VOD: The Greatest Hits (dir: Ned Benson, 2024)

"What in the name of Luther Vandross just happened?"

On paper, The Greatest Hits sounds like a Richard Curtis-styled romantic drama in which a grieving young woman, Harriet, finds that certain songs can quite literally take her back in time, using her gift to try to find the precise song that can help her to prevent the death of her boyfriend in this surprisingly sweet and appealing movie.  All five key players here give strong and very likeable performances, and the indie styling and exploration of grief undercut the idyllic past romance and the fragile new budding one nicely. The film is more sombre and reflective than many of its genre with its excellent plaintive melancholic score and carefully-placed flashback sequences, and whilst it feels like the film strains a little too hard at times to be cool and laid-back, it boasts good storytelling, engaging performances and gently respectful feel for its subject matter.

 

VOD: The Wandering Earth II (dir: Frant Gwo, 2023)

"Being alive is pretty great."

Clocking in at nearly three hours, this prequel/alt-story to the 2019 blockbuster Chinese sci-fi actioner from the same director delivers similar ambition in terms of ideas and screen spectacle yet feels a little more restrained and emotional.  Here, Planet Earth is under threat from an expanding Sun, the film following the plan to move the planet to break away from the Moon and travel far out of danger's reach and also exploring opposition faction Digital Life (preserving human consciousness in digital form) from the early spectacular hijacked drones attack on a military base and the Space Elevator to the final desperate attempts to survive.  It is again visually mind-boggling, with its enormous-scale megastructures, devastated cities and disaster scenarios, but the mid-section is notably more restrained, contained and talky, as the AI/consciousness sub-plot is brought to the fore and a new planetary threat emerges, but once the action mayhem returns it is frenetic and spectacular.  Although slightly less frantic overall and  certainly more sombre than the original, the film is packed with characters and plot strands that miraculously are brought together for the ending's crisis to be averted.  Like most big-spectacle blockbusters, the plot and central concepts do not bear any scrutiny, and Hollywood would never commit to something as colossally insane as The Wandering Earth movies, but the sheer ambition and scale of these films, with an attempt to balance with some emotional beats, make them hugely entertaining, if exhausting.
 

VOD: Land Of Bad (dir: William Eubank, 2024)

"Just takes one s**t day to change your whole perspective."

Dreadful title aside, this war/action potboiler sees a rather relaxed elite squad off to Southern Asia to rescue a captured CIA agent, but they find themselves attacked disastrously behind enemy lines, leaving a rookie (Liam Hemsworth) and a drone to save the day, get to an evac site and rescue the captive, guided by a veteran operator (Russell Crowe) back at base, making the second and third act mostly The Liam And Russell Show.  A recognisable if somewhat low-rent lead cast - two Hemsworths, Ricky Whittle, Daniel MacPherson, Milo Ventimiglia -  trade military acronyms and low-grade banter, Liam Hemsworth as ever a professional and committed if unremarkable lead, and Russell Crowe brings some much-needed gravitas as he sits in an office and visits a supermarket.  The film's saving grace is the scenic location shooting, and it does make a salient point about what happens when the military hi-tech gear fails, otherwise this is a very anonymous (if bang up-to-date) example of the genre.  (A thought: if it does well enough to warrant two sequels, will they be called Land Of Badder / Land Of Badderer?!)  

VOD: The Zone Of Interest (dir: Jonathan Grazer, 2023)

"The first thing we did was install central heating.  It gets so cold in winter."

With the intriguing premise of the commander at Auschwitz in World War II, Rudolf Hoss, living family life in their well-appointed house right next to the concentration camp, this awards-winning film is bold, sombre and elegant.  Running through the film is the bewildering juxtaposition of the privileged family's everyday life in their newly-created artificial-looking fantasy home of the time, separated from the atrocities by a simple garden wall.  The film is slow, deliberate and very artfully constructed, the viewer experience controlled very carefully; the horrors are not shown explicitly but conveyed in the coldly dispassionate discussions of gas chamber design and distant screams, gunfire and smoke.  The facade is increasingly stripped away as the film progresses, such as  Hoss being more concerned about lilac bushes than human lives, casual infidelity and the framing exposes more of the camp.  Christian Friedel and Sandra Huller are formidable talents as the lead couple and they dominate the film with their precise character work.  Presenting Hoss as a loving family man, taking his family to the river and reading bedtime stories, together with having the most terrible job and thought processes makes for sobering viewing. The ending of the film is simple but extraordinarily powerful.
 

VOD: Expen4bles, a.k.a. The Expendables 4 (dir: Scott Waugh, 2023)

"Yeah - where the hell is everybody?"

In this increasingly redundant and threadbare series, the fourth entry tries to cover both the legacy and younger fanbases with new and uninteresting mercenaries teaming up with the few remaining beleaguered oldies (with the reliably watchable Jason Statham rightly getting most of the screen action) to take on the coolly ruthless (but criminally underused here) Iko Uwais, who has been hired to obtain nuclear detonators for a major arms dealer.  With a couple of decent explosions, a lot of really dodgy CGI, lots of neon lighting and tired jokes about ageing, It does manage a surprise death at the end of the first act that puts - of all people - Megan Fox in the driving seat of the revenge mission.  With the feel of a franchise clinging on for life, everything seems somewhat underpowered and underwritten in this barely functional throwback actioner. 
 

VOD: BlackBerry (dir: Matt Johnson, 2023)

"So, OK, picture a pager, a cell phone and an e-mail machine all in one thing!"

This fictionalisation of the incredible true-life meteoric rise and spectacular fall of the BlackBerry (the forerunner of today's smartphones) follows the fortunes of the tiny chaotic company that created it and its growth into a major tech player as it joins forces with a steely-eyed opportunistic executive.  Filmed in an energetic, loose, lo-fi reality-TV style, with characters and dialogue delivered in a naturalistic manner, plus an irresistible indie-pop soundtrack of the period, the film captures the freewheeling abandon of the company's aggressive expansion and overreaching in the emerging market up to Apple's fatal blow with the iPhone.  The shift in tone from the early comedic nerdy inexperience to the later high-stakes gloom and fearful desperation is handled very well indeed.  It has a terrific ensemble cast, with standout performances from the great Michael Ironside and a hard-hitting COO and Jay Baruchel as the the brilliant mid-mannered tech creator behind it all.  In this fictionalised version of events, BlackBerry is poignant in that there are real lives behind the story, but it is also quite an  astonishing tale of ambition, greed and mistakes made that is well-made.
 

VOD: Luckiest Girl Alive (dir; Mike Barker, 2022)

"But my anger is like carbon monoxide..."

The underrated Mila Kunis plays a survivor of America's biggest public school shooting, who has reinvented herself into a top New York magazine writer with lofty ambitions and an impending marriage to a handsome and wealthy young man, but with the past coming back to haunt her in the form of a documentary being made, her facade slowly unravels as she finally faces - and finds - her truth.  Ani is a very well-written and interesting character from the start, with unsettling flashbacks, interior commentary and calculated behaviour that makes her very watchable, and Kunis excels in the lead role, with strong support from Finn Whitrock as her naive and well-heeled fiance, Connie Britton as her mother and Thomas Barbusca as her school best friend Arthur.  The film is uncompromising - the scenes of Ani's sexual assault and the actual school shooting are very strong indeed - with its well-considered examination of big issues such as gun control, sexual violence, privilege and trauma, and the film's artful construction and unflinching eye makes it a thoughtful, unsettling and provocative watch.