The Substance is a sickening and vivid update of horror staples with added resonance for the 21st century. The film’s title refers to the central MacGuffin as much as the film itself. But while it’s likely to repel audiences as much as it attracts, it’s timeless, timely, and carries its strong message with confidence. The Ozempic craze was made for it.
The twists and end destination for the central pair are well sign-posted, but it’s all about a journey, and Teller and Taylor-Joy are hugely watchable companions. But The Gorge gleefully draws on so many influences, including films like Annihilation to Inception, while not hitting their heights, that the result can’t help but feel a little hollow by comparison.
Like the Red Hulk popcorn container unleashed with film, Brave New World takes up a lot of shelf space but is pretty hollow. Avid fans may enjoy seeing a couple of big characters finally make it to the screen, but given its determination to tie up some hanging MCU strands, Brave New World is disappointingly weak. It struggles as a thriller, can’t capitalise on the satirical timing of its release in the first month of a certain new POTUS, and doesn’t stretch the franchise’s action credentials.
Emilia Pérez lashes and mashes cinematic and theatrical influences, revelling in its groundbreaking awkwardness to the point that its impressive run during Awards season feels like a smash and grab. Critics may scoff, awards may fawn, audiences may well be bemused, but cinema should be glad Emilia Pérez exists.
An emotional and thought-provoking slice of cinema, Nickel Boys showcases media as much as it holds it to account. After this powerful step into a new realm, all eyes will be on RaMell Ross’s next move. The subject is horrific, but the delivery is devastating.
A beautifully realised film that’s hard to compare with anything else. Anora brings a lot of laughs but refuses to hand up easy answers. It pays back the more you invest in the characters, but mostly, keep an eye out for Mikey Madison, who chose a helluva role to arrive at Hollywood’s top table.
Conclave is dominated by masterful performances and a humdinger (if too tidy) pay-off. An Exorcist-level film advertisement for the institution, it excels at portraying the broad Catholic Church, thanks to perfectly pitched performances and Berger’s continued strides as one of European cinema’s leading explorers of morality.
No other place on earth may have the body count of the Coliseum, and now, in digital form, Gladiator 2 can join the list. Despite years of development, it’s just not big enough and distinctive enough to fill the arena.