Cert – 18, Run-time – 1 hour 58 minutes, Director – Kevin Greutert

After falling victim to a scam cancer treatment a dying John Kramer (Tobin Bell) puts those behind it through a series of painful life or death ‘games’

After almost 20 years the Saw franchise will seemingly still do anything to keep John Kramer somewhere in the picture. Whether it be through flashbacks or prequels it’s rare that Tobin Bell won’t be seen somewhere. In Saw X he’s at his most present as he sits and watches, and talks to, the victims of his latest life or death ‘games’ as they hack through their body parts in a fight for survival.

Those facing the elaborate traps this time have personally wronged Kramer after convincing him they would provide radical life-saving surgery to remove his stage 4 brain tumour. However, the surgery, as we learn in the lengthy first act which finds itself relatively void of much ‘Saw action’, turns out to be a scam, leading Kramer to seek revenge, and to teach what he sees as a lesson in the value of life. The traps are what we’re used to from this franchise, and to an extent once we get to them it’s more of the same. Yet, what prevents them from having the effect that they could have is the fact that the film spends so long telling us how bad the people facing them are.

Sympathy isn’t something the film seems to seek for the victims, no matter how much they plead their innocence. The same somewhat goes for Kramer as his own views are questioned and tested – especially when it comes to one victim facing drug addiction (Renata Vaca). However, this point is restricted to just one or two lines of dialogue with little else done about it, it’s straight back to the ensuing traps for each individual which has been locked in a Mexican warehouse. There’s some amusement to be found here and there, but with the chaptered nature of the stages there’s an occasional feeling that things are being drawn-out – at just short of two hours this is the longest Saw film to date.

While not amongst the worst in the franchise (Jigsaw) Saw X is one of the weaker entries. Generally watchable but not helped by its drawn-out stages as it attempts to delve into the mind of the Jigsaw Killer before jumping back into another pouring of blood, brains and bone marrow. The third act attempts to bring in some twist and heightened stakes – which have some effect in the final stages as the Saw theme finally kicks in with good impact – and it makes for a faster paced set of events with a more frantic feel not entirely present in the scenes before, despite the return of fast, flashbulb-like editing to introduce some of the ‘games’. Saw X might have its moments, but its also a longer version of more of the same.

There are amusing moments within Saw X’s chaptered events, however not enough to make for something properly effective throughout the occasionally drawn-out sequences which never truly delve into Jigsaw as much as they might want to.

Cert – 12, Run-time – 2 hours 13 minutes, Director – Gareth Edwards

A US sergeant (John David Washington) is tasked with destroying an AI superweapon, only to find it takes the form of a child (Madeline Yuna Voyles)

For much of The Creator’s opening stages we’re told by John David Washington’s Sergeant Joshua, and the opening news reel, that no matter how life-like the enemy AI might be they have no proper emotions. They don’t die, they just get turned off (or put on standby). So why should we care about them? Even with how much we see and hear about them, the focus certainly seems to be on AI over the human characters leading the story, it’s hard in the first half of the film to form a connection with such figures.

The same goes for the humans who, aside from Washington, are often posed as the villains in the futuristic war against AI. Allison Janney leads the chase trying to track Joshua down as he attempts to find the creator of a childlike AI superweapon, eventually named Alphie (Madeline Yuna Voyles), instead of destroying it. The villains turn up frequently to scupper any chance of the pair catching even the briefest of breaks leading to a series of explosive shootouts on increasingly grand scales.

There’s no denying the effort that has gone into the visual design of the piece. The cinematography, production design and visual effects in particular create a striking world, yet this isn’t always enough to properly engage and create connection within the slowly building story. Co-writer (alongside Chris Weltz) and director Gareth Edwards fills the world and narrative with a number of good ideas, with a handful of sci-fi influences dotted throughout – Blade Runner particularly cropping up here and there as the emotions of the AI comes more into frame, especially in the second half where such points come more into frame before the big-scale finale.

