Bystanders (2023)

Once again I will confess my predilection for one-location movies, where the cast is in one place for a short period of time and the film follows them work through something. I like talky, messy movies that don't give easy answers and make us think about things. Bystanders is coming at a time when there is few topics more compelling than the nature of consent and its complications. I was captivated by the film's script and the performances of its cast. 

Bystanders starts out like a standard horror movie. A group of 20 somethings are gathering for a weekend at a cabin in the woods. Only instead of the sort of terror we are expecting, they have to confront something else. What if one of them has done something monstrous? What is their role in that? How do they respond? It is a fascinating question. 

And Bystanders doesn't make it easy. The conversations meander (giving it a very real world feel) and the characters' motivations are complicated, their perspectives sometimes contradictory. Everything about Bystanders felt real and honest. And the film's own wrestling with how it is to handle its central character and his behavior is, well, complicated. It doesn't let him off the hook, but it also doesn't let anyone else (including us) off either. 

The film ends without having resolved what happens next. Which is likely for the best. Any attempt to solve the issue would have felt disingenuous. Instead we are just left to sit with everything. And it is a lot to sit with. 

Bystanders 

Starring: Taylor Olson, Marlee Sansom, Cavell Holland, Peter Sarty, Deborah Castrilli, Kaitlyn McCulloch

Director: Koumbie

Writers: Taylor Olson, Lisa Rose Snow, Koumbie

 

Are You There God? It's Me, Margaret. (2023)

I read a lot of Blume as a child but Margaret wasn't one I focused on, likely because of my gender. While I was familiar with it, I barely remembered the plot. But as the film played out for me it started to come back and I was surprised at just how well it balanced the humour and pathos crafting a truly satisfying emotional experience. 

This is a classic for a reason and in this day and age of increased fervor for book banning a film like this is even more important. Stories of coming of age that actually deal with really coming of age are important. Especially in how this film sort of sidelines the boys in the lives of these characters to focus more on their own bodies and friendships. Margaret felt as relevant today as it must have when the book came out. 

Strong performances from the cast and a well crafted script that is genuinely funny and moving while also just being entertaining make Margaret a winner in my book. 

Are You There God? It's Me, Margaret.

Starring: Abby Ryder Forston, Rachel McAdams, Kathy Bates, Benny Safdie

Writer/Director: Kelly Freeman Craig

 

Peter Pan & Wendy (2023)

People who know me know I am not a fan of Disney's "live action" remakes of their animated classics. While some I absolutely loath (Beauty and the Beast, Alice in Wonderland) others I don't actively dislike even if they don't do much for me (Lady and the Tramp, Maleficent). If I'm being honest I enjoy The Jungle Book reimagining. So I go into each one hoping it will be an interesting reinvention of the story (I actually have high hopes for Lilo & Stitch) and don't go in expecting to be disappointed. Even though most of the time I am.  Peter Pan & Wendy is mostly another disappointment. 

It gets some things right. A good Peter Pan adaptation knows that this isn't the story of a boy who won't grow up but a story about a young woman getting ready to. This one nails that. Peter's role is as foil for the true protagonist of the story, Wendy. And like the play this is originally based on, it puts her name in the title. Good start. 

Also the role of Hook is important. You need to find someone who can truly embody the complicated nature of this villain who is at his best both threatening and not. Law pulls it off here doing a great job with what he is given. 

And Lowery is a strong director who brings a vision to his films that makes it feel like Peter Pan & Wendy isn't just the result of a big studio assembly line. He omits the truly problematic elements of the source material from it's colonialism to its sexism. However he isn't able to overcome the main problem of these repackagings; the soulless feeling that seeps into each one. One of the main issues these films have is that they feel like commodifications and not love letters to the originals. This one quite quickly begins to feel that way. It is beautiful and familiar but without managing to hit any of the soft spots the story might have engendered. 

As far as adaptations of the famous story go there are better ones out there (even the truly problematic animated film this one is based on) and as far as nostalgic tribute to its predecessor... well it could be better. 

Peter Pan & Wendy

Starring: Ever Anderson, Alexander Molony, Jude Law, Yara Shahidi, Alyssa Wapanatahk, Jim Gaffigan, Molly Parker, Alan Tudyk

Director: David Lowery

Writers: Toby Halbrooks, David Lowery

 

Sisu (2023)

Sisu is a simple movie. It doesn't try to be anything more than its premise; a man goes around killing Nazis. It's brutal fun and it's over the top. Yes, it jumps the shark a few times, but if you take it as a tall tale more than historical fiction, you can get on board for a bloody good time. 

