Franchises and festivals are my main focus this month, with some singular films surrounding it also. So, let's see what films I saw this past July.
Humanist Vampire Seeking Consenting Suicidal Person (2024) - 3.5/5 - A solid work about the universal issues which affect different people.
In A Violent Nature (2024) - 4/5 - This was extremely my jam. A first-person slasher flick that embodies how audiences flocked to '80s slasher sequels for the killers instead of the seemingly interchangeable characters, as it unfolds from the killer's perspective while reducing the camper stuff and their expected beats to background noise.
The intriguing pace held my attention, as gentle strolls through nature surround some absolutely stunning kills which are brought alive by damn impressive practical effects. This includes one kill which is an all-timer (one word hint: yoga) and a well-deserved kill (one word hint: douchebag).
I must admit, there were moments when my attention wavered (particularly during the last 10-mins or so), but I appreciated how they gave characterisation to the killer through the simplest of means. I was hooked with this film.
Beverly Hills Cop (1984) - 4/5 - It's no wonder this film was a star-making hit for Eddie Murphy, because he is absolutely electric as Axel Foley. The story is rather by-the-numbers, a detective goes on a quest for justice against the person responsible for murdering his friend, yet the handling of this film really elevates things. The cast is a massive indicator, especially the brilliant pairing of puppy dog Judge Reinhold and the more grizzled John Ashton, along with the brilliant synth score that repeatedly plays Axel F to ensure that it gets stuck in your head. What truly works wonders is Martin Brest's deft handling of comedy and action, ensuring that somebody being thrown out of a window is thrilling and hilarious without the tones clashing.
Pearl (2023) - 4/5 - Ti West's prequel to X is a fascinating character study that makes the most of its 1918 setting, drawing inspiration from technicolour films to tell a compelling story which fleshes the previous film's antagonist. Key to it all is Mia Goth's exceptional performance, capturing the determination and heartbreak of this woman trapped within a life she does not want, and willing to seize her chance to escape it into her dream life. When the film gets gruesome and murderous, it does it rather well while never forgetting the titular character that is trying to hold things together.
The Mummy (1999) [rewatch] - 4/5 - What a joy to see this on the big screen. Stephen Sommers' iteration of the Universal classic monster is a rollicking adventure film that blends action, horror, and comedy into one effective package. The entire cast is brilliant, but the duo of Brendan Fraser and Rachel Weisz remain unmatched even after 25-years. Watching it on the big screen did highlight some glaring visual effects, particularly whenever Imhotep extends his lower jaw, but there are also plenty of practical effects that still pack a punch. It remains a terrific work.
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| Best film of the month and Best film rewatched: Jaws (1975) |
Kill (2024) - 4.5/5 - If Monkey Man raised the bar for action cinema in 2024, then this snaps the bar and uses it to bash the competition to a grisly pulp.
Stopmotion (2024) - 3.5/5 - A chilling look at the difficult relationship between a creative and their work.
Bad Boys: Ride or Die (2024) - 3.5/5 - The fourth entry into the Bad Boys series has the focal pair trying to prove that their late Captain was framed, resulting in the duo being on the run. For such a simple premise, it is unfortunately delivered in overstuffed ways which leaves various elements fighting to stay afloat. This is especially true of the large amount of characters, leaving the plot to feel messy and in need of streamlining, particularly involving an underutilized Rhea Seehorn. What elevates the film is the direction, as Adil & Bilall direct the fuck out of this. The bombastic set-pieces are brought alive in fiery, explosive glory involving drones, a massive gator, and one sequence feeling inspired by The Warriors. But when an elevator set confrontation goes harder than you ever expected it to, it becomes a sad reminder of what we lost with Batgirl. Will Smith and Martin Lawrence make for an entertaining pair, but this film and the previous one are a fantastic showcase for the directing duo.
Jaws (1975) [rewatch] - 5/5 - A masterpiece that is as compelling as the arduous journey taken to it getting made. From the tension laden first-half, where the peoples lives are put at risk courtesy of greedy capitalists, to the engrossing second-half where the leads hunt for the shark, this is a thoroughly engrossing work which makes the characters and their interactions feel real all throughout. It's fascinating how terrifying a work this is courtesy of John Williams' score making up for the lack of seeing the shark, and it's truly astounding how it remains so impactful almost 50-years since its release.
Unfrosted (2024) - 0.5/5 - A feeble attempt that accomplishes very little.
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| Best film seen in cinemas and Best film watched for the first time: Longlegs (2024) |
Longlegs (2024) - 4.5/5 - The experience of watching this film resembles staring into the abyss, and may leave one hesitant about celebrating another birthday.
Twister (1996) - 3.5/5 - I can see why this was such a hit when it came out. Yes, it's a film built around a spectacle made of now dated visual effects, but what spectacle! Jan de Bont takes viewers up close to the danger while anchoring the story in real emotional weight, courtesy of characters that feel real and a likeable cast. Bill Paxton and Helen Hunt make for a dynamite pairing, while Cary Elwes relishes in playing a complete git.
