incarnations of the iconic Caped Crusader, and for good reason. Breaking free of the restraints of television, Mask of the Phantasm is not a movie for children because it is dark in tone and content, taking its cues from Tim Burton's Batman films and the Batman graphic novels from the 1980s written by the likes of Alan Moore, Grant Morrison and Frank Miller. Accordingly, Mask of the Phantasm plays best for adults due to its noir storyline, menacing tone, violence and emphasis on characters over action, which resulted in the film failing at the box office but later developing a cult following. Directed by Eric Radomski (co-creator of Batman: The Animated Series) and Bruce Timm (the producer behind numerous notable animated superhero projects), it is an essential watch for Bat-Fans and casual viewers alike.


In Gotham City, a mysterious vigilante assassin known as the Phantasm begins stalking and killing notorious criminals while donning an outfit that resembles the Grim Reaper. Mistakenly believing that Batman (Kevin Conroy) is responsible for the murders, the public turns against the Caped Crusader while City Councilman Arthur Reeves (Hart Bochner) orders Batman's arrest, though Commissioner James Gordon (Bob Hastings) refuses to believe the allegations or participate in the crusade. Meanwhile, Bruce Wayne's former flame, Andrea Beaumont (Dana Delany), returns to Gotham after a decade, compelling Bruce to reflect on his past. Before Bruce donned the cape and cowl, he met Andrea and pursued a romantic relationship with her while developing an interest in vigilante crime fighting. Bruce considers the prospect of permanently halting his vigilante activities to marry Andrea, but she suddenly leaves the city and calls off the engagement, prompting the heartbroken Bruce to assume the mantle of Batman.

With a screenplay credited to four writers, including Batman: The Animated Series mainstays Paul Dini and Alan Burnett, Batman: Mask of the Phantasm borrows from Frank Miller's Batman: Year One comic book miniseries, as the feature reveals Batman's origins that are intrinsically connected to the Phantasm narrative. It is a fascinating storytelling device that deepens Batman's character, making the film feel more personal and emotional as it explores Bruce's vulnerable side. The film gets into Bruce's head as the billionaire pines over lost love and questions his vow to his deceased parents, giving the story more dramatic impact. However, it is sometimes difficult to distinguish the flashbacks from the present-day narrative (perhaps different colour grading for these sections could have remedied this), and the flashbacks occasionally drag on for too long, but this is a minor misstep that is less problematic during repeat viewings. Running at an economical 78 minutes, Mask of the Phantasm is lean and fast-paced, benefitting from superb storytelling efficiency. Burnett sought to devise a story without relying on the show's rogues gallery, as the script only incorporates one familiar villain in the Joker (Mark Hamill), who plays a crucial and logical role in the narrative.


Warner Bros. initially intended Batman: Mask of the Phantasm to be a straight-to-video feature but decided to release the movie in cinemas to capitalise on the character's popularity after Batman Returns hit cinemas a year prior. Due to the accelerated production schedule and meagre $6 million budget, Mask of the Phantasm lacks the precise motion and visual authority of a big-budget animation feature, but the animators compensate for this with a gorgeous, compelling sense of style. Retaining the acclaimed aesthetic approach of Batman: The Animated Series, the feature takes its cues from cartoons and film noirs from the '30s and '40s with a striking Art Deco presentation and intriguing use of shadows, giving the film more visual gravitas than a simplistic children's cartoon. With a higher budget than the television show, Mask of the Phantasm does deliver impressive set pieces, including a computer-generated tour of Gotham City during the opening credits and several engaging action sequences. Although it lacks the scope of big-budget Batman adventures, the action scenes are hard-hitting and enjoyable, with genuine stakes supplementing the spectacle. Meanwhile, composer Shirley Walker (the main composer for Batman: The Animated Series) provides an atmospheric, evocative score that sounds distinct while borrowing motifs from Danny Elfman's compositions for Tim Burton's Batman films.