I enjoy director Helander's films even if you do have to take them with a bit of a grain of salt. Sisu is compact and sticks to its mission. Part revenge fantasy, part revisionist history, all Nazi bashing. Tommila is all sinew and muscle and you believe he could simply refuse to die. He says very little and does all his performance through his eyes and body language. He is completely compelling on screen and audiences will beg for more of his Nazi killer. 

The film took a few weird turns and the ending is more than we can be expected to reasonably accept so be prepared for, well... a lot. But none of that stopped me from enjoying the hell out of Sisu. 

Sisu

Starring: Jorma Tommila

Writer/Director: Jalmari Helander

 

Polite Society (2023)

Iconoclast director Manzoor leans into the silly a bit with this rather fantastic but completely entertaining tale of two sisters. Kansara shines as the younger of the sisters who is hyper-sensitive to the idea of her sister being compromised in anyway by even herself. And while there were times I had to shake my head at the absurdity of the story, I was pulled in entirely.

Polite Society throws a lot against the wall and most of it sticks even if it is a bit messy. Manzoor films her feminist adventure in glorious B-movie style, often absorbing the tropes of the genre a little too much. There are a few times you have suspend disbelief and give the film the benefit of the doubt. But it is rewarding if you do. 

As I mentioned Kansara is charismatic and delightful on screen, bubbling over with energy. Bucha makes for a fun villain even if she also goes over the line in the moustache twirling style. It all does come together if you just roll with it. You'll leave smiling. 

Polite Society

Starring: Priya Kansara, Ritu Arya, Nimra Bucha, Akshay Khanna

Writer/Director: Nida Manzoor

 

Suzume (2023)

Suzume is very much both a very epic and very personal story all at once. This tale of a teen who follows her crush into first releasing and then containing other dimensional "worms" which cause disasters in the human is about personal emotions and world cataclysms and perhaps how those things intermingle. 

Writer/director Shinkai has crafted a visually stunning film whose lush backgrounds house simpler yet beautiful character designs which also contribute to this meeting of dichotomies. I watched Suzume on an Imax screen and was floored by how rich and textured this world was. But what pulls you truly into the film is the characters, this oddball mix of dieties and humans interacting so delicately. For me this may be my favourite of Shinkai's films. 

Suzume is about opening doors to new worlds and how this child on the brink of womanhood is opening up her life and all the responsibilities and feelings that come with all of that. And it is also just a fun adventure with magical cats and who would want to say no to that? 

Suzume

Starring: Nanoka Hara, Hokuto Matsumura

Writer/Director: Makoto Shinkai

 

Chevalier (2023)

Man does Kelvin Harrison Jr. have on screen charisma. How he isn't a bigger star yet I don't know. He was made for this role, the biopic of Joseph Bologne, the Chevalier de Saint-Georges, who broke barriers in pre-revolutionary France before joining the revolution and mostly being erased from history. Harrison is a bold presence on the screen and creates this character to be equally bold and is just damn fascinating to watch.

Director Williams breaks out with this energetic period piece that, like its subject, breaks the mold a bit. He sticks very much to the tropes of the genre but infuses an energy that is electric throughout reminding me of the dark edginess of Dangerous Liaisons with this tale that has all the trappings, art, intrigue, affairs, and... of coarse, revolution. The story of this historical figure is perfect for a modern audience and our current understandings of heroes. 

The film's main focus is being lush and gripping but it does manage to explore interesting and somewhat complex themes like the Chevalier's own reluctance to disrupt a system of oppression that he is managing to skim a bit of privilege from. But make no mistake, Chevalier is gorgeous and entertaining throughout, a big ball room spectacle that pulls no punches. From it's open scene that throws us into the lions den when Bologne bests Mozart of all people, we know we are in for a glorious tale of tragedy and heroism. And we are not let down. 

Chevalier

Starring: Kelvin Harrison Jr., Sarama Weaving, Lucy Boynton, Martin Csokas, Minnie Driver, Alex Fitzalan

Director: Stephen Williams

Writers: Stefani Robinson

 

Evil Dead Rise (2023)

I don't want to rain on anyone's parade, but after hearing so much praise for this latest instalment of a decades long and beloved horror franchise, I went in with high expectations but came out disappointed that for all its bells and whistles, Evil Dead Rise is just more gore porn that has little to nothing to say. For me horror works when it explores our fears, goes to darker corners of our hearts, and provides some catharsis on real world emotions and terrors. It lets me down when it is just about simple ghosts, demons, or monsters, jump scares, and lots of blood as if that's a proxy from something that might actually be scary. 

