Cert – 18, Run-time – 1 hour 50 minutes, Director – Moritz Mohr

Having been trained by a shaman (Yayan Ruhian) for many years, Boy (Bill Skarsgård) ventures back into the city to get revenge on the ruling Van Der Koy family for murdering his family.

You’d be forgiven for thinking that Boy Kills World is a video game adaptation from the style of the various bloody fight sequences. It’s certainly the thought that came to mind as an initial Street Fighter-esque view appeared at the start of another scrap, before the camera begins to swirl around the action to bring about thoughts of other games. Bill Skarsgård’s Boy punches and shoots his way through a variety of henchmen on his way to the members of the Van Der Koy family, in charge of the city he once called home, to get revenge for the murder of his family many years before.

The Van Der Koys, particularly leader Hilda (Famke Janssen) are also responsible for Boy being deaf and mute. For initial festival screenings of the film Skarsgård provided the narration for his own character, however now properly released the character’s internal voice is that of H. Jon Benjamin – claimed to be the voice from Boy’s favourite arcade game growing up. There’s a feeling that Benjamin was brought in late to the film as his narration largely seems present to simply add context to one or two moments and make quips where there may be a slight pause. In general the dialogue he’s given is quite hit or miss and feels disjointed from a film which already feels somewhat disjointed with the elements not quite gelling together.

The premise is somewhat simple. Boy sees his chance to finally leave his isolated life in the woods, where he’s been trained since childhood by a shaman (Yayan Ruhian) to be able to get revenge on the Van Der Koys and intends to target them before the annual broadcast of The Culling – a live massacre of citizens who oppose the leaders. The Culling features many cheery, bulky mascots parading around to promote the breakfast cereal sponsors, a point which is amusing when first mentioned but become just another element very quickly. This is largely the case with Boy Kills World’s humour, the spark never quite manages to get above that.

Instead the focus is very much on how to get from one fight to another, and how to pick off the rival family. The latter certainly happens much more quickly than expected and shows that each member of the family almost acts as the progression of the narrative, almost a new plot point and development, over development of the central character which appears very late in the day; during the much more drawn out and less-pacey third act.

While there may be a lacking feeling to the narrative course, and indeed the attempts at humour, throughout the film there’s a contrasting sense of flow as things generally seem to go by fairly briskly, perhaps due to the simpler nature of the plot and the likable nature of the first few action sequences. However, it doesn’t stop things from eventually falling into a sense of blandness, and feeling overlong and winding in the final stages. Leading it to fall off the rails after travelling along them in a very gradual fashion up until it does.

While the fight sequences initially have a likable nature the video game style quickly wears off leading to its disjointed and simplistic course becoming much clearer and eventually drawn out and lacking.

Cert – 18, Run-time – 1 hour 49 minutes, Directors – Matt Bettinelli-Olpin, Tyler Gillett

A group of criminals are trapped in a house with a child (Alisha Weir) they’ve kidnapped for ransom, however their victim may be hiding a deadly secret.

Abigail’s much-marketed ballerina vampire spin doesn’t arrive until almost halfway through the film. With how gradual the build-up to it is, and how much time we spend getting to know the central cast of criminals, it feels like this was meant to be a secret for the film instead of a key selling point. Perhaps this is why the film’s first half feels so gradual, we know what’s coming because of the marketing, even if it still feels as if it’s trying to reach to the big turn around that will lead things to truly kick off.

Before this happens we’re introduced almost one by one to our cast of characters, going through them in sequence multiple times. Once for their skills, once for their names, once for their hidden secrets, etc. It’s evident how far through the film’s course they’ll make it from the latter of these instances, leading in to some early predictability. While the team leader may be Dan Stevens’ slimy, streetwise gangster ‘Frank’ the focus is on Melissa Barrera’s ‘Joey’, taking on this job so she can raise enough money to look after her young son after recovering from a drug addiction. Joey is the member of the criminal team in charge of looking after their kidnapped victim, Abigail (Alisha Weir). Keep her safe in the house overnight, earn $30 million in ransom money from her unknown wealthy father, however when they find themselves trapped in the hideout house things take a sinister turn.

