Cert – 15, Run-time – 1 hour 36 minutes, Director – Chloe Okuno

Having moved with her husband (Karl Glusman) from New York to Bucharest, Julia (Maika Monroe) begins to suspect that she is being constantly followed by a man (Burn Gorman) living in the building right across the street.

There’s a very traditional feel to the opening stages of Watcher. A quick set-up throws us into the eerie chills which haunt Maika Monroe’s Julia as she suspects that she’s being stalked by a man in the building across from her apartment block. She’s recently moved from New York to Bucharest with her husband, Francis (Karl Glusman). However, while he speaks Romanian she’s still learning and finds it difficult to communicate with others in her building, aside from neighbour Irina (Madalina Anea). Her increasing feelings of isolation heighten the tension and worry she feels as she both tries to escape being stalked and yet begins to follow the man she suspects of following her (Burn Gorman).

Plenty of elements come together to create the form of a classic chiller. It helps to engage and generally pushes the film as a whole. Its traditional tones mixed with a handful of modern stylings are brought to life through writer-director Chloe Okuno’s direction, mixed with a brilliant central performance from Maika Monroe who perfectly captures the inner, and eventually outer, fear her character is feeling.

As things progress the more modern elements of the film show as the darkness becomes more a part of the central narrative. Glimpses of an investigation into a serial-killer known as The Spider go from being mentioned in the news to playing an active part in Julia’s own investigation. While this increased darkness may somewhat change the styling and slight feel of the film there’s still a consistency to the narrative and the flow feels undisturbed. Tension still manages to rise throughout the short and fast-flowing run-time. Things might dip in the final stages as the film tries to keep its pace while making sure it brings things to a dramatic conclusion but, once again, the engagement is still there; with plenty of this down to the performances at the centre of the piece.

Things are effectively progressed and generally feel as if they avoid repetition, helping with the aforementioned flow and consistency. With the stylistic shifts which appear throughout there’s still tension and engagement thanks to the stripped back nature of the opening stages and how quickly the core situation is built up. The initial paranoia develops, of course clashing with attempts from others to rationalise, with the suspense rising in a number of scenes and situations. Convention may come into play, but when present it’s often questioned as to whether the film may go in a different direction with certain new pieces of information instead of just being accepted. Everything flows through the short time and while there might not be as much of a ‘classic’ feeling in terms of style towards the end there’s still an indie thriller future audience hit feeling to the film as a whole.

There’s an interesting mix of traditional and modern stylings within Watcher, while it might lean towards the latter more with the increased darkness there’s still plenty of tense scenes and sequences thanks to Okuno’s direction and Maika Monroe’s superb central performance.

Cert – N/A, Run-time – 1 hour 47 minutes, Director – Eric Appel

A highly fictionalised account of the rise to fame and acclaim of Weird Al Yankovic (Daniel Radcliffe).

It feels fitting that a biopic of the life of Weird Al Yankovic doesn’t really serve as a biopic at all. As many fans would perhaps hope for from the musician largely known for parody tracks such as Amish Paradise and Like A Surgeon this highly fictionalised account of his life story slips into the realms of parody very early on. Perhaps not to the genre-ruining effect of Walk Hard, but Weird takes a different stance to that particular modern cult comedy.

Diedrich Bader’s opening narration assures us that “life is like a parody of your favourite song. Just when you think you know all the words. Surprise, you don’t know anything”. It’s something that writers Yankovic and director Eric Appel try to run with in the various scenes and genre pastiches throughout the film. From an early childhood where music is shunned by his father (Toby Huss), there are serious consequences when a young Alfred (David Bloom) sneaks out one night and attends a polka party, to a fight scene in a diner with the cartel there are plenty of send-ups on display. While some may feel somewhat distanced in humour simply down to how serious in tone the scene appears – there’s often uncertain as to whether moments are aiming for straight seriousness or very dead-pan parody – there are still a handful of laughs to be had along the way.

