Reviews

Had the privilege of catching this film early as it screened at the London Film Festival. I had high hopes after seeing the critics reviews and it did not disappoint.

The story follows Adam and his neighbour Harry, with whom he develops a romantic relationship with, as he deals with the grief from his parents tragic death when he was child.

The film cuts across genres. At times it is funny, sad, romantic, and even horrifying. It is a damning depiction of the loneliness epidemic among younger men while also dealing with the added challenges faced by those within the lgbt community in trying to fit in.

The chemistry between Scott and Mescal is brilliant, while Foy and Bell really hit the right note in their roles. The film is also beautifully shot and has a lovely palette of colours within.

It's a tough watch and left me with a lump in my throat for the entire final third, but it thoroughly deserves all the praise it has received so far.

9/10.

Past Lives is an achingly beautiful story of Korean childhood sweethearts separated in early adolescence later reuniting as grown ups.

Celine Song does an outstanding job on her directorial debut bringing together these two characters whose lives feel entangled with one another and yet simultaneously so distant. It's a slow ride but you never feel like you want to get off.

What at first appears a typical story of a lost romance builds to a powerful final third that tugs at even the most hardened of heartstrings. Song uses a delicate touch throughout to guide the audience, trusting you to decipher the emotions at play. This is helped with a collection of mesmerising shots and a restrained, yet powerful, score.

Greta Lee and Teo Yoo produce two fine performances as Nora and Hae Sung. John Magaro also adds to the excellence with a unique and authentic delivery of a role with surprising punch. It is a relatively simple plot that focuses on narrative and the development of its central characters while playing on the themes of love, destiny, cultural difference, and the afterlife.

I really can't fault this film. If you're not okay with slower burns, then maybe it's not for you. But I'd seriously recommend trying.

10/10.

This is the kind of film you put on when you're tired and want something lighthearted to enjoy. Dom - quiet, timid, and heartbroken - and Yas - effervescent and forthright - have brilliant chemistry as the two are brought together on a sunny day in south London.

The film is a vibrant picture full of bold bright colour and drives a sense of nostalgia as you watch the pair journey through an eventful day growing a bond between two strangers. Rye Lane feels authentic and you can't help but relate to the highly affable characters and their troubles.

The score behind the picture is very well curated. The story feels like it is beating along rhythmically to a beat that paces well to keep you invested without overwhelming. It's fun and it's finger is on the pulse to the challenges of modern dating and finding deep meaningful connections.

It's impossible to watch this film without letting out a smile.

8/10.

For me, this film cements Christopher Nolan's place among the greats of cinematic directors. Oppenheimer has built a heavy weight of expectation yet it grasps with both hands its opportunity to wow viewers.

As a big fan of all of Nolan's work previous work to varying degrees, I too was hopeful of being treated to a box office marvel and I leave the theatre feeling quenched of that thirst. As always I was impressed with the technical qualities of Nolan's work, his insistence on practical effects over CGI continues to deliver results too often lacking in films by his contemporaries.

The film was considered and showed admiral constraint in its use of shock and horror on a subject that could have otherwise delved into a macabre tale of gore seeking cheap engagement. Oppenheimer told a narrative of political drama as explosive as anything else on display which served as a fascinating allegory for the concept of mutually assured destruction. Set to the backdrop of an era of post-war anti-communism and McCarthyism, this piece tells a complex story of one of the most influential people in history and exhibits the internal conflicts within his life, attempting to explain his motivations and views.

The cast is stacked with talent, with notable cameos from a wide range of big names. I was thrilled to see Cillian Murphy cast as the leading man in a Hollywood blockbuster and he delivered a brilliant performance capable of exquisite expression and conflict. Robert Downey Jr provided a nice reminder to the world that he is capable of much more than Marvel and Matt Damon produced a solid outing as usual. Florence Pugh, in a more limited role than touted, graced the screen with her presence and I'd like to shout out Benny Safdie and Jason Clarke, both of whom I always thoroughly enjoy watching.

Minor criticisms include a feeling that at times the pacing lost some of the tension that Nolan was building too with shots perhaps cut too abruptly. I don't think some of the stylistic choices landed with much of an effect and at times the plot felt confusing. I always feel that 3 hour run times are superfluous, though I'm conflicted here as I also could have enjoyed another hour of the story which enjoyed an addictive quality.

For me, this film draws together the best of Nolans' precious works, particularly those more grounded in reality like Dunkirk and Memento, with the end result being one of the most complete films I've had the pleasure of watching.

10/10.

Having only seen the original Insidious (2010), and even then with a hazy memory, a 20 minute YouTube explainer sufficed to fill the gaps prior to viewing. The film provides enough backdrop to the story that you should be able to see this as a stand-alone.

I'm not a big horror fan, too often lacking substance and filled with cheap thrill. That said, Insidious 5 has a human element central to the story that I admired. The strained father/son relationship proved to be the main conflict in the story above the backdrop of supernatural excitement.

Though not a groundbreaking film, it serves its purpose of providing an entertaining conclusion to the Lambert families story (for now anyway). The runtime felt about right, sitting at a cool 1:47mins, and it succeeded in keeping tension throughout. There were some nice shots sprinkled in and the visuals were very good. I was particularly impressed by Sinclair Daniel playing Chris; I hope to see her in more roles in the future.

Don't go into this expecting a classic of the likes of The Shining, but it certainly deserves a watch if you're a fan of the genre.

7/10.

I wasn't sure what to expect going into this film, however having now seen it for a second time I can be assured the magnificence of Charlotte Wells' debut feature.

Unapologetically slow, the film centres on the relationship between a father and daughter. The pacing of this films allows for a gradual layering of depth that didn't hit me until it's final shot.

I don't think it will resonate with everyone as strongly as it did for myself. However for those that it does, you will be left floored at it's conclusion. It's the kind of film that if you aren't engaged you won't appreciate the small strokes that illuminate this artwork.

Mescal did a brilliant job and I was astonished by how good Frankie Corio was. I can't wait to see what Wells delivers next time.

9/10.

It's so rare to find a series that simultaneously reveals to you so many vulnerabilities of its central characters yet leaves you so puzzled to their complexities. I didn't always understand the motivations of Connell and Marianne but I think that is in some way the point.

People, even normal people, are confused and confusing. It is refreshing to see a simple story told so well. Both Daisy Edgar-Jones and Paul Mescal are brilliant; their chemistry is clear from the start and never falters. Mescal is fast becoming one of my favourite rising actors following this and Aftersun for how he can so subtly convey the emotions his characters are feeling.

The only criticism I'd say about Normal People is I'd like to have seen some of the secondary characters developed slightly more. One example being a deeper exploration of Mariannes family, notably understanding the relationship she has with her brother.

9/10 - Highly recommend when seeking something with a strong emotional core and genuinely human connections.