When it comes down to it the Evil Dead series are possession movies. Stories of possessions can be fascinating in terms of how they can explore faith, exploitation of the vulnerable, or how we choose to let evil "in". But I haven't seen the Evil Dead series explore these ideas. Instead they fall on the less impressive side of this sub-genre, which, when you boil it down, says "evil" is something exterior that is trying to infiltrate us and we have to fight to keep it out. This is, well, boring to me. I had hopes that perhaps Rise might look at themes around how frightening motherhood can be, or the trauma of abuses coming from within a family, but Rise does not, at best paying lip service to any discussion of these interesting ideas. Instead it just an excuse for gross violence at the hands of mythical "deadites" with rather predictable results. I could see everything that happens coming and it suffers very much from the sort of typical horror problems like people making poor choices which help advance the plot. 

Sure Evil Dead Rise does show off the talents of rather new director Cronin who has a knack for good film making. But the problem for me is just how rote Rise's story is. This may be a well made film, although you'd have to ignore the many many moments the film just pauses in the middle of action without creating any sense of realistic breathing space, but it's substance is lacking. And that for me committed the worst sin a horror film can commit; it wasn't scary. It was gross but it never shook me, never upset me, never gave me pause to look "under the bed". It employs the cheapest forms of horror gimmicks and never raised terror in me. 

Evil Dead Rise is thankfully short and keeps its story moving at a breakneck pace so it doesn't drag. But even with that I was bored. I appreciated the film (mostly) avoided the sex shaming that demon possession movies usually descend into. I also enjoyed the film's pretty obvious homages to horror classics such as The Shining. I guess for what it is Rise isn't bad. It's just so plain and dull. It offers little to nothing to think about and just follows a rather been-there-done-that story. 

Evil Dead Rise is just not for me. I just want more from my horror. 

Evil Dead Rise 

Starring: Lily Sullivan, Alyssa Sutherland, Bruce Campbell

Writer/Director: Lee Cronin

 

Ghosted (2023)

Ghosted is one of those films that should be much better than it is. On paper it sounds great. Sexy A-list stars who have worked together to great success in previous films, cutsie premise that might be silly but should provide for a great deal of on screen chemistry, and you should have a fun little film for a satisfying evening in. But Ghosted, while not shitting the bed in any fashion, never quite delivers on any of its promise. It ends up being not entirely unwatchable but more on the forgettable side.

A romantic action comedy needs three things; romance, action, and comedy. The romance never quite clicks. The script struggles with its meet-cute which feels a little too cheesy for comfort and the two stars never quite click making the romance feel flat. Perhaps the biggest twist in the film is that they couldn't generate any heat with actors like Evans and de Armas.

The action is rather rote. Nothing about it feels overly spectacular. It's fine though and often entertaining enough to keep you watching. It's just doesn't keep you poised on the edge of your seat. I will give the film points for its final action sequence which finally delivers a pretty exciting punch. And the comedy is rather similar. It's got a few good one liners but nothing here will have you laughing out loud. There is a funny sequence in the middle featuring a series of cameos which is fun in the moment but highlights that the film is trying pretty hard and never quite knocking it out of the park. 

Ghosted is just about as average as a mainstream film can get. Having said that I still enjoyed it for what it was. Its the sort of film that you watch once and forget.

Ghosted

Starring: Chris Evans, Ana de Armas, Adrien Brody, Mike Moh, Tim Blake Nelson, Marwan Kensari, Anna Deavere Smith, Amy Sedaris, Tate Donovan, Anthony Mackie, John Cho, Sebastian Stan, Ryan Reynolds

Director: Dexter Fletcher

Writers: Rhett Reese, Paul Wernick, Chris McKenna, Eri Sommers

 

How to Blow Up a Pipeline (2023)

This film is as bold as the title suggests. Inspired by the non-fiction writing of activist Andreas Malm, this fictional story follows a group of people on a project that some describe as "terrorism" and some describe as "activism" depending on how you feel about it. The film's story and characters are set up to explore that dichotomy (one that I admit is not as binary as this suggests) and the boldness of the film is that is unabashedly it takes a side. Like the book that inspired it, it leans in to the position of its subjects while allowing the characters own rather complicated feelings explore their doubts and reservations along with the convictions and passions. 

