The film stars Adam Scott as Ohm Bauman, an American writer and a person of disagreeable temperament. Scott is very much the central character, but alongside him we have the various hotel staff – Cob (Brendan Conroy), owner of the hotel, Cob’s son-in-law and front desk clerk Mal (Peter Coonan), the serious and sometimes aggressive groundskeeper Fergal (Michael Patric), bellhop Alby (Will O’Connell) and happy, helpful Fiona (Florence Ordesh). There is also the local woods-based hermit who creates magic mushroom-infused milk drinks and is generally odd.

The film is written and directed by Damian McCarthy, a filmmaker best known for 2020’s Caveat and 2024’s Oddity, two well-received horror movies.

Ohm Bauman travels to the isolated Bilberry Woods Hotel in Ireland, a picturesque location and a place his parents had visited and often said they always wished to return to. With both his parents now dead, Ohm plans to scatter their ashes in the woods and also finish his latest book. The hotel is festooned with monuments to Irish folklore, from odd carved figures to a slightly scary old man telling children very unsettling ghost stories. In short order, several bad things happen, including a suspicious disappearance, which quickly leads to Ohm and others thinking about the mysterious Honeymoon Suite, which is never used for guests and seemingly never even entered. A heavy metal gate is kept locked at all times. There are many stories that the honeymoon suite is haunted.

The film is one of the best examples of a horror movie, where it is never clear how much is supernatural evil and how much is simply in the minds of those experiencing it. We see things from Ohm’s perspective, and in a number of ways, he is an unreliable narrator. First of all, Ohm is a writer, a protagonist writer is almost certainly a sign that we’re not seeing what “really” happened, then Ohm has a lot of trauma that he is dealing with that is connected to this very hotel, and also, there are a lot of hallucinogens flying around.

For consistently playing the nicest characters on TV, Scott is a very good jerk writer, and despite the things that happen to him in the film and his past, it’s often hard to feel too sorry for Ohm. The hotel staff occupy the curious place of many tourist areas; their livelihoods depend on tourism, but they also resent the tourists, especially when they’re as rude as Ohm. Mal is the obsequious desk clerk, Fergal, whose duties include shooting goats with a crossbow, Alby, the helpful if timid bellhop who tries to talk to Ohm and quickly regrets it and Fiona, the cool bartender with an interest in Irish folklore and, naturally, the potentially haunted honeymoon suite.

McCarthy is very good at creating tension and has an amazing use of the space of the hotel to make it scarier. There are very few locations in the film, with most scenes taking place in the hotel or the surrounding woods, and we actually see very little of the hotel, just the few key locations and the vague impression of its hard to find your way around if you don’t know the building well. He also manages to be very creative with one of the mainstays of horror cinema – the jump-scare, with often the reveal of the “scare” just being slipped in almost unnoticed.

The film sometimes suffers from there not being an adequate opposite character to Ohm, and even with the monsters, there are several different entities presented at various times, diffusing the impact somewhat. The film also sometimes strains credulity in what actions people would take, all supernatural events aside, leading to some scenes where you can’t help but think that no one would do that. But overall, the film is a great horror movie and will only further add to McCarthy’s reputation as an excellent horror director.

Rating: (4 / 5)

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Synopsis

When a family moves into a new house after a tragedy impacts the daughter, they must each wrestle with their own personal emotional challenges. All while dealing with the creeping feeling that another presence is hovering over the home.

What Did I Like?

Anyone discussing this film’s positives will invariably focus on two things, firstly the camerawork. The flowing, long takes used to deliver the film’s story are astounding. The smooth movement between rooms, often phasing in and out of different characters’ conversations, natural placement and motions and the perfect timing of each camera manoeuvre make the camerawork both a technical marvel and an effective way of characterising the presence observing the story. This film will undoubtedly be used in media courses for years to come. It’s an amazingly efficient example of how to involve audiences in a film’s world, story and atmosphere using the camera.