While not wall-to-wall in terms of being spread throughout the film when the bursts of bloodshed do erupt there’s a fair coating of 18-rated gore on display. There’s no denying that the Radio Silence team know how to bring effect to blood by not using it in every scene, but providing lashings of the stuff when it does appear.

When it comes to the hiding from and planning to attack Weir’s dancing vampire – a very different tone to her leading turn in the film take of Matilda The Musical, mocking “I like playing with my food” – the style is much more similar to the pair’s Ready Or Not, although holding some of the self-awareness from their recent Scream films. Much like these, Abigail stands to simply entertain and provide some gory amusement throughout its run-time. While that run-time might feel slightly overstretched due to the drawn out nature of the first act in trying to establish everyone rather than the briefer everything/ set-up.

Once things kick off there’s an entertaining nature to the proceedings as a better sense of flow takes place. There’s more for the characters to interact with beyond each other, and there’s no denying the entertainment factor of the kills and splatters as things build up to the third act. Not everything completely manages to land with the various ideas which begin to fly around, but there’s still a good amount that clicks and works and makes for an enjoyable enough time with Abigail, especially once it truly gets going and allows for the trapped-with-a-vampire horror to truly flourish as it’s actually on-screen.

While the build-up might be drawn out due to predictability-inspiring character introductions, once Abigail’s vampire spin comes into play there’s an enjoyable nature to the bloody kills and spills which allow for a better overall flow.

Cert – 15, Run-time – 2 hours 2 minutes, Director – Sam Taylor-Johnson

Amy Winehouse (Marisa Abela) finds almost immediate success with her voice and music, however as her fame rises so does her battle with alcoholism and drug addiction.

Within about ten minutes of Back To Black’s opening scene Amy Winehouse (Marisa Abela) has already released one album and her fame is rapidly rising. Yet, despite all the details of her life and stardom which the film could capture there’s still time later on for three scenes and a montage, all in the same location, detailing the start of her relationship with Blake Fielder-Civil (Jack O’Connell). Throughout the focus is very much on this relationship and the effects that it had on Winehouse, and indeed her addictions – it seems that almost every time something doesn’t work out for the singer the film jumps to a shot of her downing a drink – framed in exactly the same way as shots of her getting a new tattoo.

The script is clunky to say the least. I’m sure that the key creatives all feel a connection to the film’s focus and her music, however in both screenplay and final film that can’t be felt. Instead there seems to be a distance between the subject matter and those trying to capture her story, almost the opposite to the deeply personal depiction captured in Asif Kapadia’s 2015 documentary Amy, which many have already called on when talking about this film. Perhaps the biggest drawback that causes this feeling is the simple conventionality of the piece. As is becoming more frequent with music biopics it feels as if we’ve seen Back To Black and its narrative beats multiple times before, particularly in recent years.

Abela puts in a strong performance and holds her own amongst the cliched surroundings, and you buy into her statements that music is her escape – at one point she claims it’s her rehab when the prospect of getting help is first brought up. Her performance helps stop things from feeling as messy as they could, or matching the occasional clunkiness of the dialogue – pushing multiple times in a scene how great Amy’s voice is before moving on to another conversation about how bad drugs and alcohol are. She effectively brings Winehouse’s relationship, familial and addiction struggles together showing them piling up together instead of all feeling as if they’re happening separately to each other in each instance.

As a whole the cast – also including Eddie Marsan and Lesley Manville as Winehouse’s conflicting father and close grandmother respectively – tries their best however the struggling nature of the film comes through due to its overall depiction of events. One which doesn’t quite get onto the personal level that a story like this needs, doesn’t even feel as if it properly delves into the music, despite Winehouse saying that she needs to live her songs when battling with producers and her agent in trying to construct a second album.

Eventually feeling overlong, and somewhat unfocused with the switches between music and relationships in the second half, Back To Black fails to make for an engaging or interesting piece of work. It falters due to a feeling of distance between those making the film and the star their trying to capture – despite Marisa Abela’s strong leading performance. The distance grows more and more over the course of the film as we spend inconsistent amounts of time on differing subjects, although clearly wanting to focus on the relationship between Amy and Fielder-Civil amongst various other elements of the protagonists’ life. It’s a busy, overlong and, most unfortunately, cliched music biopic with a lack of noticeable connection to its star.

