Reviews by PvtCaboose91

The directorial debut for Oscar-nominated British actor Dev Patel, 2024's Monkey Man is a vicious vigilante action-thriller steeped in Indian culture and religion. Although initially intended for Netflix, Jordan Peele viewed the movie and pushed for a theatrical release, believing that the movie was too good for a streaming debut. Monkey Man follows a recognisable formula for revenge movies, but it's denser than expected, as it critiques India's current sociopolitical landscape and shows support for India's transgender population. Unfortunately, the resulting movie is not exactly light on its feet, with Patel unable to sustain interest or momentum throughout the beefy two-hour running time. The visceral action highlights of Monkey Man are remarkable, but pacing is not the movie's strong suit, as it only genuinely roars to life in its final third.


Kid (Dev Patel) earns a meagre living on the illegal underground fighting circuit, going up against more skilled fighters for cash while wearing a gorilla mask. Calling himself "Bobby," Kid gains employment as a kitchen hand for Queenie (Ashwini Kalsekar), who oversees a criminal empire and provides drugs and prostitutes for wealthy VIP clients. Negotiating a promotion, Kid gains access to the VIP zone, where he sets his sights on the corrupt police chief, Rana Singh (Sikandar Kher), who was responsible for destroying Kid's village and murdering his mother. After a botched assassination attempt that nearly kills him, Kid finds support in spiritual leader Alpha (Vipin Sharma) and her group, who are sympathetic to his cause due to the tumultuous political situation in India.

Patel, who co-wrote the screenplay with Paul Angunawela and John Collee, attempts to add substance to the narrative by touching on relevant issues in India, including political corruption and the oppression of transgender people. However, it amounts to window dressing, and thankfully, Patel does not traverse into unwelcome political grandstanding. Nevertheless, turning Kid into the hero of transgender people feels incredibly contrived and unearned, especially since Kid does not have a personal connection to them. More successful is Kid's spiritual connection with the Indian deity Hanuman, while the climax occurs against the backdrop of Diwali. This type of material is rare in mainstream cinema, and it adds an artful angle to an otherwise standard-order revenge movie. Monkey Man's first act gradually builds, relying on intrigue as Kid works on planning and executing his vendetta of vengeance against Rana. But after Kid's first armed conflict, the picture quickly loses its way, leading to an extremely dull second act that never finds its groove or builds any momentum. The movie's generic structure becomes all the more apparent during the painfully slow second act, when a defeated Kid rebuilds his strength, finds spiritual enlightenment and trains in combat before returning to face Rana again. At a basic level, it's the plot of Rocky III.


When Monkey Man is locked in action mode, it delivers in spades, with superb fight choreography and spirited bloodshed, captured with impressive visual panache. The finale, in particular, is a stunner, with Kid relentlessly and efficiently working his way through scores of combatants. After a drab second act, the climactic showdown is worth the wait. Monkey Man is not another vanilla PG-13 endeavour but instead a vicious R-rated revenge film that does not hold back on the graphic violence, but Patel also shows enough tact, never dwelling on the bloodshed or making it feel gratuitous. Patel's apparent influences are vast, from Korean cinema (think A Bittersweet Life) to The Raid and the John Wick movies. (One character even references John Wick while Kid is shopping for firearms.) Patel's directorial inexperience is never apparent during the impressive action sequences, and there's even a distinct arthouse touch to several moments throughout the movie, making this more intriguing and refreshing than a more standard-order B-movie. Patel has a distinct vision for Monkey Man, making it all the more disheartening that the writing and editing fail to serve him sufficiently.

Juggling directorial duties with acting, Patel is remarkable as Kid, with the performer ably conveying fear and pain through facial expressions while confidently delivering during the chaotic action beats. Although not an obvious choice for an action hero, Patel's fighting skills are genuinely impressive. The only other recognisable performer here is Sharlto Copley (District 9), who enthusiastically plays a scumbag responsible for organising fights and manipulating match outcomes.


With more editorial discipline, Monkey Man would have been one of 2024's standout action movies, particularly since Patel supplements the revenge story with an intriguing sense of culture. As it is, the movie works in fits and starts, but the experience is fatiguing due to its prolonged two-hour running time. Nevertheless, Patel shows incredible promise as a filmmaker, and Monkey Man remains more interesting than any number of generic Hollywood misfires.

6.5/10

A gripping, masculine submarine movie in the old-school action-adventure mould, Black Sea is a ripping film reminiscent of memorable classics like Kelly's Heroes and The Treasure of the Sierra Madre. If the picture had been produced back in the 1950s or 1960s, it might have starred Clint Eastwood or Gregory Peck. But with the movie coming out in 2014, award-winning director Kevin Macdonald (The Last King of Scotland, Touching the Void) delivers a familiar type of adventure yarn with laudable contemporary polish and a fantastic selection of memorable character actors. Plus, even though the story seems straightforward and familiar, Black Sea has a few unexpected twists and surprises up its sleeve. Especially with CGI-laden blockbusters and superhero movies filling theatres, it is refreshing to witness a flick like Black Sea, which remains criminally underrated and overlooked.


