Frankenstein (2025)

Guillermo del Toro's long-gestating Frankenstein project finally comes to fruition, and it's a bit of a letdown. Visually, it's gorgeous and aesthetically pleasing, with del Toro's keen eye for the bizarre and unusual. The problem is, we've seen this all before in one form or another. The Creature himself leaves something to be desired. And it goes on for much too long. While I admire a lot about it, it just didn't connect with me as much as previous versions. But it's still worth recommending simply due to the sheer marvel of the production.

3½ cadavers out of 5

Star Wars: Episode IX - The Rise of Skywalker (2019)

J.J. Abrams is inconceivably, ill-advisedly back in the director's chair (after a last minute shake-up in plans when Colin Trevorrow backed out) and attempts to course-correct the universe back to where The Force Awakens left it. Consequently, it feels like a push and pull between two different creative forces at war with each other, and the trilogy does not feel as satisfyingly consistent or tied together as it could have been had they actually plotted out its three-film structure (or better yet, followed Lucas's original outlines) before embarking on this fool's errand. Rey has now taken up the mantle of resident Jedi and attempts to do battle with the ghost of Star Wars past. They position her as the next savior for the future of the franchise, which is all this trilogy ever set out to do. At the end of the day, it manages to be a competent enough film with standard entertainment value that doesn't attempt to ruffle many feathers. The series is neither better nor worse for it; it simply is.

3 "They fly now?!" out of 5

Note: For an alternate version of what Episode 9 could have been, check out Trevorrow's original draft, entitled "Duel of the Fates."

Star Wars: Episode VIII - The Last Jedi (2017)

This might be going against the grain of popular fan-thinking, but I actually preferred this installment to The Force Awakens. It attempted to do something different with the Star Wars brand (just like George Lucas set out to do with his prequel trilogy), whereas J.J. Abrams was more concerned with repeating the past successes and making sure everyone still liked him at the end of it, but did nothing revolutionary to make itself stand out from the rest of the series. This film does the opposite and subverts the viewer's expectations, and it's thrilling as long as you're open enough to accepting change. It's too bad Abrams ended up retconning most of it for the divisive third entry.

4 swigs of green milk out of 5

Dune (2021)

People love these movies, but I can't stand them. I find them pretentious as fuck. Still, the VFX are nice and the direction is accomplished beautifully by Denis Villeneuve. Maybe what annoys me the most is how long they are. Do we really need to devote 2½ hours to approximately one half of a novel? It travels at a leisurely snail's pace, but maybe that's the point. And there's sand, sand everywhere. It's like Tatooine: The Movie. Personally, I thought the 1984 version was superior, because at least it told a "complete" story. I'm being generous here with my rating because I don't want the fanboys to come after me.

3 stillsuits circulating your own urine out of 5

A Most Violent Year (2014)

Set in a wintry New York in 1981, it has the look and feel of an older gangster film, but the main protagonist, an ambitious businessman by the name of Abel (Oscar Isaac), is doing his best to avoid that particular lifestyle or even to be beholden to anyone who's already a part of it. His primary focus is on his heating-oil business, a profitable venture that's been targeted by an unknown rival force, leaving Abel in a dire straits situation.
It's a well-made film with a solid foundation and actors that are mostly believable in their roles. The few action scenes that add colour are dramatic and equally well-shot. To be fair, the script isn't bad either, but it wasn't as captivating as it needed to be in order to be more than the sum of its parts.

3 hijacked rigs out of 5

X-MEN: APOCALYPSE [2016]

X-men: Apocalypse is the ninth film in the film franchise (and director Bryan Singer's fourth) and it seems like it's just starting to come full circle with the conclusion of the First Class story arc.
En Sabah Nur (aka Apocalypse), the world's oldest mutant, has risen after thousands of years of being buried underground, making him a bit testy, so he would love to wipe out mankind and rule the world as he sees fit.
As special effects summer blockbuster, the film is a wide-eyed spectacle that doesn't disappoint from a technical point of view.  However as a character piece, it hits a few marks with success and then misses many like an elephant using chopsticks.  There's some wonderful moments from most of the characters, especially the new kids (not Mystique...she's always been boring) but it constantly loses focus before a proper pay-off is given.
Not enough surprises and creativity shows the franchise is losing steam again so hopefully it gets a swift kick in the butt before it tackles the stories it's leading up to.