The key voice actors from Batman: The Animated Series reprise their roles here, including Efrem Zimbalist Jr. as Alfred Pennyworth, Bob Hastings as Commissioner Gordon, and Robert Costanzo as Detective Harvey Bullock, while Arleen Sorkin (the voice of Harley Quinn) also contributes in an uncredited bit part. For many, these actors represent the definitive version of their respective characters, and it is hard to disagree. As Batman/Bruce Wayne, the late Kevin Conroy is in a league of his own, providing a charismatic Bruce and deep-voiced Batman. Conroy sounds like the Caped Crusader and is a terrific actor, with his line deliveries never sounding robotic or detached. Equally excellent is fan favourite Mark Hamill as the Joker. Hamill is the Joker, committing to the role with such abandon that Star Wars fans will not recognise him, and he threatens to steal the show. Dana Delaney is another fantastic addition as Andrea Beaumont, and the actress later took on the role of Lois Lane in Superman: The Animated Series. Supporting roles in the ensemble appreciably elevate the material, with the filmmakers selecting notable veteran performers to portray small but crucial roles. For example, Stacy Keach (The Long Riders, American History X) plays Andrea's father, while Abe Vigoda (The Godfather) and Dick Miller (Gremlins, The Terminator) appear as mob bosses.


Exploring Bruce Wayne's humanity in a dramatically effective way, Batman: Mask of the Phantasm tells a personal story about the Caped Crusader while remaining wholly respectful of the character and source material, and without devolving into a cheesy melodrama. Instead of a simple action adventure, it is an atmospheric noir mystery featuring the world's greatest detective. As a result, it is one of the best animated superhero movies in history, and it exceeds most live-action Batman flicks, making it must-see viewing for genre enthusiasts. Fortunately, Batman: Mask of the Phantasm also succeeds as a standalone story and does not require intimate familiarity with Batman: The Animated Series, but it is an ideal entry point into the iconic television show. With its compelling storytelling, striking visuals, and terrific voice acting, Mask of the Phantasm is worth 78 minutes of your time.

8.2/10

The Banshees of Inisherin is the long-awaited reunion of In Bruges writer-director Martin McDonagh with actors Colin Farrell and Brendan Gleeson, but this is a vastly different movie than their earlier collaboration. Both films are morality tales with solemn philosophical themes, but whereas In Bruges was a fast-paced black comedy with a touch of action, The Banshees of Inisherin is downbeat and dialogue-driven, supplementing the pitch-black hilarity with strong melancholy and despondency. After the momentous critical and commercial success of 2017's Three Billboards Outside Ebbing, Missouri, which also earned Academy Award recognition, it is encouraging to see McDonagh avoid the temptation of pursuing big-budget blockbusters or superhero movies, instead sticking with a modest budget and his established filmmaking modus operandi. Arguably the playwright-turned-filmmaker's finest movie, The Banshees of Inisherin is a small-scale comedic fable about loneliness, loss and broken friendships, elevated by razor-sharp scripting and exceptional performances.


In 1923, as the Irish Civil War continues on the mainland, simple Irishman Pádraic Súilleabháin (Colin Farrell) resides on the isle of Inisherin with his sister, Siobhán (Kerry Condon). Without any grand ambitions, Pádraic happily spends his days at the pub with his lifelong friend, Colm Doherty (Brendan Gleeson). However, Colm abruptly begins ignoring Pádraic, telling the bewildered and devastated man that their friendship is over because Pádraic is too dull and he would rather spend the rest of his life pursuing fulfilling things like composing music instead of engaging in pointless chatter. Unsure what to do, Pádraic refuses to leave his former friend alone, continually pestering him and hoping that Colm will eventually see the error of his ways and reinstate their friendship. However, the effort only infuriates Colm, who threatens to cut off his fingers if Pádraic ever tries to speak to him again. Pádraic also connects with troubled local boy Dominic (Barry Keoghan), whose policeman father (Gary Lydon) frequently engages in physical abuse. Meanwhile, the more sensible Siobhán grows fed up with the male behaviour around her, trying to diffuse the feud between Colm and Pádraic to no avail.

