Luke Rota

The Ghostface Awakens! Whether you want to call it Scream 5 or simply Scream, one thing is certain: this film is a bloody and brash experience, an absolute treat that easily carves out a place as one of the best of the series. Scream, also known as Scream 5, released in 2022 and directed by Matt Bettinelli-Olpin and Tyler Gillett, is a revitalising entry in the beloved slasher franchise. It marks the first film in the series not directed by the late Wes Craven, yet it pays homage to his legacy while introducing fresh elements that appeal to both new audiences and longtime fans. One of the film’s standout qualities is its ability to balance nostalgia with innovation. The directors successfully capture the essence of the original Scream films while updating the story for a contemporary audience. The meta-commentary, a hallmark of the franchise, is skillfully woven into the plot, providing sharp and humorous insights into the current state of horror cinema and reboot culture. The film frequently references and critiques the concept of “requels” (reboot sequels), offering a self-aware take that both honours and reinvents the genre’s tropes. The key to Scream 5’s surprising success is a killer (pardon the pun) ensemble cast. Surprising is a great way to describe Scream 5. It constantly keeps you guessing, dangling carrots in front of you only to yank the carpet out from under you. All in all, Scream (5) is a brilliant “requel” with cleverly fascinating meta commentary on the horror genre, toxic fandoms, social media, and much more, ultimately becoming a strong contender for being one of the best Scream films in the franchise. Bettinelli-Olpin and Gillett didn’t disappoint with their take on the iconic Scream franchise. They had huge shoes to fill and they knew it. But, they truly understand what makes Scream work as a meta-commentary on the world of horror movies and added their own twist. Supported by an incredible ensemble cast of new and familiar faces, as well as a slew of brutal kills, the directing duo has made something special with Scream 5. Wes Craven would be proud.

Ready or not, here I come! This is actual documentary footage of Meghan Markle joining the Royal family… I speak from no experience when I say this but getting married can be absolutely terrifying. It’s not just scary because of the nuptials or the uncertainty of what lies ahead after the ceremony. It’s dealing with the in-laws that can be frightening. Especially in-laws that force you to take part in a fight for survival! Thankfully, not many people can say they’ve had those types of run-ins after they’ve gotten married. However, Ready or Not still serves as an absurd yet thrilling allegory for how discomforting in-laws can be. Sometimes you watch a trailer so bonkers that you go into the film expecting it to be so awesomely bad that it’s kind of enjoyable. Then, as you sit and watch the film itself, you realise that you actually underestimated the filmmakers. That’s the case with Ready or Not, a delicious horror flick where if you can buy into the absurd hide-and-seek premise, you’ll find it to be a consistently intense, comedically campy and ultimately surprising addition to the genre. This is a film that blends the horror elements of Scream with the comedy of Shaun of the Dead. Two films which belong in any horror fans top ten list! Ready or Not is destined to become a cult classic. Imagine trying to make a name for yourself but everybody keeps saying you look like Margot Robbie! Samara Weaving leads the screen with a performance that her uncle Hugo would be proud of. Weaving is charming, funny and electric in every scene that she’s in. It establishes Samara Weaving not only as a scream queen for a new generation, but also, in my opinion, a star. Like the film, her performance is a delicate high-wire act of contrasting tones - often, she is required to switch between campy horror to straight-up comedy within seconds. Ready or Not puts the fun back into horror. It’s wonderful to see an ’80s-esque horror back on our screens. A key element of horror is to entertain your audience as much as you try to scare them. From Samara Weaving’s star-making performance to the brilliant final 10 minutes, this is pure insanity! You just need to ask yourself. Are you ready or not?

