August is long gone, and it was a month of festivals for me as I covered Fantasia Film Fest and FrightFest. As a result, my catch-up of 2024 films and franchise explorations includes A LOT more films being watched than I usually manage. So, let's see what films I managed to watch this past August.
Jaws 3-D (1983) - 1/5 - The third film in the Jaws series takes a different approach, instead leaving behind Amity for a Sea World style park which is thrown into chaos by a shark's arrival. What unfolds is really boring, focusing on an array of lackluster characters that are flimsily written (and, in Dennis Quaid's case, powered by a cocaine fuelled performance.) It is also beset by awful looking effects, particularly for the antagonistic shark, and tries compensating by including distracting scenes that are meant to capitalize on the 3D boom of the time. Utterly toothless drivel.
A Quiet Place: Day One (2024) - 4/5 - Even when he's directing a prequel to a horror franchise, writer/director Michael Sarnoski manages to craft a touching story that feels utterly human. Taking viewers back to when the sound-hunting aliens first landed on Earth, the story goes to the busy streets of New York City where poet Samira (Lupita Nyong'o) is trying to survive the circumstances while dying from cancer. Aiding her quest is Eric (Joseph Quinn), a law school student from Kent, and a very good cat called Frodo.
In terms of monster action, this film lets things down in that regard, yet there are moments where the aliens are utilized in pretty tense ways. Where this film succeeds is in the emotionality, with distinctly human moments brought alive excellently by the performers. Along with that banger of a final shot, this is a fantastic addition to an already solid franchise.
Beverly Hills Cop II (1987) - 3.5/5 - After Captain Bogomil is shot, Axel returns to Beverly Hills to find the person responsible and how it is linked to a weapons dealer. What occurs is an enjoyable sequel that offers fun amidst a more nonsensical plot, throwing messy barriers to extend the runtime and to retrace steps from the successful original film, while the antagonists need more work. Yet I cannot deny that I had fun with this, particularly as the characters grow in each others company, which includes Rosewood taking it up a notch with an array of weapons.
Love & Pop (1998) - 4/5 - A compelling work from Hideaki Anno about loving one's self amidst external forces.
Jaws: The Revenge (1987) - 0.5/5 - The best things about this film are easy to sum up:
*Michael Caine's story about agreeing to make the film because the first line of the script said "Fade in: Hawaii."
*Michael Caine's story about not having seen the film, but having seen his terrific house it built.
Outside of that, we have a nonsensical film that delivers second-hand embarrassment to anybody watching this rubbish. It should all be hilarious, the idea of a shark with a vendetta against every member of the Brody family, despite the shark notably being blown to smithereens in the first film. That leads it to speedily follow the family who are flying from Amity to Hawaii, roar like a lion, have a psychic link with Ellen Brody, and seemingly track anybody close to the Brody's as soon as they enter the water. And yet, this shark based nonsense is just utterly boring to watch. A real shame, but perhaps it's best that this series has been dead for over 35-years, because I don't want to see a legacy sequel that follows this dreck.
The Tenants (2024) - 4/5 - An eerie trip down a capitalist dystopia which feels frighteningly real.
Kneecap (2024) - 4.5/5 - When disillusioned music teacher JJ crosses paths with self-confessed 'low-life scum' Naoise and Liam Og, the trio unite as Irish hip-hop group Kneecap. Utilizing the Irish language to talk about their tough, hedonistic lives, the group bring a language threatened to die out to a modern audience. Writer/Director Rich Peppiatt takes what could have been a typical music biopic and brings it alive so energetically, interweaving excellent comedy and a message about cultural preservation while showcasing visual flair with stop-motion sequences and trippy visuals.
There is real passion in this film along with an anarchist edge, and this feels aided by the real-life band members portraying themselves. It's a fascinating idea that pays off superbly well, with the main trio delivering on intimate moments as effectively as the comedic elements. Michael Fassbender is also terrific as a former Republican paramilitary evading the police, while Fionnuala Flaherty impresses as the girlfriend that isn't as in the dark as she lets on. There are times when the story feels a bit weighed down by narrative expectations, but these feelings soon pass by.
If Sing Street had shades of Trainspotting, this electric piece of filmmaking would be the cocaine-fuelled result.