McDonagh deservedly earned an Academy Award nomination for his screenplay, which is a masterclass of rich character work, meticulous storytelling, and sharp, shudderingly hysterical dialogue. It takes several viewings to absorb all the niceties of the dialogue, with McDonagh devising laughs through broader comedic exchanges (a conversation about a bread van) and sly asides (Dominic discussing his pub ban with the publican). McDonagh's writing also leans into the Irish vernacular, with conversations sounding astonishingly naturalistic yet distinctly poetic and incredibly engaging, and the humour never seems forced or contrived. For its first hour in particular, The Banshees of Inisherin is intensely funny, but the story's dramatic elements start to take shape once violence enters the equation, leading to despair and tragedy. It is a testament to McDonagh's writing and direction that the film remains compelling and palatable despite the tonal changes as the third act devolves into cruelty and sadness. McDonagh also uses the setting to enhance the picture's themes; the screenplay draws parallels between the circumstances on Inisherin and the tumult of the Irish Civil War, underscoring the conflicts as pointless and senseless.


The Banshees of Inisherin is visually distinct and aesthetically rich, with the old-fashioned execution ideally serving the material. McDonagh's third collaboration with cinematographer Ben Davis (Seven Psychopaths, Three Billboards Outside Ebbing, Missouri), the film looks magnificent, with the photography taking advantage of the gorgeous Irish vistas and intricate production design. Shot on location off the coast of Ireland, the sense of authenticity is astonishing, with buildings and clothing that look lived-in and genuine instead of artificial, and with no trace of distracting digital trickery. Additionally, with McDonagh specifically requesting no Irish music for the soundtrack, composer Carter Burwell delivers a beautifully melancholic original score reminiscent of his contributions to In Bruges. Burwell's music meaningfully contributes to the storytelling, with distinct motifs for Pádraic and Colm that reflect their different personalities and dispositions. Irish musicians also appear to play fiddle music on-screen, contributing further flavour to the production. Furthermore, McDonagh confidently guides the narrative with his superlative direction, unafraid to hang onto pauses or silences but consistently maintaining a steady pace.

Four of The Banshees of Inisherin's nine Oscar nominations were for acting, as the Academy acknowledged the quartet of leads for their note-perfect performances. McDonagh creates distinct, fully-realised characters with unique personalities, traits and speech patterns, while the superb actors sink their teeth into the meaty material. Farrell is terrific in practically everything, but his performance as Pádraic is one of his finest, bringing dramatic gravitas and emotional depth to a complex character. Farrell superbly portrays fluctuating emotions throughout the story, trying to maintain his cheerful, fun-loving disposition while confronting loss and loneliness. This is Farrell's third time working with McDonagh (he did not appear in Three Billboards Outside Ebbing, Missouri), and it is easy to see why Farrell continues collaborating with the director. Alongside him, his In Bruges co-star, Brendan Gleeson, is equally fantastic, bringing humanity and depth to a character who seems unnecessarily callous. With the script revealing more and more about Colm as the picture progresses, Gleeson handles the philosophical and dramatic dialogue with utmost confidence, and his portrayal of Colm is a far cry from his compassionate In Bruges character. McDonagh specifically wrote Pádraic and Colm for Farrell and Gleeson, and they positively light up the screen with their chemistry; they are a superb pair.


Kerry Condon's Siobhán provides a dramatic anchor for the absurdity throughout the story, serving as a scolding mother to the juvenile male characters. However, the screenplay gives her more dimension, as Siobhán has ambitions beyond Inisherin. Meanwhile, after his foray into superhero cinema with The Eternals and The Batman, Keoghan shows his incredible acting chops here with a subtly nuanced performance wholly deserving of an Oscar. His comedic timing is remarkable, and he expresses so much through facial expressions and understated changes in the delivery of his dialogue. See, for example, Dominic realising Pádraic is not as nice as he once thought, or the boy responding to Siobhán rejecting his romantic proposition; his responses to both situations are extraordinarily authentic. The Banshees of Inisherin also demonstrates that it is possible to make a tremendous impact with limited screen time, as even minor members of the talented ensemble deliver huge laughs. For example, David Pearse is gut-bustingly funny as a priest whose confessional scenes with Colm had this reviewer in tears of laughter, while Aaron Monaghan only has one notable scene as a fiddler from the mainland but is responsible for numerous belly laughs.