Came for the horror, stayed for the dance! M3GAN is far better than it has any right to be. A brilliantly fun juggling act of relatable themes, campy humour and sincere drama, there is something for everyone here. The memes that have since been born from the film’s notable dance sequence capture the spirit of the film amiably, yet it is a delight to inform you that it is far more than that too. It is as heartfelt as it is creepy and entertaining. Whether this marks the start of a new rise in comedy horrors is yet to be seen. Either way, M3GAN is a total blast! There’s something ominous and strangely satisfying about watching M3GAN slowly make her way down a claustrophobic, dimly lit hallway, but there’s also something ridiculous about watching her dance in that same hallway before beginning her rampage! Perfectly balanced like all things should be. With piercing blue eyes and a syrupy sweet voice, M3GAN is a new horror icon for a whole new generation. This child like character is brought to life in a star-making physical performance from twelve year old actress Amie Donald. The New Zealand dancer and stunt performer captures a perfect blend of robotic movement with just enough humanity to make us ALMOST forget that M3GAN isn’t a real child. The iconic dance sequence that set the internet on fire is just the tip of the iceberg, and the monster that emerges when M3GAN’s gloves finally come off is every parent’s worst nightmare! Jenna Davis provides M3GAN’s voice with a cheerily disconnected tone that always seems to be hiding a hint of menace. The entire film rests on the shoulders of these two very young women and they combine their talents to deliver a knockout performance likely to become a new face of horror. Overall, M3GAN isn’t a complete game changer for the killer doll sub-genre, but it certainly is when it comes to January horror releases. M3GAN is a fun, campy slasher that smartly leans into it’s own silliness to maximise on entertainment value. I think it’s fair to say that this M3GAN Party has only just started!

Where’s that sequel? From a studio, that didn’t even make it through the 21st century… So, what happens when you put together the minds that brought us films like Avatar and Sin City to the big screen and have them adapt a manga series? You get one of the most visually stunning and narratively imaginative films in a long time. What Battle Angel has going for it is its outstanding and inspired visual design. The cyberpunk aesthetic is fully realised and has some truly incredible looking designs for Iron City and the cyborgs that reside there. Nothing ends up looking too cartoony, rubbery, or unconvincing, and it’s obvious that Cameron’s penchant for groundbreaking visual effects is on full display here. Alita has more personality in her artificial little finger than Captain Marvel has in total! Speaking of which, Alita herself is a pretty stunning CGI creation, with Rosa Salazar delivering a fantastic performance. The major problem with this film is the fact that it will most likely not receive a sequel. This is a strong opening film for a franchise, but by itself, it does feel like a shell. We have these great characters, particularly Alita, and a world that I want to explore as much as I can. However, the film ends with the story only feeling like it is beginning. So much time is spent setting up this huge world and giving us context for everything likely to come. Judging it as a solo film, there is a lot of potential here that does feel wasted, especially with the vague ending that we do get for this story. Imagine if the first Harry Potter film began with the story of The Philosopher’s Stone and ended with the events of The Goblet of Fire, there would just be way too much going on in such a short span of time. But I really do understand why fans want a sequel and to see more of Alita and this world. Whilst I would not say I love this film as much as the passionate fans do, there is so much more to offer and many stories to tell. This certainly wouldn’t have been a favourite film of mine in 2019 or one that I would rush to revisit, but I am glad to have finally watched it and understand why a call for a sequel has been made from fans. Alita Army, I am with you on this one.

Mediocre Man… I’m having a hard time understanding how this film currently holds a 95% on Rotten Tomatoes? I found it to be an average romantic comedy that failed to both engage and make me laugh. Hit Man attempts to blend comedy with crime in a concoction that’s as awkward as a clown at a funeral. Directed by Richard Linklater, a name usually associated with thought-provoking dramas, this film feels like a misfire from start to finish. I’m going to be honest here but I’m still not onboard with the Glen Powell Hype Train! Nevertheless rising star Glen Powell stars as the titular “hit man”, a character more reminiscent of a frat boy with a gun than a hardened assassin. His attempts at humour fall flatter than a pancake, relying heavily on tired slapstick and juvenile jokes that wouldn’t even elicit a chuckle from a laugh track. Maybe I’m just broken inside but I barely laughed! Adria Arjona plays his love interest, a role that feels about as necessary as a screen door on a submarine. Their romantic subplot is as forced and unconvincing as a Hollywood marriage, adding nothing of substance to an already lacklustre plot. That said, I do think this is arguably her best performance to date. Linklater’s direction, usually known for its subtlety and depth, feels completely out of place here. It’s as if he’s trying to juggle too many genres at once, resulting in a messy mishmash of half-baked ideas that never quite come together. The pacing is as erratic as a squirrel on caffeine, leaving viewers wondering if they accidentally hit fast forward on the remote. The comedy itself is as stale as week-old bread, relying on tired clichés and recycled jokes that were tired the first time around. Powell’s attempts at comic timing feel as awkward as a first date, while Arjona’s straight-faced delivery only serves to highlight the lack of humour in the script. Overall, Hit Man is a swing and a miss for Netflix, offering little more than a cringe-inducing comedy that’s as forgettable as yesterday’s news. If you’re looking for a laugh, you’re better off rewatching old episodes of The Office or South Park! As for Hit Man, it’s a contract best left unfulfilled.

