A QUIET PLACE: DAY ONE

A young woman named Sam finds herself trapped in New York City during the early stages of an invasion by alien creatures with ultra-sensitive hearing.

Directed by Michael Sarnoski and co-written with John Krasinski and Bryan Woods, A Quiet Place: Day One brings a fresh perspective to the familiar world of sound-sensitive alien invaders. This prequel and spin-off, diverging from the Abbott family narrative, explores the early days of the extraterrestrial invasion through the experiences of a new set of characters in New York City, notably within the culturally rich areas of Chinatown and Harlem.

The film opens up the universe of A Quiet Place by presenting a broader geographical and emotional landscape. While the original films primarily focused on the Abbott family's struggle in a rural setting, this instalment offers a vivid urban backdrop. However, Day One takes a different narrative approach by centring on Samira (Lupita Nyong'o), a terminally ill woman. Her journey is not about survival in the traditional sense but rather about navigating the apocalyptic chaos on her own terms, seeking a poignant last connection to a place and experience she holds dear.

One of the most striking elements of Day One is its use of sound—or the absence thereof. The extensive stretches of silence heighten the tension, making every small noise a potential harbinger of doom. This clever use of sound design immerses the audience in a world where the slightest sound can be deadly, a hallmark of the series that continues to be effectively utilized. The silence serves as a powerful narrative tool, underscoring the fragility of life in this transformed world.

Despite its strengths, the film struggles with certain narrative choices. Samira's character arc, centred on her terminal illness and a final quest for a slice of pizza from her favourite Harlem spot, feels both absurd and oddly endearing. The journey she undertakes, alongside strangers, becomes a contemplation of death and acceptance rather than a straightforward survival story. This shift in focus might not satisfy fans looking for a deeper exploration of the Quiet Place mythology. The film does not expand significantly on the lore of the alien creatures or the universe, leaving some viewers craving more context and background.

The character of Samira is compelling, yet the film's pacing and structure hinder deeper emotional investment. Lupita Nyong'o delivers a nuanced performance, conveying a range of emotions through subtle expressions and body language, often without the need for dialogue. However, the script does not delve deeply into her backstory, leaving her character somewhat empty. This lack of character development is a notable flaw, as it prevents the audience from fully connecting with her plight and the supporting characters.

In contrast, the film finds a unique and unexpected source of charm and tension in Frodo, Samira's "support cat." This unusually calm and loyal feline provides moments of levity and serves as a silent, steady presence throughout the chaos. Frodo's uncanny ability to stay silent and composed, even in the face of danger, adds an interesting layer to the narrative, offering a counterpoint to the ever-present threat of the aliens.

Day One's strengths lie in its atmospheric tension and visual storytelling. The first half of the film is particularly strong, blending elements of horror, suspense, and dark humour. The visuals are striking, with the chaos of a city under siege providing a dramatic backdrop for the characters' desperate struggle. The use of New York City's diverse neighbourhoods adds a rich texture to the setting, contrasting the stark silence with the cultural vibrancy of the locations.

However, as the film progresses, it loses some of its initial momentum. The second half lacks the same intensity and the pacing is occasionally bogged down by unnecessary plot points and implausible scenarios. These narrative detours detract from the central themes of isolation and the human need for connection, making some sequences feel contrived or distracting.

Ultimately, A Quiet Place: Day One is a mixed bag. It offers a fresh take on the franchise's concept, focusing more on human emotions and existential themes rather than expanding the lore of the alien threat. The decision to frame the story around a terminally ill protagonist grappling with the end of her life amidst a cataclysmic event is both bold and limiting. While this approach provides a new lens through which to view the familiar premise, it may leave fans of the original films feeling unfulfilled due to the lack of new revelations about the alien invaders or the broader universe.

A Quiet Place: Day One succeeds in delivering a suspenseful, atmospheric experience, elevated by Lupita Nyong'o's strong performance and the film's masterful sound design. However, it falls short in character development and narrative depth, leaving audiences with a sense of missed opportunities. The film stands as a unique addition to the franchise, offering a thought-provoking exploration of human resilience and the desire for meaningful experiences in the face of impending doom. Yet, it also highlights the challenge of balancing fresh storytelling with the expectations of a well-established cinematic universe.

