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The Second Act 2024
Dupieux loves playing with narrative and structural form and this meta, self-referential satire on creatively bankrupt changes to the movie industry and how films are made is no exception.
Shot mainly in isolated two-shots on a private airstrip giving the proceedings a distant, often dreamlike feel, as well as in a reworked airfield building/restaurant — there’s some impressively long tracking shots and clever character framing throughout.
Can’t go wrong with the cast here. Vincent Lindon is a seasoned scene stealer,…
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The Monkey 2025
Deadpan, bloody and clearly having a laugh with the Stephen King source material, it’s good to see Perkins play around with genre tropes and not take things too seriously.
That said, it’s not all smooth sailing. The plot feels pretty disjointed and the ending especially (very final gag aside) feels rather weak.
I suppose in that way it’s an accurate King adaptation!
Definitely worth a watch if you’re after a 90min horror romp, the titular monkey looks great and Theo James does a good job pulling double duty as a pair of uniquely odd twins.
A fun curiosity that doesn’t quite meet its oddball potential.
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The Curse 2023
Through a series that is equal parts awkward, tense and laugh out loud funny - Fielder and Safdie have (further) proven themselves a creative force to be reckoned with.
The central performances are all filled to the brim with depth, the standout being Emma Stone who continues to take on projects that are both challenging and embrace the unexpected.
It also lands one of the most “you have to see it to believe it” endings to grace TV. You think…
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Kinds of Kindness 2024
This is Lanthimos back to his surreal nihilistic roots with three dark fables about people whose existence is completely defined by control in one form or another.
With a phenomenal cast, an exquisitely considered, oppressive tone you’ll either be transfixed to or repelled by as well as plenty of Yorgos’ trademark pitch black humour — it’s uncompromising in what it delivers.
While I’ve definitely enjoyed the director’s foray into more accessible work (The Favourite / Poor Things) it’s great to see his return to writing collaboration with Efthimis Filippou has lost none of its bite.
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