• Midsommar



    It’s The Wicker Man on drugs... kinda generic way to put it, but think of it as a very reflexive watching experience where you don’t go looking for shock or scares. You’re looking for an exploration of relationships and the toxicity of human nature. We have to look after ourselves before we can look after others.

  • Dragged Across Concrete

    Dragged Across Concrete


    Not as emotionally captivating as Bone Tomahawk and Brawl in Cell Block 99, but there’s a strange grit, humor and ugliness I can’t honestly explain. It’s a visceral crime drama comprising mostly of a conversations in cars that has a mature and entrancing Tarantino feel to it.

  • Hellboy


    When those hell demons emerged near the end, I was all for it... but everything else was a smoking hot mess.

  • Pet Sematary

    Pet Sematary


    Doesn’t help I’ve read the book and know the plot so there’s nothing to surprise or interest me. But it didn’t give itself its own identity - it was narratively safe, creatively insecure and the characters are soulless.

    For a slow pace, it managed to brush over emotional character arcs and let me wanting more depth to it.

  • The Silence

    The Silence


    A god awful attempt at a cash-in on A Quiet Place where it completely throws its character dynamics to one side for an unimaginative creature feature with every genre trope it can cram without substance or intrigue.

  • Hell Fest

    Hell Fest


    Serviceable slasher flick with good characters but it squanders the potential of its spooky theme park setting.

    It just felt... pointless without anything revealing or provocative to give it much long term thought.

  • The World's End

    The World's End


    The mature finale of The Three Flavours Cornetto Trilogy is by far the most poignant and “mature”, which detracts from the sci-fi tropes that sometimes feel overplayed when seeing a group of old friends on a pub crawl was somehow interesting enough.

  • Hot Fuzz

    Hot Fuzz


    That rare perfect film for me. Balances self-aware satire on genre conventions and social behavior while throwing some schlocky murder mystery into the works that gives off a Midsummer’s Murder vibe.

  • Shaun of the Dead

    Shaun of the Dead


    Still endearingly funny and cleverly detailed. Simple, passionate and exciting. That’s all a zombie comedy with string characterization needs to be.

  • Observe and Report

    Observe and Report


    I know it gets the rep as “the raunchy Paul Blurt”, but with it being a Jody Hill film, it’s a dark uncomfortable day-in-the-life of characters you’re not sure if it’s ok to feel sympathy for.

    Seth Rogen plays a mall security office with big ambitions to be a cop who shoots down bad guys, but gets caught up in violent thoughts brought on by his bipolar disorder.

    It strangely fits the current social climate towards stereotyping, prejudice and completely…

  • Under the Silver Lake

    Under the Silver Lake


    Your guess is as good as mine when it comes to making sense of everything. A man runs around trying to solve the mystery of his missing neighbour and finds himself consumed by conspiracy theories.

    It’s basically surreal humor mixed with noir red herrings and a genuinely creepy owl woman monster indictative of filmmaker David Robert Mitchell’s last film It Follows.

    It’s two and half hours of unclear vapidity that I somehow ended up going with the flow of it.…

  • Slaughterhouse Rulez

    Slaughterhouse Rulez

    I get it’s willingness to be B-movie schlock, but talk about random. The premise of a mysterious sinkhole where monsters emerge and attack a bordering school has potential... if it didn’t happen in the last third of the movie!

    Before the generic uneventful monster shinnagans, there’s at least some resemblance of likeable but shallow characters who I think satirise elitist bordering schools and upper class culture. Yet with no other purpose than to put across some unclear message about fracking.

    It tries to sell itself as a Shaun of the Dead like movie... but it’s not.