While much of the film makes for something a slow-burn the final 15 minutes feels like a rushed job with events that could almost be an entire act all to themselves – especially with the way the film shifts into them. The events still work, but feel as if they could be given more time over some of the occasionally drawn-out build-up. It’s a point which runs throughout The Creator. While the action is good and there are a number of good ideas on display, they don’t always create the emotional connection you need, or want, especially during the first half of the film when everything is still coming together before the closer battles and chases begin. As a whole The Creator is a solid film, but it sometimes stumbles over its events and build-up to allow for a proper connection with the characters to be formed, despite some gradual growth over time.

The world of The Creator is well-formed with its own ideas and sci-fi influences, however sometimes the focus feels to be on this over forming a connection with the characters, which sometimes trips the narrative.

Cert – 15, Run-time – 1 hour 44 minutes, Director – Scott Waugh

The Expendables find themselves in a race against time to stop a nuclear bomb from being detonated and starting World War 3

While the returns may not have always been great The Expendables franchise up until now has relished in its aging action stars grinning from ear to ear whilst quoting their most iconic lines back to each other. Part of the appeal has been the likes of Stallone and Schwarzenegger, not to mention Norris, Willis, Lundgren, Van Damme and a plethora of other stars recognisable by their last names (alongside Jason Statham and Terry Crews), simply having a good time creating action havoc. There’s been a slightly jokey nature about the ridiculous nature of the missions, even if the joke isn’t always as aware of itself as it should be.

With this fourth entry – only seeing the returning faces of Stallone, Statham, Lundgren and Randy Couture – there’s an implication that the baton is being passed to a younger generation, a new team of Expendables. Such an idea could make for a self-aware piece in line with modern actioners, and potentially legacy sequels (which this certainly is not). However, the likes of Megan Fox, 50 Cent, Jacob Scipio and Levy Tran fall flat and simply brought together for the sake of needing a team. There’s no knowingness to any of the exaggerated performances at hand making for a humourless set of one-dimensional figures. Even the returning faces suffer from blandness.

As artificial as the titular team might be they’re no match for the green screen backgrounds and visual effects throughout. A number of shots, whether explosions or close-ups which make the characters stick out even more from the background, feel particularly like test animations. Just another push for the idea that the film feels rushed.

We follow the team racing against time to track down nuclear detonators which if used could trigger World War 3. Much of the action is restricted to a couple of locations, which while not necessarily a bad thing makes for a number of drawn-out sequences in this film where there feels like little order to the events. Again, as if rushed or made up on the spot – assisted by noticeable, and equally disengaging editing. Everything simply falters into a messy pile of blandness. Like with the central cast, there’s little connection between the audience and the film as it crawls through its uninspired events.

Expend4bles is a tired mess of blandness lacking the starry smiles, and any awareness, of those before in exchange for a group with little chemistry, charisma or humour.

Release Date – 22nd September 2023, Cert – 15, Run-time – 1 hour 44 minutes, Director – Craig Gillespie

A YouTube streamer (Paul Dano) leads a fight against Wall Street hedge fund owners by causing a wave of investments in GameStop

Reddit taking on Wall Street could make for a very unserious film. The stereotype might be a series of internet-related jokes with quickly dated meme references. While certainly a couple of such references crop up in quickly flashing by montages of comments, GIFs and slang it’s simply to show how quickly the success of the platform investing in GameStop stocks takes off, and how far it maintains. As Paul Dano states when addressing congress late into the film, as Keith Gill rather than his YouTube stream persona Roaring Kitty, it seems there’s no hope for the little guy anymore when it comes to the stock market with it having being taken over and controlled by millionaires and billionaires.

Gill leads the charge against such figures, the hedge fund owners betting against GameStop being played by Seth Rogen, Nick Offerman and Vincent D’Onofrio. Alongside them we see the perspectives of everyday people who’s fortunes rise after following the rising YouTubers analysis. America Ferrera plays hospital worker Jenny, Anthony Ramos is GameStop employee Marcus, Talia Ryder and Myha’la Herrold are college students Riri and Harmony. There’s a number of people to cut back and forth from during the not-quite-montage nature of a number of sequences. It means that a number of characters feel present more for perspective and to show more impact rather than to properly be characters – yet even then some do more than Keith’s wife, Caroline (Shailene Woodley), who is barely present throughout the film.

