Release Date – TBC, Cert – N/A, Run-time – 1 hour 24 minutes, Director – Martyn Robertson

Documentary following pre-teen surfer Ben Larg as he attempts to tackle some of the biggest and most violent waves the world has to offer.

There’s certainly a somewhat simplistic nature to director Martyn Robertson’s Ride The Wave. Yet, it allows for a rather charming nature to come through as it follows young, pre-teen surfer Ben Larg in his ambitious aim to tackle some of the world’s biggest and most dangerous waves. Surfing has long been his passion, he’s dedicated much of his life to it – even in the face of severe bullying and adversity, which has caused him to be taken out of school – and has his heart set on becoming a surfing champion, while still simply enjoying the rush that tackling the waves brings. It certainly comes across in the various montages that show his dedication to the sport, preparing for competitions and truly throwing himself in.

We see the pride that those around him, particularly his parents who play a prominent part in the film, have for Ben. Yet, they bring in an honesty about how this passion has impacted them, at least when it comes to what they’ve seen their son go through when it comes to the bullying he faced at school. It’s as such points are focused on, especially in the second half of the film’s relatively short run-time, that a more traditional feel comes in to play. While not necessarily a bad thing it does create a sense of familiarity, even within a documentary.

As we see various montages play out there’s something alike to the feeling of a more direct narrative feature is created within the piece. It particularly comes across in the pacing of certain sections, again largely in the second half of the film. As some events play out the film seems as if, even though only 84 minutes long, it could be slightly cut down to be closer to the hour mark. Yet, there’s no denying that your attention is still held within the events that are playing out – especially as the central focus of Ben begins to attempt to tackle bigger waves in various competitions, his worries and stresses showing amongst his connection to the adrenaline he gains from the activity.

It’s a central idea to the piece as he’s shown riding various metaphorical and emotional waves alongside the physical ones created by the seas and oceans which surround him and his family. One which manages to engage you and keep you in place throughout, even amongst the occasional shifting nature of the film and the ways in which it presents itself to the viewer. It’s the central passion for surfing that keeps you interested, as is the case with many documentaries such as this. Wanting to see someone who clearly cares about something succeed in that area simply because they are passionate about it. Indeed wanting to see Ben ride the wave(s).

While the nature of Ride The Wave may occasionally shift to something more alike to a narrative film, there’s still a connection to the piece as it clearly show’s the focus’ passion for surfing, creating an element with charm within that.

Release Date – 3rd June 2022, Cert – 18, Run-time – 1 hour 17 minutes, Director – Rob Savage

Loud and outspoken music streamer Annie (Annie Hardy) steals her former bandmate’s (Amar Chadha-Patel) car and begins to experience a series of supernatural attacks after picking up silent, elderly passenger Angela (Angela Enahoro).

After the high impact of small-scale, Zoom based horror Host co-writer (alongside Gemma Hurley and Jed Shepherd) and director Rob Savage returns to further shake up the world of modern horror. Once again focusing on screen based internet horror, this time leaning towards the livestream. Over 77 minutes we duck in and out of connection with Bandcar – the internet’s #1 live improvised music show broadcast from a moving vehicle. That movie vehicle is captained by Annie (Annie Hardy), a loud and outspoken figure unleashing foul-mouthed raps about those in her comments section, and those who, as she views it, have fallen for the hoax that is COVID-19. For much of the opening stages of the film it’s somewhat difficult to actually get on with Annie. Savage and Hardy lure you into a false sense of security as she rattles off various slogans and phrases that you would expect to hear from a stereotypical internet troll diving into arguments about politics.

However, after travelling to the UK and stealing the car of her former bandmate, Stretch (Amar Chadha-Patel), Annie soon has something truly different for her viewers to witness. It comes as she takes on elderly passenger Angela (Angela Enahoro). Whether the silent figure is anything to do with the burst of supernatural occurrences or not is unknown, but what’s clear is that she certainly brings in an extra layer of eeriness to the proceedings. It’s the introduction of Enahoro’s character that truly kickstarts the elements of horror and allows the flow of the film to pick up, taking the viewer – alongside those viewing Annie’s stream – along for the madness and chaos of the ride.