A Quiet Place: Day One was released in NZ cinemas on June 27, 2024

THE MINISTRY OF UNGENTLEMANLY WARFARE (2024)

British Prime Minister Winston Churchill and a group of military officials hatch a daring plan to neutralize Hitler's fleet of German U-boats during World War II. Made up of a motley crew of rogues and mavericks, the top-secret combat unit uses unconventional techniques to battle the Nazis and change the course of the war.

The Ministry of Ungentlemanly Warfare, directed by Guy Ritchie and featuring a screenplay by Paul Tamasy, Eric Johnson, and Arash Amel, aims to provide a blend of action, intrigue, and historical drama. Starring Henry Cavill, Alan Ritchson, and Alex Pettyfer, the film promises an exciting journey into a lesser-known aspect of World War II. However, despite the intriguing premise and a talented cast, the movie falls short of its potential, leaving audiences underwhelmed and disappointed.

At its core, The Ministry of Ungentlemanly Warfare is based loosely on declassified documents from the archives of Winston Churchill, former British Prime Minister. The narrative explores the formation of a covert unit designed to engage in unconventional warfare against the Nazis, with a focus on a group of rugged, skilled operatives. This team, known for their "ungentlemanly" tactics, is tasked with missions that traditional soldiers could not undertake, blending elements of espionage, sabotage, and direct combat.

The film’s strongest suit lies in its action sequences and visual storytelling. Ritchie, known for his stylish direction, delivers a series of engaging and bloody set pieces that highlight the brutal realities of war. The choreography and special effects work seamlessly to create a visceral experience, particularly during a rescue mission that pits the team against a much larger Nazi force. Despite the impressive action, these scenes are undermined by a lack of genuine tension. The film struggles to convey any real sense of danger or stakes, making even the most intense moments feel oddly safe and predictable.

One of the standout performances comes from Eiza González, who portrays Marjorie Stewart, an alluring and formidable operative. Her character brings a spark to the otherwise dull ensemble, displaying a blend of intelligence and fiery conviction. As the only female member of the team, Marjorie faces unique challenges, but González manages to make her stand out amidst a sea of male counterparts. However, her storyline, which includes a subplot involving the seduction of a senior German officer played by Til Schweiger, feels tangential and underdeveloped. The film does not give her enough moments to shine beyond the typical femme fatale archetype.

The male leads, including Cavill and Ritchson, deliver solid performances but are hampered by a script that offers little in terms of character development. The characters lack depth and individuality, often speaking in the same tone and failing to establish a strong camaraderie. This lack of differentiation makes it difficult for the audience to connect with them or care about their fates. The portrayal of Ian Fleming (Freddie Fox), the famous author and government advisor, adds a layer of historical intrigue but does little to elevate the film beyond a surface-level exploration of wartime tactics.

Ritchie’s film also suffers from a confused tone. It oscillates between trying to be a serious war drama, a comedic adventure, and a high-octane action movie. This tonal inconsistency prevents the film from building momentum or fully engaging the audience. The initial promise of a thrilling adventure with a group of swashbuckling operatives quickly fizzles out as the narrative becomes bogged down in predictable plot developments and lacklustre dialogue. Even the attempts at humour, which could have provided a much-needed levity, fall flat, failing to elicit more than a mild chuckle.

The plot, though inspired by true events, is rendered with a lack of urgency. The supposed high stakes, such as the potential to turn the tide of the war, are not effectively conveyed. The mission’s objectives, such as destroying Nazi U-boats, come across as a mere backdrop to a series of loosely connected action scenes. The film’s climax, while slightly more engaging than the preceding acts, still lacks the necessary tension and excitement to leave a lasting impact.

Ultimately, The Ministry of Ungentlemanly Warfare struggles to live up to the expectations set by its premise and talent. The characters are two-dimensional, the story lacks compelling development, and the action, though well-executed, cannot compensate for the absence of genuine stakes. The film is reminiscent of other wartime dramas like Inglourious Basterds, but without the same sharpness or wit. It is a shame, as the material had the potential to be an engaging exploration of unconventional wartime tactics and the personalities behind them.

