Film Reviews by griggs

Baffling, chaotic, and—against all odds—kind of fascinating. It leans hard into the post-Pulp Fiction trend of gun-toting, wisecracking criminals, but swaps clever dialogue for deafening shootouts and plot confusion. Del Toro and Juliette Lewis give it some spark, but the rest of the cast flounders in a haze of pastiche. McQuarrie seems torn between making a neo-Western and a neo-noir, and ends up botching both. Interesting? Yes. Good? Not really.

Watching Mission: Impossible again ahead of the final film coming out, and honestly, it holds up surprisingly well for something nearly 30 years old—it still feels sharp. Some of the tech and special effects are laughably dated, and the Eurotunnel finale is a bit silly, full of factual and technical nonsense. But the film’s still a blast. The wire drop scene is iconic—surely one of the most famous in cinema. It’s not perfect, but it’s clever, stylish, and still loads of fun.

Takashi Miike’s Dead or Alive kicks off with an absolutely bonkers opening—guns, strippers, noodles, and blood flying about in a whirlwind of pure madness. It’s like being thrown headfirst into a fever dream, and it’s honestly brilliant. Those first ten minutes set a tone of hypnotic chaos that the rest of the film tries to match, though it doesn’t always succeed.

The story follows a cop and a yakuza on a violent collision course. There are gripping moments and flashes of real style, but the middle stretches can feel meandering. Still, that strange Miike energy keeps things just about engaging, even when the plot goes off track.

Like the opening, the ending is completely berserk. It’s not for everyone, but it's worth a go if you like your films wild and unpredictable.

I was hoping that, being a post-Monty Python film, Jabberwocky would give Terry Gilliam more room to experiment, freed from the egos of the other five. Instead, what starts out feeling like it might spoof the classic quest tale ends up as pure chaos. Michael Palin meets a string of Carry On regulars and sitcom stars from the '60s and '70s, but the novelty wears thin fast. What begins as organised madness collapses into noise; unfortunately, not much of it is funny.

Carnal Knowledge is a sharp, bitter, and uncomfortable exploration of sex as power, love as confusion, and male insecurity. It strips away any romance or sentimentality, laying these themes bare without apology. Nicholson’s Jonathan is a walking wound—charismatic, cruel, and emotionally stunted. You’re not meant to like him, and you won’t. Garfunkel’s Sandy is gentler but no less lost. Both men fumble through relationships, never really seeing the women in front of them.

The film knows its men are objectifying, but it still treats women as mirrors—reflections of male desire, frustration, and ego. While it critiques the male gaze, it doesn’t entirely escape it. The women are emotionally sidelined, and the film isn’t especially interested in what they feel, only in what they represent to the men.

The minimalist style—long, quiet takes and sparse settings—heightens the emotional detachment. It often feels like a stage play, which can be both captivating and draining. Nothing is glamorised; everything is raw, awkward, and painfully human. Carnal Knowledge doesn’t follow a traditional story arc—it drifts across decades, showing the slow decay of intimacy and ideals. It’s a tough, sometimes hypnotic watch, more about absence than resolution.

Run Lola Run is a kinetic sugar rush of split-second choices and butterfly effects, blasted in pure late-’90s style. Think The Fifth Element meets Trainspotting with a dash of Sliding Doors—Berlin turned into a looping music video of fate, chance, and chaos. Franka Potente tears through the frame like a punk missile, and Tom Tykwer keeps the whole thing humming with breathless flair.

But watch it now, and the cracks show. All that once-groundbreaking editing? Feels like flashy gimmickry. The big existential questions? More philosophy 101 than profound. It’s stylish as hell, sure—but once the adrenaline wears off, there’s not much meat on the bones.

A fascinating time capsule of German angst and rave-era aesthetics—still fun, but less deep than it thinks.

John Wick: Chapter 3 – Parabellum is pure entertainment—gloriously over-the-top, brutally elegant, and outrageously fun. The action barely takes a breath—it’s wall-to-wall mayhem and somehow slicker than ever. The characters are more memorable this time around, helped by pitch-perfect casting across the board. It’s like the series knows where it went a bit daft before and now leans into it with a grin. Stylish, self-aware, and wildly enjoyable. An action masterclass with real swagger.

The Wind is as bleak and beautiful as silent cinema gets—a sandblasted psychological thriller that pits Lillian Gish against the elements and her own sanity. The wind never stops howling, the house creaks like it’s haunted, and Gish’s wide eyes do more acting than most performers manage in a career. It’s melodramatic, but in the best way—operatic and unhinged, with nature playing the ultimate villain. The ending, though, feels suspiciously upbeat—like someone at the studio panicked and demanded a cleaner resolution. Not quite a knockout blow, but a gut punch nonetheless.

Walter Hill’s stripped-down, minimalist urban cowboy film The Driver owes a clear debt to Le Samouraï—all style, silence, and steely resolve. You can see its fingerprints all over later films, yet it still feels fresh. Bruce Dern’s dogged detective squaring off against Ryan O’Neal’s ice-cool wheelman is a brilliant bit of casting. The 4K StudioCanal remaster looks fantastic, and it’s great to have the original audio—but honestly, this deserved a beefed-up sound mix.

