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.

Cert – 15, Run-time – 1 hour 37 minutes, Director – Tim Story

A group of college friends reunite after ten years in a cabin in the woods, hunted by a crossbow-wielding killer they must either fight back or win a board game testing their knowledge of Black culture

There are plenty of horror flicks over the years which have revolved around the idea of the central characters having to endure a ‘game’ to survive to the end of the film. Whether it be an escape room, a Ouija board, or one of Jigsaw’s twisted challenges. More often than not the character’s are largely up for taking part before realising the twists and consequences later on. In The Blackening the central group of reunited college friends are repulsed by the sight of the titular board game as they’re greeted by a large, round blackface head in the centre of the board. It’s not long until the voice coming from it leads them into playing the game – get ten questions right, all linking to Black American culture, and survive, plus save their trapped friend (Yvonne Orji).

There are plenty of horror references early on as Scream is emanated in the opening scene, while not long after another character namedrops The Texas Chain Saw Massacre. Yet, the film itself doesn’t feel rooted in parody as some may have suggested. While the drawn out opening sequence might lead to initial worry of a long and laboured 97 minutes to come once we actually get into the game itself things pick up. It might take a bit of time for this to be the case (20 minutes or so with only one or two small laughs along the way) as each of the characters have to meet up and re-establish their various relationships – who’s (Sinqua Walls’ Nnamdi) cheated on who (Antoinette Robinson’s Lisa) twice before, and who has that friend’s back for if it happens again (Grace Byers’ Allison and Dewayne Perkins’ Dwayne).

Yet, out of all the characters the one who stands out the most is Jermaine Fowler’s Clifton. An awkward, nerdy figure (reminiscent of Eddie Murphy’s Jiff Ramsey in Bowfinger – Fowler played Murphy’s son in Coming 2 America) who nobody seems to remember the name of. It’s Fowler who initially gets the laughs going as the character’s are finally all together, and as a game of Spades develops one by one they gradually begin to come through more. Once The Blackening begins and the seven (now calmed down, or at least less loud) characters are trapped in the basement/ ‘games room’ they must answer either ten questions, or fight back against a crossbow-wielding killer.

There are a good deal of laughs to be found within the questions and answers of the games as the characters try to frantically remember Black actors who were in Friends, and argue about who’s the blackest and who’s the whitest – a highlight scene. It’s within such moments that the true personality of the film comes through, as it gets on with its narrative and shows its humour. The laughs themselves might not be frequent (there are a good few which simply don’t hit, and some which leave uncertainty as to whether they were meant to be a joke or not) but when they arrive there are certainly some good gags to be found.

Even the horror has its moments as the masked killer gets ever closer and starts to break down the group as they grow increasingly frustrated with the racist game at play. Largely held in some jump scares and moments of attack, particularly when outside and face-to-face with the killer – providing some enjoyable fights – when horror becomes the greater force it works rather well. Perhaps more of an atmospheric thing at times it still manages to bring something with good effect, and again makes the film its own rather than something in the vein of Scary Movie.

Things might be slow and lacking to start with, however as The Blackening becomes its own product there’s an enjoyable film to be had here. While the laughs might be spread out there’s some good sporadic tones of horror to help keep things moving.

Release Date – 25th August 2023, Cert – 12, Run-time – 1 hour 33 minutes, Directors – Molly Gordon, Nick Lieberman

A financially struggling theatre camp tries to assemble a production based on the life of its hospitalised founder (Amy Sedaris)

Theater Camp is unashamedly for and by the theatre kids. There’s a self-awareness within the loud personalities on display, and lashings of campiness to go with it. The drive to make the best production possible is on full-display, even if it means absurdly slighting the children in the process – which ten-year-old’s audition best suggested prostitute and who could best convey virgin? This year’s main attraction is the still-being-written Joan, Still, inspired by the life of camp founder Joan Rubinsky (Amy Sedaris).

After falling into a coma at the start of the film, the beloved head of the camp is temporarily replaced by her wannabe-influencer son Troy (Jimmy Tatro). With the place financially struggling he hopes he can save it by bringing in money through his en-Troy-preneurship. While he’s busy with that, the rest of the staff are trying to produce Broadway-level plays and musicals with young aspiring thespians. For much of the mockumentary we see heads of music and drama Rebecca-Diane (Molly Gordon) and Amos (Ben Platt) desperately trying to put Joan, Still together while craving for their dreams of becoming performers to come true.

The pair have worked at the camp for over a decade, almost all of the staff have some form of close connection – and intense passion for their work, not afraid to run an intensive regime. The bond comes through in the performances which convey strong ‘theatre kid energy’ barrelling throughout the film. Co-directors Gordon and Nick Lieberman (who co-writer with Platt and Noah Galvin) make the most of every scene, getting as many laughs as possible out of them, yet still getting effect out of the bursts of drama.

