Just A Little Bit Random

A Complete Unknown – Review

Cert -15, Run-time – 2 hours 20 minutes, Director – James Mangold

As the 60s begin, Bob Dylan (Timothée Chalamet) arrives in New York City and takes the folk scene by storm, before shaking it up with his turn to electric.

A Complete Unknown wants to show just how much of a genius Bob Dylan (Timothée Chalamet) is believed to be. How his songs had a strong impact on the world and those who heard them from the first chord he played. Yet, while scenes of performance are frequent highlights in the near two-and-a-half hour run-time when simply showing a performance it’s generally passes by and seems to take up a couple of minutes. Where these moments work best is when showing a connection to the music at hand, and the effect that it has. More than once the camera focuses on Elle Fanning’s face (playing Sylvie, a fictionalised version of Dylan’s girlfriend Suze Rotolo), close-ups show a range of emotions filling up and beginning to leak from her eyes as on multiple occasions the songs performed on stage bring to further light Dylan’s affair with Joan Baez (Monica Barbaro).

Yet, in others we simply see people working together to create music. A stripped-back, back-to-basics feeling that puts the focus on the sound and the instruments rather than the personalities, while still showing those personal feelings and that love of music. It’s a key point of co-writer (alongside Jay Cocks) and director James Mangold’s biopic as we see a young Bob Dylan arrive in New York City at the dawn of the 60s to meet his hospitalised hero Woody Guthrie (Scoot McNairy), subsequently he stays and throughout the decade shakes up the folk scene in multiple ways.

As his fame, and the constant acclaim he receives, rises so does the character of Dylan. How much of what we see is a persona is only lightly questioned, something left largely aside from the rest of the film’s dealings that feels as if there was more left on the cutting room floor. We get hints that Dylan changed his name from Bobby Zimmerman and the hint of an act when the sunglasses go on and the more his style and look changes, but nothing more upfront. Baez observes to him early on “you’re kind of an asshole, Bob”, although sometimes his behaviour makes “kind of” seem somewhat of an understatement the more the singer-songwriter, whose behaviour may feel like a persona due to the occasionally imitation style of Chalamet’s performance, feels constrained by the folk scene.

“A good song can get the job done without the frills; no drums, no electric instruments” claims Edward Norton’s Pete Seeger (a largely warm and kindly figure who could almost fill in for Mr Rogers) shortly after meeting a freshly-arrived Dylan. A folk purist, he too is shaken up when the young man he helped launch onto the scene turns to those electric instruments. At times treading near the conventional lines of new music receiving negative reaction from the old guard – as a whole Mangold avoids Walk Hard territory, after making Walk The Line, the film which inspired the still-accurate spoof – there’s no denying the effect that the music has. Perhaps it helps that I lean more towards Dylan’s electric tracks than his folk work as a whole, but as a whole there’s a likable use of a good deal of his catalogue, with a sprinkling of other folk tracks, throughout; adding an energetic kick to some of the proceedings, and moving the eventually well-paced run-time along quite consistently.

There is an occasional unevenness to A Complete Unknown, and it shows Dylan to be that way too, particularly in regards to his relationships and way he presents himself to others. But, in a similar way, the music is what helps to lift and drive things. Adding to character interactions and bringing a stronger effect to them. While not a musical this biopic understands the relationship that people can have with music and what it can say, do and bring out. Communicating just that in its best moments where the music can sometimes speak better than anything else, and can also create forgiveness when the central figure starts to come across as kind of an asshole.

While there might be some bumps along the way in regards to Dylan’s personality and a lack of insight into degrees of persona, A Complete Unknown leans into the music with the pivotal point of the connection and effect it can have. With that a better, more enjoyable, film forms with a good kick from its soundtrack.

Saturday Night – Review

Release Date – 31st January 2025, Cert – 15, Run-time – 1 hour 49 minutes, Director – Jason Reitman

90 minutes before air, the cast of Saturday Night are fighting, there’s no audience and the schedule is over three hours. With risk of cancellation, producer Lorne Michaels (Gabriel LaBelle) is trying to bring everything together in the hope of creating something revolutionary.

Throughout Saturday Night Gil Kenan and director Jason Reitman’s screenplay reminds us how the cast and, at least some of, the crew are setting out to create something revolutionary. A cathartic variety show of live entertainment for the generation who grew up with TV by the generation who grew up watching TV. Unfortunately, this doesn’t lead to a harmonious feeling behind the scenes of TV as 90 minutes before going to air producer and show creator Lorne Michaels (a truly fantastic Gabriel LaBelle, powering forward amongst the larger-than-life personalities and egos of the characters around him; his exclusion from the conversation is one of the big shames of this awards season) struggles to keep everything together in order to go live. That is if he gets the go ahead from disapproving studio execs (led by Willem Dafoe) who are looking to put on a re-run of The Tonight Show as soon as possible.

As we see fights between the cast (particularly Cory Michael Smith’s cocky Chevy Chase and Matt Wood’s serious, withheld actor John Belushi), split up by the occasional unifying drug use, crew struggle, or simply don’t bother, to set everything up to rehearse for an overbooked schedule there are constant reminders of how different this show was intended to be, and would be, from anything else on TV. It brings about an exciting feeling within the fast-paced countdown which frantically tracks Michaels’ slipping control of each situation.

Yet, there’s comedy in the chaos. Both from the characters we see on screen, easily established in the initial sparks of their first appearances, and their white-hot interactions – writer Michael O’Donoghue (Tommy Dewey) has great fun riling up a devout Christian NBC censor (Catherine Curtin) with his multitude of crude jokes and phrases. Much of this propelled by the strong performances from each cast member and the unit they form. Nicholas Podany’s Billy Crystal, worrying his sketch will be cut from the running order, is uncanny while Nicholas Braun seamlessly wanders around as Andy Kaufman in character as Foreign Man from the opening scene and doubles as a writer-tormented Jim Henson. Meanwhile, Rachel Sennott effortlessly rides the spiralling wave of the imminent show as writer Rosie Shuster, also helping to keep the cast and production calm and together, in addition to being Michaels’ wife – there’s a rather nice tone to the ‘it’s complicated’ nature of their relationship and their interactions which have the calmest, yet still pacey, moments of the film. And the cast list goes on without feeling overstuffed due to the understanding ensemble, and everyone getting their moment to shine.