The second aspect many will focus on is the central cast’s performances. Callina Liang deserves the biggest share of the praise. Her performance as Chloe is fantastic. She mixes wonderfully played teenage vulnerability with a good amount of humour, strength and warmth. But all the other performers also do great work here. Chris Sullivan is quietly brilliant as Chris, the dad who does his best to help his kids. Even if he feels emotionally raw about his marriage. Lucy Liu’s Rebekah is brash but always realistic and sympathetic. Plus Eddy Maday’s Tyler and West Mulholland’s Ryan capture the vile sexist nature of many teenage boys disturbingly well. All of these performers individually and collectively make the drama fiercely engaging.

Beyond these points, it must also be noted that the effects are, mostly, very well done (artificial camera shakes aside). With the presence’s ghostly powers being pulled off without any behind-the-scenes seams being visible. The production design is beautiful. The direction of the action, as is expected from Steven Soderbergh, is so perfect it’s pretty much invisible and its discussion of issues relating to sexist force and violence hanging over the family is pointed and very relevant.

What Did I Not Like?

Undoubtedly the weakest element of this film is the writing. The story is fine and the characterisation of the main players is incredible but pivotal plot moments such as the use of a psychic and the final act feel either forced or like they aren’t given enough build-up, which makes the ultimate resolution not hit as hard as it could have. On top of this some of the dialogue, despite the cast’s best efforts, feels very much like it comes from the mind of a screenwriter rather than the characters speaking.

Also aside from the moments of the camera drifting around the house on its own the use of music feels rather forced and distracting. It’s as if it is trying to artificially heighten emotions that are already being achieved. Honestly, the filmmakers should have had more confidence in the characters and the direction’s ability to carry the story. 

Finally, the editing choice to end most scenes with a black screen feels like it always grinds the film to a halt. Something else should have been done to help give the impression of a change in time.

Conclusion

Presence is an admirable technical experiment with a memorably played set of characters and a well-realised small-scale world with a big message. It’s just a shame the plot and some poor sound and editing choices mean the film never quite matches the smoothness of the titular presence.

Rating: (3.5 / 5)

Also Read: Unsane and the iPhone Revolution

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Synopsis

Is there a spiritual way to kill an animal? This question inspires Kip Andersen and Kameron Waters to investigate what major world religions think about the topic. But upon discovering a disconnect between what organised religious representatives say about killing animals and their religious texts they begin talking to scholars and vegan activists to discover the reasons behind it, its impact and if change is possible.

What Did I Like?

Christspiracy’s purpose is simple: convince people (religious or not) to interrogate their views on eating meat and industries that kill animals. As an atheist non-vegan, I think the film does a decent job of engaging in good faith with major religions. Providing enough reasonable arguments for why supporting industrial animal slaughter is antithetical to doctrines that favour compassion for living beings. 

It also shows how organised religion isn’t necessarily reflective of its members’ views by showing how spiritual leaders can alter their messages in service of capital and hegemonic power structures. This theme is furthered by the film highlighting other causes that animal rights intersect with. Whether it’s immigrants and prisoners forced into distressing positions killing animals because of their legal status, indigenous people being forced off their lands by deforestation or toxic industrial chemicals affecting leather workers and others because of workplace policy. Each of these struggles is linked to the devaluing of life (human and animal) in favour of industry profits. But the film argues a better world is possible if animal rights are part of the struggle for justice. Because if there are humane alternatives and humans are more intelligent than animals we should try to do better. For ourselves, animals and nature.

There is also great variety in the film’s content. The use of interviewees, animation and investigation sections make for a continually interesting watch that engagingly showcases the film’s thesis.

What Did I Not Like?

Apart from the film’s variety in form, there isn’t much to appreciate about Christspiracy’s presentation. The camera work and music are mostly generic and unremarkable, serving merely as vehicles to impart its message. This isn’t necessarily a bad thing, but it leaves little to appreciate if the message doesn’t engage viewers. 