The film is set up like a "heist" movie. We are introduced to the "crew" and follow then as they attempt to pull off their risky project, slowly being introduced to the back stories of each person, their unique histories and humanities. Each step along the way is fraught with tension and risk. It is a brilliant narrative device to move along its story and message and it sutures us into their struggles. We feels these characters and understand them as people, see them as more than just symbols or criminals or heroes. This helps us be sympathetic to not just their cause but their choices as well. 

The film plays a little sleight of hand but all in a very satisfying way and it forces you to sit with some feelings. It is designed to provoke and challenge some of the more pervasive cultural assumptions that prop up the status quo and make us wonder about a lot that is commonly accepted. It does it all by telling a good story and sucking its audience into the lives of its subjects in ways that counter the traditional ways of thinking about "incidents" like this. 

I believe that however you feel about damage to property activism, the environmental crisis, late stage capitalism, How to Blow Up a Pipeline will be a fascinating and thought provoking watch. Maybe it will change some minds. Maybe it won't. I don't believe you have to be convinced of its argument to enjoy it as a film but I also think that if you truly engage with it you will be forced to reckon with some issues which may be uncomfortable. Even if it doesn't win you to its argument it remains a powerful exploration of these themes and a truly entertaining and engaging film. 

How to Blow Up a Pipeline

Starring: Ariela Barer, Forrest Goodluck, Lukas Gage, Kristine Froseth, Sasha Lane, Marcus Scribner, Jayme Lawson, Jake Weary, Irene Bedard

Director: Daniel Goldhaber

Writer: Ariela Barer, Jordan Sjol, Daniel Goldhaber

 

Renfield (2023)

Renfield was what I hoped it would be, a clever comedy that doesn't descend into parody, pays tribute to its source material, and plays with larger ideas while being entirely entertaining. The film keeps a tight runtime making sure its premise doesn't overstay its welcome. It walks a very fine line on the camp factor without falling over the edge which is especially impressive since... well, it stars Cage. Overall Renfield like another Universal film taking its inspiration from the studio's classic horror catalogue (The Invisible Man) manages to take the ideas and run with them in extremely modern, interesting, and most importantly, entertaining ways. 

Hoult is a character actor with a leading man's face and he pulls off a fascinating character that is struggling with codependency. The film's story brings him through some real recovery. I liked that the film committed to its analogy of using Dracula as a template for toxic relationships, and didn't just play it for a joke. The film is funny and skirts the edges of silly, but like the best comedies believes in itself wholeheartedly and therefore we as the audience can too. 

Cage is wonderful here. As I intimated he doesn't push it too far, capturing just the right balance of camp and actually scary. The film integrates scenes from the classic Legosi film that are masterfully done. Renfield is homage not parody, and makes for a compelling companion piece. 

McKay has pulled it off. I think the film could have slid off the rails at a number of points but for me it all worked and was truly enjoyable. 

Renfield

Starring: Nicholas Hoult, Nicolas Cage, Awkwafina, Ben Schwartz, Shohreh Aghdashloo, Adrian Martinez

Director: Chris McKay

Writer: Ryan Ridley

 

Carmen (2023)

While it may not have much to do with the Opera after which it is named, director Millepied's bold new film Carmen is a feast for the senses, mixing dance with music with melodrama and the lushest of visuals, this is a striking debut for the choreographer turned film maker. Having choreographed Black Swan Millepied takes on telling his own story here, one that is part romantic tragedy part social commentary part art house spectacle. Carmen defies categorization, showcases its young stars' incredible screen appeal, and makes for a striking film that is unforgettable. 

Essentially the story of a young Mexican who crosses into the US and the American who aids her journey, Carmen goes far beyond that. The story is told not simply through the narrative but through music, dance, dream sequences and other surrealist elements. Yet Millepied manages to keep his film from feeling to esoteric, solidly grounding the film in a realism. This balance is part of the film's strength and power. 

Carmen is incredibly beautiful in its execution. From Millepied's use of colour to the the incredible way he films his wasteland backdrops, the film maker has crafted a truly gorgeous film. He centres de Palma in ways that add a mystique and magic to the story. She is a powerhouse here. Yet Berrera and Mescal, both shot to highlight their own natural beauty, are also strong in the roles making the story of the tragic lovers all the more impactful. 

Carmen truly surprised me for just how remarkable a film experience it turned out to be. It has to be seen to be believed. 

