‘The Wicker Man’ is the defining piece of work in the folk horror subgenre, and remains one of the most influential British films of all time. Exploring themes of religious and cultural conflict, ancient traditions, and the consequences of blind faith, it is more than just a straight up horror film. At times it almost feels like a musical. Even now, 50-years on from its initial release, Robin Hardy’s chilling and atmospheric masterpiece provides one of the strangest and most unsettling viewing experiences. 

A weird and tonally inconsistent film, full of jaunty folk tunes, and filmed almost entirely during the day, there’s nothing particularly scary about ‘The Wicker Man’. But the gradual slow-burn of the central mystery draws us into the world of this strange Island community, before curdling our blood in the shocking and unforgettable climax. A finale which has become an iconic moment in cinema history.

As the devout and morally upright Sergeant Howie, sent from the mainland to investigate the disappearance of a young girl, Edward Woodward gives one of the standout performances from his career. His portrayal of a man struggling to reconcile his rigid Christian beliefs with the strange and disturbing customs he encounters on Summerisle is at the very heart of the film, and plays brilliantly against Christopher Lee’s charismatic community leader.

Even with its relatively brief running time, ‘The Wicker Man’ has created a lasting legacy with its potent mix of disturbing imagery, powerful performances, and thought-provoking themes. In the pantheon of folk horror it sits proudly at the top, and remains essential viewing for those seeking intelligent and psychologically unsettling cinema. Its enduring impact on the genre continues to resonate with audiences, making it a true classic that has more than withstood the test of time.

The 4K UHD presentation brings a level of depth and definition that is quite incredible, however it should also be noted that it doesn’t perform miracles. Those familiar with previous restorations of the Final Cut will know full well that certain scenes are of a much lower picture quality. That is no different here. There are some scenes however, most of which are exterior, where the UHD transfer is truly stunning. The final sequence in particular has never looked better.

Disc One presents the Final Cut of ‘The Wicker Man’ in UHD. As well as the feature, we also have all the extras from the 40th anniversary Blu-ray edition. We also get a number of brand new featurettes exclusive to this release, including a short documentary revisiting the locations of the film, Justin Hardy (son of director Robin Hardy) interviewing filmmakers and critics about the film, and a rare insight into Hardy’s original copy of the script with Lord Summerisle’s epic final monologue which was cut from the film.

Also new and exclusive to this release is an interview with Britt Ekland, and a gallery of behind the scenes stills. Although not a new feature, there is a 2001 documentary, ‘The Wicker Man Enigma’, which wasn’t included in the previous Blu-ray edition and has instead been ported over from the 2001 DVD release.

If the Final Cut isn’t your favourite version, then disc two gives you UHD restorations of both the director’s cut and the theatrical cut (my personal favourite). There is also an audio commentary with Robin Hardy, Christopher Lee, and Edward Woodward on the director’s cut, and a behind the scenes short film about the commentary. Both of these were available on the previous Blu-ray release. Discs three and four, repeat the above in BD format.

Cast: Edward Woodward, Christopher Lee, Britt Ekland, Ingrid Pitt Director: Robin Hardy Writer: Anthony Shaffer Released By: StudioCanal Certificate: 15 Duration: 92 mins Release Date: 25th September 2023

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The plot picks up some time after the events of the Justice League, with Barry / The Flash (Ezra Miller) an established member of the superhero team. Haunted by the death of his mother many years earlier—a crime for which his father was wrongly imprisoned—Barry, still overcome with grief and emotion, runs so fast he accidentally travels back in time. Despite being warned by Bruce Wayne (Ben Affleck) that this is a terrible idea, he goes ahead and uses his faster than light speed powers to travel back in time and prevent his mother from being murdered.

Something goes wrong however on the journey back, and he ends up being spat out in the wrong year. A year where his mother is still alive and his father isn’t in prison…but also where a younger version of himself (yet to acquire his powers) is dodging about. Yes kids, you guessed it, we’re in the multiverse. Where everything looks familiar, but isn’t quite right. Which is ironic, given how the plot essentially becomes a do-over of ‘Man of Steel’.