As the film leans away from the toxic traits and spoutings of the central figure, although still including some such views by having – occasionally distracting, although realistic sounding – comments popping up at the side of the screen throughout, it simply allows for the horror elements to take centre stage. There’s a consistent tone established as Annie, and indeed one or two of the other figures who pop up over the course of the film, are thrown around and subjected to various unseen forces. A different tone and style of horror to Host is created, one that embraces a sense of weirdness to slightly match the livestream scenario. It works and helps bring you into the film as it clearly doesn’t take itself too seriously and yet still manages to conjure up plenty of scares within the found footage elements, and an ominous feel to the circling buffering/ connecting sign. It creates a static feeling to the images at play, a further feeling of confinement even when in the trapping open space of the woods.

While the case stands that if you look into certain points and potential repetitions the film might begin to fall apart it’s easy enough to be caught up within it and the various events that form as part of Annie’s continuous attempts to run; or drive, she’s certainly lucky she’s not driving a manual car here, away from the horror. Blair Witch comparisons can easily be made, and there are one or two shots that feel perhaps inspired by it, and yet Dashcam never feels bogged down by comparisons as it rattles along its lines of horror within its short run-time. A run-time which is well spent and flows well – with a fair deal of time spent in the credits with a creative choice that may not be to everyone’s taste.

But, when it comes to the chaos of the horror that the main film produces, particularly after luring you into something of false sense of perception/ presumption, there’s a consistent flow from creepiness to the occasional jump scare; without being too reliant on either. Placing you into the world of the livestream and throwing you around amongst the unseen, unexpected weirdness and chaos that the characters are going through as well. While it would be interesting to see how this would play out on a laptop, as Host so wonderfully did, there’s no denying that there’s a strong audience experience to be had with Dashcam and the various different reactions on display throughout; there’s a range of audible responses to be had and heard which all adds to the thrills of the experience. A fine blend of scares and well-utilised livestream-based mayhem, Rob Savage further displays himself as a fine name in the expanding progression of modern horror.

Pimp My Blair Witch; after leaning away from the traits of the central character and focusing on the horror there are plenty of scares conjured up within the well-used livestream format that Dashcam uses, embracing a sense of effective weirdness the consistent chaos flows well, taking all viewers along for the ride.

Release Date – 27th May 2022, Cert – 15, Run-time – 1 hour 34 minutes, Director – Alex Camilleri

Struggling fisherman Jesmark (Jesmark Scicluna) gets involved in black market operations as his work faces increasing restrictions and pressures, limiting him from providing for his wife (Michela Farrugia) and child.

“Without a boat you lose your way” are the words that cement the connection that struggling fisherman Jesmark (Jesmark Scicluna) has with his work. While dedicated to what he does, and certainly making sure to maintain the quality of his small, brightly-coloured boat, he finds himself facing increasing restrictions. He finds what he does caught up in a swirling mixture of political rules and phrases that simply make things harder for him as he already tries to compete with various firms and larger boats. With his wife, Denise (Michela Farrugia) and a newborn son to provide for there needs to be consistent money brought in, however anything but that appears to be making its way into the cramped living space in which they all live. It’s here that Jesmark begins to risk it all as he enters into a world of black market operations to desperately provide for his family.

The central character’s hopes and connection to his own boat are certainly still kept in mind. He’s willing to go down with what he does, there’s nothing else that he can do, he’s not qualified. “This is my Titanic. My home” he explains. Much of these feelings are brought about thanks to the excellent central performance given by Scicluna. Bringing you into the film and the unfolding dramas that are faced over the course of the short 94 minute run-time. You see the determination on his face as he desperately resorts to such measures to keep his family going, yet mixed with regret and reluctance as he feels uncertainty as to what he’s actually got himself caught up in.