Marisa Abela gives a strong performance, and the cast as a whole tries their best, however Back To Black struggles to stay afloat with a screenplay and overall style that feels cliched and distant from the iconic singer it’s trying to depict.

Cert – 15, Run-time – 1 hour 49 minutes, Director – Alex Garland

With a civil war unfolding across America, four journalists (Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson) travel to Washington DC, where journalists are banned, to question the President (Nick Offerman).

Writer-director Alex Garland has said that with Civil War he set out to make an uncontextualised, apolitical film. For the most part he and his cast and crew succeed in this. However, it’s also what holds the film back on a number of occasions, lessening the tension that could be experienced in certain scenes due to a lack of knowledge as to what’s actually happening in the war depicted, and how it started.

As we see a group of journalists (Kirsten Dunst, Wagner Moura, Stephen McKinley Henderson) and the young hopeful who joins them (Cailee Spaeny) encounter various characters and locations with different responses to the war the main response is interest. Suspense is present in the clearly segmented journey, but not as much as there perhaps could be as the group makes their way from New York to Washington DC – which journalists are forbidden from entering – to question the President (Nick Offerman), now on his third term, about the war.

Yet, a believable nature is created thanks to both the threats which are experienced and the way in which Garland and cinematographer Rob Hardy capture them. You could stop the film on any frame and it would look like one of the pictures which we see the central war photographers taking throughout. The style isn’t like a documentary, but certainly throws you upfront to directly observe the proceedings.

Nowhere is this more effective than in a key action sequence in the third act. We’ve seen the White House surrounded by towering protective walls and chaos is now unfolding outside of them. A barrage of sound and explosions fills the screen and speakers already part way through the seamless flow of the final 15-20 minutes. It’s here where we see some of the biggest vulnerabilities from the already-tested characters. None more so than from Kirsten Dunst who has played an almost dead-pan yet emotionally fraught performance until this point – one which brilliantly packs all the detail into her eyes.

The rest of the cast helps to push a recognisable nature in most scenes along the way, particularly with the lack of context to the events at hand, helping to build up the engagement as Washington grows closer – and the fear of being shot on sight rises. The immediate threat is often where the tension arises in each sequence throughout the film instead of what we’re building towards, although there’s plenty once events finally begin to pan out in the goal location where the scale is truly ramped up in a relentless cascade of shouts, explosions, gunfire and even some grounded spectacle.

The recognisable nature of a number of Civil War’s scenes help bring believability to the way the effectively-captured events pan out. The tension may not have full room to grow, but it’s certainly present, and there’s a lot of interest to be found in the proceedings witnessed by the characters, particularly a brilliant Kirsten Dunst.

Cert – 15, Run-time – 1 hour 59 minutes, Director – Arkasha Stevenson

Novice Margaret (Nell Tiger Free) is welcomed into a convent in Rome, however everything may not be as it seems, especially as she shows kindness to an isolated child (Nicole Sorace)

The slow-burn psychological nature of The Omen’s horror could mean a hit or miss take when melded with jump scares from dark corners. While not filled with them, prequel The First Omen throws in a couple of jump scares throughout its run-time, and manages to be successful with a couple of them thanks to drawing them out and making the situation feel as if it’s not going in such a way. As for the psychological nature while there might not be a major fear factor to the film, particularly with the way in which it tries to draw its ideas together, there are still some effective moments here and there.

Novice nun Margaret (Nell Tiger Free) has been welcomed into a convent in Rome, one working as an orphanage where she extends a hand to silent teenager Carlita (Nicola Sorace) – often excluded by the nuns for her behaviour which puts her in ‘The Bad Room’. However, with Margaret’s friendliness towards Carlita conflicting with how everyone else treats her already something appears to be up, something pushed further by the appearance of Ralph Ineson’s Father Brennan – claiming there’s an evil plot unfolding in the convent that might involve the Antichrist.