Additionally, the film’s conspiracy angle adds little to the overall experience. The narration and overly serious music in several segments feel too melodramatic to be taken seriously. Especially compared to the realness of the film’s investigative direct action segments. It feels like a desperate attempt to encourage engagement.

Also I feel the film makes major stumbles regarding the information it presents.

Difficult Discussion

Despite Christspiracy mentioning these concerns the film still feels like it’s tokenizing certain cultures (particularly indigenous peoples) to show them as alternatives to practices endorsed by major religious spokespeople and making them feel like pawns in a game rather than people. The film should have stuck to analysing the diverse attitudes within the major religions or provided space to fully explore the cultures featured.

Also, the film specifically highlights Israel’s high vegan population as a compassionate transformation and a positive for the vegan movement. But considering Israel’s government has used its vegan reputation to vegan-wash crimes against Palestinians, not disclosing this information, particularly now, when it is potentially conducting genocide and ecocide in Gaza, killing humans and animals, feels irresponsible for a film about fighting injustice.

Finally, one segment centres around Holocaust comparisons to factory farming. Although Holocaust survivor Alex Hershaft’s lived experience informed his views expressed in the film, the film’s brief use of his sentiments with little else said feels like another culture’s pain being used for expedient shock value – which feels very insensitive.

Conclusion

Christspiracy is frustrating. Its good central premise, some compelling material and variety had the potential to make a truly impactful documentary. However, it’s dragged down by a lack of unique production work which fails to make it stand out and a plot conceit that only serves to create artificial tension. Plus the lack of care given to some of its material has the potential to harmfully impact different cultures.

Rating: (2 / 5)

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Synopsis

Hollywood Dreams and Nightmares gives us a tour of Robert Englund’s life. From his beginnings as a child theatre actor who disappointed his parents by not becoming a lawyer through the many film and TV highlights of his nearly five-decade-long career in front of and behind the camera, and to his role as Freddy Krueger, which turned him into a legend. But the film also looks at his impact on those around him. Including the actors and directors he has worked with and his romantic relationships.

What Did I like?

I like the full picture the film gives of its subject and his impact on his colleagues. Near the film’s beginning, Robert says how fantastic it was to receive compliments for his early work. As it helped him feel confident in himself. From there, through the film’s many interviews, we see how that relatively little act helped create the Englund of today. He becomes someone always willing to give an assuring word to veterans and newcomers. And the love and care that Englund gives to analysing his roles, no matter how minor, really showcases someone who loves every bit of what they do. It helps that Robert is a naturally compelling interviewee. His laid-back manner and lovely voice make him a pleasure to be around. By the film’s end, we feel like we really know Robert. Additionally, the way it delivers its message about kindness and acting power is infectious, made even more brilliant by every other interviewee being engaging presence.

Highlights include Heather Langenkamp, Tony Todd, Kane Hodder, Corey Taylor, Gary Sherman, and partner Nancy Booth. Listening to them talk about how Robert helped them in their work/personal lives and how they are so close, particularly, Nancy’s retelling of their burgeoning relationship and Heather’s imparting of a personal tragedy, gives great insight into what kindness can do in a sometimes toxic industry.

And the film flows incredibly well. Editors Peter Appleyard and Christopher Griffiths give just the right amount of time to each subject to make it feel needed. Never allowing segments to overstay their welcome. Thus the runtime flies pleasantly by.

What Did I Not Like?

Being a Nightmare on Elm Street fan I have watched several behind-the-scenes documentaries concerning the series over the years. Unfortunately, a vast proportion of this film feels like it’s retreading old ground. It’s obviously unavoidable as Freddy Krueger is a hugely important part of Robert Englund’s life but I can’t help but feel a little tired. Though this may not be a problem for everyone.