3 shots at last stands out of 5

STAR WARS - EPISODE VII - THE FORCE AWAKENS [2015]

After retooling the premise of the Star Trek series, sci-fi nerds were very cautious approaching director J.J. Abrams' much-hyped continuation of the Star Wars saga, coming 38 years after the original film.
Fortunately Abrams & co. deliver the popcorn space opera awesomeness for Episode VII: The Force Awakens.
Set thirty years after Return of the Jedi, with the Empire defeated, a powerful new threat rises, known as the First Order and clashes with the Resistance, comprised of faces both familiar and new.
This gorgeous looking thrill-ride captures all the excitement of Lucas' films while capturing Abrams' edgier flavor but never sacrificing any of the fun (or going overboard with his trademark lens flare).  The casting is wonderful and even though I'm familiar with nearly all the names, it's the one who I didn't know that stood out the most: Daisy Ridley as the ass-kicking scavenger Rey.  It mirrors the events of the original film, giving it a history repeats itself feel but as it comes to a conclusion we're promised a brand new direction that's sure to surprise with flying colors.
"Chewie, we're home" indeed.

4 big hairy things out of 5

EX MACHINA [2015]

Screenwriter Alex Garland makes his directorial debut with the thought-provoking sci-fi thriller Ex Machina.
It's a frightening tale about a young computer programmer who's chosen to take part in a mysterious test on a new form of A.I. within a female robot.  Garland crafts a beautiful looking piece washed over in interior neutral tones contrasting with the vast green Alaskan forests surrounding his primary setting.  With stories like Sunshine and Never Let Me Go behind him, Garland makes it no secret he's heavily skeptical of the dangerous route humanity is heading down.  As dazzling as the film looks it doesn't skimp on brains either, with several disturbing philosophical themes being explored about human behaviour, female sexuality and the dangers of apotheosis.  There's not a weak link in it's three leading performances which makes it all the more better.  It's a finely polished film that will simmer within your haunted thought box long after it's over.

4 Islands Of Dr. Bateman's out of 5

ANOTHER DAY, ANOTHER TIME [2013]

Inspired by The Coen Bros' musical drama Inside Llewyn Davis, director Christopher Wilcha documents a concert inspired by the era and music of the film with a concert produced by T Bone Burnett in Another Day, Another Time.
The concert is wonderful collaboration of who's who from both yesterday and today's folk-based genres including living legends Patti Smith & Joan Baez and more modern artists such as Jack White, Conor Oberst, The Milk Carton Kids and Llewyn Davis himself, Oscar Isaac.  It bounces back between studio rehearsal performances and the actual stage show, both of which are an absolute delight to watch.  Each artist is quite obviously born with their respected instrument so it's nice to see them all interact with each other in both conversation and art.  An absolute must for any fan of the film, it's music or just a curious onlooker.

4 kleenex boxes out of 5

INSIDE LLEWYN DAVIS [2013]

The Coen Brothers paint a dreary haze over a depressingly funny story, loosely inspired by folk singer Dave Van Ronk, with Inside Llewyn Davis.
Oscar Isaac is absolutely fabulous in the title role and with any luck he will gain the acclaim he's deserved for years.  Isaac's Drive co-star Carey Mulligan display a dark yet charming performance that matches the rest of the magnificent cast, particularly Justin Timberlake, who's made a smooth transition from pop star to actor.  With The Coen's O Brother Where Art Thou? music producer T-Bone Burnett on board I don't even have to tell you how great the music is.
It's a compelling gem of a film that is sure to please fans of the brother's more difficult films and probably baffle others with it's odd style of storytelling and miserable characters.

5 folk singers & a cat out of 5

Che: Part One (2008)

People are afraid to criticise political films in case they’re accused of being unsympathetic or biased. I care not. The truth is, as a film experience Che fails to present a satisfying linear narrative. It feels like a collection of moments in time stitched arbitrarily together. It’s both an incomplete history lesson that teaches almost nothing about the revolution and a biopic that fails to present its protagonist in an interesting manner. I was left not caring about either aspect and lost interest quickly.

2½ beards, cigars and man-hugs out of 5

DRIVE [2011]

What if David Lynch played it straight and directed a Quentin Tarantino script in the style of a '80's Martin Scorsese flick. You'd probably get Drive.
Danish director (of Pusher fame) Nicolas Winding Refn crafts a well-paced, violent, bizarre, heist thriller following the story of an unnamed character played by Ryan Gosling. It's got a supporting cast that couldn't be better, including Albert Brooks, Ron Perlman, Bryan Cranston, Carey Mulligan and Christina Hendricks. Everything about it is reminiscent of the '80's right down to the stylish score and source songs.
It's a quiet little modern noir that is easily one of my favorites of the year.

4½ stunt-double masks out of 5