She-Hulk goes to Hogwarts… “This is the wildest, most offensive thing I have seen!” A bloated, screechy symphony straight from Pink and Green Hell! Everything that’s popular won’t be popular with everyone. Wicked or Wicked: Part One if you’re not a studio executive trying to hide the fact that this is only the first act, has been in the works for quite some time. Wicked: Part One (I’m going to keep calling it Part One because the studio didn’t want us to know!) is like the biggest, flashiest gift-wrapped package next to the Christmas tree that, when we open it, there’s next to nothing inside. Starring a lady who got offended by a poster and a pop star, there are talented people here giving great performances in a richly visualised setting. Wicked: Part One has all the ingredients of a lovely film. It just has the pacing of a snail! Unfortunately, these small highs have a lot of unnecessary fluff between them. One moment, your spirit will soar; the next, you’ll check your watch! Despite some entertaining musical numbers, the generic musical formula is infuriating. Story beats pause and go out of their way to cater to multiple songs at times and it logically hurts your brain. Yes, it’s a musical and yes, people are going to sing. But when the main characters are trying to get away on a flying broom as guards are pounding at the door and they spend another ten minutes dancing, crying, and bellowing about their broken friendship it becomes a nuisance. Get on the damn broom and sing on the way to your destination! It isn’t that hard. Wicked: Part One features some unreal VFX and even touches on some incredible ideas from time to time, but the ideas that work mostly come from capitalising on a fantasy world that was established over a century ago. As a film, Wicked: Part One conjures song after song and drags on and on solely because it’s a bloated musical that wants you to die a rhythmic, and sometimes undecipherable, high-pitched death.

A Cinderella Story… Scream actress Mikey Madison makes a serious bid for A-list status in Anora. To play a force of nature, you need to be a force of nature. Mikey Madison is certainly that! Every once in a while, an actor creates a character that feels utterly real, not like a product of fiction. This is one of those occasions. Based on her work here, it’s going to be exciting to see what else Madison can do in the future. Anora, as a film, is a force of nature. From dramedy to romance to dark comedy to harsh realism, the story takes you on a journey and doesn’t miss an opportunity to gut you, whether you’re laughing and staring, with an empty feeling at the screen. From Red Rocket to The Florida Project, Sean Baker has done it again with Anora, one of the best films of the year that features perhaps the best performance of the year, a star-making turn from Mikey Madison that really leaves its mark on the audience. It’s a “fairy tale” that shatters as reality sets in with Madison’s performance, which captures the emotional roller coaster in perfect fashion. It would be easy to say that Anora plays like a darker version of Pretty Woman, but that would be a disservice to the depth of Baker’s sizzling screenplay. The film takes its time to let this story evolve. The first half of this whirlwind romance plays like a very adult romantic comedy. The story is told with confidence, and the pacing is generally tight, though the film’s length may feel a bit excessive at times. Some scenes, particularly the ones involving intimate moments, may come off as a bit gratuitous for certain viewers, potentially detracting from the emotional weight of the narrative. Nevertheless, these elements are not entirely out of place within the context of Ani’s character, who embodies a sense of autonomy and rebellion. Despite its occasional overindulgence, Anora delivers a satisfying ending, tying together the emotional threads with a sense of closure. Overall, Anora is a bold and rewarding watch, with a few imperfections that don’t overshadow its strengths.