Jaws 2 (1978) - 1.5/5 - This may be a hot take, but Jeannot Szwarc is no Steven Spielberg.
A sequel intent on setting itself apart from the iconic classic by taking more of a B-movie direction, while also being pretty damn boring. With only Roy Scheider returning from the original film's core trio, more of a focus is given to teenagers inhabiting Amity Island, although it forgets to give them personalities. Despite a handful of moments which work, this is a frustrating experience which goes through the motions until it reaches the shark carnage.
Godzilla (1954) [rewatch] - 4.5/5 - Revisiting this iconic work was just what I needed after a long day at work. Sometimes, a man in a rubber suit causing utter destruction is needed to hammer home the warnings of man-made nuclear devastation.
Underground (2024) - 1.5/5 - A story stronger with character interactions than horror elements, despite James Swanton's best tries.
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| Biggest Disappointment: Deadpool & Wolverine (2024) |
Godzilla Raids Again (1955) - 2.5/5 - After the success of 1954's Godzilla, Toho wanted to capitalise on that by rushing through a sequel. The result has an entertaining rubber suit smackdown between the kaiju performers, as though they are performing amateur wrestling for the cameras. It's unfortunate how that feels like padding amidst an unengaging human element, feeling like a lesser version of what the previous film succeeded at. Yet there is something endearing about this, particularly the kaiju segments, which gives it more personality than the worse Monsterverse films.
Love Hotel (1985) - 4.5/5 - A work where comfort is found amidst neon-lit heartbreak.
The Old Man and the Demon Sword (2024) - 2.5/5 - A curious mash-up that offers fun amidst messiness.
Poolman (2024) - 0.5/5 - Shallow stuff.
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| Biggest Surprise: Accident (2009) |
Chime (2024) - 4.5/5 - It may only last 45 minutes, but it sticks within one’s mind with sheer terror and unsettling power.
Cannibal Mukbang (2024) - 4/5 - If Promising Young Woman had a ravenous appetite for human flesh, this would be the tremendous outcome.
Carnage For Christmas (2024) - 3.5/5 - A stylish festive slasher that promises to deck the halls with blood-soaked holly.
Picnic at Hanging Rock (1975) - 4/5 - In the 1900s, a class trip for an all-girls boarding school ends in a shock as three girls and a teacher mysteriously disappear. What unfolds as a result is an enigmatic and dreamlike tale, capturing a creeping sense of the unknown with thanks to the direction and the mystifying score. What truly brings this tale alive are the ripples caused by the disappearances, reminding me of Twin Peaks in how the inciting incident effects the people that remain. A fascinating work from Peter Weir.
Cuckoo (2024) - 4/5 - An effective genre mash-up that crafts its own distinctive identity.
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| Worst film of the month: Unfrosted (2024) |
Paprika (2006) - 4/5 - Before Christopher Nolan delivered a blockbuster through the dreamscape with Inception, Satoshi Kon brought alive the sleep-time adventures through the limitless medium of animation. The story unfolds as a machine which allows therapists to enter their patient's dreams is stolen, resulting in chaos as the lines between dreams and reality blur. An imaginatively realized adventure which impresses, capturing the incomprehensible nature of dream logic in phenomenal ways that live-action would struggle to replicate. Central to it are very human stories about the dark side of human desire and deep-seated regrets, although the Tokita romance angle felt tacked on for me. I feel that a rewatch would boost my opinion of this film, but for now, it remains an impressive work that I cannot wait to revisit.
Men In Black (1997) [rewatch] - 4.5/5 - One of the best examples of the opposites-attract relationship, as Tommy Lee Jones delivers a stern demeanor while being able to sanction Will Smith's buffoonery. It is casting that phenomenally brings alive this well-realized world, making the scope and impact felt within the confines of a 97-minute runtime. Thank goodness David Schwimmer passed on playing Jay, especially because I cannot imagine him delivering lines like "It's raining Black people."
Deadpool & Wolverine (2024) - 2/5 - A multiversal misfire reliant on nostalgia.
Accident (2009) - 4/5 - An underseen thriller that is equally compelling and tense.
Snack Shack (2024) - 4/5 - Following the excellent Dinner In America, Adam Rehmeier crafts a nostalgic tale set in the '90s summer as two friends intend to make their summer a financially successful one as they run the local pool's snack shack. Their adventures in money-making tomfoolery hits a snag as they both fall for the new lifeguard.
What unfolds begins with raunchy humour, allowing these kids to be messy as they indulge in underage drinking, excessive cursing, and making decisions that distraught their parents. The way it transitions into directions that are touching and intimate is fascinatingly done, resembling a nostalgic haze through a summer long passed that hits in impactful ways.
If Ed, Edd n' Eddy was seen through a Superbad lens, with shades of Adventureland in there, this would be the fantastic result.
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