A salvage expert and veteran submarine skipper, Robinson (Jude Law) has devoted decades of his life to underwater salvage at the cost of his marriage, with his wife (Jodie Whittaker) divorcing him and taking custody of their son. Despite his dedication, Robinson is laid off from his job at Agora, leaving him financially destitute and unable to make his child support payments. In desperation, Robinson agrees to captain an independent, illegal expedition to locate a sunken Nazi U-boat from World War II that contains millions of dollars worth of gold. Although Agora wishes to salvage it, the wreck lies in disputed waters off the Georgian coast, making it difficult to mount an official expedition. With funding from a shady venture capitalist (Tobias Menzies), Robinson gathers a selection of Russian and British personnel to crew an ancient Russian submarine as they set off on the dangerous mission. However, the British and Russian factions do not trust each other, leading to heightened tensions that only intensify when Robinson declares that they will receive an equal share, meaning that fewer surviving men means a bigger cut.

There is a recognisable formula to submarine movies, as such productions often involve overcoming unexpected vessel damage and tense underwater hostilities between crew members. With a script by television writer Dennis Kelly (making his theatrical film debut), Black Sea adheres to these recognisable genre tropes, but the picture's success is in the execution. The issues encountered by the crew are not easy to predict, and the film shows no sentimentality towards the characters who could die at any time. With things seldom going to plan, there's an incredible underlying sense of tension that is sometimes hard to tolerate. There is also a sense of gravitas to the writing, with tense character interactions generating further uneasiness. Plus, with an adult rating in place, the characters can swear during tense situations, heightening the sense of realism and danger. Additionally, Kelly's script subtly touches upon class and economic struggles. Robinson and his colleagues find themselves in a desperate situation after making an honest living, with the uncaring capitalist system abandoning them despite their skills and dedication. Robinson is particularly bitter, realising his personal sacrifice and labour only led to the monetary gain of a big corporation, leaving him with nothing except a broken marriage. Retrieving the gold not only represents his key to financial freedom; it also symbolises a middle finger to the powerful people and structures that oppress the working class. Luckily, these thematic underpinnings do not overwhelm the story.


Despite a meagre budget (reportedly a mere £8 million), Macdonald's visual treatment of the material is spectacular, with convincing special effects and intricate set design working to generate the illusion of being underwater at sea with this crew. The digital effects are not immaculate, but they are good enough, ensuring that Black Sea feels like a slick theatrical movie instead of a B-grade direct-to-video production. The smooth cinematography by Christopher Ross is especially accomplished, with the careful lighting facilitating a realistic look with shadowy interiors while ensuring the events are always comprehensible. Macdonald ratchets up the tension throughout the picture, getting plenty of mileage from the cramped, sweaty submarine interiors and the hothead crew who do not trust each other and cannot get along. It's unbearably intense at times, particularly when Robinson chooses to take the vessel through a narrow underwater canyon despite slim chances of survival while those onboard wonder if they can force their captain to surface. Furthermore, although there is humour in the picture's early stages, Macdonald wisely keeps things tense and serious as the situation becomes more grave. The high stakes and omnipresent sense of danger make Black Sea a gripping watch.

Creating well-drawn, distinct characters in an ensemble movie is tricky, but it is crucial to maximise audience engagement. Luckily, Black Sea excels in its compelling characterisations thanks to strong writing and robust performances from an ideal cast. Law is the most recognisable name in the ensemble, and he trades in his regular soft-spoken charisma for something gruff, rugged and completely unglamorous. Although not an obvious choice to fill this type of role, Law hits every note with utmost confidence, convincingly portraying Robinson's descent into madness as he prioritises retrieving the gold over the safety of his men. Equally impressive is Australian actor Ben Mendelsohn (Animal Kingdom, The Place Beyond the Pines) as a mentally unstable veteran diver who has been in and out of prison. Meanwhile, Scoot McNairy (Argo, 12 Years a Slave) is a perfect pick for the snivelling representative for the expedition's investor, and Michael Smiley (The World's End) provides ample colour playing a crew member who served with Robinson in the Navy. Newcomer Bobby Schofield also warrants a mention as a teenager who joins the submarine, much to the chagrin of the Russians, who perceive his presence as a bad omen.


There is something comforting about motion pictures like Black Sea, which is not exactly a life-changing movie, but it is incredibly well-executed. Without any unwelcome pretence or political agenda, it's a compelling and often armrest-clenching adventure story that delivers thrills with utmost competence. Despite a few scripting contrivances, Black Sea is sturdy manly entertainment.

7.9/10

A pulpy, visually striking throwback to classic Hollywood adventure pictures, 2004's Sky Captain and the World of Tomorrow is a fascinating forgotten gem that deserves reappraisal and rediscovery. Taking its cues from comic books, Indiana Jones, science fiction serials and many more, Sky Captain is an undeniable case of style over substance, but the style is so impressive and aesthetically pleasing that it hardly matters. Written and directed by first-time filmmaker Kerry Conran, the picture has an intriguing premise and appealing (though one-dimensional) characters. However, the visual stylings take priority here, resulting in an altogether unique big-screen experience that miraculously holds up two decades later but does not resonate as deeply as it should.