Waiting For Guffman is perhaps an obvious point of reference, however if that film were to focus on Legz Akimbo Theatre Company (the titles of previous main event musicals produced by Amos and Rebecca-Diane are enough to inspire such thoughts) with added lashings of campiness then you’d almost have Theater Camp. Acknowledging the aspirations of the adult characters whilst managing to point out some of strangeness which arises from this. Yet, still within that specific theatre world, well-contained within the colourful bubble of the camp.

Great direction is often hard to notice within a comedy, particularly a mockumentary, but their work shines through in an excellently directed comedy, and one of the funniest mockumentaries for a good few years. It could be so easy for the film with its self-awareness and occasional (presumably) slightly heightened instances and conversations to slip into irony. A key musical number could match the rest and simply reflect the characters bursting into song as their lives revolve around performing and ramping up the flamboyance. Musical flamboyance is certainly still on display but irony is nowhere to be seen. It’s a scene of heart with love for the theatre and those who are passionate about it. There are plenty of laughs to be found within this stretch, but never at those performing.

“We’re theatre people, we know how to turn cardboard into gold” says overworked technician Glenn (Galvin) to Tatro’s increasingly worried Troy. It’s a point which truly comes to life in these final stages where after 70-80 (frequently laugh out loud funny) minutes of showing the intensive lessons the teachers put this summer’s young attendees through there’s a fitting and worthwhile conclusion. One for and by the theatre kids.

One of the funniest mockumentaries for a number of years, Theater Camp is excellently directed with the whole cast and crew getting the most laughs possible from the flamboyance that’s on display. Self-aware but never ironic, this is a very funny celebration of theatrical passion.

Cert – 15, Run-time – 1 hour 33 minutes, Director – Josh Greenbaum

After learning that he’s been abandoned, young dog Reggie (Will Ferrell) is determined to travel home to bit his former owner’s (Will Forte) penis off, learning to be a stray along the way

Strays finds a lot of humour in pointing out the everyday things that dogs do. They poo, they pee and occasionally they hump things. When pointing this out as just that, things they do, the laughs fail to arrive. However, when positioning them as misunderstandings – central dog Reggie (voiced by Will Ferrell) never quite understands whether his neglectful owner Doug (Will Forte) is playing with the dog or himself – there are more laughs to be found. While there may be a slight infrequency to such gags when they arrive they certainly make a good landing and provide plenty of amusement in the moment.

As we follow Reggie, abandoned a three hour drive away from home, initially believing that it’s just a long game of fetch, he gradually learns how to become a stray. It’s with the help of fellow stray Bug (Jamie Foxx), therapy dog Hunter (Randall Park) and sidelined-to-a-puppy Maggie (Isla Fisher), all of whom accompany him on his journey to return to Doug, all so he can bite his former owner’s penis off.

At 93 minutes Strays is a tight film and doesn’t outstay its welcome. A series of events, sketches and recurring gags make for an amusing watch that works best when bringing in a slight element of self-awareness. Both in terms of the dogs and their gross out actions; one scene in an adoption centre leads to groans of slightly disgusted amusement, and a handful of references – Josh Gad makes an appearance in the vein of his A Dog’s Purpose voice work. As a whole the generally light narrative and the events which make it up are used to the traditional idea of ‘what if x innocent idea swore and did drugs’, however it doesn’t fall into the trap of entirely lazy jokes. Yes, there are plenty of dumb jokes throughout, but a good number of them amuse and help to pass the time.

It may be strange sometimes looking at lingering shots of the dogs with their mouths moving to the shape of their words, but that’s more a light element of uncanny valley. Strays isn’t entirely a film you can complain about being disconnected from or completely emotionally invested in, it’s there to be an R-rated summer comedy, designed to make you laugh with crude and sweary humour. And it does a rather good job at that. While there may be a gap between some jokes, and certain gags may wear thing quickly, there’s enough present within the short run-time to make it enjoyable viewing for the time that it’s on, especially when working on the laughs instead of hoping for them from the more everyday aspects of a dog’s life.

Working best when developing gags and working them into the world of the film, the laughs might occasionally be infrequent, but there’s enough of them within Strays to make for amusing viewing for the luckily short run-time.

Cert – 12, Run-time – 2 hours 7 minutes, Director – Ángel Manuel Soto

Whilst searching for a job to allow his family to keep their home, Jaime Reyes (Xolo Maridueña) finds himself becoming the host for an alien scarab, providing him with a futuristic suit of armour weapons system

DC’s previous two films this year – Shazam: Fury Of The Gods and The Flash – have, amongst their merits and flaws, fallen into something of a modern superhero cliché. Dealing with huge world-ending, city-destroying events or some form of multiverse with multiple versions of multiple characters. Blue Beetle may be familiar with its own set of clichés, but it’s of the origin story kind we were seeing a few years ago from both Marvel and DC. Yet, the heart of the film isn’t in the action or indeed the development of Xolo Maridueña’s Jaime Reyes into the titular hero, instead it’s in his relationship with his family.