You can clearly see what the original intention was for this movie (a soft reboot for the DCEU) prior to all the hierarchy changes at Warner Bros. and DC. Barry and younger Barry find themselves caught up in General Zod’s (Michael Shannon) invasion of Earth to find Superman, which as we know was the starting point for the DCEU. They go looking for the other members of the Justice League, but in this timeline, the Kryptonian being on Earth is Kara Zor-El (aka Supergirl) played by Sasha Calle, and Bruce Wayne is an alternate version of the Caped Crusader. I’m sure you saw the trailers…it’s only Michael bloody Keaton.

Director Andy Muscietti marshals all of this remarkably well. There is a lot going on in ‘The Flash’ and for the most part he keeps it fast-paced, fun, funny, and easy to follow. There are some incredible action scenes, but the digital FX work is variable to say the least. Some of it is superb, some it is dire. This is an unfortunate trend for modern blockbusters, but until these artists are given enough time and resource to do their job properly, it will continue.

Where the film really shines however, and where it separates itself from the majority of other films in the DCEU franchise, is that there is a genuine emotional core to the film. Barry’s story is tragic, and heartfelt, and when you strip away all the flash of ‘The Flash’ what you’re left with is a young man who just wants a hug from his mum and to let her know that he turned out okay. Ironic I know, considering the real-world behaviour of the very not okay Ezra Miller.

Which brings us to the complicated issue of the film’s star. His well-documented troubles nearly derailed this film from ever being released. How well you get on the with film will ultimately depend on how well you can separate the art from the artist. Because purely from a performance point of view, he is excellent in this. The dual role gives him the space to evolve both performances of Barry. Original Barry switches from the sugar-loaded fast-talking clown to become more careworn and serious, whilst young Barry allows him to lean into the goofier side of the character. Miller once again shows what a terrific physical performer he is, with a real gift for slapstick humour.

For the vast majority of the running time, I was very much on board with the film and really enjoying it, but it does come a little unstuck in the third act. Firstly, it falls into that all too familiar territory for recent superhero movies of snowballing into a giant CG cosmic mess. Muschietti and his writers then make a couple of very questionable choices, which really take you out of the film. One made me feel very queasy at just how crass it was, and another will make absolutely no sense to anyone who isn’t steeped in insider Hollywood knowledge.

Ultimately however, this is one of the best entries in what has been a somewhat difficult franchise to get on board with. It’s warm and funny and spectacular, and considering the development problems this film went through, and the off-screen troubles faced by its star, it’s a miracle that such a rollickingly fun blockbuster has emerged.

The special features on the disc begin with an in-depth behind the scenes documentary, taking us from pandemic era pre-production, through the epic shoot across various locations, massive green-screen sound stages, and huge purpose-built sets. Fans of 90s era TV show Gladiators, will be thrilled to see who Miller’s stunt trainer was for this film!

The disc also includes featurettes on key sequences, and deep dives into the return of Michael Keaton, the origins of Supergirl and her inclusion in this film. All 6 episodes of The Flash podcast ‘Escape the Midnight Circus’ starring Max Greenfield are also included on the disc. If you are purchasing the 4K UHD you also get additional featurettes and deleted scenes.

Cast: Ezra Miller, Michael Keaton, Sasha Calle, Michael Shannon Director: Andy Muschietti Writer: Christina Hodson Released By: Warner Bros. UK Certificate: 12 Duration: 144 mins Release Date: 18th September 2022

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The plot sees Dom (Vin Diesel) and his crew (family) being targeted by a vengeful villain from his past, who nobody knew about until now. His name is Dante, and it turns out he is the son of the bad guy from ‘Fast 5’ and he has an axe to grind with the Toretto crew. He is absolutely psychotic however, and doesn’t just want revenge, he wants them all to suffer in various unspeakable ways. All you need to know about this Dante fella, is that he’s played by Jason Momoa. More on him later.