An intrepid reporter working in New York City, Polly Perkins (Gwyneth Paltrow) is investigating the disappearances of six renowned world scientists. While following up on clues and leads, mysterious giant robots attack Manhattan, and the authorities call upon idealistic mercenary Joe Sullivan (Jude Law), a.k.a. "Sky Captain," and his private air force, known as the Flying Legion, to fight back. With the robot attack seemingly connected to the disappearance of the scientists, Polly and Joe set out on a globe-trotting expedition in search of madman Dr. Totenkopf (Sir Laurence Olivier) to uncover his plans before it is too late. Also assisting the pair is Joe's ace mechanic friend Dex (Giovanni Ribisi), and one of Joe's former flames, a proficient Navy pilot named Commander Franky Cook (Angelina Jolie).

Conran's script evidently strives to emulate classic Hollywood screwball comedies from the '30s and '40s with the sarcastic, snarky interplay between Polly and Joe (think His Girl Friday), but the dialogue unfortunately lacks the witty spark of a Billy Wilder screenplay. This is part of the film's overall lack of humanity and substance, with the feature primarily a visual experience instead of an emotional one. Without any emotional core and with a muddled narrative in need of more storytelling momentum, Sky Captain occasionally meanders, particularly during the midsection. The movie bizarrely alternates between the sublime and the mundane, with dramatic scenes often falling flat while the set pieces come alive with vigour and exhilaration.


Storytelling problems aside, the aesthetic presentation of Sky Captain is astounding, particularly for a production from 2004. There are shades of 1990s comic-book movies like The Rocketeer and The Shadow with its retrofuturistic production design and sense of lighthearted fun, while the robots themselves evoke memories of Brad Bird's The Iron Giant. Other influences are apparent, from German Expressionism to 1933's King Kong, and many more. Nevertheless, Sky Captain takes on a distinctive visual identity of its own and remains incredibly unique two decades later. The result of meticulous planning, intensive storyboards, 3D animatics, and even shooting the entire picture with stand-ins before principal photography, it is easy to be amazed by the breathtaking cinematic artistry on display. Admittedly, the blue-screen work is less than perfect, with some shots looking worse than others, and the digital effects are not photorealistic. However, the imperfections contribute to the movie's immense charm and are part of the intended aesthetic style, with the visuals looking stylised and hyper-realistic. Indeed, Conran did not intend for the feature to resemble reality. The array of locations, from New York City to Nepal and Tibet, ensure sufficient variety to maintain visual interest, with Conran consistently taking us to new and exciting places. One particularly rousing battle even takes place underwater with amphibious crafts and robots. Conran's handling of the action sequences is superb, while Sabrina Plisco's astute editing keeps the set pieces taut and stimulating. Thankfully, it is always easy to follow what is happening.

The cinematography by Eric Adkins takes its cues from classic movies (including Hollywood and German Expressionistic cinema), imbuing the picture with a distinctive sepia-toned colour palette, theatrical lighting, gorgeous framing and soft focus. One of the earliest features to be shot digitally, Sky Captain also exhibits a fine layer of film grain, making it even more unique in the realm of movies with a heavy reliance on digital effects. (Movies like Attack of the Clones, Revenge of the Sith and Sin City did not bother with film grain overlays.) Composer Edward Shearmur is likewise in sync with the material and its array of influences, creating a heroic, stirring and flavoursome original score reminiscent of classic adventure pictures. There are further audio homages, too, with the robot heat rays using the same sound effects as the Martian machines from 1953's The War of the Worlds. Meanwhile, the actors understand the assignment, with broad, scenery-chewing villainy and charismatic heroes, while Paltrow does exceptionally well as the peppy, determined reporter. Jolie, who could only work on the picture for three days, is fantastic as the sharp-tongued Navy commander, making the most of her limited screen time. Sir Laurence Olivier, who died in 1989, also appears from beyond the grave with a digital performance as Dr. Totenkopf. The filmmakers manipulated footage of a young Olivier to achieve this, and the effect is surprisingly convincing.


The singularity of Conran's vision is vital to the success of Sky Captain and the World of Tomorrow, with the film's producer, Jon Avnet, openly acknowledging that this vision would not have survived the studio process. Despite its scripting and storytelling imperfections, Conran's immense talents as a visual craftsman are enormously apparent, with the picture not displaying any evidence of his directorial inexperience. The movie's abject failure at the box office remains an enormous injustice, especially since it was produced outside of the Hollywood system and was a labour of love for Conran, who pursued the project out of passion instead of commerce. With Hollywood blockbusters becoming more soulless and generic over time, watching a movie like Sky Captain is pleasantly enjoyable, as it's a fun and entertaining reminder of a bygone filmmaking era.

7.1/10

Adapted from the 1990s graphic novel series by Daniel Clowes, 2001's Ghost World is a wonderful, deadpan, darkly comedic depiction of post-high school teenage angst with its inherent ups and downs. Clowes was involved in adapting his comic for the big screen, collaborating with director Terry Zwigoff (Crumb, Bad Santa) on the screenplay that received an Academy Award nomination. Eschewing traditional Hollywood teen comedy conventions, Ghost World is a refreshing and unusual film in its conception and execution; it's challenging to predict each story development, and the film concludes on a deliberately ambiguous, open-ended note that leaves room for interpretation.