Like McDonagh's Irish plays, The Banshees of Inisherin is a tragedy; it is not a mainstream comedy with clichés, schmaltz or a happy ending. The ambiguous, open-ended conclusion ends the story on an intense note of melancholy, but once the sense of despair wears off and you can reflect on the story and the characters, it is difficult to imagine the movie playing out more perfectly. With his fourth feature film, McDonagh demonstrates yet again that his ability to mix comedy and pathos is unmatched. Hilarious and heartbreaking, The Banshees of Inisherin is one of the best and most memorable movies of 2022.

9.0/10

Like 2008's Taken and several other recent action films produced by French filmmaker Luc Besson, Lockout feels like a cinematic relic from the 1980s or 1990s, and in no way is that a bad thing. With modern blockbusters becoming too overcomplicated and too reliant on digital effects (see John Carter, Wrath of the Titans, and Battleship), Besson's EuropaCorp production company routinely churns out the type of simplistic, old-school action films that become rarer and rarer with each passing year. Although 2012's Lockout is unoriginal and silly, it is also incredibly fun - an endearing throwback science fiction actioner that might have starred Arnold Schwarzenegger or Sylvester Stallone if the movie entered production twenty years prior. Although imperfect, it is a joyous guilty pleasure guaranteed to satisfy action connoisseurs seeking an entertaining beer and pizza movie.


In 2079, sardonic CIA agent Snow (Guy Pearce) is framed for the murder of a U.S. Colonel and receives a thirty-year prison term on MS One, a maximum security prison floating above the Earth where prisoners are placed into stasis for the length of their sentences. Meanwhile, the President's daughter, Emilie (Maggie Grace), visits MS One to investigate reports that prolonged periods in stasis lead to dementia and mental instability. However, a riot breaks out when a deranged inmate, Hydell (Joe Gilgun), breaks free and releases all of the prisoners. With Emilie among the hostages, CIA officer Harry Shaw (Lennie James) believes a siege is too dangerous, recommending that they instead send in a single man on a rescue mission to retrieve Emilie. Although initially unwilling to help, Snow learns that boarding MS One could be the key to his freedom, which motivates him to accept the assignment. After sneaking aboard the MS One, Snow works to transport the stubborn Emilie to safety while seeking to locate information crucial for proving his innocence.

Although marketed as Die Hard in a futuristic Blade Runner setting, and even though the movie is billed as "based on an original idea by Luc Besson," Lockout amounts to an unauthorised remake of John Carpenter's Escape from New York. The story is strikingly similar, as both films involve an incarcerated criminal venturing into a dangerous setting to rescue a high-profile political hostage while bureaucrats oversee the operation and communicate with the hero. Carpenter himself noticed that Lockout essentially plagiarised Escape from New York and Escape from L.A., and he successfully brought legal action against the filmmakers. Fortunately, the flick is still a fun ride despite feeling narratively derivative, with spirited action scenes and brisk pacing, though it is not as thoughtful as Blade Runner or as brilliant as Die Hard - instead, it is pure B-grade cheese. And, heavens me, the cheese flows like running water. Snow is a wisecracker in the vintage action hero mould who is fluent in sarcasm and always has witticisms at the ready. Refrain from expecting depth or nuance from the characters, with Snow lacking meaty dimension while the bad guys merely exist to act menacingly and commit villainous acts. Nevertheless, the script's wit and humour keep things entertaining.


