Nicholas Ord

Easily the 3rd best Alien film, which might sound like damning with faint praise, but given the unassailable status of the first two, is a solid result. Tense, visually stunning, with great gruey gore, creative set pieces, at least two memorable characters and fun callbacks without overdoing it (just). Enjoyable return to Ripley's world, believe it or not. 👌🏻

This film is so mindblowing I've got to sit in the car and think about it before I drive home! Parts of it are (often unexpectedly, and quite utterly) hilarious, elsewise it has threads of deep eastern philosophy and hard sci-fi....as well as touching family drama...and almost silly, Jackie Chan-esque Kung Fu comedy. Either love it or hate it (and I could completely understand both), Everything Everywhere all at Once does exactly what it says on the tin and puts EVERYTHING up on screen. It is fearlessly bold and weird (forget Dr Strange, THIS is a multiverse movie, perhaps even the definitive example - though what is great, as an example of what creativity in a limited space, and indeed cinema as a medium, is capable of, is that one film cost $25 million and the other $200 million...sometimes less is more. It is also both ironic and fitting that this internationally-leaning fare was produced by the Russo brothers, of Marvel fame through not least the 'most successful film of all time,' Avengers Endgame). Thematically, EEAAO (quite an apt acronym which perfectly evokes the film's energy) echoes The Matrix, with both it's blue/pill red pill concept, as well as the awesome fight choreography, with Ke Huy Kuan (Data from The Goonies/Short Round from Temple of Doom!) on top form, as is Jamie Lee Curtis, and it's lovely to see both having such obvious fun on screen. But Neo never fought with dildos, sausage fingers or a fanny pack full of fish tank (seriously). It wouldn't have taken a great deal of rewriting in fact, for this to have been an alternative (superior) sequel to that classic. Also, almost cried at a melancholy, existential rock (in subtitles of course, rocks don't speak), so there is somehow plenty of heart and genuine feels to be had amongst the chaos, particularly in the family dynamic between Michelle Yeoh's Evelyn and Stephanie Hsu's Joy, who brings the pathos whilst wearing a black hole bagel on her head... Hahahahaa, enough, please stop the ride, I want to get off. I feel like my mind just had an enema, and has gone slightly mad. I need to watch it again, once I've stopped gibbering and giggling. I reckon Yeoh deserves awards for this, along with more roles that showcase her talents. This near-impressionist film is either absolute genius, or shambolic mess. Or both. Neither. All of it. It's everything (everywhere, all at once). Directors' the Daniels (Swiss Army Man) are clearly on the up, and revelling the trip. Without a doubt the most film I have ever seen 👏🏻

Solid haunted house flick, efficient and direct. The plot starts to crumble under scrutiny (in the car on the way home), but while in the moment it sweeps you along with it. Takes its cues from The Babadook and Hereditary in being about grief, loneliness and the sleepless paranoia that comes from worrying at life's unresolved threads. Perhaps not as stylistically original (and certainly not as downright shocking - though it has its moments) as either of those films, but it also folds in a refreshing message that both they and many others interestingly fail to explore. That of a potentially powerful antidote to grief, loneliness, depression and despair, even ghosts and demons. Friendship.