This review was originally published following the film’s LFF screenings in 2022, when it went under the original title of The Origin.

Release Date – 23rd February 2024, Cert – 15, Run-time – 1 hour 27 minutes, Director – Andrew Cumming

A prehistoric group of early humans find themselves attacked by an unknown force whilst searching unfamiliar terrain for a new homeland.

Amongst the details and visuals leaning into the horror genre perhaps the most effective thing within The Origin is the made-up language which forms the dialogue and conversations throughout the film. Yes, there may be subtitles, but because the language itself sounds so authentic instead of a series of random sounds and noises we buy into the world that bit more and engage with the small tribe of early humans which the film centres on. They’re trying to make their way to a new homeland, however their path crosses through dangerous territory seemingly dominated by an unseen threat which attacks from the mist which surrounds the area.

For the opening stages the film is restrained and stripped back before truly launching into any of the well-handled action sequences and horror elements, especially on the low budget with which this was made; making the most of the natural landscape of the Scottish Highlands. For that you have to admire the film. However, there are occasionally points where the style feels somewhat limiting. Perhaps during earlier instances where we’re witnessing the various discussions between members of the group as they discuss their future and authority. Yet, this admittedly eventually pays off in the second half when the idea of tribal relationships comes more into play. Creating interest as it’s developed more.

It’s also within this half where things turn into a more direct survival film. It’s within this genre where the majority of themes seem to lie and emerge through the development of the narrative. While it might occasionally mean a departure from some of what we have seen before – as they film makes it clear who the real protagonists are amongst the potential twists and turns of the plot – there’s still something watchable and engaging about this slightly new form and what it presents.

Perhaps the biggest drawback is the way in which the film slightly shifts and changes with its tones and elements. While there’s a general air and consistency you can occasionally feel the gears moving to try and get from one to the other. It largely comes through in the key developments and reveals which while helping to keep things moving do sometimes add to the more slow-burn nature of certain instances, again the more character-driven scenes of conversation. Yet, while you might be able to see some of the creases and feel things moving from point to point there’s still enough between those moments, and indeed within them, to allow for The Origin to work for its 87 minute run-time. Particularly when it manages to refine itself and find a more direct path forward.

While you might be able to feel some of the moving parts to link certain points The Origin provides enough interest within the situation the key characters find themselves in, with some good developments, that you’re generally kept in place throughout the run-time.

Release Date – TBC, Cert – N/A, Run-time – 1 hour 31 minutes, Director – Youssef Chebbi

When burnt bodies and skeletons begin to appear across Carthage two detectives (Mohamed Grayaâ, Fatma Oussaifi) try to find out the source of what may be an increase in self-immolation.

With each stage of the investigative process that it depicts Ashkal attempts to show the slow, drawn-out process as best as possible within its 91 minute run-time. It’s a slow-burn, there’s no denying that. And sometimes this means that certain elements can feel somewhat disjointed due to the bridges between them and the course that the narrative as a whole follows. We go from focusing on our two leads and the central case at hand to occasionally branching out to look at other, admittedly related, areas that will later impact them and their search for clues and answers.

The figures in question are Batal (Mohamed Grayaâ) and Fatma (Fatma Oussaifi), while there’s a fair deal of discussion between them the film almost seems to focus on their views on the case at hand. We meet them after the discovery of a charred skeleton in the middle of a long-abandoned, unfinished building structure. While initially it’s put down to a case of self-immolation more similar cases begin to crop up, with no known link or source. The more that’s uncovered to do with the bodies the more an eerie sense begins to enter the piece. It’s boosted by occasional elements such as music and the way certain footage is shown and captured – sometimes via a phone or some form of playback – which truly help to capture the darkness that’s at play in something like this.

