Review Category: Movie

THE LAST SENTINEL

by Paul Mount

It’s 2063, and the world has been devastated by environmental abuse and an ongoing war between two rival power blocs. On a remote rig out at sea, a crew of four are keeping a watchful eye on the watery world around them whilst trying to communicate with the wider world (without success) and to keep their own sanity on what is becoming an endless tour of duty. A massive tidal wave smashes into the rig, their food supplies dwindle, and their spirits sink even lower. A boat hoves into view, and the crew feel a moment of elation… but there’s no radio response from the boat either. The Last Sentinel is an intriguing potpourri of ideas that play on themes of isolation, paranoia, fear, and mistrust. However, its elongated running time leaves it a bit like the Sentinel rig itself – slightly adrift, directionless, and searching for a point or purpose.

For all its ambition and its determination to create an air of dystopian despair, The Last Sentinel is a bit of a slog. Estonian director Tanel Toom creates a real and palpable sense of tension in the opening sequences as he introduces the film’s setting and its cast of characters. and the disturbing threat of a massive nuclear weapon lurking in the shadows as a last option for the riggers and then seems a bit lost in moving the dramas forward. The mystery of the boat quickly fizzles out, and we’re left with characters teetering on the edge of madness, shifting loyalties, and a couple of countdown scenes that try to heighten the stakes as the nuclear weapon is readied for action before being disarmed as common sense appears to prevail. But ultimately, not much of interest really happens to this rather dour bunch – well played by Kate Bosworth, Thomas Kretschmann, Lucien Laviscount, and Martin McCann, who do their best to inject some life and colour into their rather cypher-like characters – and whilst Toom turns the rig itself into a grim and forbidding fifth character, he doesn’t really seem able to steer the narrative in any direction that makes sticking with it throughout it near two-hour running time worth the effort. The Last Sentinel is ultimately just a couple of interesting ideas searching for a compelling story.

The Last Sentinel is available in the UK from 101 Films on April 24th.

LINOLEUM

By Nigel Watson

Cameron Edwin (Jim Gaffigan) is cycling home on a normal day in the small American suburban town of Fairview Heights when a bright red sports car plummets from the sky and crashes in front of him. It is a shocking intrusion into his everyday reality, which is more puzzling because the injured driver looks a bit like himself.

Even weirder, the red car driver, Kent Armstrong (also played by Gaffigan), replaces Cameron as the host of his failing Above and Beyond TV science show. Armstrong moves into the house opposite Cameron, his car isn’t damaged at all, and his teenage son (Gabriel Rush) begins a friendship with Cameron’s daughter.

Into the mix is a ‘Russian’ rocket that crashes into Cameron’s backyard. His life is in crisis, as his wife is divorcing him, his father is in a care home, losing his memory, and he wonders what happened to his dream about being an astronaut. He tries building the rocket wreckage into a viable spacecraft, but as often mentioned throughout the film, ‘it’s not that simple’.

Cameron’s wife (Rhea Seehorn) and daughter (Katelyn Nacon) are also trying to work out their place in the universe and whether they can make life ‘fantastic’. On the night of Halloween, everything comes to a head, and flashbacks indicate that nothing is as it seemed. There are shifts in the timeline and memories, and the whole notion of reality is put into question.

A profound sadness runs throughout the film, and the closing sequences are quite confusing, to say the least. Director Colin West gives us a mid-town, mid-life crisis movie that aspires to the profundity of 2001: A Space Odyssey but like Cameron’s rocket; it doesn’t quite reach those cinematic heights.

Linoleum is out now on digital platforms.

MISSING

by Jack Bottomley

If you never had the time to check out Aneesh Chaganty’s thriller Searching, we really urge you to do so at your earliest convenience. Searching is up there with Rob Savage’s Host as one of the best films in what has now been called the ‘screenlife’ subgenre. However, in the trend of any good subgenre worth its mettle, we simply need to have a sequel (see the Unfriended films), so here is Will Merrick and Nick Johnson’s Missing.

Setting itself largely apart, Missing sees teen June (Storm Reid) and her mother Grace (Nia Long) slowly drifting further and further apart with every passing year after her dad’s death over a decade ago. Her mum has met a new guy though, and is giving her daughter some freedom as she heads with him on a romantic getaway to Colombia. But when she fails to meet June at the airport a week later, and June hears nothing from her, so begins an investigation that will not only shake June to the core but become a huge social media true-life phenomenon.