After graduating from high school, best friends and misanthropic social outcasts Enid (Thora Birch) and Rebecca (Scarlett Johansson) have no plans for their future beyond finding jobs and living together. Refusing to follow the crowd, college is not on the cards for Enid or Rebecca, who struggle to define themselves and despise everything popular. While Rebecca gets a job working at a coffee house, Enid finds it challenging to let go of the comfort of adolescence, floating aimlessly through life as she spends most of her time at a remedial art class that she must pass to obtain her high school diploma. Enid cannot hold a job for long and begins a semi-romantic relationship with a timid jazz fan named Seymour (Steve Buscemi), who is much older than her and cannot connect with other people. Enid is fascinated and intrigued by the lonely Seymour, and she tries to help him find love to fill the void in his life. However, Enid and Rebecca's different priorities and diverging lives begin to take a toll on their friendship, while Seymour finding a girlfriend threatens to drive him away from Enid.

Ghost World is not a heavily plot-driven movie, and Zwigoff maintains an unhurried pace as he observes Enid refusing to find a purpose in life and listlessly meandering while Rebecca successfully adapts to adult life. The narrative's distinct rhythm, which does not exactly conform to a regular three-act structure, reflects the vagueness of adult life after high school, with Enid defiantly remaining in her rut while things change and progress around her. In many ways, the film is about the challenges of teenagers finding their own post-adolescent identity; Enid and Rebecca define themselves by mocking people who conform to society's expectations but are in danger of becoming the same type of people they are ridiculing. With a focus on themes and mood instead of plot, Ghost World is mainly about the oddball characters and their witty interactions, and the picture soars in this respect. As expected from the director behind 2003's Bad Santa, laughs are frequent throughout Ghost World, from uproarious non-sequiturs (including a heated confrontation between a store owner and a shirtless patron) to cutting, sarcastic one-liners. The dialogue is also insightful, exploring loneliness and geekiness, and the film gleefully satirises the pretentiousness associated with the art world.


The characters inhabiting Ghost World are not easy to categorise and do not conform to recognisable character types. Additionally, the characters miraculously feel like three-dimensional people instead of caricatures, with the screenplay allowing ample breathing room for dramatic scenes and character development. Credit also goes to the actors, who brilliantly bring these people to life. Birch and Johansson are an ideal leading pair, with both young actresses nailing their characters' cynical and misanthropic dispositions while coming across as authentic instead of caricaturish. With Birch emerging as the film's protagonist, she has the most to work with, and she portrays Enid's various characteristics and quirks without missing a beat. In addition to her pronounced quirkiness and bitter sarcasm, there is an underlying sense of melancholy, with the film's events taking an emotional toll on Enid. Meanwhile, Buscemi makes for a pitch-perfect Seymour. Buscemi is a superb character actor, and this might be his finest performance to date. Modelling his character's appearance and interests after director Zwigoff, Buscemi wholly immerses himself into the role with distinct mannerisms, line deliveries and body language. Withdrawn, awkward, and painfully shy, it's a transformative performance and the furthest thing from a traditional romantic lead. According to Zwigoff, Buscemi found playing the character of Seymour so uncomfortable that he immediately changed his clothes after filming wrapped each day.

From a technical perspective, Ghost World is comparatively basic, with unspectacular cinematography and little in the way of visual flourishes. Indeed, Zwigoff mostly lets the actors and the sharp dialogue speak for themselves, and the picture's somewhat drab appearance, which is deliberately reminiscent of the comic book, may not appeal to film-goers accustomed to slick, vibrant digital photography. Your mileage may vary. However, the picture excels in the brilliantly intuitive editing and the soundtrack, with oddball old jazz records almost omnipresent whenever characters spend time in Seymour's home. There is melancholic original music courtesy of composer David Kitay, but the soundtrack is primarily diegetic, comprising of vintage, atmospheric blues tracks.


With its laid-back pacing and unconventional characters, Ghost World is not for all tastes, and it makes for a refreshing change from other, more formulaic teen movies. Not everything works, and it is easier to appreciate than outright love, but this overlooked gem nevertheless deserves your attention, especially if you enjoy thoughtful character-based movies with sharp and insightful dialogue.

7.9/10

With movies like 2023's No Hard Feelings and Anyone But You, it is refreshing and comforting to see studios taking chances on modestly budgeted, R-rated romantic comedies. Additionally, it is note-worthy for any rom-com to receive a theatrical release in 2024, as the genre is now primarily reserved for streaming services and cable channels while blockbusters hoard cinema screens. On paper, there is nothing overly exciting about Anyone But You, which is a loose contemporary reworking of William Shakespeare's Much Ado About Nothing, directed by the hit-and-miss Will Gluck (Fired Up!, Easy A). But, somehow, the movie manages to work thanks to the sharp dialogue, great casting, slick technical presentation, and several uproarious set pieces. Considering the usual standard for studio romantic comedies, and comedies in general, the fact that this movie is not awful is a big deal. Hilarious, charming and surprisingly insightful, Anyone But You is a surprisingly enjoyable rom-com treat, and it is far better than anticipated.