As Margaret begins to uncover more around her bursts of horror come through. When dealing with the gorier elements director Arkasha Stevenson gives the film a real kick, not skimping on the detail while avoiding making this a river-of-blood affair; giving us not one but two squirm-inducing birth scenes. Such points act as the highlights, the horror sometimes quite literally bursting through, in a film that can occasionally feel quite busy with its narrative strands. With the various perspectives and ideas that crop up over the almost 2-hour run-time the final stages of the film, particularly the key climactic sequence, feel quite drawn out due to just how much needs to be wrapped up.

A feeling which isn’t helped by the fact that this prequel has multiple points where it could effectively cut things off and yet carries on with more endings – one sequence in particular seems to have a number of key cut-off points and yet somehow carries on before another scene or two. There’s a good 95-100 minute film within The First Omen, but it does draw itself out, largely with references to the classic 70s film, and with a bit of trimming could be slightly breezier, and perhaps more effective with the bursts of horror which are there. When aiming for prequel over requel this is a much more solid film.

There’s some effective gore and jump scares within The First Omen, while it might feel narratively busy, leading to an overall set of endings, there’s enough within the drama and bursts of horror to create a solid prequel.

Cert – 18, Run-time – 2 hours 1 minutes, Director – Dev Patel

An anonymous fighter (Dev Patel) seeks revenge on the officials who attacked his childhood village and murdered his mother.

With his directorial debut Dev Patel further solidifies himself as one of the best British talents currently working. It’s clear that the images have been in the writer-director-producer-lead’s head for a long time and they come through via a lens coated in sweat and grease – a mixture of both the heat and actions unfolding on screen. The action, particularly during tracking shots, is intense, earning the film its 18 rating as Patel’s anonymous fighter, credited as ‘Kid’ – taking part in illegal matches set up by Sharlto Copley, who it’s always good to see – seeks revenge on the officials who attacked his childhood village and murdered his mother.

Set in India, there are hints of Bollywood action to the fights which unfold, mixed with the brutality of Gareth Evans’ The Raid films, with Monkey Man also having been shot in Indonesia and featuring a gasp-inducing kitchen fight choreographed by some of the same talents. Meanwhile, there’s an air of Christopher Nolan’s Batman trilogy to the sequences dedicated to ‘Kid’s’ growth and increase in strength. Yet, Monkey Man feels like a unique product of its own full of individual personality, including dashes of infrequent natural humour, largely from supporting characters such as Copley’s egotistical fight boss and Pitobash’s small-time gangster Alphonso who acquaints himself with ‘Kid’ – going by the name Bobby – when working in a kitchen to climb the ladder towards his targets.

Halfway through as Patel’s on-screen venture takes his character back to his roots it dawned on me that I was watching something truly extraordinary; one of the best action films I’ve seen in a long, long time. Not just because of the bloody sequences, with a number of very effective shots, but because of how the story is followed. A fairly traditional revenge-thriller arc is given a jolt of personality thanks to the world that it’s set in, the way in which we feel just how long Kid has been building up anger in need of revenge – while those responsible for his years-long loss are frequently seen campaigning on TV.

Originally a Netflix production, before the studio were worried about the film’s reception in India, after seeing the film Jordan Peele came on board as producer under his Monkeypaw Productions label and convinced Universal to distribute. With the impact that it has, and just how lived in everything feels, Monkey Man flourishes on the big screen. With plenty to get lost in visually it adds further depth and impact to the narrative and where the characters go, and particularly the themes that are being dealt with.

Yet, the stylish nature of the action sequences, and the messy brutality featured in them, is what makes this a real big screen feast. From the crowd cheering on ‘Monkey Man’ as he develops in the ring to a crowd of henchmen pouring out of an elevator in the flawless flow of the escalating third act, something done with a knowing grin, there’s plenty to enjoy. All held in the same believable world which brings so much to the proceedings, and has clearly forming in Patel’s mind for a long time. And what a punch it has after all this time!