Daniel Radcliffe plays the grown-up version of Yankovic. An aspiring accordion player with a talent for re-writing the words to other people’s songs. It’s not long until, after frequent airplay from Dr Demento (Rainn Wilson), he’s propelled to the heights of fame and constant acclaim as one of the greatest musicians to ever live. His parodies even lead to boosted sales for hit bands such as Queen, something which Madonna (Evan Rachel Wood) wants in on, entering into a relationship with Al in the hope that he will make her an even bigger success with a parody of one of her songs.

Along the journey of rises and falls there are plenty of famous faces and cameos which pop up at various events – particularly at a pool party hosted by Demento. Such appearances capture aspects of the lighter, and definitely more absurdist elements of the film. It’s here that as a whole things appear to work best and provide the most amusement. It’s where the tone feels most clearly defined and certain of itself. Things move along well with the most chuckles, as is the case with most of the film, coming from quick lines of dialogue rather than drawn out ideas, although a one-off to developing gag about Pablo Escobar (Arturo Castro) being a huge Weird Al fan does prove to be consistently amusing.

As a whole the film fills its 107 minute run-time rather well. While it might occasionally walk an uncertain line between seriousness and parody in general there’s plenty to enjoy throughout thanks to a fair share of chuckles. In fact, even with its sense of parody it manages to not overdo it on the songs, although there’s plenty to like about those that do crop up with their acknowledged sense of silliness, pushed by the fact that Radcliffe is clearly having a great time with the lead role. Barely any of it is true, it’s pretty obvious from some of the initial playful twisting, and in a number of ways a Weird Al ‘biopic’ is perhaps better for it. For the time it’s on it’s rather enjoyable stuff which embraces absurdism with a good deal of laughs along the way.

While clearly not taking itself too seriously Weird: The Al Yankovic does occasionally walk an uncertain line between seriousness and parody, but as a whole there’s plenty of chuckles along the way, particularly when clearly displaying a silliness which everyone involved seems to embrace.

Cert – 18, Run-time – 1 hour 39 minutes, Director – Zach Cregger

After arriving at a double-booked Airbnb Tess (Georgina Campbell) discovers that there’s a lot more to the house than just another renter (Bill Skarsgård).

It’s already been stated in multiple places that it’s perhaps best to go into Barbarian knowing very little. Having seen the trailer you might think that you’ve been shown some of the twists and turns that the film takes, however it turns out that even that shows the relative basics. There’s much more than just a double-booked Airbnb at the heart of this film, and while it certainly provides a fair deal of tension it does lead to a feeling of the film being somewhat overstuffed.

Throughout the course of the main events we primarily follow Tess (Georgina Campbell), turning up to an Airbnb late at night, ready for a job interview in Detroit the next day. However, on finding no key in the lockbox she discovers that someone else is staying in the house having booked on another app. With all hotels in the area seemingly booked up and the surrounding area not being ideal – to say the least – Tess stays the night, with Bill Skarsgård’s Keith taking the couch, at the house hoping to sort things out in the morning. However, after a couple of bumps in the night gradually it’s discovered that there’s a lot being hidden about the house – including an expansive set of underground corridors.

There’s plenty of tension to be found within these confines and the dark, maze-like construction. It comes after an already eerie nature to Skarsgård’s performance which has provided much of the build-up to this discovery, as the film clearly knows how it wants to pitch him and doesn’t appear to hide that fact. As we delve further into the setting we begin to see different perspectives which add more detail to the film and house as a whole, each witnessing something new, or simply more of what has come before, particularly when it comes to the core threat at hand. Certain moments which may feel like stupid ideas for some characters feel in context for others, such as Justin Long’s generally undisclosed role measuring the place up in the hope that it could make him some money to pay for upcoming legal bills.