Are you not entertained? Not really! My friend’s dog’s name is Maximus named after Maximus Decimus Meridius, commander of the armies of the north, general of the Felix Legions, loyal servant to the true emperor Marcus Aurelius, father to a murdered son, husband to a murdered wife. Will any dogs be named Lucius? Absolutely not! Watching Gladiator II, for the first couple of hours at least, is a lot like hanging out with an old friend who is trying to remember what happened in the first film, but who keeps getting the details a bit wrong. It’s daunting to produce a sequel to a film that came out almost a quarter century ago and won Oscars for Best Picture and Best Actor. In other words, how do you make a sequel to a classic…in the case of Ridley Scott’s Gladiator II, maybe you don’t. The original Gladiator was a well-written film, with scenes that interlocked seamlessly and a narrative that was always discernible and coherent, even when there were 10 shades of mayhem breaking out all around. In Gladiator II, the storyline gets muffled and side-tracked. Even at 148 minutes, the film feels rushed and incomplete, with Ridley Scott lurching happily into his battles but, as he did in last year’s Napoleon, leaving the connective tissue frayed and unfinished. Gladiator II is an underwhelming film. Yes, it is epic and spectacular at times. But the writing is unambitious and unoriginal by choice. However, I have to give credit where credit is due and that is to Sir Ridley Scott. At 86 years old, nobody else in Hollywood is making films of this size and scale. It is not only impressive but also inspiring and it goes to show that age really is just a number. I salute you sir. After a 24-year-wait and with a ridiculous quarter-billion-dollar budget, it should have been a lot better! Ultimately, Gladiator II swings for glory, but it gets a thumbs down in the end. The promising intrigue and star power can’t overcome its reliance on CGI and nostalgic callbacks, leaving it feeling hollow compared to the visceral impact of the original. Despite a few sparks in the third act, this sequel will leave fans wondering if some legends are better left in the arena.

Are you not entertained? Ridley Scott’s Gladiator stands as an unparalleled piece of cinema. Its status is legendary, offering a cinematic journey that effortlessly lifts you from your seat, plunging you into an indescribable immersive experience. Each scene unfolds with a lifelike quality, creating one of the most captivating films in existence. It weaves a connection to the essence of life, death, and profound meanings, all set against the harsh backdrop of ancient Rome, infusing an additional layer of significance. The film transports its audience to a dreamlike yet historically authentic realm, a manifestation of pure poetry where the unforgettable score lingers in the recesses of memory. Hans Zimmer’s score is a masterpiece in itself. In terms of narrative simplicity, the plot and story arc maintain an unwavering straightforwardness, an approach embraced by both Scott and Russell Crowe. “What we do in life echoes in eternity,” a powerful line that resonates emotionally, underlining the film’s enduring impact. Russell Crowe in his career-defining role delivers a mesmerising portrayal of Maximus, effortlessly balancing strength, vulnerability, and unwavering determination. Joaquin Phoenix’s Commodus exudes a bone-chilling presence, showcasing an exceptional talent for portraying complex and morally repugnant characters. The film’s visual splendour is a sight to behold. The attention to detail in the recreation of ancient Rome, the breathtaking Colosseum, and the awe-inspiring gladiatorial battles makes for an unparalleled viewing experience. Ridley Scott’s masterful directing brings every scene to life, capturing the grandeur, brutality, and elegance of Roman civilisation. Gladiator is a masterpiece of filmmaking. It boasts stunning visuals, a powerful story, and phenomenal performances. The film is both entertaining and thought-provoking, a testament to the enduring power of cinema. Whether you’re a history buff, a movie enthusiast, or simply someone looking for a moving and unforgettable experience, Gladiator is a film that deserves to be seen and cherished by every generation.

Absolutely stunning! Remember when animation was meant to achieve things that weren’t possible in live-action pictures or on the stage? The folks at DreamWorks (and sometimes Disney) certainly seem to remember. We know you can use computers to make photoreal lions recite The Lion King; we also know you can mix photorealism with stylisation and surrealism if you actually try. We get how good people are at making things look “real”. In a sea of sequels and remakes, The Wild Robot is an amazing example for why we need more original films. I am sure many others have felt what I have: exhaustion with the countless sequels that have been coming out. Pixar has outright said that they are going to focus more on sequels and Disney has no plans of stopping their terrible live action remakes that take away the artistry of the originals. But this story is oozing artistry! Everything about it FEELS like it was made with PASSION. The animation is WONDERFUL, and the story managed to put a very small SMILE on my own miserable face. What sets The Wild Robot apart is its ability to evoke deep emotions. For a film that focuses on a robot and animals, it surprisingly taps into profoundly human emotions. As an adult (last time I checked anyway!), I found myself feeling moved multiple times. Narratively, The Wild Robot undoubtedly takes few risks and many key happenings will be overtly predictable for any seasoned viewer but it would take a very jaded and cold cinematic soul (like me!) to not find joy and comfort from a film so enjoyable as this, a fitting swansong to a wonderous period of DreamWorks products and a further reminder that the animation world is alive and well with many more notable stories yet to tell. In a world full of darkness and danger, and where everyone is seemingly hopelessly divided, it’s very comforting to experience a story of characters coming together, being able to accept their differences, and building a community. Sadly, that’s what makes it fiction too. But it’s nice to dream I suppose.