The Lion in Winter is incredible—two hours of pure psychological warfare, where every character doesn’t just want to win; they want to obliterate. It’s like watching a chess match where the pieces are all armed and spiteful. None of them can resist twisting the knife, and they do it with such relish that you almost admire the malice.

The dialogue is blisteringly good—no surprise it won the Oscar—and Hepburn, who scooped Best Actress, is nothing short of volcanic. I didn’t expect a so-called “Christmas film” to be this dark. Just because there’s a yule log doesn’t make it festive. It’s relentless, brutal, and weirdly exhilarating. Every scene is laced with danger, every relationship on the brink. It’s a hate-fuelled cauldron—and I couldn’t look away.

Radio On is a rare British road movie – let’s be honest, no one wants to watch someone crawling around the M25 in real-time. This is entirely different: eerie, slow, and hypnotic, with Wim Wenders’ fingerprints all over it. He produced it, his ex-wife stars, and one of his regular collaborators is behind the camera, capturing a hauntingly still, greyscale Britain at the moment fundamental to its future, with Thatcher newly elected. It’s low-budget, patient, sensitive, and kind. There’s barely any plot, even less dialogue, but the music, engine noise, radio silence, and bleak news broadcasts do the talking. Mesmerising stuff.

I had no idea what I was getting myself into with Deadbeat at Dawn. Five seconds in, I had to pause and check that Tommy Wiseau hadn’t somehow played a role—such is the sheer chaos of its opening moments. But unlike The Room, this isn’t incompetence wrapped in cashmere; it’s guerrilla cinema powered by pure, unfiltered passion. Jim Van Bebber writes, directs, edits, stars—and probably did the catering too.

It’s scrappy, bloody, and often ridiculous, but it moves—like The Warriors if shot on stolen cameras after a bad trip. Where Wiseau threw money at the problem, Van Bebber used ingenuity and madness to plaster over budgetary holes. The result is violent, anarchic and weirdly beautiful.

The acting’s ropey, the plot’s barely there, and yet it works. Not in spite of its flaws but because of them. Deadbeat at Dawn isn’t just a cult film—it’s a punch to the face.

No Way Out is a sharp, twisty thriller that blends Cold War paranoia with a slick murder mystery. The story's got plenty going on—surveillance, power plays, and the creeping fear that nobody's quite who they claim to be. While it's not in the same class as The Conversation and The Parallax View, it sits comfortably alongside them in tone and subject matter, swapping their grim introspection for glossy tension and a dash of melodrama.

Roger Donaldson keeps things tight and pacy, especially in the Pentagon scenes, which unfold in real-time and hum with tension. Kevin Costner is surprisingly layered here, mixing charm with just enough unease. Gene Hackman does what he does best—gruff authority shading into moral murk—while Will Patton nearly steals the show as his eerily loyal aide. Sean Young is more presence than character, but she's memorable despite limited screen time.

It's not quite top-tier stuff, and like many '80s thrillers, the clunky computer tech hasn't aged well. The infamous sex scene—in a limo, naturally—is equally of its time: audacious, a bit ridiculous, and strangely charming. Both elements date the film but also add to its pulpy appeal. It's no masterpiece, but the plot keeps you guessing. A solid pick if you're after something suspenseful, with that classic '80s sheen that will surely evoke a sense of nostalgia and a whiff of political rot.

Hear me out—I’m a massive Bong Joon Ho fan, which is precisely why Snowpiercer was such a letdown. With his name attached, I expected something special, but his first English-language film derails fast and never gets back on track. Based on a graphic novel, it throws together a ludicrous premise—a perpetually moving train housing the last humans on Earth—and expects us to take it seriously. The class-war allegory is as subtle as a sledgehammer, played out in dimly lit carriages by a bunch of thinly drawn characters spouting clunky dialogue.

For every great turn (Tilda Swinton’s gloriously unhinged), there’s a disaster—Jamie Bell’s bargain-bin Irish accent deserves its own carriage to nowhere. It’s all very joyless, claustrophobic yet without atmosphere, and padded with strange tonal shifts that veer between po-faced melodrama and ill-timed black comedy. Bong’s a genius, but here he’s flailing. Sure, there are flashes of flair, but they’re not enough. I honestly think the glowing praise is more about the director’s reputation than the film itself.

I’m not an MCU regular—at best, I’ve seen three or four of them and only really enjoyed one—so I approached Thunderbolts* with pretty low expectations. Florence Pugh and Sebastian Stan were the main draws, and as expected, they delivered. What I didn’t expect was just how much fun I’d have. It works surprisingly well as a standalone, which for once meant I wasn’t scrambling to decode ten years of Marvel lore just to follow the plot.

The first-hour zips along—sharp, funny, and packed with energy. But as it veers toward the final act, it starts to wobble; the pacing stutters, and the tone shifts awkwardly. It all wraps up a bit too tidily, as if someone realised they’d hit the two-hour mark and had to rush out the door, so they quickly finished it, concluding all the storylines at once. The multiverse elements didn’t totally land for me, but they weren’t a dealbreaker. What did stick was the film’s quieter exploration of loneliness and its impact on mental health—handled with more care than I could ever have expected. All in all, it’s a film that might even get me watching more MCU stuff. Maybe.