Writer-director Alex Camilleri takes the viewer through the film with generally simple execution. However, there’s enough present to keep your engaged throughout. There are effective beats and moments of detail that certainly help to land an emotional response from the viewer, not always down to just Scicluna’s performance, some simply down to the simple sound of the area and the connection that’s established between them and the central character as he finds it hard to leave the working life he’s always known. And many of these moments have their impact because of just what is established in the early stages of the piece, keeping the viewer’s attention as the film runs with such points and ideas for most of its run-time; managing to be consistent in not dropping them.

The close may bring about what feels like a couple of different endings, which begin to feel slightly dragged out, but for most of Luzzu there feels little that’s repeated. There’s certainly a connection to the drama for both the audience and the well-performed central figure as he tries to fight to bring in money for his family amongst his increasingly struggling and isolated worklife. Most of the dramas at play are fairly simplistic, but they’re handled well and help to keep those watching in place. Engaged in what’s unfolding and with a sense of thought and emotion for the central character and the finely established connection that he has to his work, and indeed the boat which helps him just about continue with it, that he has dedicated himself to as much as he is to his family.

While simplistic in execution there’s an easy connection formed with Luzzu, thanks to the strong central performance of Jesmark Scicluna, it brings you in and keeps you in place for the unfolding dramas of confliction which emphasise the restrictions and isolation faced by the central character in the work he cares so much for.

Release Date – 29th July 2022, Cert – 12, Run-time – 1 hour 33 minutes, Director – Panah Panahi

Stuck in a car, on a long journey to an unknown destination, a family put up with each other as they travel across endless, uneven terrain.

For much of the opening 20-25 minutes of writer-director Panah Panahi’s Hit The Road the camera is kept relatively still. Simply sat in a car, watching the family at the heart of the piece as they wind each other up and get wound up by each other. Yet, their movements – particularly the restlessness of the youngest child (a film-stealing Rayan Sarlak) – create plenty to observe within the frame. An energy and dynamic is built up between the central quartet. One which is wonderfully observed and delivered to bring about plenty of laugh-out-loud funny moments, especially from the lively Sarlak. We don’t know how long they’ve been travelling for, we don’t know how far they’ve got left to go. But, what we do gather is it’s been quite some time, and there’s still a fair deal of the way to go, even longer because of the amount of stops they have to make.

Even within the breaks and pauses of the cramped journey, even more so for the tired father (Hasan Majuni), laying in the back of the vehicle with a broken leg, there’s plenty of humour to be found. A chaotic nature of family getting on each others nerves without entirely diving head-first into the pool of ‘hey, recognise this!?’. As the travels across dry, uneven, rocky landscapes continue we begin to learn more about the initial driver and eldest son (Amin Simiar). He’s something of a more dead-pan figure compared to the rest of the family, particularly a quieter figure; responding little to his mother’s (Pantea Panahiha) more cheery nature. As the film begins to dive into the reasons for this family journey it begins to shift away from the style of an out-and-out comedy and into that of something more dramatic.

There’s no denying that the laughs die down. While still slightly present there’s a strong change in tone, coming across in various scenes set outside of the car as the journey takes other forms, paths and stretches. We begin to get quieter scenes of conversation and reflection, particularly between father and son, with a style similar to the observations in the car, but with a more static feel. It’s easy to say that the connection with these moments perhaps isn’t as strong as the louder driving sequences which open the piece. While there’s still a level of interest in what’s unfolding and where things, and indeed the central figures, are going, it perhaps doesn’t quite have the level of amusement and engagement which was built up in the first third where the overall tone is undeniably different.