The Ministry of Ungentlemanly Warfare is an unsatisfying film that fails to deliver on its promise. While it offers a few moments of entertainment, particularly in its action sequences, it is ultimately let down by a lacklustre script and underdeveloped characters. Fans of Guy Ritchie may find some enjoyment in his trademark style, but overall, the film does not reach the heights of his previous works. For those seeking a compelling war film with depth and excitement, this one may be best left on the shelf.

The Ministry of Ungentlemanly Warfare was released on Prime Video on April 19, 2024

FREUD'S LAST SESSION (2023)

September 3, 1939. The world is on the brink. A monumental session with two of the greatest minds of the twentieth century over the future of mankind and the existence of God. 

Freud's Last Session, directed by Matt Brown, presents a unique and thought-provoking cinematic experience. Set against the backdrop of World War II, the film delves into a fictional meeting between two towering intellectuals: Sigmund Freud, played by Anthony Hopkins, and C.S. Lewis, portrayed by Matthew Goode. Though the war itself does not play a direct role in the narrative, its looming presence adds a layer of urgency and gravitas to their encounter.

The story imagines a conversation between Freud, the father of psychoanalysis, and Lewis, an author and former atheist who converted to Christianity. This premise sets the stage for a rich dialogue exploring their starkly opposing views on religion, human nature, and the meaning of life. The screenplay, co-written by Mark St. Germain, Matt Brown, and Armand M. Nicholi Jr., crafts a narrative that weaves together philosophical debates, personal histories, and emotional undercurrents.

Hopkins, as Freud, delivers a performance that, while reminiscent of some of his previous roles, captures the intensity and brilliance of the renowned psychologist. Freud is depicted as sharp, sarcastic, and relentless in his critiques of religion, which he dismisses as an "infantile delusion." His famous declaration, "I have only two words to offer humanity: grow up!" encapsulates his disdain for the concept of a benevolent deity in a world filled with suffering.

Goode's portrayal of Lewis, on the other hand, offers a more subdued yet equally compelling counterpoint. Lewis, though respectful and polite, stands firm in his faith, attributing human suffering to mankind's own flaws rather than divine will. His calm demeanour often leaves him overshadowed by Freud's fiery rhetoric, yet his resilience and depth shine through in their exchanges.

The film's structure is largely conversational, reflecting its origins as a stage play. This "talky" approach may feel like eavesdropping on an extended intellectual debate, which can be both a strength and a limitation. The staginess of the narrative at times slows the pacing, despite efforts to break it up with flashbacks and scenes outside Freud's Hampstead house. These interludes, including Lewis's memories of the Battle of the Somme and his relationship with a fallen comrade's mother, provide context and emotional depth but sometimes feel like distractions from the central dialogue.

A notable aspect of the film is the presence of Anna Freud, portrayed by Liv Lisa Fries. Her relationship with her father adds a significant layer of dramatic tension. Anna, a psychologist in her own right, navigates the complexities of her father's towering legacy and domineering personality. Fries's performance captures Anna's strength and vulnerability, making her one of the film's most compelling elements.

The interactions between Freud and Lewis reveal more commonalities than initially apparent. Both men share a deep curiosity about humanity, stemming from their lonely childhoods and complicated family dynamics. This shared background allows for moments of connection amidst their intellectual sparring. Their discussion touches on themes such as the nature of faith, the purpose of suffering, and the impact of sexual repression on familial relationships.

Despite the film's ambitious exploration of profound themes, it struggles to fully capture the brilliance of its protagonists. The dialogue, while elegantly worded, sometimes feels more like a classroom debate than a transformative conversation. The theological discussion, although central to the film, lacks a sense of progression or resolution, leaving viewers feeling that neither character has truly moved beyond their initial positions.

Freud's Last Session attempts to bridge ideological divides, perhaps subtly addressing contemporary political and cultural polarization. By showing that two people with vastly different beliefs can engage in a civil and meaningful dialogue, the film offers a model for respectful discourse in an increasingly divided world.

