VOD: Lilo & Stitch (2025) (dir: Dean Fleischer Camp, 2025)

HAPPY 16th BIRTHDAY TO MY BLOG!

"Will you please stay still?"

Always a bit of an oddity in the Disney canon, this warped take on E.T. is Disney's latest live-action re-mounting of one of its popular animated movies.  It is a remarkably faithful recycling of the 2002 hit, re-telling the story of a young Hawaiian girl who 'adopts' a lively furry alien from the dog pound which - being designated a dangerous genetic experiment on its homeworld - is being pursued by its creator and a self-styled 'earth-expert' comic-relief duo in human form.  The film offers a sunny surfing/island vibe along with a cheerful modern-Disney-style singalong soundtrack and a few Elvis numbers for good measure.  With both the feisty young outsider Lilo and the mischievous Stitch providing identification points for the very-young target audience, the film offers a deft combination of gentle drama and rambunctious silliness that will appeal to the youngsters.  The CG elements and sequences blend effortlessly with the live action, with a nicely-judged performance from Sydney Agudong as Lilo's older sister trying to hold the family together in an expanded role here, and the film has a fun streak of daftness perhaps a little lacking in most recent Disney offerings.  The mayhem may get a little wearing over its unnecessarily-longer run-time, but the film has enough heart and chuckles to win through.
 

VOD: Presence (dir: Steven Soderbergh, 2025)

"I mean, it's life."
"Actually, it's death."

Written by David Koepp and directed by Steven Soderbergh, this intriguing and uniquely unsettling mood piece sees an ordinary but fracturing family move into an ordinary suburban home, the USP here being that the whole story is shown through the fluidly floating POV of a trapped occupying spirit.  Th well-maintained central conceit creates an almost dream-like feel and allows for an intimate, almost intrusive exploration of the family's private life and in particular the teenage daughter's grief, being aware of the spirit's presence and believing it could be the spirit of her deceased best friend.  With its fan-bating elements of Poltergeist and Paranormal Activity, subdued lighting, realistic in-situ presentation of sound and the occasional appearance of the mournfully elegiac soundtrack, the collision of the disparate family dynamics and largely unsympathetic characters makes for interesting viewing, and its portrayal of nihilistic sadness is bleak.  It is hardly ground-breaking, but the different approach and style makes Presence an intriguing viewing experience, leading to a really well-executed ending.

 

VOD: Henry Danger The Movie (dir: Joe Menendez, 2025)

"Dude, watch your language - there's kids around!"

In this expansion of the popular stalwart Nickolodeon children's TV favourite, a young girl Kid Danger superfan steals a portal-opening dimension-hopping device that pulls a now more grown-up Henry into her various fan-fiction worlds, including an animated world, a future survivalist settlement and a lame nightclub/musical interlude, as our hero tries to get back home.  The film quickly reunites the now-notably-older main characters, led by the dashingly bland Jace Norman, with the dimension-hopping paving the way for a variety of alter-egos, bad wigs and silly costumes.  With production values clearly improved from the TV show in an effort to look more filmic, the sit-com stylings are largely dropped, leaving the movie somewhere between Power Rangers and Goosebumps in its attempt to be a little darker, but it is still rather slow, tame and low-key even for its very young target audience.  It fleetingly touches on child-friendly themes such as growing up, responsibility, independence and friendship, and the mini-episodic approach perhaps gives the film a little more narrative substance than most children's fare.  Nevertheless, the show's young fans will lap it up, and a last-gasp inevitable cameo suggests this might not be the last we see of Henry and his gang. 

 

VOD: The Thursday Murder Club (dir: Chris Columbus, 2025)

"I feel like we're in one those Sunday night dramas, about two bright-eyed, feisty old lady detectives..."

This Netflix adaptation of Richard Osman's first hit novel finds four sparky seniors who live at a residential home trying to solve a cold (murder) case from 1973, battling potential redevelopment of their home and being embroiled in a very current whodunnit as murders close to home start to mount up.  A smooth and polished adaptation, the film is delivered by a veteran top-notch acting cast (led by Dame Helen Mirren, Pierece Brosnan, Sir Ben Kingsley and particularly Celia Imrie here) and the experience of director Chris Columbus, and it is perhaps because of this that the grittiness of the story feels at odds with the rather glossy and cinematic-styled presentation.  The film is comfortable, unchallenging and pretty to look at, playing heavily into plenty of upper-middle-class/Middle-England/elderly stereotyping, and the mystery's clues are presented in such a way that they might as well have giant neon arrows pointing at them along the way.  The second half of the film is far more interesting and relatively pacy, and it all comes together satisfyingly at the end, making The Thursday Murder Club a safe, cosy and undemanding watch.

 

VOD: The Map That Leads To You (dir: Lasse Hallstrom, 2025)

"Does anyone really know where they're going?"

Veteran Lasse Hallstrom directs this nonsensical but attractive romantic-fantasy drama that is as generic as its title.   The film follows Heather (well played by Madelyn Cline) and her two mates travelling around Europe on a last summer of freedom, where she encounters free-spirited Jack (a much-older-looking KJ Apa) and fun, shenanigans, tourist traps and whirlwind romance follow, all leading to the inevitable heartbreaking third-act tragedy and bitter-sweet ending.  The locations are gorgeously picturesque, both the young Mamma-Mia!-esque trio of friends and the Heather/Jack romance are easy to watch, and the gorgeous summery soundtrack is gently winsome and well curated.  It all gives the impression that the actors had a lovely time on their working holiday, but the film does have an interestingly persistent melancholy undercurrent of an ever-present awareness of the ephemeral nature of even the best of times and experiences in life.   In spite of some heavy-handed hints about where the story is heading and clunky/preachy 'embrace life, but safely' messaging, The Map That Leads To You is very pleasant and undemanding to watch, with the delightful soundtrack and settings outweighing the unlikely love story.