Frantically energised, bloody action compliments a narrative with plenty of thematic weight for both story and character. This is a knockout actioner in a lived-in world that absorbs the film’s details and the audience into it.

Cert – 12, Run-time – 1 hour 55 minutes, Director – Adam Wingard

Whilst Godzilla protects the surface, Kong discovers a threat in Hollow Earth which neither could take down alone, however can the two titans team up before it’s too late?

Despite getting top billing in the title Godzilla barely makes what most films would credit as a ‘special appearance’ in Godzilla X Kong. Perhaps he was busy filming Godzilla Minus One while this sequel to 2020’s Godzilla Vs Kong was in the works. Whatever the reason is, there’s a good deal of focus on Kong and a selection of human characters over the towering lizard – whose narrative strand is largely shown through other humans tracking him down. In total there are about three, perhaps four, different perspectives making up this clash, and potential team-up, of the titans as a new ape threat in Hollow Earth is discovered, and one which could cause destruction for the surface world if neither of the titular creatures can defeat it.

There’s a slightly busy, and occasionally slow, feeling to some of the scenes focusing on the human characters exploring Hollow Earth, trying to find the source of what they believe to be a distress signal. However, with the likes of returning Brian Tyree Henry, and Dan Stevens as a doctor for titans, there’s a good deal of humour injected into such moments to stop them from simply losing all possible entertainment factor. Focusing largely on Rebecca Hall’s Ilene Andrews and adopted daughter Jia (Kaylee Hottle) the pair are trying to make sure that Kong is safe, while discovering Jia’s roots, these scenes aren’t for exploring the underground world, that’s what Kong’s perspective is for.

As Kong wanders through new areas of Hollow Earth that it seems he hasn’t strayed into before we begin to meet the main threat at hand for the film, introduced somewhat late simply for the need for the film to have a villain and a reason for the titular creatures to team up eventually. Once in place this is where the majority of the action comes in, and there’s an enjoyable nature to it when things do kick off. This is a film that’s aware of what it’s depicting and tries to have fun with a number of its ideas – ice breathing creatures and Kong’s eventual robot arm included; the latter feeling as if it’s done simply because it’ll look cool, and it gets away with it. When unfolding on the surface there’s little dramatic impact from the buildings that are destroyed during battles, that’s what they’re there for after all, the push is simply making sure that the titan we’re told is evil doesn’t win.

For those wishing to see a repeat of the first film’s selling point of seeing the giant monkey lamp the lizard again you won’t be disappointed, Godzilla X Kong relishes in portraying that again in a fresh fight. In fact, the first meeting of the pair since the previous Monsterverse instalment is a highlight of the film, knowing not to let things drag on for too long before getting back into the other action at hand, where the ideas are truly let loose while still managing to successfully track the action. Plus, better intertwining the human sequences with the monsters for a generally better flow and sense of connection with each strand as they come together for the third act.

In a number of ways this is likely exactly what you would expect from a film such as this, and it’s an improvement on the human-dominated Godzilla Vs Kong. Yes, we still spend a good deal of time with these characters in this sequel, but there’s more humour injected into their scenes and more focus on the titans at hand – even if Godzilla is barely present throughout the almost two-hour run-time. This is an enjoyable, if occasionally bumpy due to multiple perspectives working at the same time, sequel with some entertaining monster scraps, and that’s what we want from this, isn’t it?

While suffering from a number of events and perspectives in the build-up, Godzilla X Kong: The New Empire is an amusing improvement on Godzilla Vs Kong featuring some entertainingly destructive monster fights.

Cert – PG, Run-time – 1 hour 34 minutes, Directors – Mike Mitchell, Stephanie Stine

Reluctant to become the spiritual leader of the Valley Of Peace, Po (Jack Black) finds reason to keep the label of Dragon Warrior when a shapeshifting sorcerer (Viola Davis) threatens to take over the surrounding lands

The Kung Fu Panda formula has proved favourable for Dreamworks Animation in terms of reception and box office. The same appears to go from a filmmaking standpoint as eight years after panda Po’s (Jack Black) previous outing he’s back in action, minus the Furious Five of kung fu masters, for another adventure which some creatives have already claimed could open a new trilogy. From the off the fat jokes are rolled out as Po struggles with both stairs and the prospect of moving on from his Dragon Warrior label to become the spiritual leader of the Valley Of Peace.