Produced for a modest $20 million, Lockout provides action and thrills on a limited budget, though the ropey digital effects are occasionally distracting. See, for example, a vehicular pursuit early in the flick featuring woeful computer-generated imagery that would not pass muster in a PlayStation 2 video game. Fortunately, the visual effects improve when the action shifts to MS One, with the ship exteriors looking more competent and passable, but none of the CGI is particularly photorealistic or commendable. Although the special effects in films like Escape from New York are imperfect, practical model work is more endearing and tangible than phoney computer renderings. Lockout's humdrum digital cinematography further detracts from the sense of visual realism, as there is little doubt that shooting on 35mm film is far more appropriate for throwback action movies. Furthermore, the feature has its fair share of idiocy, including a preposterous climactic evacuation from MS One that shows a primary school-level grasp of science and physics. Ultimately, Lockout is more involving and exciting during the grounded action beats, with directors James Mather and Stephen St. Leger staging effective shootouts and fights. Although not ultraviolent, there is enough of a visceral kick to the action scenes that genre buffs will appreciate.

It is easy to admire EuropaCorp's track record with actors, as they manage to attract recognisable, talented performers despite meagre funding. Australian actor Guy Pearce is not an obvious choice to play a sarcastic action hero in the tradition of John McClane and Snake Plissken, but he nails it and is one of the production's biggest assets. Pearce looks the part with a muscular physique, while his sarcastic bravado and masculine personality make him a likeable and engaging protagonist. Entertaining and colourful, Pearce looks more badass than the twentysomething actors Hollywood keeps attempting to position as action heroes (Taylor Lautner, for example). The reliable and charismatic Lennie James (Snatch, The Walking Dead) provides capable support, bringing a touch of class to the material. Additionally, Peter Stormare (The Lost World: Jurassic Park, Prison Break) sinks his teeth into his sleazy, semi-antagonistic role, and his banter with Pearce genuinely sparkles. Maggie Grace (who previously starred in Taken) is a fine if unspectacular addition to the cast, while the prisoners ham it up big time, with Joe Gilgun a notable standout as an unhinged psychopath with a strong accent.


Like most of EuropaCorp's action movies, there is both a PG-13 and an unrated cut of Lockout to maximise the movie's commercial performance. Unsurprisingly, the unrated version is far superior, as the slopping editing and camerawork in the PG-13 cut are unforgivable. The cinematography is marginally superior in the unrated cut, but a tripod would still be appreciated. Despite its flaws and shortcomings, Lockout delivers unpretentious B-movie fun with goofy charm and enthusiasm, and Pearce demonstrates he has what it takes to play more action heroes. The movie is cheesy and ridiculous at times, but the filmmakers commit to the material with sincerity, making it feel like a worthy modern successor to action films from the '80s and '90s. In fact, if it were produced in the '90s, Lockout would probably be considered a forgotten geek classic like Fortress or Soldier. For action fans seeking an undemanding fix, Lockout scratches that itch. However, you should look elsewhere if you desire something more intellectually stimulating.

6.8/10

With Ghostbusters: Afterlife sparking the decades-old franchise back to life in 2021 under the direction of Jason Reitman, 2024's Ghostbusters: Frozen Empire continues the series, bringing back as many returning actors as possible for another round of supernatural comedy. Taking the directorial reins this time is Reitman's Afterlife co-writer Gil Kenan (A Boy Called Christmas), who again partnered with Reitman to devise the screenplay for this sequel. Whereas Afterlife was a heartfelt supernatural mystery, Frozen Empire feels more like a traditional Ghostbusters picture, recapturing the original New York City aesthetic while taking the franchise to its next logical place as the team again deals with both intrusive bureaucracy and a growing paranormal threat. Although it lacks Afterlife's poignant heart and emotional weight, this latest ghostbusting adventure is fun and funny, and it deserves far better than the harsh reception it received.