Hollywood 90028 (1973) - 2.5/5 - A serial killer film which parades in an arthouse films skin.
Spider-Man (2002) [rewatch] - 4/5 - What a joy it was to revisit this on the big-screen. Yes, the visual effects may look dated, especially with the webslinging, but it's in service of thrilling battles that are brought alive with a physicality that remains stunning. The best example is the final fight, shot in such breathless ways that left me thinking a superhero fight has not gone harder since.
There is also the charming relationship between Peter and Mary Jane, making for a beating heart that feels inspired by romcom cinema. When MJ's relationships with men have been troubled, from her home life with her father, to her being a "trophy girlfriend" for Flash to parade around with, and Harry using her to impress his father, it feels real to see her fall for someone who sees her as an actual person with hopes and dreams. It also helps that Tobey Maguire is so earnest and sincere with his performance as Peter, as he realizes that with his great power must come great responsibility.
Sam Raimi is also fantastic at making extras feel so memorable in ways that leave his cinematic worlds feeling full of life. Bruce Campbell is the obvious example, but there is also the Midtown teacher who feels like he's reaching breaking point on the school trip, Octavia Spencer's little role, and the extras who comment on Spidey during a key montage.
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| Best film of the month, Best film seen in cinemas, and Best film rewatched: Coraline (2009) |
Beverly Hills Cop III (1994) - 1/5 - Considering what happened over a decade prior on The Twilight Zone: The Movie, it is WILD that this John Landis directed film involves children in a perilous stunt. It's saddening how people really learned nothing from that horrific tragedy.
7 years after the last film, Axel Foley returns for a sequel set at an amusement park. There is a germ of an idea here, having the foul-mouthed figure run riot in a Disneyland style park, but it feels like there is little drive from anywhere to make this film a good addition to a stellar series. There is the idea of Axel being older and more mature, but Murphy's toned down performance combined with the dry material and lacking humour makes this feel like a film where everybody phoned it in. There's a sense of all involved trying to be above the material, and it just results in a sequel that would rather be forgotten by all involved and all who watch it.
Schlitter: Evil In The Woods (2024) - 2/5 - A tale of all-consuming vengeance.
The Missing (2024) - 4/5 - A heartfelt tale of finding ones voice realized through animation and imagination.
Oddity (2024) - 4.5/5 - A horrifying experience which cements Damian McCarthy as an exceptional talent.
Video Vision (2024) - 2/5 - A nostalgic look at an analogue age through body horror.
Charlotte (2024) - 4/5 - An uncomfortable tale which ensures that ones attention is captive throughout.
Hell Hole (2024) - 3.5/5 - The Adams family operate in zany b-movie mode, and it offers a lot of fun.
The Dæmon (2024) - 2.5/5 - An effective gaze at grief mixed with horrific elements.
Spider-Man 2 (2004) [rewatch] - 5/5 - As a massive fan of The Evil Dead series, the peak of Sam Raimi's career is absolutely the train sequence. One of the most thrilling spectacles put to screen, and an emotionally rewarding piece that is necessary within a film that has repeatedly shown the weight of responsibility that comes with Spider-Man's power.
That is a massive part which drives this sequel, as the Parker luck rears its head as Peter finds happiness slipping through his fingers while his need to save the day takes prominence in his life. This is the best depiction of a working class superhero, and Raimi manages that struggle to balance things so magnificently.
Rewatching this also hammers home how wrong I have been regarding Kirsten Dunst's Mary Jane Watson. As the first film believably saw her fall for Peter, the one man to see her as a person with actual hopes and dreams, this one continues that as she tries moving on from her childhood friend who claims he has no romantic interest. Frankly, I do not blame her when Peter comes off as so flaky and wishy-washy regarding his interest in her.
Also, it is a pleasure to see an audience reacting so lovingly to Mr. Ditkovich appearing to demand rent. It's just another excellent reason for why this is one of the best superhero films of all time.
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| Best film watched for the first time: The Substance (2024) |
Members Club (2024) - 2.5/5 - An intersection of sex, comedy, and horror which can be endearing.
Boutique: To Preserve and Collect (2024) - 3.5/5 - A work of clear passion about the necessity of film preservation.
Never Have I Ever (2024) - 4/5 - A compelling tale of vengeance rooted in emotion.