He’s comfortable as he is, and doesn’t feel that he needs to promotion from Master Shifu (Dustin Hoffman). Just at the right time a new villain arises to delay his decision, as shapeshifting sorcerer The Chameleon (Viola Davis) is intent on taking over the surrounding lands for her own gain. Davis’ villain is undoubtedly one of the highlights of the film, and when on screen feels like an enjoyable threat with a dark edge – something which this franchise has successfully dealt with in each of its films – it’s a shame, therefore, that the character is little-seen over the 94-minute course of the narrative. It takes a while for her to even properly make an entrance as we spend a large amount of time seeing Po battle with his possible future, and meet fox Zhen (Awkwafina) who could guide him to The Chameleon.

There’s a generally likable nature to the somewhat familiar proceedings, helped by the occasional moments of humour and the starry voice cast – including James Hong returning as Po’s adoptive father Mr Ping, forming something of a double act with actual father Li (Bryan Cranston), and a very likable appearance from Ke Huy Quan. And when cropping up the action manages to land a solid, colourful punch, yet it feels that occasionally the film is reaching for the reliable hits to get itself through. As mentioned, there are cuts to Ping and Li trying to catch up with their son before he gets himself into danger; despite his previous missions, which seem like little more than bursts of comic relief aside from those within Po and Zhen’s travels and the various characters who crop up along the way.

Kept close to 90 minutes the run-time manages to not feel overstretched and generally the story gets in and out with little trouble aside from the moments which feel somewhat diverted from the main course at hand. There are a good deal of enjoyable sequences here and there – one in a rough mountaintop bar comes to mind – demonstrating that the film is most comfortable in the reliable company of the titular panda, despite a strong villain who deserves much more screen-time than they get. A fitting entry into the franchise, although perhaps not quite reaching the same heights when it comes to the action and threat posed, this feels like a safer outing for Po and Dreamworks Animation, but still with enough personality to make for an entertaining enough time while on, even if not proving as memorable.

Occasionally feeling like its leaning into the hits of its franchise’s formula Kung Fu Panda 4 is a likable adventure for Jack Black’s Po, but one which prevents itself from delving into its best elements, leaving a strong villain lying in the background.

Release Date – 29th March 2024, Cert – 15, Run-time – 1 hour 34 minutes, Director – Benoît Delhomme

After the death of her own son (Baylen D. Bielitz), Celine’s (Anne Hathaway) relationship with best friend and neighbour Alice (Jessica Chastain) becomes fractious amongst feelings of grief, guilt and paranoia

It would be so easy to accuse Mothers’ Instinct of being a slice of forced melodrama. Yet, it’s got to be commended for being effective. As Anne Hathaway’s Celine is thrown into grief after losing her young son, Max (Baylen D. Bielitz), when he falls of the upper storey balcony of their home, the emotion and tragedy really gets across. There’s a real emotional core and push from the scenes delving into the loss which Celine and her husband (Josh Charles) are experiencing. Pushed by that felt by next door neighbour and best friend Alice (Jessica Chastain), alongside her own husband (Anders Danielsen Lie) and son Theo (Eamon Patrick O’Connell), who was best friends with Max.

After trying to shout to Max to get off the balcony bannister, where he was trying to attach a birdhouse to a tree branch, before his fall Alice feels guilty for not having reacted sooner. Does Celine believe that Alice should feel guilty? As the cocktail of grief and guilt begins to mix the pair begin to experience respective paranoia about what the other might be thinking and doing in response, particularly when it comes to Celine’s relationship with Theo.

With the 1960s setting as the thriller plays out there’s a clear Hitchcockian influence. It even comes across in some of director Benoît Delhomme’s style, particularly during driving scenes. Yet, perhaps the most interesting and effective moments that come through in Delhomme’s direction are a few scattered shots which feel as if they’re breaking in to the private lives and conversations of the characters. Like a near-documentary style presentation, as if taken from a camera in the corner of the hoe secretly observing the goings on. While infrequent such shots help to lift up the drama as it unfolds, and brings out the emotional core of a number of instances.