Three years after defeating Gozer the Gozerian in Oklahoma, Gary (Paul Rudd) and Callie (Carrie Coon) relocate to New York City with Phoebe (Mckenna Grace) and Trevor (Finn Wolfhard) to help Winston Zeddemore (Ernie Hudson) and Ray Stantz (Dan Aykroyd) restart the Ghostbusters. Moving into the firehouse headquarters with the restored Ecto-1, they work together to capture ghosts on the streets of NYC, but their exploits draw the wrath of the city's Mayor, Walter Peck (William Atherton), who threatens to put them out of business. Gary and Callie are forced to remove the underage Phoebe from the team, who struggles to accept the decision but soon finds an unexpected friend in a kindly ghost named Melody (Emily Alyn Lind). Meanwhile, Ray still owns and operates an occult bookshop, working with Podcast (Logan Kim) to examine cursed objects for a web series. Hoping to earn some quick money, Nadeem Razmaadi (Kumail Nanjiani) approaches Ray with a mysterious brass orb that radiates a high level of psionic energy, piquing his curiosity. Taking the orb to Winston's paranormal research centre, Dr. Lars Pinfield (James Acaster) and Lucky (Celeste O'Connor) try to extract the dark energy, but this threatens to release a phantom god known as Garraka, who seeks to conquer the world with an undead army.

With Afterlife receiving criticism for rehashing narrative elements of the first Ghostbusters, there is no shortage of fresh ideas in Frozen Empire, with the script even exploring the concept of the ghost containment unit being at full capacity after forty years of imprisoning spirits. Winston's research facility also presents numerous possibilities for ghostbusting in the 21st Century as his team consistently develops and experiments with new technology, adding a James Bond-esque vibe to this part of the story. However, the feature is not always light on its feet, with ample plot threads and characters vying for screen time throughout the beefy 115-minute duration. The most redundant character is Melody. Although a human/ghost relationship is fascinating, and the character's presence is tied to Garraka's plan, it nevertheless takes up too much time in an already busy movie. Frozen Empire tries to do too much, wanting to keep the new characters relevant while giving the older characters a meaningful part to play, but nothing ever gains as much dramatic traction as it should. Whereas Afterlife was incredibly poignant, Frozen Empire is a lightweight action adventure with oodles of fan service. It still works well enough on its own terms, but it is not a convincing home run.


The return to New York City is welcome, making it feel closer to its 1980s predecessors. NYC was a character unto itself in the original Ghostbusters pictures, and Frozen Empire thankfully retains this, with action set pieces occurring in the city streets and outside the New York Library, a pleasing throwback to the 1984 film (complete with sly cameos). The climactic battle against Garraka retains the intimate scope of Afterlife's finale, with Kenan confining the action to the firehouse headquarters as the ancient demon unleashes his potent ice powers. Although an exciting and nail-biting climax, the lack of scope is disappointing, especially since the movie kicks off with the team catching a ghost while driving through the city streets in Ecto-1. Compared to the finales of the first two pictures, with Ghostbusters II even involving the Statue of Liberty walking the streets of NYC, Frozen Empire's climax is a wasted opportunity in need of a true show-stopping moment. Additionally, although the CGI is largely impressive and Garraka looks borderline photoreal, an entirely digital villain is not as memorable as Gozer or Vigo the Carpathian, both of whom had human avatars.

With a comparatively modest $100 million budget (still smaller than most major blockbusters), Ghostbusters: Frozen Empire looks fantastic for the most part, with Kenan following in Jason Reitman's footsteps by creating a more old-fashioned-looking movie instead of the modernised digital look of 2016's Ghostbusters. Furthermore, Kenan retains the horror elements of the film's predecessors, adding danger and tension to supplement the spectacle. Ghost designs are once again creative, and the film brings back Slimer and the mini Stay Puft Marshmellow Men for the sake of nostalgia. Additionally, instead of updating the soundtrack, Dario Marianelli's compositions mostly follow the template set by Afterlife, with an original score reminiscent of Elmer Bernstein's music from the first Ghostbusters picture, bringing back recognisable motifs and cues. Frozen Empire represents another robust mix of the old and new, with a cinematic approach that is respectful to the 1980s pictures without looking cheap or B-grade.