7 Keys (2024) - 3.5/5 - A captivating erotic thriller driven by the leads sizzling chemistry.
Coraline (2009) [rewatch] - 5/5 - What a joy it was to see this on the big screen in 3D. It really accentuated the deceptive joys and horrific truths that Coraline experiences in the other world, complimenting the masterful craft that Henry Selick and Laika released into the world 15-years ago.
Borderlands (2024) - 0.5/5 - As a teen, I once ordered a copy of Spider-Man 2 in the post. My family dog unfortunately got to the post first and bit through the disc. I still tried to play the disc, adamant that I would at least try this which I had purchased, but it was a futile attempt. The disc kept skipping over key scenes entirely, leaving the experience of watching that film in the format a muddled mess that left me increasingly exasperated and frustrated.
I was reminded of that experience watching Borderlands, the latest unfortunate try at making director Eli Roth a thing. Character beats, revelations, relationships, motivations. Few of these mean a thing in the dreadful final cut, which throws sense out of the window and tries papering over the cracks by having a stilted voiceover and playing an uninspired selection of songs chosen for the soundtrack. A talented cast may be assembled, but they are wasted courtesy of such dire material. It is astounding how "poopyhead" is used as a serious insult, and yet it is less embarrassing than Jack Black's lines.
Maybe there was studio interference which turned a video-game series trying to be edgy into a film as edgy as a bowling ball. Perhaps the much documented reshoots overseen by Deadpool director Tim Miller complicated things. I can only speculate where the fault lies, but the attempts to turn it into a releasable film feels as effective as sticking a severed finger back onto the wound with half-chewed gum and semen.
What's most unfortunate is that, in my screening, I was sat in front of a group of kids that wouldn't stop loudly talking for the entire experience, and yet it was the preferable choice to actually watching this film.
Cinderella's Curse (2024) - 1/5 - A familiar tale taking down horrific avenues.
The Lonely Man With The Ghost Machine (2024) - 3.5/5 - A deeply human approach to the apocalypse with resonant results.
Touchdown (2024) - 3.5/5 - Familiar elements are utilized in fresh ways which reflect modern times.
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| Biggest Disappointment: Hollywood 90028 (1973) |
Children of the Wicker Man (2024) - 4/5 - An honest and emotional documentary about the devastation left behind from making 1973's The Wicker Man.
I Saw The TV Glow (2024) - 5/5 - Jane Schoenbrun truly is a one of a kind filmmaker.
Their sophomore feature is an engrossing watch, as two high school students' connection to a Buffy style TV series leads the pair to question their identities and their lives. What unfolded was a resonant piece of cinema that is utterly imaginative, focusing on gender identity in ways that feel drawn from honest experience, while also showcasing how the enthralling power of nostalgia can be both an escape and a prison. Key to this work are excellent performances, with Brigette Lundy-Paine delivering exemplary work that peaks with an attention-grabbing monologue, and Justice Smith tremendously capturing a character who feels distanced from reality and struggles the believe the very lies that escape his mouth.
Broken Bird (2024) - 3.5/5 - What a cracking way to kick off Frightfest 2024.
Joanne Mitchell makes a confident feature debut as a director with this heartbreaking tale about grief and searching to fill a gloomy void. Rebecca Calder delivers a stunning performance as Sybil, the mortician whose quest to find happiness in life takes her down dark avenues whilst her mind fractures. It may feel disjointed in places, but this is a solid start to another year at the fest.
Test Screening (2024) - 4/5 - Set during summer 1982, a group of friends excitedly attend their local cinema for a test screening of a new Hollywood movie. The excitement turns into horror, as what is witnessed has larger consequences than just a simple movie. Director Clark Baker utilises '80s nostalgia in enticing ways, as the small town mystery with shades of Spielberg takes routes which call to mind The Thing and Society. An engaging and entertaining work that is never afraid to get gloriously squishy.
Happy Halloween (2024) - 0.5/5 - As a small town gets ready for 300th birthday celebrations with Halloween festivities, a series of slayings leaves the residents on edge for what is coming. At the centre of it is Hadley, who survived a brutal attack from her ex-boyfriend the previous year. This film was made possible due to kickstarter backing, and it feels made by passionate people, although I do wish that the final product was of better quality. From the never proactive protagonist to the irritating skater friend, it is a film inhabited by half-hearted creations who seemingly exist to make infuriating decisions as a way of compensating for their missing characterisation. The story takes lacking directions right until the slapdash ending which makes little sense, leaving us with a film that's more trick than treat.