After meeting each other during an awkward moment in a coffee shop, Bea (Sydney Sweeney) and Ben (Glen Powell) immediately feel a special connection and spend the day together, ending with grilled cheese sandwiches and falling asleep on the couch. Bea sneaks out the next morning without saying goodbye, but upon promptly returning to Ben's apartment, she overhears him cruelly insulting her to his friend, Pete (GaTa). Six months later, their paths unexpectedly cross again when Bea's sister, Halle (Hadley Robinson), starts a relationship with Pete's sister, Claudia (Alexandra Shipp). After Halle and Claudia get engaged, they plan a wedding in Sydney, Australia, meaning that Bea and Ben will need to spend a weekend tolerating one another's company and being civil. Further complicating matters is the arrival of Ben's ex-girlfriend, Margaret (Charlee Fraser), and Bea's former fiancé, Jonathan (Darren Barnet). With Ben and Bea's friends trying to force them together, the pair pretend to be a couple, hoping the act will make Margaret jealous and stop Bea's parents from pushing her to make up with Jonathan. However, as Bea and Ben spend time together, they develop real feelings beyond their pretend relationship.

The rom-com formula is in full force here, with Gluck and Ilana Wolpert's hitting several predictable story beats before reaching its inevitable conclusion. As ever, the execution is more important than the originality in this genre, and Anyone But You is above-average in this respect. Without reaching the dizzying heights of something like Roman Holiday or When Harry Met Sally, Anyone But You is genuinely side-splitting and features a winning cast, including two likeable leads and a colourful supporting ensemble. Still fresh from the success of 2022's Top Gun: Maverick, Powell is funny and charming here, and he plays well alongside Sweeney (HBO's Euphoria), who is a surprisingly good lead. Their easygoing banter consistently sparkles, and they share convincing chemistry, which is a big deal for a rom-com. The supporting cast also features a few recognisable Australian performers, including a scene-stealing Bryan Brown and the reliably great Rachel Griffiths. It's particularly funny to watch Brown and GaTa interacting, and Brown handles his amusing dialogue with gusto. Another standout is Aussie actor Joe Davidson, who gleefully plays into the bogan stereotypes, consistently speaking in obscure Australian slang that will surely confuse international viewers.


With its gorgeous Australian setting, Anyone But You is more visually vibrant than any number of other run-of-the-mill Hollywood comedies. (Seriously, New York City and Los Angeles are viciously overused at this point.) Sydneysiders (this reviewer included) will get a kick out of seeing the city's various sights and sounds on-screen, picking out the locations that they recognise. Clocking in at a brisk 103 minutes, including credits, Anyone But You avoids unnecessary bloat, and Gluck shows a firm understanding of comedic timing. Too many modern comedies unnecessarily dwell on punchlines and contain too much redundant story material (Judd Apatow's movies are a prime example), but Gluck shows remarkable discipline, keeping the pace swift and never dwelling on a comedic set piece for too long. The enjoyable soundtrack is another highlight, with the movie making great use of Natasha Bedingfield's underrated banger, Unwritten.

Anyone But You does not reinvent the rom-com genre, but it does not aspire to do so. It's a formulaic rom-com in the old-fashioned mould, and it delivers in terms of humour and charm while also offering breathtaking visuals. The movie might've benefitted from more genuine Australian cultural insight, as the content feels more like an outsider's perspective of the land down under, but this is about its only real flaw outside of the lack of narrative ambition.

7.0/10

Underrated and overlooked to an almost criminal extent, 1998's Hard Rain is a supremely enjoyable action film from the genre's old-school glory days. Written by Graham Yost (Speed, Broken Arrow), Hard Rain distinguishes itself from other genre pictures by setting the action in a natural disaster, making the film appear aesthetically similar to other '90s disaster pictures like Twister and Dante's Peak. The second directorial undertaking for cinematographer-turned-director Mikael Salomon (A Far Off Place), this is not a notable film or even a classic, but it is entertaining and unpretentious, making for a satisfying sit if you enjoy well-made genre efforts of this ilk. If you enjoy no-frills, nuts-and-bolts '90s action movies with one-liners, shootouts, creative kills and spectacular special effects, Hard Rain delivers with utmost confidence.


With heavy rainstorms resulting in dangerous flooding, an evacuation order is in place for Huntingburg, Indiana, coordinated by Sheriff Mike Collig (Randy Quaid) and his police officers. Tom (Christian Slater) and his uncle, Charlie (Edward Asner), work as armoured car drivers collecting money from the local banks. But when their vehicle becomes stuck in flood waters, the pair are ambushed by a group of armed robbers, led by Jim (Morgan Freeman), who are determined to acquire the millions of dollars they are transporting. One of Jim's men kills Charlie in a shootout, but Tom manages to escape, hiding the cash and fleeing while Jim's gang remains in hot pursuit. While fleeing, he is mistaken for a looter and taken to the police station, where he also meets a local named Karen (Minnie Driver), who refuses to leave the area.

If Hard Rain was made in the 2020s, it would probably look like Rob Cohen's PG-13, digital-looking Hurricane Height. Thankfully, however, Hard Rain is a gloriously old-fashioned '90s production without any phoney-looking digital trickery to behold. With a massive $70 million budget, the film comes to life through enormous sets, practical effects, location shooting, miniatures and matte paintings, and the illusion still stands over twenty years later despite a couple of imperfect shots. (For example, Slater's face being digitally imposed on a stuntman does not hold up.) The film even opens with a hugely impressive aerial tracking shot showing flooded areas and disaster preparation, ending on the street next to the town's police officers coordinating the evacuation. There's a strong sense of atmosphere, and it never feels like the action is taking place on sets or soundstages. Hard Rain is a blockbuster action film, but it is exceptionally well made, with exhilarating action sequences and palpable tension when the main characters are in danger. It might be B-grade in terms of content, but the execution is undeniably A-grade; it never looks like a cheap or nasty direct-to-video effort. Additionally, Hard Rain is an R-rated action film, and director Salomon does not hold back on the violence. The visceral punch to the shootouts makes the film a must-see for genre fans and further distinguishes it from this century's seemingly never-ending glut of vanilla, PG-13 action flicks.