The chemistry between the original Ghostbusters and the new cast members is magical, and it is a treat to see Ray and Winston playing a more prominent part in the proceedings while Peter also pops in occasionally. Dan Aykroyd and Ernie Hudson play alongside each other in several scenes, and the actors confidently lean into the more dramatic material, portraying melancholy and pathos with relative ease. Bill Murray's screen time is limited, but he does deliver some of the film's funniest moments. It's great to see the three men back together, though the script does come up short in terms of the amusing interplay that characterised the original movies. Although Rick Moranis refused to return as Louis Tully here, Annie Potts thankfully plays a slightly bigger role as Janine Melnitz and even dons a Ghostbusters uniform for the first time.

Frozen Empire also sees William Atherton return to the franchise as the officious Walter Peck for the first time since the original film (though the actor did reprise the role for the 2009 video game), which is another pleasing touch. Of the new cast, Mckenna Grace remains the standout, and Paul Rudd still shows terrific comedic timing. Patton Oswalt also makes a positive impression as a research librarian, while James Acaster is a charming addition as one of Winston's researchers. The only weak spot is Kumail Nanjiani, who grossly misinterprets the flick's tone. Whereas the other actors take the material seriously, Nanjiani is too broad, constantly mugging the camera and never scoring a meaty laugh.


Similar to the maligned Ghostbusters II, Ghostbusters: Frozen Empire gets more right than wrong, compensating for its shortcomings with an appealing ensemble cast, competent filmmaking and a high entertainment value. Future instalments remain a tantalising prospect, especially with the original Ghostbusters continuing to play an active part in the paranormal investigations instead of merely passing the torch or allowing the younger cast to overshadow them.

7.1/10

With its incomparable combination of uproarious comedy and state-of-the-art special effects, 1984's Ghostbusters was a lightning-in-a-bottle project, and a sequel was inevitable considering its immense commercial success. Eventually released five years after its predecessor and three years after the debut of the animated TV series The Real Ghostbusters, 1989's Ghostbusters II came to fruition following an arduous development and production rife with behind-the-scenes conflicts. The negative critical reception to Ghostbusters II and comparatively underwhelming box office performance turned this follow-up into something of a cinematic black sheep, but the film deserves more love and recognition than it appears to receive. Although it lacks the magic and freshness of the original Ghostbusters, this second instalment is nevertheless entertaining and amusing big-screen escapism boosted by the charismatic cast, while returning director Ivan Reitman guides the picture with a sure hand.


Despite saving New York City from the shapeshifting god Gozer, the Ghostbusters swiftly went out of business following lawsuits and injunctions, leading the four members to pursue other careers. Ray Stanz (Dan Aykroyd) and Winston Zeddemore (Ernie Hudson) work as children's entertainers while Egon Spengler (Harold Ramis) experiments with human emotions and Peter Venkman (Bill Murray) hosts a TV talk show about psychics. After Peter's ex-girlfriend, Dana Barrett (Sigourney Weaver), experiences a supernatural occurrence involving her baby son, she reaches out to Egon and Ray for assistance, leading the Ghostbusters to reunite. While carrying out their investigation, they discover a river of sinister slime running underneath the streets of Manhattan that feeds on negativity and threatens to destroy the city. Meanwhile, Dana works as an art restoration specialist for the sleazy Dr. Janosz Poha (Peter MacNicol), and their newest acquisition is a large portrait of a 16th-century tyrant and sorcerer, Vigo the Carpathian (Wilhelm von Homburg). Vigo's spirit lives within the painting, and he needs to possess a child to allow him to escape the painting, re-enter the realm of the living, and conquer the world. In exchange for a date with Dana, Janosz agrees to bring Dana's infant son to Vigo.