An Taibhse (2024) - 3.5/5 - A terrifying look at inescapable horrors.
Bookworm (2024) - 4.5/5 - Ant Timpson makes his long awaited follow-up to Come To Daddy, and despite not having any lines referencing Michael Heseltine, this is an absolute knockout. 11-year-old Mildred is united with her long-absent father, washed up magician Strawn Wise, after he returns to look after the daughter he never met. The pair have a bonding experience when they go on a camping trip searching for a panther in the New Zealand wilderness. With shades of Hunt for the Wilderpeople, this is an adventure that is thoroughly heartfelt, touching, and utterly hilarious. Elijah Wood and Nell Fisher are a perfect pairing, selling the physical and emotional journey that the characters undertake with pitch-perfect precision. A special mention is deserved to Michael Smiley, who is a scene-stealing hoot. What a fantastic work.
Ghost Game (2024) - 2/5 - Following up The Stylist, Jill Gervargizian crafts a story following a woman's hobby of breaking into people's houses to live undetected. Her boyfriend wishes to join in on the next game, which will take place at an infamously haunted manor, although there may be a greater danger inside than the couple realise. The premise is an interesting one which has been drawn from real-life stories, although the handling left me sighing. It does draw interest from the game, although it loses steam as it takes less interesting directions which leaves the story to fall apart.
Shelby Oaks (2024) - 3.5/5 - A solid first feature which shows promise for Chris Stuckmann's filmmaking career.
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| Biggest Surprise: The Life and Deaths of Christopher Lee (2024) |
The Hitcher (1986) - 4.5/5 - Driving a car to California, Jim Halsey naively picks up John Ryder who is hitching a ride on the highway. This turns Jim's journey into a nightmare, as he becomes stalked by the ice-cold monster and framed for his crimes. C. Thomas Howell captures the increasing desperation of our lead, who finds any lifeline cruelly snuffed out by the destructive figure solely focused on destroying Jim's hopes so viciously. Rutger Hauer is terrifying as the titular hitcher, and it makes for a stunning work that deserves to be seen more widely.
Survive (2024) - 3/5 - A solid survival flick which gets the job done rather well.
The Last Voyage of the Demeter (2023) - 3/5 - A year after this was released in the U.S., I finally got a chance to see this on the big screen. André Øvredal directs a feature adaptation of the Demeter segment from Bram Stoker's original Dracula novel, carving its own path while saying that it is "suggested" by the novel. Unfortunately, this leads to a sequel set-up that makes this feel like set-up for a further Dracula film that will likely not happen. Outside of that, this is an overlong and undercharacterised work that is an entertaining and grisly time aided by terrific performances.
Mermaid Legend (1984) - 4.5/5 - An exceptional gem celebrating its 40th anniversary.
Strange Darling (2024) - 5/5 - Go into this film knowing nothing, it's worth it.
The Monster Beneath Us (2024) - 2.5/5 - A tale of grief within a time where talking about such a thing was considered uncouth.
Dark Match (2024) - 4/5 - What a perfect way to start my Sunday morning. A small-time wrestling company accepts a well paying gig in a backwoods town, only to learn that the wrestling match has hellish consequences. Lowell Dean has a perfect handling on this feature, knowing when to play it seriously and when to have a laugh, with both working to tremendous effect. Ayisha Issa is tremendous as the heel who finds her aspirations for success blocked by regressive attitudes, while Steven Ogg plays against type fantastically as an utter sweetheart. A fantastically characterised piece that is not afraid to get grisly or strange, knowing when to include such aspects, and it absolutely works tremendous. A stone-cold stunner of a film.
The Life and Deaths of Christopher Lee (2024) - 4.5/5 - Consider this my best surprise of Frightfest 2024. This documentary about the life and career of Christopher Lee avoids a traditional womb-to-tomb retelling, with the uniqueness kickstarted by the narration being provided by a puppet of Lee with the voice provided by Peter Serafinowicz's impersonation. What unfolds is a loving and charming portrayal of the iconic actor, brought alive with a variety of eye-catching styles, sharp tongued wit, and a treasure trove of coverage. Come for the many facets of a long career, stay for the inclusion of Christopher Lee's heavy metal phase, and the riotous last piece of archival footage.