That said another thing that holds the film back is its rather bland presentation. Despite the best efforts of the participants and the intermittent use of animations the film still doesn’t have the energy it needs to be cinematic thanks to odd framing, flat lighting, and bland music. It feels like a rather generic horror documentary more suited to being a NoES series home media bonus feature. 

Lastly, the film really seems rather lacking in diverse material. Mostly relying on old footage and talking heads to deliver a story. I feel like more could have been done to dynamically showcase Englund’s career. Like a home tour or a visit to the set of a current project.

Verdict

Hollywood Dreams and Nightmares is an average film about an amazing subject but features lots of heart. It suffers from its generic presentation and content style which doesn’t differentiate it from many recent horror documentaries, and its unfortunate need to discuss an already well-covered cultural touchstone. But it’s salvaged by its thorough focus on a fascinating, talented actor who brings out the best in those around him, some great interviewees, a good pace, and a fantastic central throughline emphasising the value of kindness. It’s amazing that the man who scared a generation is so nice.

Rating: (3 / 5)

Hollywood Dreams & Nightmares: The Robert Englund Story will be available on the Icon Film Channel from 2nd October. And will be available on Blu-ray and Digital Download from 6th November.

Also Read: The Horror Crowd: An Insightful Documentary For Fans of the Genre

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Synopsis

Former police officer turned bounty hunter Jack Walsh (Robert De Niro) is offered $100,000 to retrieve mob accountant Jonathan Mardukas (Charles Grodin) when he skips bail. Unfortunately, rival bounty hunter Marvin Dorfler (John Ashton), FBI agent Alonzo Mosely (Yaphet Kotto), and mob boss Jimmy Serrano (Dennis Farina), and his cronies are also after Jonathan. With his deadline being midnight in five days can Walsh get Jonathan from New York to Los Angeles in time to claim his reward? And can they make it there alive?

What Did I Like?

This film’s writing is its biggest strength. George Gallo’s script contains many brilliant comedic and dramatic moments. Like when Jack reveals why he quit the police force or when he and Jonathan steal money from a bar by pretending to be FBI agents. The main thing that makes everything work though is the interesting, distinct characters at the story’s centre. Everyone here feels unique because of their motivations, personal histories, and the way they speak. Which makes the narrative feel more alive than your typical action-comedy.

This is further helped by great performances. Unsurprisingly Robert De Niro is outstanding as Jack. De Niro makes him feel like a character who really knows the rough side of life. Charles Grodin is also compelling as the quiet accountant who slowly becomes more daring. But it’s Midnight Run’s supporting cast that truly shines. Actors like Joe Pantoliano, John Ashton, Yaphet Kotto, Richard Foronjy, and Robert Miranda all get big laugh-out-loud moments. However, the standout is Dennis Farina whose every malicious line as Jimmy Serrano is solid gold.

Lastly, the production has a lot to appreciate. Danny Elfman’s atmospheric and exciting score is incredibly underrated. With the main theme being a quintessential 1980s action backing track. And the directing really enhances the action. Whether that be through the fantastic incorporation of the actors with practical effects. The camera’s placement alongside the performers during stunts. Or things as simple as lingering on the character’s reaction to pain. It all gives the action more weight and increases the suspense by investing the audience in our lead’s safety.

What Did I Not Like?

The movie doesn’t start out strong. We are introduced to Jack by watching him transport Monroe Bouchet (John Toles-Bey) to prison where the police are incredibly hostile towards him. It feels quite meanspirited. Considering other criminals are depicted more humanely Monroe’s treatment seems out of place. It’s definitely not the best way to introduce the main character. The film’s beginning is also largely quite boring. With the characters initially feeling like tired archetypes reciting exposition (though they later become more vibrant). Which also makes much of the early comedy falter.

Furthermore, while the movie is generally funny not all the jokes land. This is because some of the jokes just consist of characters swearing or shouting rather than using comedic timing or build-up to create humour. 