Instead of continuing on from the ending of the first movie, Ghostbusters II finds the team out of business and exploring other career avenues, making this feel like a legacy sequel. Although a direct sequel chronicling another adventure from the team's golden years would undoubtedly be fun, The Real Ghostbusters was already exploring such exploits, necessitating a more narratively complex approach to justify a theatrical follow-up. Ramis and Aykroyd's screenplay is conceptually interesting, with the public no longer perceiving the Ghostbusters as heroes and the river of slime representing a metaphor for urban decay, and the film gets ample comedic mileage from the idea of New Yorkers needing to be friendly and feel positive emotions to defeat the supernatural evil. Despite this sequel's below-par reputation, Ghostbusters II does not feel like a lazy, careless cash grab - on the contrary, it tells a worthwhile story. Unfortunately, the narrative flow is hit-and-miss, with the script introducing too many setbacks and obstacles preventing the story from progressing comfortably. The most egregious example of this is an ill-advised plot detour involving the city's douchebag mayoral aide committing the Ghostbusters to an insane asylum. Additionally, the story follows a similar structure to its predecessor, with the Ghostbusters getting their operation off the ground again, Peter pursuing a relationship with Dana, and a big finale involving a giant figure stomping through the city.


Reitman was not a technical director, and his approach to a blockbuster like this did not involve careful planning or meticulously overseeing every aspect of the special effects; instead, he gave carte blanche to the wizards at ILM. With a rushed schedule and post-production reshuffling, ILM was required to create 180 special effects shots with limited time, a modest number in the 21st Century but a sizeable amount in the realm of old-school optical printing. Fortunately, the visual effects remain enormously impressive for the most part, vividly giving life to the various spirits and apparitions, with the Scoleri Brother ghosts in the courtroom looking especially terrific. Slimer's popularity (especially among children) ensured his return here, but his screen time was reduced after test screenings, resulting in a mere cameo. A few special effects shots look on the ropey side, but not to a distracting degree, and Reitman heavily relies on practical effects and location shooting that makes the film's visual design more agreeable than artificial-looking modern blockbusters beset with computer-generated imagery. Additionally, composer Randy Edelman replaces Elmer Bernstein here, and the resulting original score does not retain the original movie's recognisable motifs or cues because Edelman wanted to create a new sound for this sequel. Ghostbusters II even features a new rendition of the iconic Ghostbusters song, with hip-hop group Run-DMC performing the track instead of Ray Parker Jr. The soundtrack also features songs from artists like Glenn Frey, Bobby Brown, and Elton John, adding further flavour to the production.

With the Ghostbusters franchise subsequently lying dormant until after Harold Ramis's tragic passing (except for the 2009 video game), Ghostbusters II features the original four Ghostbusters on-screen for the second but final time. Despite its flaws, Ghostbusters II remains eminently watchable due to the funny, charismatic cast - Murray, Ramis, Hudson and Aykroyd are an incredible cinematic quartet, and their sharp, funny interplay is a huge asset, but there is not enough of it compared to the first film, and the content feels more kid-friendly. Sigourney Weaver, Annie Potts and Rick Moranis also return, with Weaver adding appreciable dramatic weight while Moranis is a superb comedic force, earning abundant laughs as Louis Tully. Out of the newcomers, the comic highlight is the uproarious Peter MacNicol, who espouses an over-the-top accent and steals every scene in which he appears. Meanwhile, it took two actors to play the film's villain, Vigo the Carpathian - Wilhelm von Homburg provides the intimidating appearance while the magnificent Max von Sydow gives the character a strong, authoritative voice.


Following disastrous test screenings, Ghostbusters II underwent extensive reshoots and re-editing to add more exposition and memorable set pieces, including an underground ghost train sequence complete with a vision of severed heads. Despite the last-minute tinkering, the story feels surprisingly cohesive, though the hasty changes perhaps explain the movie's choppy narrative flow and uneven pacing. Flaws and shortcomings hold back Ghostbusters II, but there is still plenty to recommend about this entertaining and underrated sequel that deserves a fair reappraisal.

7.3/10