Yost's screenplay is not airtight, as there are plot contrivances and conveniences to allow the protagonists to escape at a critical time, but it's not too distracting. Furthermore, despite the movie's relatively short 96-minute running time, a sense of repetition admittedly begins to sneak in towards the end, with the premise starting to wear a tad thin during the third act. However, the climax is worth the wait. Although none of the main characters are necessarily three-dimensional, the actors effectively bring their respective roles to life, with the charismatic Christian Slater (who also co-produced) making for a fun and engaging protagonist. Slater knows how to deliver a one-liner, leading to several fun moments of levity. (While desperately trying to acquire the keys to his jail cell, he finds a set of car keys and exclaims, "Perfect, I can drive out of here!") Alongside him, the always-reliable Morgan Freeman makes a terrific impression, handling the material with a straight face. Even though Freeman is an antagonist, his character is level-headed and easy to like. As the token female and love interest, Minnie Driver is perfectly adequate but unremarkable, while the late Edward Asner brings a touch of class to the role of Tom's uncle. Randy Quaid also appears as the town's sheriff, chewing the scenery with gusto to broadly play the somewhat thankless role. Meanwhile, the legendary Betty White is on hand as a stubborn resident who refuses to evacuate, adding ample colour and humour to the production in a way that only White can do.

Hard Rain is full of memorable moments and set pieces, from an enjoyable jet ski chase through a flooded school to an intense shootout in a cemetery and a showdown in a church. Although not on the same level as the best action or disaster movies from the 1990s, it's hugely entertaining and competently made, with fun action sequences and effective comic relief. In 2024, there's something intrinsically charming and nostalgic about old-school blockbusters like Hard Rain that look like proper films, have no political agenda, and manage to be entertaining without insulting anybody's intelligence.

7.3/10

With the 2014 documentary Next Goal Wins bringing the story of the American Samoa soccer team into the mainstream, a film adaptation was virtually inevitable, especially since Hollywood loves true-life underdog tales. Finally arriving four years after principal photography (and after a round of reshoots), 2023's Next Goal Wins finds director Taika Waititi (who co-wrote the script with Iain Morris) undertaking another low-budget drama-comedy after his ill-advised return to Marvel with 2022's disastrous Thor: Love and Thunder. Next Goal Wins is a mostly charming watch, especially when Waititi concentrates on the amusing eccentricities of American Samoa life, but it does not quite coalesce into the emotional, uplifting sports story it is clearly striving to be. With noticeable editorial interference, an over-reliance on genre conventions, and Waititi's childish sense of humour, Next Goal Wins regrettably falls short of its potential.


Known as the world's worst soccer team, American Samoa infamously lost a game against the Australian Socceroos in 2001 with a humiliating score of 31-0. In 2011, with only four weeks until the World Cup qualifying games begin, the team decide it is time to bring in a new coach to whip them into shape. After contacting the American Football Federation, they send a coach in the form of former Dutch-American player Thomas Rongen (Michael Fassbender), who resents the job offer but only accepts to avoid unemployment. Thomas tries to integrate into the quirky, profoundly religious country but finds the coaching position frustrating and unrewarding, with his hard work seemingly adding up to nothing. Resisting the urge to quit, Thomas continues his seemingly impossible task of training the untested athletes, who hope to make history by scoring a single goal.

The issues with Next Goal Wins begin with Waititi, who serves as the film's narrator in a goofy, over-the-top outfit, and espousing a quirky voice. The director placing himself in this role reeks of egotism, and the narration itself is entirely redundant, unnecessarily overexplaining parts of the story. Furthermore, Waititi's frivolous sense of humour is hit-and-miss, clashing with the story's emotional centre. Although various jokes do land, it often feels like the director is constantly on the hunt for another forced laugh instead of focusing on engaging storytelling. Furthermore, due to the requirements of the genre, Waititi and Morris change the story by forcing unnecessary conflict. See, in real life, Thomas volunteered to coach American Samoa and embraced the opportunity, but this dramatisation shows him being coerced into taking the job and consistently wanting to quit. It all leads to a big, important climactic moment, but the real story is far more emotionally honest and does not need additional conflict. The documentary is more heartwarming because the empathetic Thomas believed in the team and wanted to see them succeed.


Signs of editorial fiddling are present throughout Next Goal Wins. It feels as if aspects of Thomas's personal life were removed in post-production - particularly glaring is the fact that his ex-wife, Gail (Elisabeth Moss), only receives a glorified cameo and should play a more considerable part in the story. Also disappointing is the treatment of transgender player Jaiyah (Kaimana), who became the first transgender player to compete in a World Cup qualifier. Jaiyah's experience could support an entire movie of its own, and she should be the protagonist. Instead, even though she feels significant in the first half through fictionalised tension with Thomas, she ends up underused, with the second half concentrating more on Thomas's personal experiences.