Carmen

Starring: Melissa Barrera, Paul Mescal, Rossy de Palma

Director: Benjamin Millepied

Writers: Alexander Dinelaris Jr., Loïc Barrère, Benjamin Millepied

 

Air: Courting a Legend (2023)

I don't give a shit about basketball or sneakers or narratives which centre capitalists as champions. Air is pretty much everything I couldn't care less about in a movie. But Affleck is a very compelling film maker and his film with its incredible cast almost... and I do mean almost... won me over to care about all of this. 

This is the story of how the Nike corporation entered into a business deal with a young Michael Jordan (or perhaps more accurately, his family) which set them both up to make millions (which might be an understatement. It is filmed like a sports movie with all the inspirational speeches and competitive tropes that genre has in its stable. It all feels rather constructed and self-reverential to be honest but it overcomes so much of its short comings by having a talented director and a compelling cast which just make you want to watch. 

There are some dubious choices in this film like its constant need to remind us that we are in 1984 with every potential 80s reference one could squeeze into a movie of this runtime, and the decision to never let us see Jordan despite him being in many scenes. This leads to awkward camera set ups which keep us from looking at the subject and more often than not pull us out of the film. 

But once again the cast pulls off a miracle here, especially Davis who has been known to appear in movies in small roles yet save them with her screen presence. She does that here as well and Air ends up scoring despite pretty much everything phoney about it. 

So while Air may not have been my cup of tea, Affleck and his cast made me at least interested enough to get me through it. Perhaps for those who are far more into basketball and sneakers might just care a bit more than I did. 

Air: Courting a Legend

Starring: Matt Damon, Jason Bateman, Viola Davis, Chris Tucker, Chris Messina, Marlon Wayans, Matthew Maher, Ben Affleck

Director: Ben Affleck

Writer: Alex Convery

 

The Super Mario Bros. Movie (2023)

I'm sure long time fans of the game will enjoy seeing the characters come to (animate) life, especially in a story designed to mimic as much of the game's familiar situations and references as possible. But as a movie on it's own, like most Illumination films, it is about as cookie cutter as one could imagine. While other animations studios strive for originality, Illumination's claim to fame is safe, predictable, give-em-what-they-want and their Mario Bros. adaptation is no different.  

The story is fine but really I couldn't imagine watching it more than once. Everything goes exactly as you would expect and each character is as thinly drawn as they can be. It's all just an exercise in replicating one experience with another. 

The Super Mario Bros. Movie

Starring: Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black, Keegan-Michael Key, Seth Rogan, Fred Armisen

Directors: Aaron Horvath, Michael Jelenic

Writer: Matthew Fogel

 

I Like Movies (2023)

I may feel a bit called out by this clever and quick debut feature film from writer/director Chandler Levack about a socially awkward teen obsessed with films, working in a video store, who develops an unhealthy relationship with the store's manager a former actress. The script is funny and biting but stays in a rather realist zone without becoming overly stylized or descending into parody. The balance of this film is very tight.

 
The films breakout star Isaiah Lehtinen is remarkable playing all of Lawrences extremely unlikeable characteristics while still making him vulnerable and relatable. He does a lot of shitty, cruel things but you always understand it's coming from a place of real desperation and confusion. So his ultimate redemption (which only starts to happen before the film is over) is believable and welcome. 

The nostalgia of the days of the video superstore is a nice touch and an era for film nerds which holds a special place in our hears. I Like Movies captures that wholly.

I Like Movies

Starring: Isaiah Lehtinen, Roina D'Ugo, Percy Hynes White, Krista Bridges, Tanner Zipchen

Writer/Director: Chandler Levack
 

Rye Lane (2023)

I'll admit I have a weakness for these "moment in time" romantic movies. From the Before Trilogy to Weekend to Brief Encounter to other similar films, these stories that find two people connecting in a singular moment, passing through each other's lives without perhaps a sense of certainty to if they will connect again are stories that tend to push my buttons in all the right way. These movies tend to be talky, letting the characters connect through their conversation, letting us connect to them through their conversations. This isn't the standard rom-com formula which focuses on a meet cute followed by some barrier which must be overcome before the two are reunited to live happily every after. This is about how two people react to passing through each others' lives if only for a moment.  

Rye Lane is the latest in this genre and it is as smart, funny, adorable, and charming as the best of them. Each of the parts comes together so well from the chemistry of the leads to the quick and sharp script. But perhaps the strongest aspect is the amazing direction from first timer Allen-Miller. This is one of those exciting first film debuts which just leaps off the screen with an energy and richness that often experienced directors aren't able to capture. She enmeshes her characters into a specific time and place and flushes out their day in such a way as to feel like we are fully there with them, experiencing it all. 