In fact, while the film and your engagement are sometimes hindered by the slow-burn quality of the narrative the effect of such moments is increased thanks to this factor. In a number of ways it’s the biggest push and pull when it comes to the ways in which the film comes across to the viewer. Especially in terms of the depiction of the relationship between Batal and Fatma, who often feel very distanced from each other, especially in the opening stages as their differences are fully on display, alongside the clear roles which each one plays in the case and work in general. Yet, while occasionally Ashkal might hit some bumps along the way, and create its own distance to the viewer, there’s just about enough present to bring your interest back at certain points to make for interesting viewing, particularly when it comes to the extent of the potential murders that appear throughout.

The slow-burn that constructs Ashkal’s narrative makes for both disengagement and interest. While certain instances feel drawn out of disjointed others have an enhanced darkness and sense of engagement to them helping to broaden out of the mystery taking place.

Release Date – 24th November 2023, Cert – 12, Run-time – 1 hour 36 minutes, Director – Joanna Hogg

A mother and daughter (Tilda Swinton) confront the past in different ways as they spend time in a hotel which was once their family home.

Joanna Hogg’s latest film, The Eternal Daughter, plays out like a personal ghost story. There’s no ghosts present, yet a haunted feeling chills the central figure, Julie (Tilda Swinton), as she paces around the halls and grounds of her former family home. She confronts the past in a much different way to her elderly mother, Rosalind (also Swinton), who largely sits and reminisces as part of a relaxed time away. Swinton is fantastic in the dual lead, effectively creating a true mother-daughter bond between the two central characters.

Rarely do they appear in the same shot; we almost always see them alone. Creating a sense of distance between the pair, further enhancing the later effects of shots where we do briefly see them together. The camera switches back and forth between them as they sit down for dinner, highlighting the natural course of conversation constructed by Hogg’s screenplay. Further conveyed in Julie’s staggered interactions with the hotel receptionist (Carly-Sophia Davies) – who almost seems to be the only member of staff, aside from kindly caretaker Bill (Joseph Mydell).

With each event and interaction the film adds an extra detail of atmosphere to both Swinton’s character and performance, and the surroundings as a whole. While there might not seem to be a great deal of development over the 96 minute run-time it’s the small details which construct the ghostly feeling which plagues the surroundings and what appears to be Julie’s building worries and frustrations. They’re quietly held in but revealed by Swinton’s performance, and the held back details as to why the trip has been made – it’s certainly more than just to see what the old family home is like now. As we reach the final stages everything comes together rather well, with a true effect thanks to the details and techniques which have been built up and demonstrated up until this point.

Like with a number of Hogg’s previous films – primarily The Souvenir – The Eternal Daughter will likely divide the audience. There will likely be a number of people who find it to be slow and drawn out due to the way that it very gradually builds up its small details for mystery and the ‘reveals’ in the final stages. However, for others, myself included, there’s enough intrigue present within the Hammer Horror style confines to engage and push things forward enough to make for an effective not-quite-ghost-story. One which is formed in Hogg’s style and details, and heightened by Swinton’s excellent dual performance.

Made in the subtle details of Hogg’s style and direction, alongside Swinton’s brilliant dual performance, The Eternal Daughter has just enough in each scene to hold interest and keep things moving for an effectively constructed ending.

Release Date – 17th March 2023, Cert – 12, Run-time – 1 hour 39 minutes, Director – Richard Eyre

A geriatric ward in a small Yorkshire hospital is threatened with closure, despite the personal connection that the government inspector (Russell Tovey) has with the place.

Perhaps much like some of the characters in the film it’s easy to dismiss Allelujah from its opening stages. It comes across as a generally harmless but enjoyable British comedy with a familiar cast of famous faces. However, as things develop there are a number of truly big surprises along the way as the future of a geriatric ward is put into further questioning.

The ward in question is known as The Beth, part of a small Yorkshire hospital it’s threatened with closure especially when a government inspector (Russell Tovey) starts to look around. However Tovey’s Colin has a personal connection to the place in that his father Joe (David Bradley) is currently a resident of the ward. He, alongside the various other faces staying until they can be sent back to respective homes, is largely tended to by leader of the ward Sister Gilpin (Jennifer Saunders). After multiple years of hard, exhausting work her fellow doctors and nurses, alongside the current patients, are preparing to celebrate, particularly with the presentation of an award – “my service has been admired, there’s no need for the purchase of party novelties” she insists.