Additionally, some plot elements feel lazy or unnecessary. This is particularly true regarding the inclusion of Jack’s estranged family. The mentioning of Jack’s family illustrates how far away he is from his previous life. But their physical inclusion only acts as a cheap way to elicit further audience sympathy. And the duo being forced off the plane because of Jonathan’s panic attack seems hugely contrived. Especially considering how Jack routinely knocks people out. It feels like a very forced progression of events. Which can take some out of the experience.

Verdict

Although its opening has several issues, some parts feel unneeded or lazy and not all the comedy hits its mark, Midnight Run is still thoroughly enjoyable. This is thanks to its mostly great writing, which gives every character a distinct personality and has some inspired moments of both comedy and drama, the fantastic performances, particularly by the supporting players, an underrated soundtrack, and well-directed action. It’s definitely a run worth taking.

Rating: (3.5 / 5)

Also Read: The Best Action Films of the Decade (2010 – 2019)

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“We fought in an immoral war that wasn’t ours for rights we didn’t have”

Da 5 Bloods tells the story of ageing Vietnam veterans, Paul, Otis, Eddie and Melvin, as they return to modern-day Vietnam. They arrive to bring back the remains of their fallen leader, Norman, as well as the gold they buried. While the Bloods are the central characters, most of the focus is put on Paul and Otis. Paul, suffering from severe PTSD and wearing a MAGA hat, has had the hardest time adjusting to civilian life. While Otis has an old flame he reconnects with in Vietnam. Melvin and Eddie get less development, but the camaraderie of the four is excellent, as they do elaborate handshakes and have in-jokes. Norman, the fifth member is presented as an almost mythical figure, described as Malcolm X and Martin Luther King. Although he only appears in flashbacks, the loss they feel without him is clear.

 The group are first reunited in modern-day Vietnam, a stark contrast to the usual depiction and how they remember it. The culture clash is even more jarring after the opening, which uses real-world footage about the war and black people’s struggles at the time (many of which are still present today). Just as things are settled, there is a grim reminder that, while time has passed, the war hasn’t ended for everyone. The film does a great job at exploring this theme, despite the aspect ratio and grainy footage, the characters remain the same age in flashbacks. No recasting or de-ageing ala The Irishman. It shows how they feel they haven’t changed since the war, as well as highlighting the tragedy of Norman being killed as a young man.

“After you’ve been in a war, you understand it never really ends”

The film is at it’s best during these moments, a simple interaction at a marketplace causing Paul to have a panic attack. Or a prankster setting off firecrackers meaning all four of them dive to the floor. It’s clear that despite the passage of time, they’ve never really forgotten. Paul’s support of Trump is implied to be a direct cause of the war, having spent so long being told people who look different are the enemy. This distrust extends to Vinh, the Vietnamese guide taking them to the jungle, whose family thought for the Viet-Cong. Like BlacKkKlansmen it makes use of real-world footage, here flashing footage of the horrors and figures of the Vietnam war. While these are quite jarring and distract from the film, they are incredibly effective. It’s one thing to hear about something but another to actually see it.

Unfortunately, the film does start to lose steam around the hour mark as it switches gears. Having found the gold, the veterans have to survive long enough to keep it. Becoming more of an Indiana Jones-style adventure film than, the Vietnam character study it was before. The film doesn’t totally abandon the themes, with Delroy Lindo delivering some exceptional monologues to the camera as Paul wanders the jungle alone, unable to trust anyone. While the action scenes are well done, they grow stale towards the end and are far less interesting than the psychological battles being fought. The film is also a touch too long, coming in at two and a half hours.

Final Verdict

An effective and important tale that tackles it’s themes head on. Although things become unfocused in the later half, it is still a worthy watch, with a powerful perfomance from Delroy Lindo and some execellent uses of Marvin Gaye. It’s a shame the second act doesn’t hit as hard as it should, but it sticks the landing.