Yet, the film's execution does not always live up to its potential. Brown's direction, though well-intentioned, sometimes falters with clumsy staging and a lack of dynamic progression. The film's reliance on dialogue over action might deter some viewers, but those who appreciate a cerebral cinematic experience will find much to admire.

Ultimately, Freud's Last Session is a film that invites viewers to ponder big questions about faith, reason, and the human condition. It is a testament to the power of the mind and the enduring relevance of intellectual debate. While it may not fully satisfy those seeking dramatic flair or narrative resolution, it offers a rare and valuable focus on the life of the mind, free from the distractions of more conventional cinematic tropes.

Freud's Last Session is a film that resonates with those who value thoughtful dialogue and the exploration of complex ideas. Despite its imperfections, it succeeds in creating a space for reflection and conversation, embodying the very essence of intellectual inquiry.

Freud's Last Session was released in NZ cinemas on May 30, 3034

DEADPOOL & WOLVERINE (2024)

Wolverine is recovering from his injuries when he crosses paths with the loudmouth, Deadpool. They team up to defeat a common enemy.

Deadpool and Wolverine, directed by Shawn Levy and written by Levy, Rhett Reese, and Ryan Reynolds, marks the latest entry into the Marvel Cinematic Universe (MCU). Starring Ryan Reynolds as Deadpool, Hugh Jackman reprising his iconic role as Wolverine, and Emma Corrin, the film brings together two of the most beloved characters in superhero cinema for a wild, irreverent adventure.

Ryan Reynolds, who has helmed the Deadpool franchise since its inception in 2016, makes his MCU debut with the same brand of humour that has defined his character over the past decade. His performance is characterized by meta-humour, crass jokes, and a relentless pace of comedic quips. However, as with the previous films, the rapid-fire jokes can be a double-edged sword, often missing the mark and coming across as trying too hard.

Hugh Jackman, who has embodied Wolverine for nearly 25 years, brings new dimensions to a character many thought had peaked in Logan. In Deadpool and Wolverine, he finds himself in a series of poorly crafted and confusing circumstances, particularly for viewers unfamiliar with the Loki series. Despite these narrative weaknesses, the chemistry between Reynolds and Jackman is undeniable, and their forced partnership is a highlight of the film.

The meta element remains strong, with the film poking fun at itself and the broader Marvel brand. This self-awareness, however, is somewhat ironic and disappointing as the movie falls into some of the same pitfalls it mocks, without providing much payoff or deeper commentary. The script, instead of opting for mockery, pays homage to the superheroes who paved the way for the MCU. This approach allows the film to celebrate these characters, giving them significant roles rather than relegating them to mere cameos.

Deadpool and Wolverine is a film designed to be enjoyed in a packed movie theater, surrounded by fans who appreciate the multitude of references, (self)parodies, and special appearances. The movie is a tribute and a farewell to the old 20th Century Fox era, filled with mockeries of Disney, Marvel executives, the Avengers, and the X-Men. The film is still very much an R-rated Deadpool movie, featuring all the expected elements: decapitations, gushing blood, explicit jokes, drug use, constant violence, and frequent fourth-wall breaks.

Shawn Levy excels in directing the fight scenes, which are vibrant, fun, and original. Despite its flaws, such as the uneven quality of visual effects and a somewhat predictable story, the film remains entertaining. The story never loses its way, most of the jokes land, and the movie provides moments that fans never thought they would see on screen. Its primary aim is to entertain and reconnect with viewers who may have been disappointed by recent entries in the multiverse saga.

The film is packed with references to over a dozen pre-MCU superhero movies, making it a treat for those with an encyclopedic knowledge of the genre. As Marvel's first R-rated film, it takes full advantage of its ability to use strong language and adult humour. Deadpool and Wolverine is a popcorn flick that is enjoyable as long as you don't overthink its logic or its place in the larger MCU narrative.

Many of the film's surprise cameos are already known to the public, but it's best to experience them firsthand. The movie spends a significant amount of time both savaging and eulogizing the Fox era, even staging a battle in front of a giant, sand-buried Fox logo reminiscent of the Statue of Liberty scene from Planet of the Apes.

Unfortunately, the film doesn't deliver much in terms of narrative coherence or standalone storytelling. The visual effects are inconsistent; some closeups are luminous and vibrant, particularly in night scenes, while other shots, especially daylight panoramas in the limbo sequence, appear flat and devoid of detail.

