Film Reviews by griggs

The Menu starts with an intriguing idea, but don't get your hopes up—it becomes painfully predictable almost right out of the gate. You can see the ending coming from a mile away, and those so-called "twists"? Yeah, they land with all the excitement of a damp napkin. The only saving grace is the fantastic cast—Anna Taylor-Joy, Ralph Fiennes, and Nicholas Hoult—though even they seem to be phoning it in. It's honestly tragic how little they're given to work with. The film's popularity must be riding entirely on their star power, because of the plot? Let's just say it doesn't bring anything fresh to the table. Overall, it's a real letdown, especially with wasted talent like that, leaving a disappointing impact.

I'm always struck by how much jeopardy and peril there is in modern family films. Not that it's a bad thing... But I was also the child who had to be taken out of the cinema during 101 Dalmatians, Pinocchio, and Bambi.

Saoirse Ronan nails it with her amazing performance in this intense addiction-recovery drama, making it super powerful and engaging.

The Green Knight baffled me after the first watch; perhaps watching it at 4 am, I was too tired to fully appreciate its dreamy, slow pace. But on the second viewing, I discovered all the stunning visuals and deep symbolism I apparently slept through the first time. It turns out Dev Patel’s Sir Gawain isn’t just wandering around aimlessly, getting his end away.

Like a Matryoshka doll, this film moves from one story to the next, revealing layer after layer, each more intricate and captivating than the last.

Lee is a giant neon sign of a film with 'Made-for-award-season' written all over it while screaming 'Look how amazing Kate Winslet is!' But sadly, it's not until the third act, when things turn chilling, that she finally grabs hold of you and doesn't let go. Then there's Andy Samberg. Yes, that Andy Samberg, who somehow waltzed into this movie and decided to give us a 'Wait, is this guy about to win an Oscar?' performance. At this point, even the Academy are probably like, 'Well, guess we gotta nominate him now.'

Demi Moore's performance in The Substance is so potent that it's hard to tell what's more intoxicating; her inevitable Best Actress win or Coralie Fargeat's razor-sharp screenplay that's already got the Oscar in the bag.

This won’t be everyone's cup of tea—more like a psilocybin cocktail with a splash of ayahuasca for good measure. But hey, if you're brave enough to dive into its weird and wonderfully twisted world, you might just end up nodding along with Helen Mirren, who famously called it “an irresistible mix of art and genitals.” Buckle up; it's a wild ride between genius and madness.

“We want a Japanese remake of Jaws.”

 “No problem. But how about we replace the shark with a grand piano?”

 “A killer piano? That’s brilliant!”

Blink Twice is Zoe Kravitz’s dazzling directorial debut, a gripping, twisted thriller that confronts post #MeToo gender politics head-on. The film expertly combines razor-sharp genre storytelling with biting social commentary, all against a brutal, tension-filled backdrop. It’s as wildly entertaining as it is thought-provoking, making it a must-watch and one of the year’s standout films.

I Used to Be Funny is the indie release that deserved a wider audience, if only to witness Rachel Sennott's mesmerising, Oscar-worthy performance that somehow balances the film's uneven tone on her capable shoulders. Sennott delivers a masterclass in dark humour and raw emotion, leaving us wondering how a film this gripping could be so maddeningly frustrating at times. It's a curious case where Sennott's brilliance outshines its surroundings, raising the question: why didn't this film get a wider cinematic release instead of being buried in the depths of a streaming service?

Nil by Mouth is an extraordinary piece of cinema that resonates deeply with anyone familiar with the gritty realities of South East London. As someone who has grown up and still lives in this area, I feel that the film’s raw portrayal of life feels less like a kitchen sink drama and more like a fly-on-the-wall documentary.

The authenticity of the characters and their environment is both compelling and distressing. Ray Winstone, Laila Moran and Kathy Burke deliver performances that are nothing short of incredible, embodying their roles with a visceral intensity that makes the film hard to watch yet impossible to look away from. Their portrayals are so genuine that they blur the lines between acting and reality, capturing the essence of a world many would rather forget.