While Saturday Night Live may not always be something that captures the humour of those outside America, the brief moments of sketches, outside of Weekend Update, in this film fail to conjure up many laughs, whether this is intentional or not I’m not sure; however the bulk of the film looking at the behind the scenes details have plenty. Remaining consistent even amongst the rising tension, particularly in the final half hour when everyone is at their most scattered.

Even here it would have been hard to wipe the big smile, and at times grin, from my face. From start to finish Saturday Night is a deliriously entertaining ride with an ensemble cast who instantly gel to create a tour de force build-up to TV history. You can feel a sense of unity amongst those making this film, coming across in just how well tracked it is – particularly by Reitman’s direction, and the tight screenplay – to create the disunity depicted. The hopes for and worries about the show at the heart of the production which is paid respect and admiration to. This is a love letter without the schmaltz. One which clearly shouldn’t be taken as gospel as it barrels forward with relentless pace and energy to make for a brilliantly entertaining ride to match the big personalities on display.

Gabriel LaBelle superbly leads and ties together the no-holds-barred pace and coverage of Saturday Night. Efficiently scripted and directed, there’s plenty of laughs to be found within both the film’s personality and the personalities it displays in full force for maximum entertainment and un-saccharine homage.

A Real Pain – Review

Cert – 15, Run-time – 1 hour 30 minutes, Director – Jesse Eisenberg

Cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) embark on a week-long tour of Poland to learn about the country’s, and their Jewish family’s, history in the wake of their Holocaust survivor grandmother’s death.

There’s been praise directed towards A Real Pain for acknowledging the awkwardness that there can be around it subject matter. Tensions rise between ‘joined-at-the-hip’ cousins family-man David (Jesse Eisenberg – who also servers as writer, director and co-producer) and isolated Benji (Kieran Culkin) as they explore the past of their Jewish family through a tour of Poland in the wake of their grandmother’s death, herself a Holocaust survivor. As the pair join a small group of four other tourists, and their tour guide James (Will Sharpe), Benji’s emotional responses to the world around him vary strongly in the wake of possible depression and mental health issues. The film never outright says that this is the case and while at times dealing with them, and how David reacts to Benji’s behaviour, in a considered manner at other times feels as if it awkwardly dances around them.

Culkin’s performance has been much acclaimed, and he’s pitched as a likely Oscar frontrunner. His performance is quite a traditional one, it, alongside the film as a whole, feels as if it could have been sweeping the awards circuit in and around the 80s. This isn’t to say that either feel outdated, but there’s sometimes a lack of directness to Benji’s behaviour as it fluctuates throughout the tour. At one moment bubbly and energetic, eagerly socialising with the rest of the group; at another freaked out by the journey he’s on, suffering something close to an anxiety attack in the first class carriage of a train when reflecting how his family were herded into the backs to concentration camps almost 80 years before. Culkin does his best and indeed brings insightful layers to his character through a thoughtful performance, pushing through what the film doesn’t say.

It’s perfectly fine for things not to be said verbally, but sometimes it feels as if there’s a struggle for things to be said even in a look or air of understanding from at least the film, even if not David when explored over dinner one evening. As if the lightness of the film wants to stay on track as much as possible, even during more dramatic moments. Yet, perhaps the best sequence of the film is a directly serious, almost silent, one depicting the group’s respectful visit to Majdanek. Already during exposition shots of Poland Eisenberg’s camera captures a good deal of detail which brings you into the locations, but as it lingers throughout the concentration camp as it seems to dwarf the characters it pushes you back in your seat. Played out with little sound or dialogue as the return journey to the hotel begins you just want it to linger on to sustain the impact instead of going to another piece of Chopin.

Even after this moment there’s still room for humour. Before and after the visit there’s some well-balanced humour as the ‘more like brothers’ cousins, it’s noted that they were born three weeks apart, get reacquainted in the wake of their bereavement, taken particularly hard by Benji. While not everything quite gets a laugh this is less a film aiming for an out-and-out comedy, although it could fall into the comedy category, and more a light drama dealing with such serious themes. Perhaps to make them more accessible and highlight the continuing impact and different familial connections and lives lived because of it. Regardless, the laughs do manage to gently come in from the opening stages and help to move things along during the bumpier, more uncertain moments, only occasionally feeling as if they heighten or further show the uncertainty of how to deal with or present a certain idea or moment.

With everything contained within 90 minutes there’s a short journey yet one that gets a good deal in and manages to make the most of that time. Not outstaying its welcome and generally leaving some of the best moments towards the end of the film, where much of the most interesting details of the characters as individuals lies. While not everything entirely clicks during that short run-time there’s still enough to like and enjoy, particularly in regards to the humour and performances – there are some likable moments of conversation with other members of the tour group relating to identity and the various meanings of pain and what to do with it. Just sometimes its depictions of awkwardness come across as a general awkwardness from the film rather than in the situations its depicting.

Good humour and performances help A Real Pain to move along, at its best when it takes a moment to take in its characters behaviours and feelings, however it feels hampered by its own occasional awkwardness when approaching such matters creating something of a bumpy, if overall likable, ride.

Just A Little Bit Random Audience Top Ten Films Of 2024

Over the past few weeks I’ve noted a number of times how 2024 was a great year for genre films. A variety of films have been praised and award season hits really seemed to find their way into the mainstream more than perhaps usual, something of a recurring trend over the past couple of years. These ideas are particularly reflected in the results of this year’s poll for the audience best film of the year. There’s tended to be a diverse range of genres, blockbusters and indie films in the top ten each year, and that’s certainly the case here; but what stands out is just how successful some of these latter titles were. In the past blockbusters and some of the most talked about films of the year have made up the top three (last year Oppenheimer, Barbie and Wonka topped the list), and to some extent that’s the same here but with less of an angle on worldwide smashes. Emotional impacts seem to be a big part of this year’s list (All Of Us Strangers just missed out on the top ten and there was a good show of support for One Life). And so, without any more waffle, here are the top ten films of 2024 (by UK release date) as voted for by the various forms of the Just A Little Bit Random audience.