Despite a predictable story, the film's focus on superhero battles, myriad Easter eggs, and Reynolds' incessant quipping keep the audience engaged. Hugh Jackman receives a satisfying redemption arc that aligns with Wolverine's brooding persona. Reynolds, as always, seems to revel in playing Deadpool, a character he revived and positioned as the antithesis of everything Marvel traditionally stands for.

Deadpool and Wolverine throw a lot at the audience, from over-the-top violent fights set to pop songs to an extra-juicy post-credits scene, and nearly all of it works. This is the Marvel movie fans have been eagerly awaiting. The cameos, which I won't spoil, are both surprising and contextually relevant, paying homage to Fox's X-Men and other properties they've held over the decades.

Deadpool and Wolverine is a chaotic, hilarious, and heartfelt tribute to pre-MCU superhero films. While it may not offer a strong standalone narrative, its relentless humour, vibrant action scenes, and numerous references make it a must-watch for fans. Despite its flaws, the film succeeds in its primary mission: to entertain and reconnect with viewers, offering a joyous farewell to an era of superhero cinema that paved the way for the MCU.

Deadpool & Wolverine will be released in NZ cinemas on July 25, 2024

KINGDOM OF THE PLANET OF THE APES (2024)

Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike. 

Directed by Wes Ball, Kingdom of the Planet of the Apes brings a new chapter to the beloved franchise, captivating audiences with a sprawling 145-minute epic. The film, penned by Josh Friedman, Rick Jaffa, and Amanda Silver, continues the legacy of the Planet of the Apes series, blending intense action sequences with deep emotional undertones, and ensuring the story feels as fresh and engaging as ever.

One of the most striking aspects of Kingdom of the Planet of the Apes is its seamless integration of CGI and live-action elements. Unlike many modern films where computer-generated imagery can feel jarring, this movie maintains a cohesive and realistic visual experience. The motion capture performances are especially noteworthy, with Owen Teague, Peter Macon, and Kevin Durand delivering sharp and kinetic portrayals that feel authentic and alive.

At its core, Kingdom of the Planet of the Apes is a dramatic tale of family and cultural reclamation. The film doesn't present a clear singular protagonist; instead, it weaves a rich tapestry of characters, each with their own motivations and conflicts. Owen Teague's Noa is a particularly compelling character, a naive and uncertain figure who must find the courage to become a leader. His journey is contrasted by Proximus, played by Kevin Durand, whose hubris and tyrannical methods pose a significant threat to the apes' society.

The dynamic between Noa and Proximus highlights the film's exploration of authority and morality. Proximus' belief in the inherent duplicity of humans and the superiority of apes creates a philosophical conflict that is both thought-provoking and unsettling. This conflict is underscored by the film's examination of what is worth preserving from human culture and what aspects of it corrupt and tempts the apes.

The film's pacing is one of its greatest strengths. Despite its lengthy runtime, Kingdom of the Planet of the Apes never feels slow or bogged down. The narrative moves swiftly, balancing emotionally heavy moments with action-packed sequences that keep viewers on the edge of their seats. The exposition is handled deftly, with information conveyed through context rather than lengthy explanations, ensuring the story remains engaging and dynamic.

Visually, the film is a triumph, with WETA Digital's effects team continuing their phenomenal work in motion capture. The environments are richly detailed, and the action sequences are choreographed to feel both thrilling and realistic. The score and sound design further enhance the experience, creating an immersive atmosphere that draws audiences into the apes' world.

Kingdom of the Planet of the Apes excels in its character development and thematic depth. Noa's journey is emblematic of the biblical inferences that have long been a part of the franchise, while Proximus' use of Caesar's words to justify his tyranny adds a layer of complexity to the narrative. The film explores how messages can be corrupted in a world of unreliable communication, and how fear and anger can prevent individuals from doing what is right.

William H. Macy's character, though underused, adds a human element to the story, serving as a reminder of the connection between the apes and the remnants of human culture. The film's dedication to exploring the balance between ape and human traits, and the struggle to maintain integrity in the face of temptation, provides a thoughtful commentary on the nature of power and morality.