Rating: (3.5 / 5)

Also Read: BlackKklansman (Review)

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In Bong Joon-ho’s Palme d’Or winning Parasite, those organisms are the Kim family. A group who, struck by misfortune and lack of wealth, try to make a living from what they can in their semi-basement apartment. They fold the pizza boxes for a local restaurant, use the WIFI of the person who lives above them, they risk their own health to take advantage of local fumigation via their open windows, and they have to watch each night as drunk men piss outside those same windows. So when an opportunity to tutor the daughter of the wealthy Park family befalls the son of the family, Ki-Woo (played with hope and grit by Choi Woo-shik) a plan emerges. 

Ki-Woo likes plans, to know the next step, to already have his counteraction prepared. As it becomes clear the youngest Park child needs an art tutor, he suddenly ‘remembers’ someone he’s heard of and thus, his sister, Ki-jeong (a deftly cool and calm Park So-dam), takes up the mantle of Jessica – an artistic genius and expert in art therapy who studied in the USA. Soon, there appear to be roles for the entire family and they set about making it happen. Utilising titbits of information they hear from the family they find ways to oust the driver and the housekeeper, leaving room for Ki-teak (Song Kang-ho) and Chung-sook (Chang Hyae-jin) to take over. Their infiltration of the Park family is ruthless and smooth.

What then of their host, the Park family? The mother, Yeon-gyo (played sweetly by Cho Yeo-jeong) whose ignorance to the world outside is unwittingly antagonistic and her maternal anxiety only seems to stretch to her youngest son. The father, Dong-ik, the CEO of an IT company, who brings home the money and wins over his son with gifts. They are two people who, as the film twists and writhes into unexpected places, become more grotesque as their out-of-touch air wrestles with their lack of empathy for others. As for their children, Da-song, is a seemingly wild, uncontrollable child while Da-hye is a shy, self-conscious teen, aware of the lack of attention she gets from her parents and thus finds romantic entanglements with all her tutors. 

The Parks live in an enviable mansion mostly protected from prying eyes by tall trees in their garden. The suave house, filled with motion sensors, cool chrome finishes, and Voss Water, is the stage on which this symbiotic relationship plays out. The Kim’s infiltrate and live off the Parks and the Parks, ignorant to the toils of the working classes, are none the wiser. 

To talk too much more about the film’s plot would rob the viewer of experiencing its wild ride (and it is wild). Instead, what is more, beneficial is thinking about Parasite has to say, with class strategically centred in this astute and pointed story of a wide and cavernous divide. But, make no mistake, the evaluation of Parasite as class warfare is not this critic engaging with the film’s subtilties, far from it. The film wears its anti-capitalist message on its sleeve, open and in plain sight with no chance you could miss it. That is, in fact, one of its strongest qualities: its unabashed commitment to its thesis. The world of the film is the same as the world we live in, the rich find it hard to see the poverty for the trees that they surround their massive houses with. Global warming leads to hotter summers for those beach getaways and rising house prices mean a stronger investment in property and likely more needy tenants to rent to.

It is not the only film to grapple with this divide that simply cannot be ignored. In a piece for Vulture, critic Alison Willmore wrote, “lass rage on the big screen provides a reflection of the particular despair and frustration underscoring our real-world present, where the divide between security and anxiety, both here and abroad, is ever more cavernous.” Willmore placed Parasite alongside 2019’s slew of films that examined that class gap including Ready or Not, Hustlers, Knives Out, and more. Does this mean things are changing?

Parasites notably weaken their host, but when it comes to class nothing seems to be budging, nobody appears any frailer. The rich keep getting richer, the money builds up as billionaires see tax decreases and off-shore accounts continue to exist. But the working classes see none of that dough, it isn’t put back into the economy unless you count the poor wages paid for zero-hour contracts or casual work. And if you don’t like it? There’s a line of hundreds just like you, in need of work, lining up around the block to survive. If there were a job opening ‘500 university graduates would go for it’, Ki-Taek says, highlighting the grim prospects that a lot of young people know all too well. 