In his directorial debut, Gary Oldman crafts a brutally honest and deeply personal narrative. His depiction of the underbelly of South East London is uncompromising, showcasing the harshness of life that, for the best reasons, is slowly being eroded by gentrification. While the changing landscape might be welcomed, the film is a stark reminder of a past that is still a part of the area’s identity.

Nil by Mouth is South London’s equivalent to Taxi Driver, a cinematic exploration of a society’s darker aspects. It’s a powerful statement on the human condition, and while it’s not an easy watch, it’s essential. One can only hope that Oldman returns to filmmaking soon, as his voice and vision are as necessary now as they were when this was released in 1997.

Watching "The Scent of a Woman" without any prior knowledge of its story was a wonderful surprise. Al Pacino's performance as the blind Lieutenant Colonel Frank Slade showcases his incredible versatility, earning him an Oscar and leaving a lasting impression with his iconic "Hoo-ahh!" exclamation, which I now feel compelled to incorporate into my everyday vocabulary. The film's exploration of friendship and redemption, alongside Chris O'Donnell's role as the young student Charlie Simms, creates a poignant and transformative narrative. The direction and cinematography further enhance this emotionally resonant story, making "The Scent of a Woman" a must-watch.

Béla Tarr's Werckmeister Harmonies is a haunting exploration of societal chaos and human despair that feels disturbingly relevant in light of the current right-wing demonstrations and riots targeting ethnic minorities and asylum seekers in England.

The film, set in a bleak Hungarian town, depicts the unravelling of social order as fear and violence take hold, mirroring the divisive and inflammatory rhetoric prevalent today. The stark black-and-white cinematography and slow pacing create an atmosphere of oppressive inevitability, heightening the film's impact as it reflects the fragility of our societal structures.

Watching Werckmeister Harmonies now, against the backdrop of the riots, makes the film's depiction of mob mentality and xenophobia even more chilling. The protagonist, János Valuska, symbolizes a desperate attempt to restore harmony, resonating deeply as a poignant reminder of the consequences of division and hatred. Tarr's masterpiece not only challenges us to confront the darkness within our societies but also underscores the urgent need to seek out harmonies to save us from ourselves.

I Saw the TV Glow is a film that left me teetering on the edge of indecision. As the credits rolled, I grappled with a simple yet profound question: Was this the best or worst film of the year? Ultimately, I realised that the film’s impact was more complex than a binary judgment could capture. Some films aren’t universally accessible—not due to their themes, but because of the unique methods they use to explore those themes. This film, with its unique methods, is a prime example.

I watched I Saw the TV Glow as the London Trans Pride March passed by the cinema. The energy and sense of community from the march stood in stark contrast to the isolated, introspective experience of the film. This juxtaposition heightened my appreciation for the film’s profound exploration of identity and perception, engaging me even more in the film’s unconventional narrative device.

The concept of a programme within the film that we as an audience aren't privy to was a bold narrative choice. While I enjoyed this exploration, I needed help to stay engaged. The layers of storytelling, while intellectually stimulating, often felt like a barrier rather than a bridge to understanding the characters and their journeys.

Despite this, there’s a particular brilliance in the film’s willingness to challenge its audience. I Saw the TV Glow dares to push boundaries and provoke thought, even if it alienates some viewers. Its daring narrative choices and thought-provoking themes make it a cinematic revelation for those who can embrace its idiosyncrasies. For others, like myself, it’s easier to admire from a distance than to fully embrace.

I Saw the TV Glow may not be a film for everyone, and that’s precisely its strength and weakness. It defies easy categorisation, demanding both attention and patience. Whether it’s the best or worst film of the year is a question I’m still pondering, but perhaps that’s the point. It’s a film meant to linger in the mind and be debated and dissected long after the screen darkens.