Even with this in mind the moment still manages to build up eventual tension as his character delves deeper and eventually stumbles across the same thing that Tess has discovered. It’s as we learn more about this threat, including seeing more from the aforementioned different perspectives – some focused on more than others which act as brief glimpses to simply provide more detail than properly push things along – that the film begins to dip somewhat. It starts to feel slightly overstuffed and as if seeing more of the threat and learning more about it removes something from the film and what it’s been setting up.

While it’s understandable that there would be a restricting feeling to just having a ‘trapped in the tunnels’ horror for 99 minutes – although such sequences are dealt with rather well and certainly have a good air of tension to them – the extra detail and elements simply detract from the overall effect of the horror. Yes, there are still tense and engaging sequences which hold your engagement with the piece and allow for you to still feel involved with it, simply things feel dampened by just how much is eventually shown and explained instead of leaving an element of mystery and suspense in regards to just what lies in the cramped and littered confines of the tunnels. Barbarian is a generally good film, however it could be a truly great horror if it didn’t explore the source of some of its tension as much as it does throughout its run-time.

It may feel dampened by feeling overstuffed in exploring certain elements of the core threat a bit too much, however there’s still a fair deal of tension to be found within Barbarian as it remains engaging whilst travelling along its course.

Cert – 15, Run-time – 1 hour 33 minutes, Director – Daniel Stamm

A nurse at an exorcism school (Jacqueline Byers) finds herself training to perform an exorcism after re-encountering a demon from her childhood.

Prey For The Devil is perhaps a classic example of a film suffering from ‘we’ve seen it before’. Yet, there’s a determination within it that lifts things up and still makes for a fairly watchable set of events. You can see the heights that it’s reaching for and while it may not quite reach them, due to its flaws, there’s an admirable quality to the film because of this.

Throughout we follow exorcism school nurse Sister Ann (Jacqueline Byers). She believes that she’s had experience with demons and possession in the past, primarily her childhood relationship with her mother (Koyna Ruseva) – who was otherwise diagnosed with schizophrenia. It’s part of Ann’s job to survey various patients in the hospital wing of the school, where they are being watched over to determine whether what is presented is a case of possession or, more simply, mental illness. It makes Ann’s eventual encounter with a demon, taking over the body of young child Natalie (Posy Taylor), more difficult to prove, and lead to an exorcism. Therefore, she breaks the tradition of priests-only in classes, led by Colin Salmon’s Father Quinn, in the hope of learning how to tackle the demon which has caught back up with her.

There’s plenty of horror-leaning sequences throughout involving demonic attacks and freaky body contortions. They may have more effect if not set in constantly flickering lights. In fact, the most effective moments of horror are the less ‘dramatic’ or showy moments that simply let themselves exist as an individual point. At one point, as if taunting her through a two way mirror, Natalie’s body stares at Ann, holes open up in her hands as maggots slowly begin to crawl out. Moments such as this are the most effective parts of the film as they don’t entirely play into the standard tropes of an exorcism/ possession horror, and stray away from throwing various ideas at once into the mix.

Away from the horror things are generally moved along fairly well, particularly thanks to a good central performance from Byers. While some dialogue may feel a bit heavy-handed with certain pieces of religious dialogue comparing the work being done to war and battles – in the opening stages it’s mentioned that “we are losing a war that has been raging for centuries” just to further get into the mind of the viewer just how tough these demons are – there’s generally enough within the drama to make things watchable and to move them along. The final stages may feel somewhat drawn out but as a whole the film feels more saved by the fact that it’s only 93 minutes long, including credits.

The biggest downfall is the feeling of having seen much of this done before, and the lack of subtlety, and forced intensity, or certain horror sequences. There are good ideas and moments here and there, helping to give the film an admirable feeling that it is trying, but as a whole things don’t quite reach the intended heights due to the handful of flaws that are present within the piece. It means that as a whole while fairly watchable Prey For The Devil falters due to not quite being able to overcome its own demons.