Dumb Money is an undeniably busy piece of work covering a lot of perspectives in rather bizarre set of, very recent, circumstances. Keith is undeniably the most interesting figure here and Dano provides a reliable performance with plenty to like. He’s the reason we connect with the story and follow most of the other perspectives in the first place, he’s certainly the one everyone else seems to be following.

While a serious film there is still room for comedy. The first half may miss much of it, yet as we enter the second half and the battle with Wall Street properly takes off, and their responses come in, the humour becomes more present. Not every attempt lands, but there are still a handful of chuckles here and there to help things pass along, particularly as the film still covers multiple characters without always getting across the effect that it might want. There’s still an interesting film at hand, particularly when it verbalises its themes and ideas in the second half, from both Gill and the smugly confident hedge funders working against him and the everyday people investing in stocks. When doing this Dumb Money speaks with confidence, and a hint of passion, it just doesn’t always carry through into the other perspectives we see throughout.

While interesting and effectively serious, with an occasional hint of playfulness, Dumb Money feels slightly over-busy with the characters it cuts back and forth between, Paul Dano makes for a reliable core, but not everything around him is as emotionally effective.

Cert – 12, Run-time – 1 hour 43 minutes, Director – Kenneth Branagh

A retired Poirot (Kenneth Branagh) is talked into attending a séance, only for it to lead to a murder with historical links for him to solve

A Haunting In Venice is better off for not being scary. While not a full-on horror film as some advertising may make it seem it does have plenty of gothic tonality. It’s a flourish which brings a more relaxed feeling compared to Kenneth Branagh’s previous two middling mysteries as Agatha Christie’s Belgian detective. While Murder On The Orient Express and Death On The Nile are more notable titles, Hallowe’en Party may be less well known. Yet, Branagh, alongside screenwriter Michael Green, doesn’t play this out as something believing the audience are playing along, it’s formed as a drama with a mystery within it.

A retired Poirot (Branagh) is convinced by an old friend (Tina Fey) to attend a séance on Halloween, talked into trying to solve the mystery of how medium Ms Reynolds (Michelle Yeoh) is able to pull off her communications with the dead. The sceptical detective (excellent facial hair, and a rather smashing suit, in tow) tags along, however is soon confronted with another mystery when a murder is committed; unveiling a number of historical links and cases for him to solve.

The suspects – including Kelly Reilly and Belfast stars Jamie Dornan and Jude Hill reuniting as a different father and son – are all contained with a stony palazzo shut off from the outside when the canals become too dangerous to travel through. Production designer John Paul Kelly helps to bring about much of the gothic nature with the cold walls which Branagh captures with plenty (perhaps a few too many) of Dutch angles. The overall tone brings a more relaxed feeling to the film compared to the previous entries, which whilst watching I realised how constrained they felt. A Haunting In Venice could easily slip into convention and familiarity. And while it threatens to do so in the second half its style is enough to keep it afloat, alongside the more direct nature of the drama following the narrative of a mystery.

Thanks to the way in which the narrative is followed things go by quickly with a good deal to engage and interest. This could easily be much of the same from Branagh’s take on Poirot, and while some familiar elements are still present the gothic tones help to bring something to the drama that elevates it and makes it more engaging. As the reveal grew closer there was part of me that started trying to guess who the killer was, engaging on a more active level as things began to come together. While initially there may have been questions of ‘another one?’ in regards to this line of mysteries if there’s more genre and tonality at play in future, I may well welcome for Branagh and his mighty moustache.

While there might be some familiarity at play, A Haunting In Venice is held up by its gothic tone and style which helps to elevate the drama at play beyond that of the previous two Branagh Poirot outings.

Cert – 12, Run-time – 1 hour 32 minutes, Director – Nia Vardalos

The Portokalos family heads to Greece for a reunion in their recently-passed father’s home village

If you haven’t seen any of the previous two My Big Fat Greek Wedding films, or, like me, can’t remember a great deal about either of them, good luck knowing who anyone is for the first 10-15 minutes of the film. It’s a quick trip to Greece as everyone is grouped up, seemingly whittled down, and the core members are on board the flight ready to travel to recently-passed head-of-the-family Gus’ home village for a reunion of his childhood friends. However, they’re greeted by a village of six people, and no sign of anyone for the reunion.