Bong Joon-ho’s social commentary flick is made more effective through the stylish and gripping way the story unfolds. It’s dark, funny, clever, surprising, and I’m sure I could use almost every adjective in my lexicon. I could go on for hours about the way class and politics come into play but I won’t. All I’ll say is this: parasites don’t intend to harm their host, that is a by-product of the way in which they exist. They want, as all creatures do, to live. 

Rating: (5 / 5)

Parasite is being distributed by Curzon in the UK and will be in cinemas 7^th February 2020.

Also Read: The Anatomy of a Christopher Nolan Film

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What’s the film about?

Six strangers are invited to participate in a mysterious escape room a game, where players solve a series of puzzles to win $10,000. But the game soon turns into a living nightmare, a matter of life or death.

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What’s Going On?

I have always thought of Steve McQueen as an ambitious and confident director and not just because of his films, this a man who shares the name of a Hollywood legend and was not worried about permanently being called The Other Steve McQueen. McQueen’s latest film starts with the viewer being introduced to each member of a crew who is about to undertake a daring robbery lead by Harry Rawlings (Liam Neeson). The brief glimpse into each of their family lives before the heist shows a not entirely sympathetic group of people. Things do not go to plan and Rawlings and the entire team are killed by the police. That is still just the beginning as the film is not really about Rawlings and his crew but the people they leave behind.

Viola Davis star’s as Veronica, Rawlings’ widow, who while still reeling from the death of her husband is visited by the criminals who were robbed and even though the money was destroyed they expect Veronica to pay it back.  The one thing of real value Rawlings left Veronica was his notebook on all his planned heists and with that Veronica plans to steal the money she needs, bringing in the other widows from the gang.

There is an ongoing B plot of an upcoming election for alderman between Jack Mulligan (Colin Farrell) and Jamal Manning (Bryan Tyree Henry), Mulligan being the son of the previous alderman and part of a political dynasty that has controlled the politics of the area for generations and Manning the very criminal who threatens Veronica. But while Manning may be the more obvious criminal it becomes very clear that Mulligan and his family are far from innocent.

Behind The Scenes

Steve McQueen is known for serious weighty dramas, 12 Years A Slave winning the Best Picture Oscar in 2014, and so Widows does feel like quite a departure. When watching the trailer my first thought was “I just have to see a Steve McQueen heist film” just to see what he would come up with. Widows is based on a Linda La Plate British TV show from the 1980s and while I hadn’t heard of it does seem to be well-regarded. Gillian Flynn, of Gone Girl fame, wrote the screenplay and the pair of McQueen and Flynn sets expectations high.

In Front Of The Camera

The cast McQueen has put together is amazing, casting great actors like Jacki Weaver, Liam Neeson and Robert Duvall in relatively small roles. The key trio of Veronica, Alice (Elizabeth Debicki) and Linda (Michelle Rodriguez) as the eponymous Widows hold the film together well with each of them adding immensely to the story, each with their own struggles and reasons for getting involved. Viola Davis is very convincing as a woman who had nothing to do with her husband’s criminal enterprises but rather than giving up or running wants to take back control of her life. Elizabeth Debicki stands out for the transformation her character goes on finding previously untapped reserves of strength. Michelle Rodriguez plays a little against type, being the most hesitant but also with the most to lose. Importantly, none of the women are ignorant of their husbands’ careers, even if not active participants.

Does It Work?

The film is very enjoyable with great performances all round and the two plots dovetail neatly in the conclusion. The film is suffused with the grim reality for all those within it and even Mulligan’s much more prosperous family are shown to be very much entangled in dark goings-on. Each of the three widows convincingly portrays women who are in dire straits and are willing to risk prison or even death to give themselves a chance.