10. The Holdovers

After much build-up this Christmas flick managed to prove a success when released in the UK in mid-January and already seems to be destined to become a classic of the festive season. There’s plenty of warmth to be found at the heart of the connection between the dysfunctional trio in Alexander Payne’s latest film – even amongst Paul Giamatti and Dominic Sessa’s wonderful one-liner insults.

Emotional pain and isolation ease away amongst the humour and understanding which the film both demonstrates and emits. Payne does what he does best and extends a hand to such figures, both in the film and the audience, and takes them along on their respective journeys. The various bonds on-screen pushed by the feeling of the year’s closing days as layered and engaging characters lead the piece, and David Hemingson’s wit-filled screenplay, rather than a detailed narrative. This clearly connected with audiences throughout the year to perhaps return to it around Christmas, or perhaps watch it for the first time following the strong word-of-mouth, after it had such a strong effect and memory throughout the year.

9. Wallace & Gromit: Vengeance Most Fowl

Not only did the return of Feathers McGraw create one of the biggest film events of the year, it also formed one of the most watched. Not just in terms of Christmas Day viewing, but also re-watches. Days, even weeks, after most got to see the return of Wallace and Gromit the internet was filled with jokes and references that were hidden the background of each scene – or in some cases upfront, Anton Deck has cropped up on social media feeds multiple times since.

Yet, aside from the many gags on display the craft of Vengeance Most Fowl has also received a lot of praise. The detail and general nature of the stop-motion, and indeed how long it takes, is something that remains consistently admired by the wider audience when it comes to Aardman and has been discussed as much as the finished product; especially when it comes to the scale of the climactic chase, knowing it has to follow-up the model train sequence in The Wrong Trousers – one of the greatest chases of all time, even according to the likes of Spielberg and del Toro.

All that time and effort has clearly been worth it with the reception that this latest outing for the, let’s be honest, iconic British duo who have lost none of their charm, style and creativity over 35 years – while the evil penguin, and his chicken disguise remains just as sinister three decades later.

8. Deadpool And Wolverine

One of the more divisive films of 2024, and perhaps the most divisive on this list, fans of Deadpool still found much to love about this third outing for the merc with a mouth. Seeing the fourth-wall-breaking antihero land in the MCU to rip it to pieces provided something of a continued, and needed, break from the rest of Marvel’s big screen ventures while showing some self-awareness via barrels of winks, nudges and fan service.

Nonetheless, while certainly leaning towards the fans and those well-versed in the various universes of comic book adaptations and beyond Deadpool And Wolverine managed to be the second biggest film of the year, the only two to cross $1 billion at the box office last year, although Moana 2 could just cross that line in the coming week or two. Some self-awareness seems to have been what people were wanting from their superhero films, and indeed in a year where blockbusters were quite hit and miss, and varied drastically in box office performance, this one provided some successes for both Marvel and a good deal of the audience, some of who’s fears that the character would be changed by the studio were quickly put to rest. It’s clearly made enough of a successes as it continues the regular appearance of the MCU in the audience top ten.

7. The Wild Robot

One of the most praised films in terms of visuals last year, as another animated film (after Dreamworks’ Puss In Boots: The Last Wish, voted the fourth best film of 2023) takes a leaf from the book of Spider-Verse to stand out with its visual style, The Wild Robot also had a widespread emotional impact. Much of this courtesy of Chris Sanders’ multiple layers of understanding, as shown with his work on one of the greatest films ever made Lilo And Stitch. Whether for those who feel like outsiders but eventually find their, sometimes dysfunctional, tribe or as a portrait about parenting Dreamworks’ latest clearly landed a punch with many audience members.

This is a film that emits the same strength of heart that it’s clearly made with in its storytelling. Complimented by its humour there are a number of jokes here that call back to some of the early Dreamworks films, such as Shrek, with a number of adult-leaning jokes which successfully go over the heads of younger audience members. A heartfelt film which warmly embraces its subject with thought and insight as Lupita Nyong’o’s titular robot, Roz, vastly exceeds her initial “crushing obligation” to help the animals in the wilderness around her.

6. Inside Out 2

In a similar vein to The Wild Robot, and much like the original film, Inside Out 2 also works on different levels for older and younger audiences. By exploring anxiety this sequel explores more mature themes than the 2015 original but still manages to create an adventure through the mind full of colour, imagination and a good dash of joy.

With a new set of emotions there’s still a balance to be found and no overbearing feeling to those which come across and are felt by the audience. Perhaps in part this is because of the depiction of anxiety, and how to deal with it. In recent years the idea of anxiety and panic attacks have come more to the fore in films and been praised, again to refer to Puss In Boots: The Last Wish, and even recently-released Babygirl (a much, MUCH different film) features a brief moment dealing with a panic attack. Inside Out 2 deals with this upfront pushing its relatability through the way it continues to perfectly visual mental concepts and feelings. Taking an initial joke and turning it into a proper element within the narrative which moves the story along and creates another clever and creative piece of work, not to mention the biggest film of the year. This was an undeniable, and to some extent unexpected in terms of just how big it became, hit and perhaps a large part of that is because of just how well it communicates its ideas and works in different ways for different audiences while still telling the same story.

5. Paddington In Peru

The love for Paddington continues to spread as his third outing, which sees him travel to Peru, proved just as much of a success with audiences of all ages as the first two, which continue to grow their audience with each regular showing on TV and display of love from those who are already fans. There may have been some comments about how it doesn’t quite reach the heights of the first two entries, but that doesn’t seem to have stopped it from connecting with viewers – as, at time of writing, it continues to hold on in the box office top ten two months after release.

Having already mentioned British icons once this trilogy has undoubtedly brought new life into Paddington with this iteration becoming just as much of one as he was before. Maybe over the last couple of months we’ve needed reminders that “when dark skies are grey, hope is the way” in addition to those that “if we’re kind and polite the world will be right”. The bear and his adages, and those of Aunt Lucy, are still very much the same and it creates a welcoming feeling that’s easy to relax into for Paddington In Peru, and the added bonus of Olivia Colman as a singing nun – Let’s Prepare For Paddington is one of the underrated bangers of the year, alongside Vengeance Most Fowl’s The Gnome Song. It’s clear that what we need in the world is just a bit more Paddington.