VOD: Babygirl (dir: Halina Reijn, 2024)

"We have to pay more attention to the avalanche that is gonna cover us all very soon."

In this romantic adult drama set over a holiday season, Nicole Kidman plays  powerful married CEO Romy, who falls into a passionate affair with handsome new young intern Samuel (Harris Dickinson), putting both her career and family life at risk as the power dynamics shift between them.  Indeed, the power-play between these two controlling and manipulative personalities is portrayed in an interesting way, as Samuel increasingly inveigles his way into Romy's work and personal life and Romy wavers between dominance and submission.  The film is of course carried by its two fantastic lead actors, with Kidman giving yet another of her compelling and precise character performances that has marked her later career, and Dickinson again proves himself to be a nuanced and committed screen actor, and there is a nicely-judged supporting turn from Antonio Banderas as Romy's oblivious devoted husband.  At its heart this may be pulpy female romantic fantasy, at times playing like an oddly elevated and classy 50 Shades story, and the may be some confusing gender messaging in the third act, but for the most part this is a mature, quiet and carefully-controlled drama that positively luxuriates in the skills of its two lead actors. 
 

VOD: The Monkey (dir: Osgood Perkins, 2025)

"No, it's not, uh...a toy...it's a...it's a...I don't exactly know what it is!"

Based on a Stephen King story, The Monkey very quickly sets itself up as a daft, pulpy and squelchy comedy-horror romp, when young twin brothers discover a wind-up toy monkey in their deceased father's souvenirs closet and its evil influence spreads causing random mayhem and Final Destination-style deaths, which follows them into the later-estranged brothers' very different adult lives and ultimately pits them against each other.  Playing both of the adult twins, Theo James differentiates the characters well and balances the comedic and dramatic elements of his performances to  purposeful effect, reminiscent of Bruce Campbell.  It may be rather thin material, but the film is filled with arch and cheesy dialogue, a silly knowing devil-may-care attitude and effective deployment of horror mechanics, making The Monkey a fun and well-made piece that succeeds in its aim to deliver a lightweight entertainment experience for genre fans.

 

VOD: Eenie Meanie (dir: Shawn Simmons, 2025)

"What crazy s**t are you about to do?"
 

Here Samara Weaving plays Edie, a struggling student/bankworker, who finds herself dragged back into her former world as a getaway driver when her feckless hustler boyfriend incurs the wrath of a druglord, who is also a former boss of Edie.  Perhaps darker and less action-packed than the trailer suggested, this is little more than a couple of well-executed bookending flash-cut car chases stitched together with a very basic heist story, but it takes its time to flesh out the character of Edie and her self-destructive relationship to good effect, and the snappy dialogue flows easily and is occasionally very funny, as if Tarantino were making a very low-budget Fast & Furious movie.  Samara Weaving seems to have the ability to make any character credible and engaging with another feisty and focussed performance here (and giving the final scenes a knockout emotional punch), matched by a nicely-judged performance from Karl Glusman as her partner John.  The mid-section may drag considerably, but the core relationship (and its two central players) makes Eenie Meanie interesting to watch.

VOD: Weekend In Taipei (dir: George Huang, 2024)

"You don't get to judge my choices."

This Korean-set glossy action-thriller stars Luke Evans and Lun Mei-Gwei as former DEA/undercover agents and lovers who are reunited as a shady drug-dealing billionaire under investigation goes to trial and the events of fifteen years previously catch up with the long-estranged duo and have very real consequences that out them on the run.  The ever-reliable Luke Evans makes for a worthy Jason Statham stand-in here, and expected mismatched cops/fish-out-of-water elements rear their heads.  There is plenty of supportive backstory in play, and the actual dramatic elements are sincere if occasionally somewhat undercooked or overmelodramatic.  There is a playful throwback sense of glee and energy in the over-the-top action sequences that lift the film and sit effectively next to effective thriller sequences that are played absolutely straight.  Overall, Weekend In Taipei is a mid-ranker of the genre that aims to please and generally makes a good effort to do so.
 

VOD: Alien Country (dir: Boston McConnaughey, 2024)

"Well, that's different."
 

In this lightweight sci-fi action-comedy, set in remote small-town redneck America, home of motorbikes, dive-bar brawls and demolition derbies, hapless loser/dreamer Jimmy and his accidentally-pregnant long-suffering girlfriend Everly inadvertently open a portal that allows some malevolent alien creatures to get through and wreak havoc in their home town of Blue River. With a big, brash noisy music score and the barely-glimpsed creatures/action mostly happening off-screen, this low-budget affair has ambition and presents itself with lively energy , snappy banter and one-liners, a nicely-played fractious relationship between the two leads in particular, limited FX work that is well-realised and there is some dramatic desert-location shooting that looks good on-screen.  Uncomplicated, competently-made and with a whiff of the tone of Tremors, some aspects feel a little underdeveloped but overall Alien Country is straightforward and effectively entertaining.