Toula (Nia Vardalos – returning to write, and stepping into the director’s chair) is intent on handing over her father’s journal (filled with enough paper and photots to make it a coffee table book) to his old friends, the strand which takes up most of the 92-minute run-time. Meanwhile, each member of the family gets their own thing to cut back and forth between throughout the film. Brother Nick (Louis Mandylour) seems obsessed with finding the oldest tree in the village while daughter Paris (Elena Kampouris) – having not told her parents that she’s failed her first year of college – is dealing with the fact that her aunts (Andrea Martin, Maria Vacratsis) have somehow invited date-gone-wrong Aristotle (Elias Kacavas) along for the holiday. And, just to give him something to do, husband Ian (John Corbett) wanders off to briefly spend time with a monk.

Each character is generally given something to do throughout the narrative but things never quite seem to stick together. There’s a distance between the segments as if some of the side-events are there simply so characters have something to do and aren’t completely forgotten about whilst Toula tries to make the reunion happen, with the help of only-one-who-voted mayor Victory (Melina Kotselou). Other strands pop up here and there to try and build-up to one big, fat, Greek finale but there’s no real unity in the build-up.

While watchable and likable in parts, particularly thanks to the scenery – which the actors definitely drink in as they walk through each frame with huge smiles spread across their faces – things falter with the addition of the humour. Despite a couple of laughs here and there there aren’t enough to keep things properly going. A good deal of gags fail to get a response, often simply down to feeling tired. The cast may be having a good time, and to an extent helping things move along that bit more easily thanks to this, but overall there’s not enough connected substance, or laughs, to properly lift the film up and make it connect.

Despite each character have just about something to do nothing really feels connected the the build-up to the finale of My Big Fat Greek Wedding 3. It might be generally watchable in parts, but the often tired laughs falter throughout.

Cert – 15, Run-time – 1 hour 50 minutes, Director – Michael Chaves

While Sister Irene (Taissa Farmiga) follows demon nun Valak’s (Bonnie Aarons) attacks across Europe a French boarding school experiences supernatural hauntings.

When the credits come up after the ghosts and creatures of The Nun II’s third act and reveal Malignant writer Akela Cooper as a co-writer, and story creator, for this Conjuring Universe spin-off sequel some of what appears makes sense. Certainly, this isn’t Malignant where the third act takes a completely out-of-nowhere off-the-wall bounce into chaos but certainly one or two of the creature elements bring about something of an oddity. There were plenty who found humour within Malignant, whether intentional or not, and The Nun II is a film that’s funnier than it is scary – with the one or two moments of amusement seemingly being intentional.

Such brief points are the highlights of the film, short asides from the attempted horror which constructs much of the run-time. As Taissa Farmiga’s Sister Irene travels across Europe investigating the potential return of demon nun Valak (Bonnie Aarons), following a series of supernatural attacks in churches, a French boarding school begins to experience familiar hauntings. As with the first film jump scares are not the primary style of horror on the menu – unlike most of this surprisingly expansive franchise (now on its ninth instalment in ten years) – although there are a couple here and there. Yet, while The Nun had a sprinkling of eeriness to help it along, the sequel feels rather bland.

We jump back and forth between Irene, alongside fellow nun Sister Debra (Storm Reid), and the events unfolding in the boarding school – particularly the friendship between young student Sophie (Katelyn Rose Downey), whose mother (Anna Popplewell) teaches at the school, and caretaker Maurice (Jonas Bloquet), often stopping her from being bullied by older students. In just under two hours the film does a lot of jumping yet doesn’t entirely make as much progress. The developments feel staggered between chunks of supernatural goings on as Valak hides behind people or shows her face without actually doing anything. Things plod along in generally unengaging fashion as the narrative takes a while to build-up to the destination it’s made obvious as the beginning of the third act.

Even the consistent attempts to bring in creepiness with the supernatural forces at play in the final 20 minutes, and the hints of strangeness brought about by the look of one particular demonic animal, aren’t enough to properly bring you in to the piece. As everything comes together a similar style continues to be present. There might be one or two new details, but they fail to give the film a kick and it continues with as little excitement as beforehand. The ultimate downfall of The Nun II is that it’s rather boring. Not so much as to be dreadful, there are occasional moments to interest – such as points of humour – and there’s something to like about some of the attacks; even if they don’t contain much to create a scare. But, overall The Nun II simply draws out a simplistic narrative meaning that it often feels as if its pandering for time.