Her main priority is continuing to fight “for our right to care”. It’s a point that comes through not just her work but also that of Bally Gill’s Dr Valentine – who we see caringly tending to many of the patients on the ward. Valentine makes sure to build up relationships with those he’s looking after, giving us another glimpse into the ward outside of the ‘who’s got it the worst’ conversations and general bickering. It’s through this that much of the humour comes through, Derek Jacobi in particular is a highlight in this respect and certainly gets a fair deal of focus. It’s evident that there are certainly characters and strands which aren’t quite as prominent as others – even Judi Dench gets a rather minimal, yet undeniably key, role here. However, for what we do get, before things eventually come together, there’s a rather enjoyable piece of work here.

One which, as mentioned, takes a number of highly unexpected turns. Instead of taking you out of the film they instead further hook your interest and bring you along for the remainder of the run-time. Things may lean more towards the dramatic than they had before though, but there’s no denying the intrigue as to how things are going to develop with the various revelations and twists which crop up. All leading to a finale which certainly goes for the emotional punch with a true force. While it remains to be seen how well certain aspects of the film will age (it’s basis and politics are very clearly worn throughout, alongside an undeniably clear pro-NHS stance) as a whole it’s, for now, a rather enjoyable affair which may start off having you thinking you know what it’ll be like and where it’ll go before swerving rather effectively to your greater engagement and interest.

Perhaps, because of the build-up, the film won’t feel like a product of 2021/2 – the film itself is based on Alan Bennett’s 2018 play of the same name after all – as much as it currently might do so close to the time. Regardless, for what it does do there’s more to like and enjoy about Allelujah than there initially might seem. Bringing you into The Beth with the various different faces and characters present who, like the film, have a lot more to show and say than might initially appear to be the case.

While you may settle into the familiarity and ‘you know what you’re going to get’ of Allelujah there’s no denying the dramatic twists and surprises it manages to bring in to further hook your engagement in the later stages. A funny, well-put-together piece of work pushed by the pride that it has in itself.

Release Date – 23rd January 2023, Cert – 15, Run-time – 1 hour 35 minutes, Director – James Morosini

In an attempt to reconnect with his son (James Morosini), a father (Patton Oswalt) creates a fake dating profile in order to catfish him, resulting in a road-trip to meet the mystery girl.

James Morosini writes, directs and stars as a variation of himself (called Franklin) in this ‘based on true events’ tale of catfishing. “The following actually happened” reads the opening text “my dad asked me to tell you it didn’t”. Patton Oswalt plays his father, Chuck, trying his best to reconnect with his distant son, resorting to creating a fake dating profile – using images of a girl working in a diner he visits – in order to talk to his son. However, the secret becomes more difficult to hold when Chuck finds himself taking a road trip with Franklin in order to meet Becca (Claudia Sulewski).

With Morosini in control of multiple core aspects the film avoids feeling like someone simply reciting an amusing anecdote to you for 90 minutes. An actual narrative is formed and there’s a fair deal of amusement within the various instances which crop up over the course of the journey. While initially the two struggle to converse in the car but can happily message each other (with Chuck playing Becca, not to Franklin’s knowledge) the roles almost begin to switch as they start to communicate more, and struggle for things to talk about – “do you think they’ll make even more shows in the future?” is one topic of conversation between the ‘couple’.

In general there are a handful of chuckles here and there. Occasionally a familiar feeling sets in as if we’ve seen certain scene outlines, and general gags, before, but there’s still enough amusement to be had within the relationship between the two central characters. Certainly it’s the awkward humour which works best (although it’s certainly not the dominant style throughout the film) – a key scene in the later stages of the film in a diner has you watching through your fingers as the awkwardness is ramped up with each line of dialogue. It’s the two leads, and the occasional laughs that they bring which help to keep you engaged within this generally fine comedy.