And it is just so lovely all the way through. Our protagonists Dom and Yas are just so wonderfully human, imperfect, and delightful. We can relate to them and yet they are also quite aspirational. Watching them find themselves and each other is just so satisfying and honest feeling. 

I loved Allen-Miller's little reference to her idol Steve McQueen (I hear you!!) and the momentary cameo by Firth is surprisingly hilarious. Rye Lane is a breath of fresh air in a time when a good romance movie is hard to find. 

Rye Lane

Starring: David Jonsson, Vivian Oparah, Colin Firth

Director: Raine Allen-Miller

Writers: Nathan Bryan, Tom Melia

 

Boston Strangler (2023)

In the hands of other directors this film would have been a moody, rainy, greyscale gore thriller, focusing on the brutal murders and rapes of women a la Seven. But writer/director Ruskin decided to go in a different direction, one that doesn't titillate or use brutality of crimes against woman for shock appeal. Instead the film Boston Strangler becomes about something far more endemic. 

Boston Strangler focuses on two women reporters who through their own tenacity, uncover the failings of both the police and the press of their day in solving a string of murders. The film keeps the vast amount of the violence off screen, focusing instead on the investigation and the systemic barriers to capturing a killer who targets women as well as the barriers that keep investigators of their gender from truly doing their job. 

But what is truly interesting about Boston Strangler the film is it's central thesis which is far more insidious that just who is the Boston Strangler. *Spoiler* The film does an effective job of pointing out that this is about the pervasive nature of male violence against women, the film even goes so far as to say that "men kill women" and that violence won't stop by catching this killer... or killers. While the true killers have never been proven in the real world, the film explores the likelihood that there were many killers, motivated by different factors from revenge, to covering up their own infidelities, to succumbing to their own evil perversions. That it was men and the culture around men in this highly gender segregated time, that committed the crimes and bungled solving them. That is took a female investigation to get even close to the truth, one that was willing to explore the roles men and women played in this culture at that time. 

The film drags a bit in the middle and uses some of the historically accurate harassment that "lady reporters" faced as a way to keeping the tension ratcheted. While not perfect, Boston Strangler finds its fascinating conclusion and becomes something unexpected. 

Boston Strangler

Starring: Keira Knightley, Carrie Coon, Allesandro Nivola, Chris Cooper, David Dastmalchian

Writer/Director: Matt Ruskin

 

Kill Boksoon (2023)

Kill Boksoon is the sort of Korean action film that has everything you want; rich backstories and world building, smart plot driven character arcs, and kick ass action set pieces. The gimmick here is our central figure is a single mom in the day while working as Korea's greatest assassin by night. This True Lies-ish premise allows for some great meta commentary on the challenges of working women and how their experiences differ from male peers. And it all comes together through Sung-hyun's smart story and tight direction. 

Kill Boksoon isn't all action. Sung-hyun fleshes out his film between set pieces with well paced dramatic moments which feel as organic to what's going on as his wonderfully shot action. Little feels gratuitous or out of place. But it also doesn't feel like it's slipping into trying to be too cool. I was most impressed with how balanced the film felt and how all of it all comes together as a fully rounded story. 

Central to this is Jeon Do-yeon as the title character pulling off the action and drama equally. Watching Kill Boksoon you immediately get the feeling this could be the sort of film you'd want to revisit in a series. Here's hoping we'll get more adventures of Gil Bok-soon soon. 

Kill Boksoon

Starring: Jeon Do-yeon, Ki Si-a, Sol Kyung-gu

Writer/Director: Byun Sung-hyun

 

Tetris (2023)

Slick and embracing everything 1980s video game aesthetic, the film Tetris is crafted as a cold war spy thriller filled with tension and intrigue. This makes for a fun watch even if it is also a rather uncritical hero arc centring American entrepreneur Henk Rogers where the glory is the economic windfall that is the rights to a video game. The stakes are built like life and death, world domination, but in the end it's about the dollar signs. Not all the twists and turns, backstabs and doublecrosses, are that interesting. There is a great deal of time spent talking about whether someone really has the rights or not which starts to feel a bit tired. But generally the film keeps the pedal to the metal to keep its audience on the edge of its seat. One might be excused for believing after watching this that Gameboy brought down the Soviet Union but for all its bravado Tetris is very watchable but perhaps a bit disposable.

Tetris

Starring: Taron Egerton, Toby Jones, Nikita Yefremov, Anthony Boyle, Sofia Lebedeva

Director: Jon S Baird

Writer: Noah Pink