With a restrained narrative The Nun II often feels stretched out, leading to further blandness amongst the scattered bursts of scare-lacking interest.

Release Date – 8th September 2023, Cert – 12, Run-time – 1 hour 46 minutes, Director – Celine Song

Having emigrated from South Korea to Canada as a child, Nora (Greta Lee) reunites various times with childhood friend Tae Sung (Teo Yoo), reminding each other of what, if anything, could have been

Past Lives is an extremely naturalistic piece of work. The closest it gets to fantasy is the giddy elation of receiving a small message from someone close, or one that you’ve been looking forward to. It’s a small spring in your step, but the day seems brighter because of it. As Nora (Greta Lee) reunites with childhood friend Tae Sung (Teo Yoo) on Facebook after having left South Korea to move with her family to Canada at a young age. The contact from someone who has apparently been looking for her for years seems to lead her to almost dance down the street in pure elation, looking forward to a proper conversation.

The film charts their relationship and two key meetings, each 12 years apart from when they last saw each other, where things gradually reveal themselves to not be as shiny as they initially seem. There’s increasing hesitancy from both parties when it comes to conversation, one unsure of what to say, the other unsure of if they even want to be there. Reminding each other of what, if anything, could have been – and if it would have even worked out at all, are these figures just ghosts from past lives?

“He was this kid in my head, then this image on a laptop, now he’s a physical person” Nora explains in a mixture of confusions to her American partner Arthur (John Magaro) whilst stood in their New York apartment when Tae Sung comes to visit the country. As the film delves into identity and how that plays into Nora’s feelings about her life and the situation she finds herself in – around others she feels Korean, but with Tae Sung she feels very American – the performances speak louder about the internal feelings of the characters. Writer-director Celine Song gets some excellent performances from her cast with plenty of poignancy and thought, boosted by the natural feel of the whole piece. This is a film that allows subtle character details to speak volumes as they come into play during a scene.

Song’s direction throughout is filled with subtleties within her shot choice. While there are plenty of shots which linger to allow the detail to be drunk in you wish you could pause to either dive into them or simply stare at the picturesque images for longer. Even a key tracking shot, one of the most powerful moments in the final stages of the film, is packed with emotion and change as the film briefly reflects on its events. It may take its time, but the run-time flies by feeling under 90 minutes than anything closer to two hours. The best shots revolve around the idea of farewells, one chapter closing as the characters enter another; all for the past to somehow come back and stir thoughts in their minds as to whether certain chapters were ever really finished, or rather books closed.

Such themes are at the core of Past Lives which glides through its personal dramas with plenty of effective subtleties to draw you in. Excellently observed in its portrayal of feelings and emotions, both hidden and visual, there’s a lot to unpack in the moment for both audience and characters – although the central duo appear at times reluctant to acknowledge what might be clearly there. With this Past Lives builds upon itself and expands its emotional core to great effect all while managing to remain naturalistic, engaging and refined in its depictions.

Past Lives is a film built upon subtleties. An emotional depiction of uncertainty, reluctance and regret with two strong leading performances to convey such themes in addition to Celine Song’s excellent direction. There’s something satisfying in the way it poses questions it knows there may not be an answer to.

Cert – 15, Run-time – 2 hours 11 minutes, Director – Alejandro Monteverde

A government agent (Jim Caviezel) who has captured hundreds of paedophiles in the US becomes set on rescuing children from international sex trafficking

Sound Of Freedom’s open credits features CCTV footage of children being abducted from the streets. It further sets in the dark tone of the subject matter at hand. It’s almost undeniable that the theme of child sex trafficking is going to include some uncomfortable moments, and that’s certainly the case as we see a group kidnapping take place and where the children themselves end up. A number of scenes throughout the film may be as subtle as a strobe neon light, but they manage to get the drama across and as a whole things are watchable.