4. Dune: Part Two

Back in 2021 you voted Dune your fourth best film of the year (when No Time To Die came out on top), three years later you’ve placed the conclusion to the story, at least for now, in the same spot. Just as much of an intense visual spectacle, with additional sandworms, there’s been some question as to how the film will fare during awards season after somewhat having fallen behind in the conversation, as if a bit of an outsider now while still possibly securing nominations. While that might be the case for awards voters the effect its had on audiences, and in their memories is clear, as there was a strong show of support for it. In fact, there was a lot of support for the top four films in general with a good gap between them and the rest of the top ten.

In a year where Warner Bros’ blockbuster sequels largely faltered at the box office, with the likes of Furiosa and the divisive Joker: Folie A Deux drastically underperforming, Dune: Part Two was embraced from its opening weekend and beyond. A fitting follow-up to the first instalment of Denis Villeneuve’s transporting sci-fi epic, this more narrative-led return to the desert planet of Arrakis made the most of the big screen and packed it with masses of details for audiences who wanted to see the second half of this story, and get caught up in the tension of the various fights and battles on display – particularly in regards to the ending and Austin Butler’s scene-stealing Feyd-Rautha.

3. Conclave

While expected to be an awards season favourite Conclave become something of a box office success, too. Keeping a steady audience each weeks and holding on in cinemas amongst titles such as Wicked, Moana 2, Mufasa: The Lion King and Sonic The Hedgehog 3. Less a film about quite conversations and potential popes and religion and more a political thriller, Edward Berger’s follow-up to All Quiet On The Western Front is a bubbling pot of overlapping tensions.

Based on Robert Harris’ book of the same name, Peter Straughan’s screenplay never talks down to the audience or pontificates, instead understanding that the audience will follow along and bringing them into the established workings of the film and process to elect a new pope. Warring sides erupt amongst a set of fine performances and form a suspenseful process as figures are whittled and knocked down in their attempts to become the new leader of the Catholic Church. It all makes for a gripping thriller filled with unpredictable twists, in some cases receiving similar responses to murder mysteries, which have received plenty of love in previous audience top tens (Knives Out placed third in 2019 while Glass Onion was named the best film of 2022). All capturing multiple audiences in the unfurling of secrets as part of the increasing battle at the centre of the film.

2. The Zone Of Interest

I’ve already mentioned a number of times the lasting emotional impact that a number of films had last year, but one that perhaps had the biggest and most lingering effect is The Zone Of Interest. While I may not have sung its praises as much as most others, there’s no denying the profound impact that Jonathan Glazer’s view of evil, following the commandant of Auschwitz (Christian Friedl) and his wife (Sandra Hüller) go about their day to day life whilst living next door to the concentration camp which we never step foot in.

As we hear screams and gunshots, or see smoke billowing behind the garden walls, we hear conversations about the flowers or how, when her husband is in line for a promotion, Hüller’s Hedwig doesn’t want to move away from the idyllic life she’s built in their home. The banality of evil created a shocking and harrowing experience for many who saw The Zone Of Interest, and it indeed became a frontrunner during last year’s awards race, even alongside the likes of Oppenheimer and The Holdovers, in part because of just how strong of an impact it had both throughout and long after it finished. The show of support for this film throughout the voting process was strong, as shown by its runner-up placement, with a consistently high number of votes coming in from the start. Reflecting it as one of the most acclaimed films of the year, and one of the most effective long after it’s run-time has finished.

1. Wicked

One of the biggest and most beloved Broadway musicals turns into one of the biggest and most beloved films of the year. Wicked proved a big hit with fans of the musical, we all saw and heard about the debacle involving singing along and taking pictures in the cinema (the sing-a-long version was released on Christmas Day and put your phone away!) and those who hadn’t seen the stage version yet. Capturing audiences in its unashamed, glitzy song and dance numbers and big Broadway tunes, led by Cynthia Erivo and Ariana Grande who can both undoubtedly belt out a tune, and make one hell of a press tour.

With a months long build-up and the film and no sign of the film slowing down at the box office there seems to be little sign of Wicked fatigue settling in, which shows further anticipation building for the sequel later this year. For a film only adapting one half of the stage musical with a run-time just as long as the whole musical (including intermission) there were worries that this could have turned into something bad, but instead it was met with the opposite of loathing and became one of the most popular films of the year. Taking people back, in some ways, to a scaled up version of Oz and the Emerald City for an acclaimed, entertaining musical and perhaps one of the few pieces of event cinema from the last year. Landing that final punch with Erivo belting out Defying Gravity it clearly took off for audiences, leading it to be voted as your best film of 2024.

Just A Little Bit Random Review Of The Year 2024

Film journalist Tom Beasley once again joins me to count down our respective top ten films of the year lists. Throughout our hour long conversation we cover a year which provided plenty of excellent genre films, our differing views on the year’s action films and the growing demand for something different from music biopics. All while looking back at the best of the best of 2024.

If you want to find more from Tom you can find him on Instagram and Bluesky.
To listen to his song requests follow the links below:
Defying Gravity – Cynthia Erivo
Jump In The Line – Harry Belafonte
Run – Stephen Fretwell

Babygirl – Review

Release Date – 10th January 2025, Cert – 18, Run-time – 1 hour 55 minutes, Director – Helina Reijn

Tech CEO Romy (Nicole Kidman) finds herself entering into an affair when a new intern (Harris Dickinson) fulfils her submissive sexual desires.

The sex scenes and montages highlighting the sub-dom relationship and desires of tech CEO Romy (Nicole Kidman, on strong and bold form) and new intern Samuel (Harris Dickinson) will likely be what creates people’s overall opinion of Babygirl. Some have found a humorous side to sequences where Dickinson commands Kidman to crawl around and lick milk from a saucer like a cat, others have simply viewed them as strange. Undeniably these scenes and the tension between the two construct a good deal of Halina Reijn’s film, one very different from her previous feature; the brilliant Bodies Bodies Bodies. They make way for themes of power and manipulation, however these feel only lightly touched upon.