It’s also as the film dives more into its thriller tones and stylings that the structure becomes more noticeable. Instead of feeling entirely fluid it feels as more a set of clear events that almost seem to start and stop. Going from one test of the friendship to another with the effects and responses seen every other test. While things generally work, helped by the performances of Hathaway and Chastain (although perhaps not Chastain’s wig), there is an occasionally staggered feeling to the developments and structure of the narrative which holds back potential tension that the film seems to be aiming for once it has its elements properly built up.

Yet, there’s no denying the effect that the build-up has. While what follows may not be as stirring the emotional response to the opening half hour is strong. It helps to push the remaining hour some way, particularly in the way the performances continue such ideas, and while the tone might change there are still good moments and ideas here and there to make things worthwhile – helped by the overall 94-minute run-time. While the ending might prove somewhat divisive it’s not enough to make or break the film as a whole, and in general Mothers’ Instinct is a likable enough thriller that may not live up to its opening scenes due to some repetition within the noticeable structure but manages to make for solid viewing overall.

While it might not live up to the emotional punches of the opening scenes Mothers’ Instinct is a solid enough thriller helped by its two central performances who form consistency amongst the segmented narrative.

Cert – 18, Run-time – 1 hour 29 minutes, Director – Michael Mohan

Shortly after arriving at an Italian convent Sister Cecelia (Sydney Sweeney) is revealed to be pregnant, could she be carrying the returning messiah?

The final stages of Immaculate fly by with a mixture of potential influences. The lashings of crimson blood of the Evil Dead franchise, the fervour of Rosemary’s Baby and the escape attempts of Get Out. All contained within a gory search for answers as Sydney Sweeney’s nun Sister Cecelia frantically searches for possible answers as to what is happening to her. She’s been pregnant for most of the run-time, labelled as a miracle, a case of immaculate conception, Other characters claim that she’s possibly carrying the second coming of Christ, but could that really be the case?

The build-up may seem somewhat slow at times, despite some effective jump scares hidden in the walls of the Italian convent which Cecelia has recently been welcomed into after her church in America was closed due to low attendance, but thankfully at 89-minutes the film knows how to get to the point. We might have to tick some familiar boxes here and there, but thankfully writer Andrew Lobel injects some jet black humour into the early proceedings. From the bluntness of disapproving Sister Isabelle (Giulia Heathfield Di Renzi) coldly showing Cecelia around the convent looking after aging nuns at the start of the film to the smirk given away during a key reveal before the third act kicks in there’s a consistent level of engagement throughout, and indeed one which consistently grows, as Cecelia attempts to find out whether there’s something more sinister behind her pregnancy.

Sweeney throws herself into the role, especially during the gorier scenes – while earning the 18 rating this isn’t a frequent blood-fest, allowing the instances of splatter to have more of an effect – and truly sells the confliction going on in her character’s mind, and the growing physical struggle. Her surroundings grow increasingly threatening with the narrative allowing for developments to come through with good pace without feeling rushed. Apparently a passion project for the lead this comes through in the effective closing shots, which may well go down as influential themselves; acting as the tense highlights of the film. Capping off a well-tracked sequence where things flow effortlessly from one moment to another.

It’s well worth the wait, and indeed some of the more conventional moments the film has to offer – Cecelia told that she can’t leave to go to a regular hospital, the doctor who visits the convent on most days is trained enough, and delivers babies on Thursdays and Saturdays. Luckily, with the short run-time and the way in which things grow and develop, as mentioned, the film generally goes by quickly. Not all the jump scares or attempts to escalate tension may properly land, but for the most part there’s still interest to be found in the film and Cecelia’s journey in the unfamiliar location. Give it time for things to properly kick in and as the developments grow so does the overall quality of the film.

While it might have its conventional beats and faltering jump scares Immaculate grows in a short space of time, flowing into a seamless, bloody finale, stormed through by Sydney Sweeney, which is more than worth the wait.