Kingdom of the Planet of the Apes is epic in both heart and scale. From the intense action sequences to the emotional depth of its characters, the film grabs your attention early and never lets go. It builds on the rich lore of the franchise, offering new stories and expanding on familiar themes without feeling like a mere retread of past films.

Kingdom of the Planet of the Apes proves that the franchise is alive and well, delivering compelling characters, engaging stories, and a visually stunning experience. It stands as a thrilling standalone adventure that doesn't require prior knowledge of the series, yet offers plenty for long-time fans to appreciate. 

While some characters may feel underutilized and the final act sets up more than it concludes, the film remains a testament to the enduring appeal of the Planet of the Apes saga. With its blend of action, drama, and thoughtful themes, Kingdom of the Planet of the Apes is a worthy addition to the franchise and a must-see for fans and newcomers alike.

Kingdom of the Planet of the Apes was released in NZ cinemas on May 9, 2024

IMMACULATE (2024)

An American nun embarks on a new journey when she joins a remote convent in the Italian countryside. However, her warm welcome quickly turns into a living nightmare when she discovers her new home harbours a sinister secret and unspeakable horrors.

Immaculate, directed by Michael Mohan and written by Andrew Lobel, is a blend of religious horror and psychological thriller that promises much but delivers inconsistently. Starring Sydney Sweeney, Álvaro Morte, and Simona Tabasco, the film borrows from genre predecessors, using familiar techniques such as shock cuts and jump scares. While it doesn’t reinvent the wheel, it has enough flair to maintain audience engagement.

The film’s storyline revolves around religious corruption, with a pointed commentary on how those in power within religious institutions often excuse their actions under the guise of divine right. This theme resonates throughout the movie, offering glimpses of deeper, more provocative content. Yet, it often feels as though the film only scratches the surface of these themes, leaving much undeveloped.

Sydney Sweeney's performance stands out, especially in the final moments of the film. Her portrayal is a masterclass in emotional range, as she conveys a spectrum of emotions from terror to triumph, largely without dialogue. Her series of blood-curdling screams solidifies her status as a contemporary scream queen. Sweeney’s dedication to her role provides a strong anchor for the film, making her scenes particularly compelling.

Despite these strengths, Lobel’s writing often feels lacklustre. The script sets up a 'jump jump' type film, hinting at a more complex narrative beneath the surface but failing to fully explore it. The film’s reliance on jump scares, which are more startling than genuinely frightening, underscores this shortcoming. There is a lack of psychological terror, which could have provided a more lasting impact.

One of the film’s most audacious aspects is its final five minutes, which feel like they belong to a different, more daring film. This bold ending contrasts sharply with the rest of the movie, offering a glimpse of the potential that was not fully realized. It hints at a more original and innovative direction that the film could have taken but ultimately does not pursue.

Visually, Immaculate is impressive. Cinematographer Elisha Christian captures the gloomy, dark setting of the convent beautifully, enhancing the film's spooky atmosphere. The Italian scenery is expertly photographed, with effective framing in large church halls and hallways adding to the sense of suspense. The film's soundtrack further enhances the tension, contributing to the overall eerie mood.

The film does touch on significant social issues, such as gender violence, sexual abuse, religious fanaticism, and the ethical dilemmas of abortion. These themes are symbolically presented, opening a debate on the condition of women within religious contexts. The narrative depicts how men within the Church manipulate and use women to bring a miraculously conceived baby into the world, portraying these men as arrogant figures who believe they can control everyone around them.

However, the film’s ambitious thematic undertones are often underdeveloped. Lobel’s script gestures towards deeper themes, from bodily autonomy to sexual violence and religious hypocrisy, but these elements remain puny and underexplored. The film’s social commentary, while present, lacks the depth needed to make a lasting impact.

Immaculate is a gothic slow-burn, characterized by a gradual buildup of tension rather than immediate scares. This approach works to some extent, creating undeniable moments of suspense. The film's setting in a convent, combined with decent performances from the cast, manages to create a spooky atmosphere. Yet, much of what works about the film does so because of Sweeney’s committed performance. Her portrayal gets better as the film progresses, providing a beacon of quality amidst the film’s shortcomings.