Even by the end you feel a slight hint that something has been missing. As if there’s more to see after the apparent conclusion, just before the credits begin to roll. Perhaps it seems as if the film has been building to something slightly more. And while what we have been given certainly has some interesting points, largely brought about by the central performances and the overall familial bond and connection they all have – particularly displayed and established in the wonderful opening scenes – the drama simply never feels as engaging as the highly comedic nature of what comes beforehand. However, the piece does manage to not break down, and avoids the feel of aimless wandering, and it’s largely down to the interest and engagement you generally still keep within it throughout the rest of the unfolding events as they try to reach their initially mysterious destination and goal.

There’s a lot to like about the humour and performances within the opening third of Hit The Road, especially a scene-stealing Rayan Sarlak. While the humour dies down in the quieter, more dramatic remainder of the piece there’s enough interest and engagement from the viewer to mostly keep things moving.

Release date – TBC, Cert – N/A, Run-time – 1 hour 38 minutes, Director – Fabrice du Welz

A writer (Benoît Poelvoorde), alongside his wife (Mélanie Doutey) and daughter (Janaina Halloy), retreats to a lavish mansion to write the follow-up to his highly successful novel, however he finds himself distracted by mysterious housemaid (Alba Gaïa Bellugi).

Its clear that co-writer (alongside Joséphine Darcy Hopkins and Aurélien Molas) and director Fabrice du Welz’s Inexorable is trying to be something of a throwback to the long-dormant erotic thriller of years ago. One of darkness, flashbacks, scheming and temptation. It comes across in the various stylistic choices that run throughout the 98 minute run-time. There’s a grainy quality to the piece that’s prominent in the various long shots and close ups that establish both the settings and the largely rushing thoughts of central figure Marcel. He’s retreated, alongside his wife, Jeanne (Mélanie Doutey), and young daughter, Lucie (Janaina Halloy), to a quiet mansion where he can write the follow-up to his hit novel Inexorable. However, amongst struggles to create something just as good he finds himself distracted by the presence of newly-recruited housemaid, and stranger to the family, Gloria (Alba Gaïa Bellugi).

It’s the introduction of Gloria that brings about much of the evidence of the tone and style of erotic thriller that this particular film is trying to capture. It’s safe to say that this film doesn’t shy away from its inclusion and depiction of sex. However, when it does make an appearance the act feels so forced and in your face that it almost appears to lose much point aside from simply being included just because sex. Such moments lie amongst a rather by-the-books narrative looking into the various relationships of Marcel, particularly those with his wife and the growing fascination and mystery around Gloria. A potentially threatening, certainly tempting, figure who demonstrates a light and innocent persona to the rest of the family, particularly Lucie who she begins to form something of a bond and friendship with.

While it’s generally clear to see where the film is going from the early stages, particularly thanks to the conventional nature which it holds throughout, there’s still enough happening to keep you relatively interested in the unfolding events. Even in the third act there’s still a slight sense of tension and mystery about the characters and how things are going to pan out, even if the final few minutes do feel as if they’re lacking some elements. The traditional thriller feel of the third act is heightened by the grainy quality of the picture and the lighting. Both helping to bring you into the world and appreciate what the film is aiming to do. You may not be entirely involved, but there’s still enough to keep your engagement and interest; as has largely been the case with much of what has come beforehand, for the time it takes for things to unfold.

While the actual elements of sex might feel somewhat forced and in-your-face, the stylistic elements that help form the tension and tone of a thriller within Inexorable are rather well done. They help to keep you engaged with the piece and manage to have some effect amongst the generally by-the-books nature of the narrative. A set of good performances from the small central cast help to further get across the tone and style and keep things afloat. While this may be acting as a throwback to erotic thrillers of years gone by it occasionally feels as if it’s stuck amongst them in terms of plotting and structure. Yet, there’s still enough present within Inexorable for the elements to gel together well enough to create a decent and interesting enough piece of work for the time it plays out for.

The sex might feel a bit much at times, yet the other stylistic elements within Inexorable create a level of interest within the viewer that puts aside the conventions on display from early-on and manage to still create some tension and darkness, especially within the third act.