Having just returned home from college, graduating in pre-law, Jaime is met with a pile of bad news. The family home is at risk of being taken away, business isn’t what it used to be – especially since his father (Damián Alcázar) had a heart attack – and there’s very little money coming in to pay the recently-tripled rent. So, Jaime does his best to throw himself out there to get the best job possible, however this unexpectedly leads him to possessing an alien scarab which chooses him as its host. The suit of armour with its various advanced weapons (voiced by Becky G) is designed to protect its host at all costs.

Jaime’s family are there when he’s first connected to the suit – in an almost body-horror like sequence – they become key targets when Victoria Kord (Susan Sarandon), a wealthy businesswoman who has been searching for the scarab for at least 15 years to turn it into a weapon, tries to track Jaime down. There’s plenty of heart amongst them as the tight-knit group attempt to band together in this strange set of circumstances – “we’ve been through worse”, “have we?”. Yet, they also bring about much of the film’s humour. Not just in the way they bounce off and lightly make fun of each other, but also in their own individual personalities. Slight conspiracy theorist uncle Rudy (George Lopez) is a highlight with his loud personality, and Lopez avoiding a conventional ‘full-on comedic conspiracy theory’ performance, helped by dialogue which doesn’t make this the sole trait of the character.

The Reyes clan are brought into the action as the film goes on, particularly in the third act. Helping to provide some chuckles and amusement as the film starts to show its run-time. While the opening stages, and indeed much of the film, breeze by, particularly thanks to the entertainment factor once it’s established that there is no world-ending threat at play, the ending feels rather drawn out as the film goes for one big climactic battle to round off its protagonist’s journey, and sort out its villain/s. The film as a whole might have its familiar elements, both helping and hindering it on different occasions, but as a whole there’s a likable piece of work here thanks to the family unit at the heart of it – and indeed the humour and entertainment factor throughout.

While its uncomplicated nature both pushes the film and holds it back there’s an entertaining nature to Blue Beetle thanks to its humour and the familial bond at its centre, even during some of the bursts of action – even if some push the run-time a bit far.

Cert – 12, Run-time – 2 hours 3 minutes, Director – Justin Simien

A group of strangers find themselves trapped in a haunted mansion, or else stalked by ghosts, trying to figure out how to free the house of deadly spirits

Up until now it’s seemed that the best way to adapt Disney’s Haunted Mansion theme park ride is to have it star The Muppets. The two major adaptations (2003’s fine-enough Eddie Murphy starrer and this most recent take) have appeared to be responses to other Disney rides-turned-films (the at the time in-production Pirates Of The Caribbean: The Curse Of The Black Pearl and Jungle Cruise respectively). Going in you wonder, particularly with a 12 rating attached, how well the film will manage to balance spooks and gimmick, and indeed how well you’ll have to know the ride.

Indeed, there may be plenty of nods and references to Disney’s seemingly iconic ghost train but not so in-your-face that they’re clear and alienating to those (like myself) who have never visited. Instead, there are a number of good gags scattered throughout bringing plenty of chuckles. It’s these which ease you in after an opening few minutes which suggest the film won’t know which direction to take the ‘scares’ and how gimmicky it wants to be, even in the moment. However, as the cast comes together there’s plenty to enjoy.

While not an entirely traditional film there’s a familiar ensemble cast in a haunted house vibe to this particular flick. All trying to work out how to free the titular location of deadly ghosts, or else be haunted by them outside the grounds. LaKeith Stanfield leads as Ben, a tour guide brought in by Rosario Dawson’s Gabbie, and her young son Travis (Chase Dillon), for his links to capturing images of ghosts. Soon a team involving a priest (a miscast but still likable Owen Wilson), a questionable medium (Tiffany Haddish, on expectedly good form) and a university professor (Danny DeVito) is assembled, all trying to solve the mystery of the house and it’s changing landscape.

Amongst the laughs there are some solid scares dotted throughout. Keeping the generally family-friendly nature whilst managing to bring in a sense of eeriness and creepiness to certain scenes involving ghoulish action. It adds to the fun of the haunted house style which director Justin Simien seems to be trying to capture, and does so rather well. Even more emotional moments which stand out from the rest of the film manage to just about fit in and not disturb the overall flow of things – one in particular is sold well by Stanfield with an unexpected, complimenting pay off from DeVito.

There may be some slight dips every now and then, largely as the film threatens to just tip over into being too long, but overall there’s an entertaining time to be had here. Largely thanks to an ensemble cast who help to bring about a number of the chuckles throughout whilst avoiding an overall gimmicky feel. This doesn’t feel lazy or forced, it’s a good piece of family entertainment.

Once it settles itself Haunted Mansion makes for a familiar ensemble haunted house movie. With good performances from those involved bringing about a number of chuckles, and some solid spookiness along the way, there’s an entertaining ghost story here.