When made the central focus and directly dealt with there’s an additional intensity to the film in regards to its dramas and the central relationship, which sees Romy entering into an affair with Samuel when he fulfils the submissive sexual desires that her husband (Antonio Banderas) doesn’t seem to understand, the opening scene sees her leave the bed to go to another film to climax to submissive porn. Yet, with the back and forth of the relationship, the worries that it will be uncovered and ruin Romy’s family life and career, there’s little time for the details of power and control. There’s an instant spark of interest to these moments when playing out, giving the film a jump, but it quickly fades away to get back into the various other points present in the narrative.

While generally dealing with things well when they appear there is something of a squash as things near the closing stages. While just under 2 hours the film starts to feel overlong whilst trying to push some of the lesser-dealt-with themes in order to further establish their appearance and mention in the closing stages – particularly regarding Sophie Wilde as Romy’s assistant Esme, wishing to progress in the company with the help of one of the few women who made it in the industry. However, as Esme appears to start her own relationship with Samuel Romy’s life begins to spiral further as she becomes increasingly drawn into her affair with the young intern.

Sex scenes largely find their impact after the fact in the ensuing dramas. They may be necessary for the narrative and relationship, and indeed the overall film that writer-director Halina Reijn is going for – and again they’ll likely be what creates something of a divided audience – but sometimes they feel split from the rest of the film as to who they’re aimed for. Perhaps because of the fact that the more they appear the more the dramatic effect appears in subsequent scenes and the focus of these moments almost solely becomes the erotic side of the erotic thriller. As a whole there’s still a generally consistent film unfolding, but one that on reflection is busier than it initially seems. It means that the best moments of drama don’t get enough room to breathe and fully develop, meaning that the various layers of power within the relationships at hand don’t feel fully explored with the film as a whole inevitably missing out on expanding its best ideas and moments.

With multiple dramas following on from the various intimate scenes there’s a busy and overlong film in Babygirl, led by Nicole Kidman on bold form the film is at its best, and most dramatically intense, when directly looking into the power dynamics within each relationship.

Nosferatu – Review

Cert – 15, Run-time – 2 hours 12 minutes, Director – Robert Eggers

Transylvanian vampire Count Orlok (Bill Skarsgård) spreads a plague throughout the German city of Wisborg in pursuit of a young, recently-married, woman (Lily-Rose Depp).

Over the last few years I’ve praised Robert Eggers for being a master of atmosphere. Whether isolating us on a cramped, delusion-inspiring rock or throwing us into the screaming rage of Viking revenge there’s always been an intense stylistic feeling to his films that draw you into the individual world. Not just from the aesthetic but also because of his directions and the ways in which each world is captured. Eggers passion for Nosferatu has been well-noted in the build-up to his take on the story and you can tell he’s thought a great deal about the style and look of his latest film.

It’s perhaps why the atmosphere in this case largely seems to come from the visual side, the darkness and playing with shadows – we frequently see the clawed hand of the titular vampire flying over and consuming the German city of Wisborg as if to grab and clutch it – alongside the cold gothic structures and design. Eggers direction here still has flare and effect but it feels less intense amongst the slow burn nature of his take on the narrative, as Count Orlok (Bill Skarsgård) prepares to travel from Transylvania to Wisborg to claim the soul of young, recently married Ellen Hutter (Lily-Rose Depp). It’s Ellen’s husband, Thomas (Nicholas Hoult) who initially visits the Count to sell him a rundown castle in his home city and rushes home, unrecovered after experiencing the attacks and true nature of the man he has visited to conduct business with.

Once the monstrous figure of Count Orlok – largely veiled by darkness, but with a voice to emphasise his creepiness – arrives in Wisborg a plague begins to spread throughout the city. It’s here where multiple races to discover what’s happening, and how to stop it, truly kicks in. In the build-up the gothic narrative has already been well at play with some good effect, however the mass illness in the streets and hospitals brings in a race against time element for multiple characters. Each seemingly with a link to each other and yet on occasion playing out separately as if not communicating, or even aware, of each other – Ralph Inseon and Willem Dafoe, as a modern 19th Century doctor and a professor dealing with the occult respectively, react to the upfront city-wide cause, although having glimpsed the nightmare-like possessions undertaken by Ellen are observed by Thomas and friends Friedrich (Aaron Taylor-Johnson) and Anna (Emma Corrin).

The stalking, and bloody, threat at hand certainly lands an impact in the swift and upfront attacks. There’s a quick nature to these moments yet a sustained feeling to the impact which increases the looming fear and dread experienced by the characters as personal loss and torment begins to take its toll on them and their search. During such moments, particularly in the second half of the narrative, the film is at its best and picks up the pace. The slow burn nature works in part in the early stages but there are a number of scenes which feel as if they could have more effect if just a bit pacier, with the film as a whole feeling just a bit overlong at just under two-and-a-quarter hours.

Eggers’ Nosferatu certainly doesn’t feel style over substance, there’s a good deal of substance here which helps add to the overall gothic nature. I just sat there and wished a couple of times that that substance would happen just a bit quicker or feel that bit more intense in-between the darkest moments. As a whole, this is still another solid and occasionally eerie horror from Eggers, with a standout turn from Skarsgård; you can feel the bite but perhaps not the fangs.

While its slow-burn nature might get in the way of some of the darkness and intensity, during direct attacks and scenes of threat Nosferatu is at its best, with a great ensemble cast, and a standout turn from Bill Skarsgård thanks to his performance and makeup, just part of the excellent gothic visuals throughout.

Top Ten Films Of 2024

2023 was a year full of big hitters. It was a year packed with big-name directors helming the charge of films which showed a shift of audience demand away from the superhero genre and other more familiar commercial successes of recent years. 2024 has continued this trend (although its two billion-dollar grossers – at time of writing – are Inside Out 2 and Deadpool And Wolverine) but, without the same slate of notable directors we instead saw an exciting year for genre films and directorial debuts.

2024 was the year of the sleeper hit, many films saw their audience arrive gradually and through word-of-mouth. This particularly being the case when it comes to younger viewers, who also spread the likes of viral marketing campaigns; it does largely seem to be the case that the likes of indie trans-allegory psychological horror I Saw The TV Glow found a lot of love from younger audience members. Horror in general found a strong streak through the year with the likes of Longlegs, Immaculate and In A Violent Nature all finding an audience.