There’s a good film within Prey For The Devil and as a whole the film is watchable, it does, however, despite clearly trying, stumble due to familiarity and occasional heavy-handedness with dialogue and horror sequences.

Release Date – 28th October 2022, Cert – 15, Run-time – 1 hour 56 minutes, Director – Nicholas Stoller

Whilst preparing to opening America’s first LGBTQ+ museum Bobby (Billy Eichner) finds himself moving away from a life of casual hook-ups as he becomes romantically involved with also struggling-to-commit Aaron (Luke Macfarlane).

Bros commits the cinematic sin of being a rom-com that’s over 90 minutes long, and it doesn’t quite get away with it. While still having a number of laughs along the way you can feel the run-time being drawn-out as it starts to wrap up the various elements that it’s dealing with. You can also feel that it’s still eager to explore and develop certain points and wants to show more while knowing that it needs to wrap itself up. This is largely down to the fact that while it plays along the lines of a traditional rom-com it unashamedly leans into its big promotional angle of being ‘the first major studio gay rom-com’, also featuring an entirely LGBTQ+ central cast. Helping to provide a number of good jokes along the way while never completely jumping into the prominence of the narrative.

Billy Eichner leads in an against-type performance as Bobby, a recently-turned-40 gay influencer with a successful podcast and series of children’s books about LGBTQ+ history. After the prospect of writing a movie fall through when his views of gay romance don’t match those of the studio his sights are turned to America’s first LGBTQ+ museum. The opening is rapidly approaching however there’s disagreement as to what the big final exhibit should be. Should it be dedicated to the idea that Abraham Lincoln was a closeted homosexual, or should it be a Hall Of Bisexuals? Each figure has their own strong views, perhaps none more so that Jim Rash’s scene-stealing Robert, leading to a number of chuckles within the representation-based arguments.

However, Bobby’s focus isn’t entirely in the museum as he begins to enter into a relationship with will lawyer Aaron (Luke Macfarlane). Both are very much single and spend their free time engaging in quick hook-ups with matches on Grindr. However, despite initial hesitancy from both parties a bond begins to form between them. It shouldn’t work “we’re from different worlds. I’m from New York City, you’re from upstate New York”, but it’s made clear through the more intimate scenes between them – as opposed to the humour and lack of emphasis in other sex scenes in the film – that there’s something between them.

Amongst this there’s a clear self-awareness from the film about the relationships it’s depicting and gay representation in pop-culture. Certain scenes, such as Bobby and Aaron leaving another gay cowboy movie led by straight actors or the Hallmark channel now making more inclusive Christmas films such as “A Holly Poly Christmas”, are pitched with an effective satire. It leans into the ‘first of its kind’ push that the film has without, again, feeling overbearing or the main element of the film, the narrative is consistently remembered. Yes, it may mean that the run-time is pushed, but there’s still plenty of amusement to be found within the various laughs held in the third act and its more largely traditional rom-com stylings. With certain moments it’ll be interesting to see how well this film ages, more in regards to its rather modern leanings and the ways in which the likes of dating apps, etc play into Bobby’s life, but while that’s a point for the film in the future for now it all works rather well in the film’s context.

Amongst the humour it almost takes you by surprise when the film delves into a more serious strand. Particularly in an effective character-based monologue from Bobby when sat on a beach with Aaron. The film as a whole works rather well from its frequently acknowledged landmark studio movie perspective while never forgetting the core narrative/s at the centre of it. It might lead to it feeling slightly busy in the final stages where you begin to feel the run-time, but there are still plenty of laughs within co-writers Billy Eichner and Nicholas Stoller’s (who also serves as director) screenplay. Bros remembers its rom-com basis and travels along those lines rather well. Presenting plenty of amusement and satire along the way.

Amongst its self-aware satire and enjoyable humour Bros doesn’t forget its traditional rom-com leanings and narrative. It effectively comes together and while leading to a slightly pushed run-time there’s plenty of laughs to be had along the way.