Azrael: Angel of Death (2024) - 4/5 - A kick-ass piece of genre filmmaking.
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| Worst film of the month: Borderlands (2024) |
Derelict (2024) - 2/5 - Struggling to come to terms with her father's murder a decade before, a young woman seeks revenge upon the perpetrator after he is released from prison. Director Jonathan Zaurin appears to be drawing inspiration from Shane Meadows style grittiness and the soul of South Korean revenge thrillers, yet it falls short of either. What remains is an overlong work that feels derivative, and it is a shame despite an effective cast and some directorial choices that do work.
Invader (2024) - 3/5 - Closing out day 4 of the festival was the latest work by Mickey Keating, which follows a woman who discovers her cousin may have fallen to a home invader. This is a lean, tense work that grows truly uncomfortable, particularly with the score and with many further revelations. Yet it is marred by shaky camerawork, has an ending that does not know when to quit, and somehow feels overlong despite a 70-minute runtime. Also, it's 2024. Why are we still resorting to "killer dresses as a woman" tropes?
The Dead Thing (2024) - 4/5 - Colour me impressed with this feature from Elric Kane. The story follows Alex, whose attempts to find the right guy lead her to a number of unfulfilling dates courtesy of a dating app. Amidst this repetitive cycle, she meets the perfect match in Kyle, although their connection is hampered by the revelation that he is a ghost. What initially appears to be a Tinder-era take on Truly, Deeply, Madly soon transforms into an engrossing tale with shades of 2020's The Invisible Man. This all makes for an erotic and compelling mixture that may be discussing familiar topics, but that does not hinder how engrossing and mesmerising this night-time tale is.
A Desert (2024) - 3.5/5 - The feature debut of co-writer/director Joshua Erkman, the film follows a photographer who befriends a reckless young couple while on a road trip. What unfolds is a fascinating picture that felt like a Lynch inspired trek through crumbling architecture, conjuring enticing imagery that kept my interest piqued even as the narrative struggled to come together. The performances are great, capturing these various characters who gaze through cameras in search of truths while hiding their own things. I cannot say that I loved this one, but I am curious to see what Erkman will craft next.
Barista (2024) - 3/5 - Now, this was an absolutely fun short. A slasher homage that is full of entertaining kills and puns, delivered to great effect.
Generation Terror (2024) - 4/5 - Frightfest 2024 was particularly excellent for the documentaries they showed, and this is another strong example of that. With the help of filmmakers and critics, directors Sarah Appleton and Phillip Escott craft an insightful look into the noughties era of horror, including how the '90s informed it, An insightful, fascinating, and entertaining look at a notable era in horror cinema.
The Substance (2024) - 5/5 - An audacious look at ageing that takes viewers on an unforgettable ride.
Alien: Romulus (2024) - 3.5/5 - In an effort to escape their lives in indefinite servitude, a group of space colonizers scavenge a crumbling space station in the hopes of finding equipment that will lead to better lives for them. What they found instead were an array of terrifying creatures that will remind audiences that, in space, no one can hear you scream.
After 2013's Evil Dead, the idea of Fede Álvarez imbuing another iconic franchise with his own tense filmmaking style is an enticing one to me, and this is a film which works best when carving its own path in this universe struggling to survive under Weyland-Yutani's shadow. The characters are well-drawn figures with their own nuances, although David Jonsson was easily the standout as the lovable fountain of dad-jokes, Andy.
The practical sets and effects work so well, being a fantastic ground for these characters to partake in tense set-pieces and to meet fascinatingly grisly ends. Where the film falls down is in connecting to Ripley's story, with one particularly egregious decision feeling distasteful and could have been easily worked around. For a film that is about characters fighting to break free of a corporation's shackles, it's a shame that it has such decisions which feel enforced by The Mouse. It is also what ultimately prevents me from loving this film, which is a shame because it takes interesting decisions that feel fresh within this series. I am interested in a further film, but maybe loosen the nostalgia goggles.
A Samurai in Time (2024) - 3/5 - A fun fish out of water tale which runs for too long.
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