Throughout the late 2010s we saw what I branded as a new golden age of teen movies. Moving on for the search for freedom that we saw in the classic 80s flicks, the kids now have their freedom and are looking for their place in the world and exploring who they are. Love, Simon, Booksmart and Eighth Grade are all brilliant films just to name three, and they understand and talk to their audience. Following on from that, a new generation of filmmaker is coming through which now seems to be connecting to this demographic with their films, alongside the wider market as well. With these films the younger audience, who may only occasionally go to the cinema, are finding the cinematic voices they connect to and what reflects their experiences and mindsets. Of course, the big blockbuster successes are still there but the likes of I Saw The TV Glow, Love Lies Bleeding, The Substance, My Old Ass and even Inside Out 2 with its understanding of anxiety all found their audience, even if it took to get to streaming.

Streaming can, of course, be where a film finds its audience, growing for the possible sequel. Even threequels such as Terrifier 3 and MaXXXine saw some figures finally realise the obvious fact that you can’t have those successes, in cinemas for longer than previous entries before going to streaming due to demand and the growing and maintained audience, without the original films. Even if this was also a year where Disney leaned back into sequels by releasing Moana 2, quickly re-worked from the intended streaming series possibly after the box office disappointment of Strange World and Wish.

Perhaps what links the biggest successes of the year is simply down to style and personality. Last year adult dramas such as Oppenheimer thrived, and the same goes for this year with titles such as Conclave (which found unexpected meme potential), Challengers and The Bikeriders, yet each, particularly the former two, had their own individual style and tense rumblings underneath.

But, it wouldn’t be an over-rambly, slightly chaotic, look back at the year without mentioning perhaps the biggest success of 2024: Hundreds Of Beavers. Countless screenings near to me were sold out due to high demand after word had travelled from the success of the film in the US. A truly unique comedy, a live-action, black-and-white Looney Tunes cartoon, made on the lowest of low budgets was embraced by audiences left in stitches by the non-stop rate of gags. Given multiple special limited-time-only screenings before simply gaining a standard release to meet the demand. Perhaps no film has better brought together audiences of all kinds this year than this one.

After revisiting my favourite films of the year many of them are indeed genre films with plenty of personality. Most original films, each telling their story in a bold, unique way overflowing with creativity. And so, without anymore waffle, here are what I thought were the top ten films of 2024:

10. The Book Of Clarence

Sony/ Columbia really messed up with Jeymes Samuel’s sophomore feature, leaving it out to die with barely any promotion or much of a release. It’s a shame because Samuel once again displays himself as a fresh voice bringing a modern twist to classic genres, in this case the biblical epic. Matching the style to the music which runs throughout there’s a punchy and energetic feeling to The Book Of Clarence which works hand-in-hand with the film’s overall drive.

As we follow LaKeith Stanfield’s wonderfully performed Clarence, who knows full well that he’s both not the messiah and a very naughty boy (reference to Life Of Brian for once feel understandable when it comes to the humour on display), the comedy grows with plenty of laugh-out-loud moments yet the growing seriousness of the drama he finds himself in successfully lands, too. It’s within the handling of the core themes that the originality of the film truly comes through. The comedy plays into the eventual impact and adds an additional layer to this consistently entertaining film which exceeds 90 minutes by quite some distance and gets away with it with ease.

Everything naturally clicks within the story as Samuel fleshes out his world with a music video style punch and flare to bring through the modernity via his own directorial voice. It’s one that I look forward to seeing more of in the future as he’s making films that have familiar and traditional notes but simply adding his own fresh spin to the way they come across stylistically to bring a new energy to them. One which, after a studio put up the money to make this following on from Netflix’s The Harder They Fall, I hope he quickly gets the opportunity to express again in equally entertaining fashion with another top ensemble cast.

9. Love Lies Bleeding

A sweat-drenched tale of passion fuelled by fits of bursting rage, Rose Glass’ second film succeeds best because of how genuine the relationship between Kristen Stewart and Katy O’Brien’s characters feels. Quickly meeting and largely playing their lives by ear soon after they meet you feel that spark and instant connection which grows alongside their respective rage as the narrative develops.

As the thriller aspects play out the story twists and pulses in the same way as the body of O’Brien’s bodybuilder Jackie. As the cracks of not just her body begin to ripple through the speakers with increasing heat the darkness of the shady family dealings relating to Stewart’s Lou come more to the fore. Glass’ film becomes a primal scream of rage as the long-building emotions take the reins for an explosive set of distinct events which flow effortlessly from one to the next.

Dirt and dust coat the claustrophobic small-town in which things unfold, making their way as far as Vegas as they get stuck in characters’ heads. Cinematographer Ben Fordesman brilliantly captures this with the added layers of blood and both workout-induced sweat and that created by fear and worry from and for the characters. It creates a thick and grimy atmosphere which adds further tension to the story, and more importantly the central pairing at the heart of the events. This is a film unafraid to get its nails dirtier by digging them in with a furious scream.

8. Piece By Piece

If Piece By Piece were just a regular, live-action documentary then it would likely be a perfectly fine three star watch. Yet, where it truly excels is in the Lego-style animation which brings it to life. Colour bursts from the screen in perfect sync with the continuous stream of music pouring from the speakers to highlight the world of imagination and creativity which is at the heart of Pharrell Williams’ story.

Yes, in its overall construction it’s perhaps even more of a hagiography then Bohemian Rhapsody, but perhaps the dwelling on the positive allows for so much of the joy to come through. As we barrel through Williams’ career through the lens of a celebration of creativity and the pursuit of your passion. This is undoubtedly one of the biggest surprises of the year for me. So much of it I spent in wonderment at the visuals – packed with cutaway gags and background details to link to the words spoken by interviewees at certain points – a big smile spread across my face.

The animation helps elements of fantasy blend into each other and it all elevates the film and its messages with an even more entertaining nature. Pushing and enhancing both the story and joy on display whilst never feeling like a simple gimmick over the course of the fast 94-minute run-time.