Despite its potential, Immaculate often feels predictable. Many of its narrative twists are telegraphed well in advance, reducing their impact. The film's ambition is clear, but it suffers in comparison to more daring works within the genre. It is a smaller, less ambitious film that keeps its most horrific elements for the final act, unlike the sustained terror of classics like The First Omen.

Immaculate is a film that promises much but delivers unevenly. Its blend of religious horror and psychological thriller elements, combined with strong performances, particularly from Sydney Sweeney, provides moments of genuine engagement. However, the film's lacklustre script, reliance on clichéd jump scares, and underdeveloped thematic content hold it back from being truly memorable. 

Visually impressive and atmospherically rich, Immaculate hints at a deeper narrative but ultimately falls short of fully realizing its potential. While it may not offer many surprises or thrills, it remains a watchable entry in the genre, primarily buoyed by Sweeney’s standout performance.

Immaculate was released in NZ cinemas on March 22, 2024

THE EXORCISM (2024)

A troubled actor begins to unravel while shooting a horror film. His estranged daughter wonders if he's slipping back into his past addictions or if there's something more sinister at play. 

The Exorcism, directed by Joshua John Miller and written by M.A. Fortin and Joshua John Miller, aims to blend the psychological intensity of horror with the reflective self-awareness of a Hollywood spoof. Featuring stars like Russell Crowe, Ryan Simpkins, and Sam Worthington, the film promises a novel approach by examining the very genre of exorcist movies. However, despite its intriguing premise, the film struggles to balance its tone and fails to deliver on its potential.

The story centres on Anthony, a washed-up actor played by Crowe, whose personal life is marred by addictions, a tragic loss, and a strained relationship with his teenage daughter, Lee. This role in the remake of a classic exorcist film represents his shot at a comeback. The stakes are high, as Anthony's real-life demons eerily mirror those of his on-screen character. 

One might expect the film to explore this fascinating intersection of life and art, delving deep into Anthony's psyche and the impact of his past on his performance. However, The Exorcism merely skims the surface of this rich narrative vein, opting instead for a series of jump-scares and spooky noises that fail to sustain genuine suspense.

The film begins on a promising note with a compelling opening scene: an actor rehearses alone on the set of the exorcist remake and meets a tragic end, evidently due to demonic possession. This sets the stage for what could have been a riveting psychological drama. However, the story quickly falters as it becomes clear that the film does not aim to establish a coherent satanic backstory or logical progression. Instead, the audience is left puzzled as characters react to supernatural events with frustratingly mundane solutions, such as recasting a lead actor contorting himself into unnatural shapes.

Russell Crowe’s performance, unfortunately, lacks the necessary energy to elevate the film. His portrayal of Anthony is subdued, which dampens the impact of his character's turmoil and the overall tension of the movie. This low-energy approach, combined with a script that does not capitalize on its intriguing premise, results in a film that feels half-hearted and disjointed.

One of the film's main shortcomings is its reliance on clichés. From eerie voices and flickering lights to predictable jump scares, The Exorcism offers little innovation. These elements are not executed with the competence required to genuinely scare or engage the audience. The dark, poorly lit scenes further detract from the viewing experience, making it difficult to follow the action or connect with the characters.

The film does touch on several relatable themes, such as family struggles and addiction. Anthony's efforts to mend his relationship with his daughter and overcome his personal demons provide moments of genuine emotion. However, these moments are fleeting and overshadowed by the film’s scattered focus. The subplot involving sexual abuse suffered by Miller in the church feels tacked on and disconnected from the main narrative of possession, rendering it an exploitative attempt to add depth to an otherwise shallow storyline.

The Exorcism tries to juggle too many themes at once—faith, religion, addiction, and family, among others. This lack of focus results in a fragmented narrative that fails to coalesce into a cohesive story. The film feels as though it was initially more ambitious, with grander ideas that were ultimately pared down, leaving behind disjointed remnants that interfere with the main plot.

One particularly glaring issue is the film's handling of physical harm and death. When such incidents occur, the absence of any police presence or medical intervention strains the film’s credibility. This oversight diminishes the realism necessary for the audience to suspend disbelief and fully immerse themselves in the story.