Missing is a nail biting follow-up to the phenomenal 2018 film, that is constructed entirely for the true crime mystery Netflix drama binge-watching age. Sev Ohanian & Aneesh Chaganty’s story and Merrick & Johnson’s screenplay is tightly wound at so many points that you may find yourself leaning forward in your cinema seat, with a breathless fixation on every chime of the phone, every ping of the message board and every beat of this Gen Z tech-driven thriller narrative.

The first film was undeniably tidier, as Missing does unleash some mighty big twists and turns, at points stretching the very credulity it successfully builds overall, and maybe having one reveal too many, but – despite threatening to – it never comes off the rails, and even with some more Hollywood-like climactic beats, remains an engaging story of motherhood, secrets and trust, that (like the first) is painstakingly assembled through a storm of inventive multimedia technology. There is also a worthwhile look at how social media jumps to its own conclusions, makes its own infectious false narratives and is just basically a terrible place to be, especially in times of crisis.

Storm Reid is outstanding at the head of the cast, and her relationship with her mum feels real, and even when some of the later developments set in, you are sold on this bond and love. There is also a very impressive standout performance by Joaquim de Almeida as the loveable Javi, a Colombian gig worker who has a story of his own that develops nicely.

The cinema experience was made for a mad rollercoaster ride like this, and you won’t regret signing up for it! So log on, sit back and get your detective cap on…or, whatever trendy headgear the kids wear now, because, on this evidence, this thriller series could run until the battery wears out.

Missing is out in UK cinemas from Friday 21st April

MUMMIES

By Jack Bottomley

Another in a recent line of animations converted over for an English speaking audience, this Spanish made animated adventure is fun fodder for the kids.

Mummies tells the story of an underworld where ancient Egyptian mummies are still very much alive and kicking, but when a special marriage ring is stolen by an obsessive archaeologist, begrudging to-be-weds Thut (The Inbetweeners’ Joe Thomas), his younger brother Sekhem (Noddy, Toyland Detective’s Santiago Winder) and Nefer (Poldark’s Eleanor Tomlinson) must head to modern day London to get it back.

This is a story full of elements done before and better of course (ancient characters meet the new world, forced love becoming true, “lets go to blighty” plot) but Mummies thunders along like a chariot race and is a colourfully animated ride, with a decent soundtrack (even the handful of songs are pretty good) and some great sight gags (the mistaking of a card machine for a tablet, an art mishap fix echoing a real life catastrophe).

It passes along agreeably, and the English voice cast (that includes the likes of Hugh Bonneville, Celia Imrie and Sean Bean) are well placed in this cross-cultural animation. Plus, the mummy croc sidekick to our heroes is very cute too.

From the plot’s wild turns from fiery phoenix chosen partners, to Egyptian adventure, to culture clash comedy, to song star dreaming, to an odd gimmick where electric lights show the true undead form, this one certainly bounds about from one thing to another. Yet, kids’ll have a good time. And undoubtedly click with some of the TikTok banter here, while adults may enjoy some of the more inventive gags the film thankfully does occasionally throw their way.

It may not re-build the pyramids but it won’t make you ‘king tut either. Inoffensive, child friendly, holiday, globetrotting, animated family fun.

Mummies is in cinemas now

THE KILLER

by Martin Unsworth

Hitman for hire Ui-gang (Jang Hyuk) hopes to give up the business but is given a tough assignment by his wife – he must babysit her friend’s teenage child while the pair go away for three weeks. What could possibly go wrong? Especially when young Yoon-ji (K-pop star Lee Seo-young) asks to stay at one of her friends. He’s delighted with this proposition since it’ll mean he’ll keep more of his privacy, except things go wrong when Kim Yun becomes the target of a cartel that wishes to traffic her to a wealthy and important client. Putting his skills to good use, he sets about ensuring she’s safe.

Boasting superbly choreographed fight scenes, The Killer is John Wick on steroids. Slickly filmed, it motors along at a breakneck pace and oozes cool like only Asian cinema can. As the titular character, Hyuk plays a likeable anti-hero. Calm and collected, he throws himself into the role (literally, as we see in the behind-the-scenes footage that plays over the end credits) and is a force to be reckoned with. His adversaries might be plentiful, but many are nothing more than cannon fodder. There are more than enough of them for Ui-gang to get through, some are tougher than others, and some are fleshed out more as the action progresses.