Next Goal Wins is held back by ample flaws and miscalculations, but the movie nevertheless manages to work on its own terms as a quirky underdog sports tale. Performances are uniformly spirited, with Fassbender approaching the material with a straight face and doing his best to inject dramatic heft into the proceedings. Will Arnett, who was added during reshoots to replace Armie Hammer, also has his moments, while Kiwi actor Rhys Darby scores a few laughs. The American Samoa characters are fantastic, with Oscar Kightley a particular standout as the optimistic football federation chief, Tavota. The ensemble cast's ample charm keeps the picture watchable, and there are numerous comedic moments that truly work. Also worth mentioning are Angus Sampson and Luke Hemsworth, who have uproarious cameos as a pair of Australian larrikins. The technical presentation is lovely, with cinematographer Lachlan Milne gorgeously capturing the breathtaking scenery and locales of Hawaii, which stands in for American Samoa. There are also some terrific song choices, including Dolly Parton's 9 to 5 as the team begins training (though Sia's Chandelier is anachronistic, given it was released three years after the story's events took place), and the soccer sequences are competently staged and engaging.


No surprises here: the 2014 documentary of the same name is far superior, and it is disappointing that this film adaptation sacrifices the true story's rawness and honesty for something so glaringly conventional. Nevertheless, Next Goal Wins has its merits and is worth watching. As clichéd as it is, the emotional beats remain touching, and there's a nice message about happiness and spirituality that should leave you with a smile on your face. Those unfamiliar with the documentary and the real story will probably get the most mileage from this adaptation, as those who have seen the documentary will immediately recognise the mostly egregious changes.

6.6/10

An underrated crime-thriller from director Don Siegel (Dirty Harry), 1973's Charley Varrick is a cracking film that remains as potent and enjoyable as ever over five decades after its release. Also known as The Last of the Independents, a title that feeds into the movie's thematic undertones, Charley Varrick is one of those hard-boiled, no-nonsense '70s thrillers aimed primarily at red-blooded males, reminiscent of The Taking of Pelham One Two Three or Siegel's Escape from Alcatraz. Tightly constructed, occasionally amusing, and with savage bursts of violence, there is plenty to recommend about this memorable cult classic.


A self-employed cropduster and former stunt pilot, Charley Varrick (Walter Matthau) stages a bank robbery in a small New Mexico town with help from his accomplices, including Harman (Andy Robinson) and his wife, Nadine (Jacqueline Scott). Nadine is mortally wounded in a shootout with local police officers, leaving Charley and Harman to split the cash after making their getaway. However, upon arriving at Charley's mobile home, they discover that their earnings are far higher than anticipated, with the haul amounting to three-quarters of a million dollars. Despite Harman's excitement at their newfound riches, Charley suspects the money is dirty and belongs to the mob, meaning their lives are now in grave danger. With local law enforcement investigating the crime and the media reporting that the robbers only made off with $2,000, a mafia hitman known as Molly (Joe Don Baker) is hired to recover the money by any means necessary.

With a screenplay credited to Dean Riesner (High Plains Drifter) and Howard Rodman (Coogan's Bluff), Charley Varrick is told with superb precision and clarity, and there is scarcely any fat on the movie's bones. Siegel does not waste any time, diving straight into the bank robbery that occurs in the first scene, and sufficiently developing the characters after the fact without grinding the pace to a halt. Indeed, instead of cutesy scenes with the leads before the robbery, the movie neatly sketches each character through the action, with tensions running high between Charley and Harman while Molly ruthlessly hunts for information and leads. Miraculously, too, the movie does not take the characters for idiots - even the police officers are competent. Virtually every scene throughout Charley Varrick feels essential and serves a purpose, and Siegel keeps things moving at a confident pace, with the picture carrying a refined brevity that allows the beefy 110-minute running time to fly by. It does begin to drag a tad during the final act, but the climactic showdown is well worth the wait.


The technical presentation is spectacular, with Siegel demonstrating his superlative skill and expertise in both the action set pieces and the smaller, more intense character-based moments. The opening bank robbery is a masterclass of tension-building and no-nonsense precision, and it is all the more effective after the innocuous opening title sequence showing everyday people going about their regular lives. Siegel does not hold back on the violence, which is vicious and shocking but nevertheless tasteful, as he does not dwell on the bloodshed. The destructive vehicular stunts peppered throughout the movie hold up to 21st-century scrutiny, with a standout early car chase and a climactic skirmish involving Charley's plane. Lalo Schifrin's score adds another layer of intensity and flavour, enhancing the picture's cool '70s vibe.

Charley is a great character, and it is a pleasure to watch him execute his master plan to evade both the mob and the police. Cunning and focused, Charley manages to outsmart his pursuers by staying a few steps ahead of them, and it is a fantastic role for the matchless Walter Matthau. The only misstep is portraying Charley as a ladies' man - Matthau is a great actor, but he is not a sophisticated, charming James Bond type. He is well-matched with the fantastic Joe Don Baker, who gives Molly a sadistic and violent edge. Also worth noting is Andy Robinson, who was so spine-tingling as a Zodiac-esque killer in Dirty Harry and who here plays Harman as a naive but antsy and overexcited accomplice who cannot appreciate the gravity of the situation. Robinson is well-matched with Matthau's understated, calculated demeanour, and their scenes together are consistently compelling. Another standout is John Vernon as the authoritative mafia boss, Maynard Boyle, maintaining a calm exterior that masks a ruthless and dangerous persona underneath.