7. Sing Sing

An all-important tender, caring and honest depiction of performance. That which we demonstrate to protect ourselves or get through in life, those which can be damaging, and that which we put on to show more of ourselves to others and express ourselves, a healthy outlet that we’re more aware of and in touch with. All through the lens of a thoughtful prison drama examining masculinity and reform.

Sing Sing soars because of its open discussion of emotion, how we feel and express. Things that are so difficult to put into words, and so here we see them put into acting and performance so that they can subsequently form into words as if the natural progression of a conversation that’s already been started. The performances which bring this to life are all excellent, featuring many inmates who went through the program depicted in the film, led by an emotionally engaged charge by Colman Domingo.

A film which looks down on noone. Sing Sing extends a hand of care and hope. Showing us an emotional story of people opening up and understanding themselves and their performances; the good and the bad. It’s a truly wonderful feat that even just reflecting on provides a touching feeling of tender emotion.

6. Poor Things

Emma Stone delivers perhaps the performance of the year as the undeniable force that is Bella Baxter. The narrative of Poor Things is solely focused on her development as she naturally grows mentally and physically over the course of just over 2-hours before our very eyes. Exploring brilliantly designed otherwordly locations, coming across to the audience as bizarre as they are to her, offering sugar and violence – “it is quite charming”.

Yorgos Lanthimos’ film feels like it could have been created by Wes Anderson after being struck on the head to relieve an intense fever. Exploring how growth and strength can emerge form the most unlikely places, unveiling empowerment from their initial oddities. It matches Bella’s story perfectly as she launches herself into a world which, alongside those in it, proceeds to fail to beat her down.

Bella is the hook and she’s just as fascinating, empowering and joyous as the film which follows her. Backed by a great supporting cast – including Mark Ruffalo who perhaps has the line reading of the year when threatening “I will f*cking kick your dog to death!” – and intense visual and stylistic detail, including Jerskin Fendrix’s wonderfully complimenting score which grows alongside Bella. There’s so much to be wrapped up in and much of it stems from the central character who luckily encapsulates all of what Poor Things is about. All the details work together to strengthen each other and further detail the world as Stone’s lead sees and experiences it, putting the audience right in her shoes every step of the way for a similar look at the world and perhaps a different view of our own. One thing’s for certain, we could all do with a bit more of Bella Baxter’s outlook on life and the world around us.

5. Inside Out 2

The film which pulled off the rare feat of making me feel calm. Inside Out 2’s perfect visualisation of Anxiety as it grows and takes over the mind of 13-year-old Riley puts an almost indescribable physical and mental feeling into a perfect visual form. There’s a true understanding within the imagination and creativity on display as so many mental ideas and concepts are put into such forms for both initial jokes and then narrative development.

The animation throughout is excellent, as you would expect from Pixar, and so is the frequently funny humour. All helping to move along the breezy 96-minute run-time which is dealing with more mature themes and certainly captures that within how they deal with them and yet still makes them accessible and understandable. Extending a hand of understanding of knowing how bad anxiety can be and yet offering some solace to provide calm in moments when it’s getting out of hand and begins to take control. That’s certainly what I found within this film, and in fact wrote about for Movie Marker earlier in the year. It’s one big, brilliant cup of Anxi-tea.

4. Paddington In Peru

To some extent the inclusion of this film in my top ten, let alone being so high up on my list, could be seen as me simply being a cliché of myself. And yes, while I do very much love that bear I also loved his third outing, which saw him leave London for a trip back to his homeland of Peru. Yet, he still remains very much the same character, and the film feels tonally consistent while bringing in a new spirit of adventure. Wound into this is a story about identity and belonging, finding your place and your people and just what any of that means. And it’s wonderfully conveyed within the story and performances.

Going into Paddington In Peru was undoubtedly the most nervous I’ve ever been for a film, and thankfully those worries were quickly wiped away as Dougal Wilson doesn’t only take on the directing reins from Paul King but also the mantle to ‘please look after this bear’ and he does so with great care. Bringing in plenty of laughs and warmth along the way. Capturing with full heart Aunt Lucy’s adage that “when skies are grey, hope is the way.” The adventure powers forward with this in its heart and mind. And while it might not reach the difficult heights of the first two entries it does its best to come close and makes for an almost perfect trilogy with an effective emotional hit at the end to cap off another warm bear hug of a film.

3. Furiosa: A Mad Max Saga

A more narrative led return to the Wasteland which emphasises the hopelessness of the world and those trying to seize control of it in any way they can, Furiosa could so easily feel like a film stuffed with fan service but instead it feels like an immersive deeper look at landscapes raced through during Fury Road, and the interconnected characters within them. All following the story of a character seeking vengeance in order to regain the hope she once felt many years before.

Much of the detail comes through in the visual intensity of the film with plenty of designs of both locations and vehicles emphasising the grisly fight for survival that constructs life in this iteration of George Miller’s dystopia. Yet, there’s still space for lengthy action sequences full of explosive thrills to ramp up both the spectacle and entertainment factor.

We may not be thrown head-first into this world as we are with Fury Road, but there’s still a sense of breathless tension in the catharsis of the car chases and finely constructed action sequences. Some coming from the practical stunts, some from the overall scale and design of what we’re seeing unfold. The intensity and crazed nature of both the Wasteland and those who inhabit it, such as Chris Hemsworth’s Dementus, make for an insane and insanely good time delving further into this world where madness thrives and hope is scarce, something which Furiosa as a character and film explores throughout this superb prequel.

2. Monkey Man

A film which has landed a knockout punch each time I’ve seen it, Monkey Man is a stunning directorial debut from Dev Patel. There’s a stylish nature to the messy brutality of the bloody, 18-rated violence which both propels it and shows how long these sequences have been in Patel’s mind waiting to flourish on the big screen.

These fights compliment the thematic weight held by both the story and the central character as the film becomes more narratively led as it goes on and delves into the past of the central figure, further propelling his searching for justice. On first viewing, as these roots were explored and brought forward core themes and reasonings for the titular fighter’s actions I thought to myself that I was watching one of the best action films I’d seen in years, and a re-watch confirms this. There’s something about the frantic action set in a world that feels truly lived-in which both grounds and elevates the unfolding events and blood-drenched punch-ups as the context and thematic weight is felt in these moments to further propel them.