Packed with spectacular stunts and exciting action, Jae-Hoon Choi directs with zest and manages to give a practically emotionless leading man a sense of pathos at having to go back into his business. The story is based on a webcomic, and this is displayed in the over-the-top action and almost non-stop set pieces. There’s enough humour sprinkled throughout to avoid it becoming a grim experience, though. Highly recommended for fans of high-octane, bloody violence.

Trinity CineAsia presents THE KILLER on Digital March 27th and Blu-ray and DVD on April 17th

RENFIELD

by Hayden Mears

Director Chris McKay consistently delivers slick-but-superficial genre fare that makes for good one-time viewing but doesn’t hold up on repeat watches (The LEGO Batman Movie being a notable exception). Disappointingly, his latest, this Robert Kirkman-plotted, Ryan Ridley-scripted vampire action-comedy, Renfield, also suffers from this specific brand of mediocrity. Sure, it’s occasionally very funny and is at its best when it indulges in outrageous violence. However, it’s ultimately a shallow, uneven, and uninteresting effort that could’ve been much, much better.

That’s not to say it doesn’t take a stab at profundity. Renfield skirts important distinctions between ‘desire’ and ‘deserve’, never fully engaging with them but involving them enough to suggest some thematic importance. That leads to a larger point about execution and focus: as fun as the premise is on paper, it’s diluted by characters and plot threads that distract the script rather than improve it (Awkwafina and Ben Schwartz being two examples that pop into mind).

Nicolas Cage is Dracula, which isn’t the crux of the whole thing for some reason. Instead, the spotlight is on Nicholas Hoult’s Renfield; the hapless assistant stuck attending to Dracula’s very gross, specific needs. The Renfield/Dracula dynamic doesn’t get nearly enough screen time, but Cage is a delight for what it’s worth (which isn’t much). Yes, even when his fake chompers obstruct his delivery.

The movie coasts on its bizarre (but often hilarious) sense of humour, taking wild swings at everything from ska music to villainy for the sake of it. The villains, the Lobo gang, are deliciously, cartoonishly evil, and the depth of their motivations starts and stops at superficial interpretations of “control.”

The bottom line? Renfield isn’t what it could have been (not even close), but it’s worth a watch for a low-commitment vampire romp.

Renfield is in cinemas now.

SUZUME

by James “Magic” Perkins

When the past still haunts you, but the future isn’t certain – will you lock the door to protect the world? Legendary Japanese auteur Makoto Shinkai dazzles audiences once again in his latest breathtaking coming-of-age meets fantasy masterpiece, Suzume.

Suzume, a young 17-year-old girl who lives in Kyushu with her auntie, has regular dreams of searching for her mum as a child – something she has done for years ever since her mum tragically passed away. The next morning, she has a chance to meet with a mysterious man named Sōta, who is searching for some old ruins. The ever-curious Suzume follows him to these ruins to discover a door standing alone and uncovers the secrets of the Daijin and a giant worm-like creature that breaks through these doors and threatens to destroy the earth. Suzume and her new friend Sōta must venture across Japan to lock these doors, keep the worm at bay and remember that although the past holds tragedy and despair, the future is hopeful and shaped by those moments we encounter along the journey of life.

Shinkai-san is now a worldwide household name and has once again shown how powerful his words translate to the gorgeous spectacle of animation. Drawing real-life inspiration from the horrific Tsunami of 2011 that devastated the East of Japan and turning that into a story full of hope, love, and affirmation of that which comes from the bad comes the good. This message transcends the barrier that is often present in Eastern film narratives.

The incomparable RADWIMPS once again provide another iconic soundtrack that elevates Shinkai-san’s piece to celebrated status, and the whole film proves that Makoto Shinkai does not miss. This is a masterpiece, as is the case with his entire catalogue.

Suzume is in UK cinemas on April 14th.