The picture's original title, The Last of the Independents, is written on Charley's cropdusting work van, and invokes the theme at the heart of this story: independent, family-run businesses versus organised corporations. The script implies that Charley is destitute and finds it impossible to make an honest living due to big companies taking over, and his decision to rob the bank is an attack against what he calls "the combines," even asking the bank employees if they are willing to die over somebody else's money. It's a subtle but effective message, giving the movie a touch of cultural relevance. Charley Varrick is a classic manly movie in every sense of the word, bolstered by the pitch-perfect performances, engaging dialogue, smooth storytelling and outstanding action set pieces. It deserves more attention and recognition than it appears to receive.

7.9/10

A controversial and unforgettable British television movie from 1984, Threads is arguably one of the only films that indisputably lives up to the hype of being traumatising and unsettling beyond words. Although not a horror movie in the classical sense, as there are no ghosts or demons, it is undoubtedly a horror movie that shows the horrifying impact and aftermath of nuclear war with haunting results. Exhaustively and meticulously researched by director Mick Jackson (who previously oversaw the documentary A Guide to Armageddon), Threads is the first film of its kind to depict a nuclear winter. The film was broadcast a year after the similarly-themed The Day After hit television screens across the globe, but Threads takes a different approach to the depiction of a nuclear attack, with Jackson creating more of a quasi-documentary instead of a straightforward dramatisation. Threads is a confronting and harrowing viewing experience, and it is not something you will want to revisit frequently, but its relevance continues to endure in the 21st Century, and it is an essential watch.


Written by author and playwright Barry Hines, Threads is not a globe-trotting disaster movie in the vein of a Roland Emmerich production. Instead, it remains solely focused on the city of Sheffield in Northern England. Young adults Ruth Beckett (Karen Meagher) and Jimmy Kemp (Reece Dinsdale) discover an unplanned pregnancy and decide to marry, planning for the baby's arrival and dealing with their respective families. Sheffield is also home to strategic military targets, including steel production factories and an R.A.F. base. A conflict arises between the Soviet Union and the United States of America, and, despite attempts to keep things peaceful, it culminates with nuclear blasts that bring an end to civilisation as we know it. Millions are killed across Europe in an instant, while the survivors face an uncertain future of food shortages, a lack of shelter, radiation poisoning, and endless labour.

Threads does not concern itself with the politics behind the war. Instead, it is more about the experiences of innocent civilians who can only helplessly watch the news coverage of the senseless conflict, endure growing government restrictions, and fight for survival after the nuclear blast obliterates virtually everything. The escalation of the situation is highly compelling, with Jackson portraying what could conceivably occur before, during, and after a nuclear conflict. Scenes of panic buying, travel restrictions, and anti-war demonstrations (that are violently shut down by police) look incredibly eerie and uncanny after the pandemic, which is a testament to the veracity of Jackson's exhaustive research. Furthermore, instead of endless money shots of explosions decimating landmarks, Jackson concentrates on the people caught in the nuclear blast, with grotesque and disturbing imagery of bodies being melted, a woman losing control of her bladder, and people helplessly trying to assist one another. Plus, scenes of mass panic and hysteria are genuinely distressing.


Unfortunately, Threads lacks a compelling protagonist to guide us through the horrific events, as this is more of an ensemble piece comprised of various vignettes with a range of characters, some of whom are recurring but none of whom we intimately grow to know. As a result, viewers are kept at arm's length, which is probably the intention as the movie plays out like a documentary, but it is somewhat disappointing nevertheless. The ensemble is gargantuan, and Jackson deliberately chose unknown actors to fill the various roles to heighten the film's impact. Thankfully, there is no single dud performer in sight, with all the actors confidently hitting their marks. This is most commendable in the aftermath of the nuclear blast, with the actors needing to convey the sheer depression and hopelessness of the nuclear winter, as well as radiation sickness and sheer weakness from malnutrition. Jackson convincingly portrays people from all walks of life, with no artificiality or showiness in sight, enhancing the production's laudable realism.

Accomplished on a small budget, Threads was shot on grainy 16mm film stock, which undeniably works in the film's favour. The dreary and unpolished 16mm photography augments the horrors and creates a realistic sense of immediacy that crisp digital cinematography cannot come close to achieving. Jackson intercuts lots of archival material throughout the movie, including shots of military forces, planes, and explosions, solidifying the documentary approach to the subject matter. Additionally, despite the limited budget, the makeup and prosthetics are effective and, at times, difficult to look at. Not all of the special effects stand up to contemporary scrutiny, as the compositing is a little on the dated side when the first bomb hits near Sheffield, but this does not matter in the slightest. Threads does not live and die by its special effects, as it is not about the money shots. The intimate dramatic scenes between characters are the main focus, and Jackson scarcely puts a foot wrong during these sequences.


Anybody seeking a conventionally entertaining disaster or apocalypse movie should steer clear of Threads, as this is not an enjoyable film or even a good-looking one, which is entirely by design. With any hope, this is the closest that any of us will come to experiencing a nuclear winter. Indeed, as the years continue to go by after the blast, life might continue for some of the characters, but it is arguable whether or not life is actually worth living in this sort of post-apocalyptic world. Gut-wrenching and disturbing, Threads is hard to watch and even harder to forget.

8.0/10