McQueen is a brilliant director and easily handles the large cast and the quick plot developments easily. There are moments of real tension, particularly around Daniel Kaluuya who plays Manning’s brutal but keen on self-improvement enforcer. For a film that starts with the fiery death of four characters, there isn’t a great deal of violence in the film with just a few brutal and short scenes containing most of it. McQueen also gets as much tension out of the corrupt political machinations as the gunfights.

It is debatable if there are any “good guys” in this film. Even though you are rooting for Veronica and her team they are not entirely innocent and when faced with difficult times are happy enough planning an armed robbery and I think this is an intentional choice by McQueen. The political struggle of two different types of criminal – the gang leader Manning and the white collar corruption of Mulligan – supports the idea that everyone is involved in crime, to some degree, importantly the widows’ solution to their problem is more crime.

There is a running theme that it’s very hard to find people to trust. Family, what is normally the strongest of bonds between people, is shown to be unreliable and being close to someone brings trouble. Alice’s mother, played by Jacki Weaver, is shown to be far from the nurturing and supportive figure a mother usually is. Much of the same is also true of romantic relationships and there is a feeling that the best way to get through life is to rely on no one but yourself.

The film is an engaging drama with good performances from all the cast and I thoroughly enjoyed it, however, I am not sure how long it will linger in my mind and if it’s a film that I would want to come back to. Certainly, it is more entertaining and well made than similar films but considering the calibre of the people involved I was hoping for something better, something that would be a real classic.

Verdict: (4 / 5)

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Yardie, the film, is based on the novel of the same name by Jamaican born writer Victor Headly. Starting off in 1973 Jamaica, the film follows Dennis (known as “D”), who is played by Aml Ameen (Kidulthood, Maze Runner) as he deals with the killing of his brother amidst gang rivalry between warring factions: Tappa & Spicer. Through association “D” eventually strays into the drug business and is sent to London after a drug deal goes bad. What plays out is a story of redemption and retribution as “D” tries to reconcile his past, until he is forced to face them head-on.

The first 30 minutes of the film, which take place entirely in Jamacia serves as an extended introduction into D’s character. The scenes in England make up the rest of the film. The decision to split the film this way is creatively felt like the right choice. It allows us the opportunity to better understand the culture which underpins the narrative: from intergenerational relationships to spiritual belief systems. The latter part of the film which takes place in 1983 London. At this point, the pace of the film changes, focusing more on progressing D’s story.

Given the different competing elements in the film, Aml Ameen navigates his role as “D”  in a way that feels authentic and believable. There is a fine balance to be had: not to overextend himself in a way that creatures a caricature of what he should be; but also to give enough range to the performance so that the audience is emotionally invested in his journey and interactions with his supporting cast. Thankfully, more often than not, Idris struck the right balance in directing Aml to bring the best out of him throughout the movie.

The supporting cast adds character and flair to what is already a very compelling narrative. Stephen Graham (This is England) pulls off an incredible performance as club-owner Rico. He is funny, eccentric and ruthless when he needs to be. Whilst it is not too dissimilar from some of the notable characters he’s previously played, he brings with him a gravitas to execute the character of Rico in a way that it is not too cliche and enjoyable to watch. A real jewel in the crown is Shantol Jackson’s character, Yvonne who plays Dennis’ childhood sweetheart and love interest. Her portrayal embodies much of the story Jamaicans coming to the UK in Marget Thatcher’s Britain would’ve gone through, particularly during the time period of the Brixton race riots. This is perhaps an area Idris could’ve have explored in greater depth; a more nuanced at how a lack of opportunities at the time, fuelled criminality. We are then able to look at D’s time in London in this context.

Yardie is a film full of charm and character, presented through lush cinematography. While it is technically a crime drama, simply calling it that seems somewhat limiting. It’s an ambitious film and serves as a great directorial debut for Idris Elba, but also for Aml Ameen and his fellow co-stars. Yardie is definitely a film you need to see (at least) once!

Our Rating:  (4 / 5) (Fresh)

Yardie will be in cinemas later this year

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