Despite these flaws, The Exorcism is not without merit. The production angle, involving the remake of a cursed horror film, adds an interesting layer to the otherwise mundane material. There are moments when the jump scares are effective, providing brief bursts of excitement. However, these moments are few and far between, unable to sustain the film's overall momentum.

The Exorcism is a film with an intriguing premise that ultimately falls short of its potential. It struggles to find a balance between serious horror and self-referential comedy, resulting in a disjointed and unsatisfying viewing experience. 

The film’s reliance on clichés, lack of a coherent narrative, and low-energy performances further detract from its impact. While there are moments of genuine emotion and effective scares, they are overshadowed by the film’s numerous shortcomings. The Exorcism promises a unique take on the exorcist genre but delivers little beyond familiar tropes and missed opportunities.

The Exorcism was released in NZ cinemas on June 13, 2024

THE GARFIELD MOVIE (2024)

After an unexpected reunion with his long-lost father, the street cat Vic, Garfield is forced to leave his very comfortable life with Harald behind. Together with Vic and Odie, he plans a crazy robbery.

Directed by Mark Dindal and written by Paul A. Kaplan, Mark Torgove, and David Reynolds, The Garfield Movie is a fully animated adventure that brings the iconic lasagna-loving feline to the big screen once again. Featuring the voices of Chris Pratt, Samuel L. Jackson, and Hannah Waddingham, this film offers a decent experience for families, with enough humour and action to keep the children entertained.

One of the film's standout features is its slick animation. Every pet and animal is rendered with a fuzzy, pettable quality that makes them visually appealing. The environments are vibrant and intriguing, and the food looks so appetizing that viewers might wish for smell-o-vision. While the animation quality may not rival that of major studios like Pixar, it is nonetheless solid and enjoyable. A particularly noteworthy sequence involves an army of delivery drones, showcasing impressive detail and style.

The plot centres around Garfield, voiced by Chris Pratt, who is reunited with his estranged father, Vic, played by Samuel L. Jackson. The story takes a surprising turn into heist territory as Garfield and Vic team up for a milk factory robbery. This mix of origin story and espionage-style adventure provides a fast-moving narrative with plenty of slapstick action aimed at young viewers.

Garfield retains his love of lasagna, pizza, cheese, and all things pasta, using irony and sarcasm to navigate the various escapades. However, Chris Pratt's performance, while earnest, lacks the drollness traditionally associated with Garfield. Samuel L. Jackson and Hannah Waddingham deliver competent voice performances, adding to the film's overall appeal.

The humour in The Garfield Movie is a mix of familiar jokes and slapstick comedy. Many moments will amuse children, with some jokes tailored specifically for older viewers, such as references to Tom Cruise and the use of the Mission Impossible and Top Gun theme songs. Despite these nods to a more mature audience, the film primarily targets younger viewers with its straightforward, surface-level humour.

Unfortunately, the script often relies on tired old jokes and gags that lack cleverness. While the movie has scattered laughs, the overall comedic impact is somewhat underwhelming. This is a notable departure from the reserved wit typically expected from Garfield, making the film feel more like The Secret Life of Pets than a true Garfield adaptation.

The Garfield Movie touches on themes of social inequality, highlighting the contrast between the fortunate who feast and the less privileged who struggle to survive. This message, while interesting, is not deeply explored, aligning with the film's focus on children's entertainment over deeper adult themes.

Additionally, the film addresses abandonment and resentment through Garfield's relationship with his father. These emotional elements add some depth to the story but are not central to the overall narrative.

The Garfield Movie is an inoffensive and moderately entertaining film. Its colourful animation and fast-paced story will undoubtedly appeal to young children, while parents may find enough humour and action to keep them engaged. However, the film lacks the depth and memorable quality of top-tier animated movies. It is a simple, unpretentious form of entertainment that provides a fun, albeit forgettable, experience for families. If you're looking for a light-hearted film to enjoy with your children, The Garfield Movie is a decent choice for a fun outing to the theatre.

The Garfield Movie was released in NZ cinemas on May 30, 2024