It therefore makes the confused tonal shift about an hour in even more odd. As government agent Tim Ballard (Jim Caviezel) having spent his career capturing paedophiles in the US becomes set on rescuing children from trafficking his contacts grow and a plan comes together. As a trap is set to lure in traffickers the faux lightness that the characters put on almost becomes a lighter tone overall. The seriousness is still present but the tone appears to have shifted leaving an odd feeling to the proceedings – especially when the film attempts to bring in a light chuckle or two (literally two failed attempts before it realises it shouldn’t and moves on).

Each time it feels as if things are climbing back up to their initial line of being not-great-but-watchable they dip back to being a tonal struggle. Perhaps not wobbling as much as Caviezel’s performance, not helped by dialogue which sounds like someone throwing a tin pan down a staircase, but still not managing to properly engage due to seemingly confusing tone with what the characters are presenting in order to rescue the missing children – Tim’s mission is fully ignited when a rescued eight-year-old boy (Lucás Ávila) asks about his older sister (Cristal Aparicio) who was kidnapped alongside him at a fake audition which opens the film.

Even as the film tries to get back to where it was clunky dialogue, and a feeling of a slightly overlong run-time, prevents it from doing so. At the end in what’s labelled as a “special message” Caviezel speaks to the audience, before introducing a pay-it-forward QR code for tickets, about the heroes of the film. It’s not about his character, it’s about the brother and sister at the centre of it. Certainly, when focusing on and remembering them the film is most effective and at its best. As Ballard and co’s plan to rescue “God’s children” unfolds a tonal jumble begins, one which certainly posits them as the big, tough gang of heroes with equally big hearts. Once the film trips over itself it never manages to get back to where it was which while not great still had some engagement factor.

Sound Of Freedom trips itself up in a clunky tonal jumble which prevents it from re-reaching its initial engaging, if unsubtle, style.

Cert – 15, Run-time – 1 hour 49 minutes, Director – Antoine Fuqua

Whilst recovering from an injury in a small Italian town, Robert McCall (Denzel Washington) plans to retire, however to do so in peace he takes on a local gang

While I might not remember a huge deal about the previous two Equalizer films the action certainly sticks out. Even then, I don’t remember it being as brutal as it is in The Equalizer 3. Whilst holding a 15 rating I feel there are 18s which have been given the top certificate from the BBFC for a good deal less. The extent of the violence contrasts with footage of Denzel Washington’s Robert McCall gradually entering retirement in a quiet Italian town in this trilogy closer.

Having been injured at the start of the film McCall views this as a sign to pack in the vengeance. Recuperating with the help of local doctor Enzo (Remo Girone) the small square which makes up its own community provides a welcoming environment for the character who views it as the perfect place to retire. That is until the idealistic surroundings are shattered by a local gang bringing fear and violence to the area. If he wishes to settle down in peace, McCall must take down this group in heavily bloody fashion.

McCall isn’t the only person with a lead on the gang as CIA Agent Collins (Dakota Fanning) looks into high-level drug deals linked to one of their bases. The pair slyly back and forth with each other, teasing how one knows more about the other than their letting on. While infrequent there’s a likable nature to such instances, particularly thanks to the reliable performances on display. Such moments in particular act as something of the midpoint between the calm of near-retirement for the central figure and the loud, fast-paced darkness of the action.

Where they really falter, however, is in the lead to the next event or situation as, particularly in the first half, there’s something of a stop-start feel to various instances within the forming narrative. Yet, while there’s enough to keep you engaged throughout the most enjoyment comes when the focus is on McCall. Washington on his own having a nice time in Italy stands above the action, and indeed core of the narrative.

The action itself has an effective intensity which works in its various bursts, especially when it comes to key confrontations, but more often than not when Washington is centre stage and his character’s plan rolls out piece by piece that’s where the kick really comes in as his natural charm lifts both the character and the film. Yet, while there might be a slight distance between the scenes with the villains or Fanning and Washington there’s still an overall engaging film here which makes for a good close to this trilogy – and perhaps the best of the three.

The Equalizer 3 is held up by Denzel Washington and his charm. When the focus is on him the film is at its best. There’s some effectively intense action and everything else holds engagement, but it does sometimes falter as it leads to the next event.