1. Late Night With The Devil

To some extent this has been my film of the year since I first saw it in October 2023. Since that first viewing I couldn’t wait to see Late Night With The Devil again, and each time I’ve seen it it’s been just as entertaining and creepy as the first.

A large part of why it works is because of the attention to detail. Not just how it nails the feeling of a golden age of late night show, but also the mannerisms of David Dastmalchian’s lead performance, getting the radio to TV host voice precisely and getting across subtle mannerisms in his character’s breaks in professional hosting persona. The occasional humour lures you into a false sense of security whilst also naturally fitting in to the tone of the Night Owls show being depicted, making way for the eventual eeriness which works hand-in-hand with the amusement in the whirling finale which is full of chills.

As it seems the studio is being haunted, or something is catching up with Dastmalchian’s Jack Delroy everything feels well contained within the film and the segments we see and how each guest is involved, and how in turn they escalate the horror which naturally unfurls over the fast-flowing run-time. Late Night With The Devil ticks the boxes of entertainment, chill and thrill factor with ease and makes for a consistently enjoyable time which embraces its eventual chaos and brings the viewer into it with a smile behind its ghoulish mask. So precise with its construction and details it truly soars and I’ve loved it from start to finish each time. Throughout the year it’s held the spot at the top of my list and remained there, for me, as the best film of 2024.

Better Man – Review

Cert – 15, Run-time – 2 hours 15 minutes, Director – Michael Gracey

Accepted into Britain’s next big boyband Take That at 15, Robbie Williams (Jonno Davies) finds himself launched into stardom and a spiral of addictions, as his bad-boy solo career takes off he can’t help but still feel like a performing monkey.

The emotion on the face of the young CG monkey Robbie Williams as he’s picked last to be on either team when playing football in an alley, put in goal and constantly missing, launches a character who perhaps displays more emotion than the human figures around him. The reason for Williams (who provides some of his own vocals alongside Adam Tucker while Jonno Davies provides the motion-capture performance and much of the dialogue) appearing this way is, as he says early on, for him feeling “less evolved” than other people, and in part for being treated like a performing monkey for much of the film.

Bursts into fantasy appear to go hand-in-hand with the design of the star at the centre of the film, still aware of a slight ego acknowledging that people are there to see him in concert, and the audience in this case to see a story about his life. Musical numbers from Williams’ catalogue construct a strong musical where the more the sequences lean into fantasy the stronger they are. Recklessly racing down the road after leaving Take That whilst singing Come Undone, the world outside the car begins to change colour beyond the surrounding headlights as disaster in the form of a crash threatens to appear around every overtake and corner. The sequence is undoubtedly one of the most terrifying of the year, having me sat in breathless fear and suspense for the entire song and the ensuing details and trapped-under-ice metaphors after.

Similarly Williams’ 2003 Knebworth gig; which he sets his life on getting to to prove he’s the biggest star possible, takes a strong turn into fantasy with a truly bold sequence which appears to come from nowhere but is brilliantly tackled with plenty of visual and dramatic style by director Michael Gracey. Bringing some of his Greatest Showman style to some of the crowd-based musical numbers, Gracey follows characters running through the streets embracing their newfound fame and fortune in a Regent Street and Piccadilly Circus set performance of Rock DJ. Each time the film does this it manages to deepen and intensify the struggles and relationships he goes through over the course of the portion of his life we follow. The addictions – he acknowledges that he was always likely to be an alcoholic, but fame and money made it happen much quicker – and the image he presented to the public as a more rude than cheeky, egotistical bad-boy, pushing the point of being a performing monkey.

The intensity of some of the drama and how its conveyed in the musical numbers, and Davies’ central performance, acts as the biggest hook for the film and provides it with a good deal of weight, as well as the investing chimp. There might be points where time could be better established, Williams was in Take That for five years before he initially left but the film makes it feel as if it could have just been a couple of months, but reminders of just how young the star was throughout all of this, being accepted into the group at 15 we follow him mostly throughout his 20s, are consistent and further flesh out the spiralling chaos and tragedies which arise in a world of puppetmasters, from controlling Take That manager Nigel Martin Smith (Damon Herriman) to Robbie’s father (an excellent Steve Pemberton), idolising the likes of Sinatra and saying if you can’t make a name for yourself entertaining like that you’re a nobody.

And yet, the best way of telling the story is through the expressive face of the central chimp. Brilliantly detailed from the opening frames he perhaps tells the story and internal feelings more than if in human form, although here with the added voice performance, vocals and musical numbers to help push things. It’s a great force at the core of the film which is instantly accepted and allows for the more fantastical moments to fly as well, especially when it comes to darker beats truly highlighting the personal battle being experienced by the central figure.

While its sense of time might make everything feel somewhat compact, the personal battle within Better Man is brilliantly exemplified by the fantasy and musical numbers on bold display, with so much conveyed by the CG chimp at the centre. All done with an impactful punch and no hint of novelty.

Just A Little Bit Random Audience Best Films Of 2024 Vote

With 2024 coming to a close it’s time once again for you to have your say as to what you thought the best film of the year was!

To vote simply go to this poll and select the 2024 release (by UK release date) from the dropdown list which stood out the most for you by 7pm on Wednesday 8th January. The results will then be revealed live on Somer Valley FM shortly after this time, with a written top ten appearing on this website not long after that.

Most UK releases from the past year should be included in the poll from billion dollar grossers Deadpool And Wolverine and Inside Out 2 to indie hits such as Anora, The Substance and I Saw The TV Glow. As this is done by UK release date the likes of The Holdovers, Poor Things and The Zone Of Interest (January and February releases here) are all included in the vote, alongside Paddington In Peru (November), whereas films such as Nosferatu, Hard Truths and Saturday Night aren’t as each is currently scheduled for early-2025 – as continues to be the strange delay of hopeful awards contenders from the US to the UK.

A big thanks to everyone who votes and helps to spread the word about this year’s vote! As mentioned above, the vote closes at 7pm on Wednesday 8th January with the results being announced shortly after on both the radio show and here on the website.