THE CURSE OF ROSALIE

By Martin Unsworth

Rosalie (Madeleine McGraw) is a creepy kid. At a funeral, she says she can see the dead man burning in hell. Her parents, Daniel (Will Klipstine, who co-wrote and directed the film) and Theresa (Amanda MacDonald), have home-schooled Rosalie, and are continually moving towns for Daniel’s ‘work’. A seemingly warm welcome to their latest home turns sour when Rosalie is involved in a few incidents with the local children. There’s also a series of murders that begin. Questions are raised, and how does the nearby Native American reservation fit in?

Originally entitled The Harbinger (which makes more sense as the picture pans out), Klipstine’s film is a mess of ideas, going from possession tale to demon without breaking a sweat. Despite that, it’s a fun ride. McGraw is suitably sinister as the budding Wednesday Addams, spouting pronouncements that are more threatening than kooky, but despite the title change, she’s not the story’s primary focus. There are a few genuinely eerie moments amongst the nonsense, however. You bet the impression Klipstine’s story is trying too hard to tick several horror boxes and serve too many masters. It’s only moderately successful, and when it fails, it doesn’t totally derail things.

Overblown but entertaining, familiar but enduring, the story seems rushed despite being just under two hours. The climactic sequence has the feel of the type of movie commonplace in the height of the video rental boom (1978’s The Evil comes to mind). Low-budget films tend to come with a caveat due to their limited resources. The Curse of Rosalie takes advantage of this goodwill, but won’t be for everyone.

The Curse of Rosalie premieres on Icon Film Channel on March 13th and is in selected cinemas on April 14th. DVD and Digital will follow on May 15th.

SPOONFUL OF SUGAR

by John Townsend

There is something altogether unsatisfying about Spoonful of Sugar, the début feature from Mercedes Bryce Morgan. There are messages here we’re supposed to read and dots to be connected, and yet, muddled as they are, you’re never quite clear which messages or dots to focus on.

Taking time out from her studies, Millicent (Morgan Saylor) takes a job looking after sickly child Johnny (Danilo Crovetti). Johnny has multiple allergies, is largely nonverbal, and his parents seem to be at the end of their tether due to his tantrums. But as the film develops, you begin to wonder who really is carrying around some unresolved issues.

Spoonful of Sugar goes out of its way trying to shock and unsettle you. Millicent’s age and origins are guarded until late in the film, which leads to slight discomfort given some of her actions and intimations, while Jonny’s parents indulge in awkward, often aggressive sex at random moments. Millicent indulges daily drops of LSD – the trippy scenes are rather annoying – and even shares some with her young charge. At the same time, there is a constant undercurrent of violence and threat emanating from all the characters. But it feels like there is too much going on. As the story develops and revelations emerge, you’re left with a sense that nothing quite adds up, that perhaps one of the multiple plot threads would have been sufficient, while the finale is largely unjustified.

Although Morgan does a decent job creating an atmosphere of stifling malcontent, you never feel fully immersed in the story. In the end, it’s mostly just unpleasant characters doing unpleasant things to each other.

Spoonful of Sugar is available on Shudder.

DEAD BRIDE

by Rich Cross

After her father’s tragic death, young wife Alyson and her husband Richard take up residence in the paternal household. When Richard refuses to cancel an important business trip, Alyson is left home alone. She soon finds herself tormented by painful memories and the visitations of what seems to be a vengeful entity. With Richard sceptical and quick to blame Alyson’s mental instability, she sets out to discover the truth. As she learns more about past familial trauma, she decides to risk everything to end the curse and save her family.

Writer-director Francesco Picone is keen to show their fluency in the familiar tropes of the domestic possession flick. The plot of Dead Bride is built on the foundations of the ‘family curse’ genre of screen horror. There’s the fracturing marriage, in which a distracted husband is ignoring the needs of his fragile, anxious wife. There’s the isolated homestead, complete with long-buried secrets. And then there’s the newborn son, whose arrival triggers flashbacks to the young mother’s own troubled childhood. And finally, there is the plague of nightmares, visions and apparitions that lead the couple first to the reluctant priest (and some info-dump exposition) and then later to the amateur psychic who might be their salvation.

Originality is not something that preoccupied the makers of Dead Bride. But while its cinematic influences are evident, it falls short of a convincing emulation. There are moments when things pick up – the derivative exorcism sequence at least has some energy – but this Italian production is let down by a mess of loose plot threads, some subpar acting and an off-kilter soundscape courtesy of some disconnected dubbing.

DEAD BRIDE is available now on streaming platforms.