Things move along well enough for the short 95-minute run-time. There’s a consistent tone and style which while never quite rising above the boundaries of ‘fine’ manage to keep you engaged and interested in the way things pan out. There’s enough to like and be amused by to help the run-time pass by and as a whole there’s enough to enjoy for the time the film lasts to make for worthwhile viewing. It’s just that, even for such a personal ‘based on a true story’ film, things occasionally feel somewhat familiar and as if we’ve seen them before, detracting from the film.

While there’s within I Love My Dad to amuse for the time that it’s on, largely thanks to the two leads emphasising occasionally awkward scenarios, there’s a clear feeling throughout that we’ve seen a number of elements and scene outlines before, creating a generally ‘fine’ feeling for the film overall.

Release Date – 17th February 2023, Cert – 15, Run-time – 2 hours 3 minutes, Director – Florian Zeller

When his teenage son (Zen McGrath) comes to live with him, Peter (Hugh Jackman) finds himself trying to understand what’s going on in his son’s struggling mind.

With 2021’s The Father director Florian Zeller took his play of the same name (alongside co-writer Christopher Hampton) and made it work on the screen through the various changing rooms and designs that the central character found himself thrown into through the lens of dementia. With The Son (largely unrelated) Zeller, once again alongside Hampton, takes another of his plays with a much more difficult idea to try and visualise and put the audience into. We see a series of conversations, primarily between father and son, as Hugh Jackman’s Peter tries to understand what is going on in his teenage son’s (Zen McGrath) mind.

Nicholas is struggling with depression alongside various unspoken mental health issues. His mind is a chaotic place that’s throwing him in all sorts of directions which he can’t fully understand. It makes it even more difficult for those around him to understand causing frustrating, anger and upset between the various family members. Early in the film we see him moving in with his dad, away from mother Kate (Laura Dern) – who, while not the central focus certainly feels sidelined for a lot of the film. With girlfriend Beth (Vanessa Kirby) and recently-born baby Theo also in the Manhattan apartment there’s a lot for Peter to already deal with, alongside his advancing job prospects in Washington’s political sphere. The fact that Nicholas continues to not turn up to school simply adds more stresses which he views as laziness and a lack of cooperation rather than anything else.

It’s partly this which The Son concerns itself with. Trying to show a struggle to understand mental health and what’s going on in someone’s mind; even for the person whose mind it is. Much of the drama and development is confined to a set of conversations, the highlights of the film where it actually manages to put character’s feelings into words. When something such as the themes the film deals with is so difficult to talk about, particularly when you can’t entirely represent it visually, there’s a clear struggle ahead.

As Nicholas tries to explain “I’m not built like other people… I’m in pain all the time. And I’m tired. I’m tired of being in pain” the film lifts and finds the push to say what it wants to and needs to say through the key character in the piece (there’s no denying that Jackman in playing the lead, though). While what has come beforehand is somewhat uncertain in its treatment of the subject matter its these glimpses that spark interest in what’s unfolding and how the characters are feeling. We may get to moments, such as a particular speech by Jackman after this moment, where we start to think ‘I’ve seen this done before, and better’, but as a whole there’s a slightly watchable nature to the film as a whole.

Things may not be revolutionary or game-changing or particularly striking emotionally but there are enough moments that click within The Son to make it generally worthwhile. The moments which manage to break through the struggle of how to represent what Nicholas is going through, and to some extent the responses of those around him, and give the viewer a proper indication of how his mind is making him feel. Almost every character struggles to communicate and in part while this is much the point of the film it also prohibits it sometimes from progressing or pushing forward. When it does it feels like we’ve seen what it does before. While what it does is fine it’s not entirely emotionally gripping. But, when at its best, it’s because, like some of the characters, it’s finally found a moment where it’s been able to bear through the struggle to put something into words.

There’s a struggle to put something you can’t overly see into words, even more so when the subject matter is such a difficult thing to talk about for many people. When The Son does put certain aspects into words it’s at its best, we might feel we’ve seen certain elements done better before, but overall there’s a watchable – if not always emotionally engaging – piece of work here.