Dealing with the Dante threat, takes Dom and the gang all over the world into a series of incredibly over the top car chases, with Louis Leterrier (a veteran of vehicular mayhem) now at the helm. One sequence in particular, featuring a huge metal ball bomb, careering through the streets of Rome is a rare highlight. As for the rest of action, it is far too reliant on (some very sketchy) CGI. 

As with so many other big budget blockbusters we’ve had to sit through this year, most of the action scenes go on way too long. Which isn’t always a bad thing. A well-directed, perfectly paced action sequence can go on for as long as it needs to, and still be thrilling and entertaining. Look no further than the ‘Furious 7’ Azerbaijani chase, which begins with cars parachuting out of planes and only gets more brilliantly silly over the course of 20 exhilarating minutes. Nothing in ‘Fast X’ even comes close. Just boring, cartoony crap.

Now we all know these films jumped the shark a very long time ago. If you weren’t on board back then, you aren’t going to be on board with this one. I’ve always had a soft spot for these films, especially the spectacular run from ‘Fast 5’ to ‘Furious 7’ which in all honesty should have brought this saga to a close. Those three films were such fun, I could overlook the drop in quality we saw in 8 and 9. 

Those two were just as dumb and preposterous as the previous films, but the endless retconning and plasticky action whittled away most of the goofy charm and goodwill that had been built up. ‘Fast X’ however just doubles down on everything bad from the previous two. More characters being introduced, more backstories being rewritten with each passing scene, more table setting for some grand finale being concocted in Vin Diesel’s big shiny dome, and more hideously digital action. The film’s tongue may be firmly in its cheek, but bad is still bad.

You’d think after so many films together, the chemistry between the main cast members would be at the very least believable. I’m not expecting acting miracles, but some sense of familiarity between them doesn’t seem a lot to ask. Alas, the dialogue scenes between Diesel, Rodriguez, Brewster, Emmanuel et al, are just getting worse with each passing film. I zoned out more than once. As for the so-called hilarious “banter” between Tyrese Gibson and Ludacris, it is the perfect storm of god-awful writing, terrible acting, and bad improv from people who think they are funny.

As well as the core regulars, ‘Fast X’ introduces us to a whole new bunch, including Oscar winners Brie Larson and Rita Moreno. Alan “Reacher” Ritchson and Daniela Melchior also join the cast, with Scott Eastwood returning to sub for the absent Kurt Russell. None of them are really given all that much to do, as there’s so many characters already jostling for screen time. However, given the half-arsed performances being phoned in by the main cast, I’d much rather spend time with this lot, even if it occasionally looks like they’re being held at gun point.

Thankfully, soaring above all this dross, is the deranged genius of Jason Momoa. He takes a one note villain role, and turns it into the funniest, funnest, and most deeply disturbing character in the entire franchise. Every time he is on screen, the film becomes watchable. Every time he isn’t, it’s just a boring bowl of CGI soup you will want to drown yourself in. His wardrobe, his mannerisms, his line-readings, are not at all what you would expect. A truly chaotic performance. And the scene with the two freshly murdered corpses. What. The. Hell?

Momoa’s intervention just about saves this from being a one-star film, but it is still the definitive low-point in the franchise. I live in hope that the final two instalments will recapture some of the previous magic, but the road back after this mess is longer than the runway in ‘Fast & Furious 6’.

If you want more of this, the 4K UHD release comes with over an hour of bonus features, including scene breakdowns with Louis Leterrier, and all-new featurettes exploring the new cars and locations used in ‘Fast X’.

Cast: Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, John Cena, Nathalie Emmanuel, Jordana Brewster, Sung Kang, Jason Momoa, Brie Larson, Helen Mirren, Jason Statham Director:Louis Leterrier Writer: Dan Mazeau & Justin Lin Released By: Universal Pictures Home Entertainment Certificate: 12 Duration: 141 mins Release Date: 4th September 2023

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Adapted from Griffiths’ own 2017 short film ‘Take the Shot’, ‘Kill’ wastes no time with a beautifully constructed opening sequence, which kicks the plot into gear. Daniel Portman, Brian Vernel, and Calum Ross play three brothers, who have gone deer hunting with their father Don (Paul Higgins) in the woods near their home. But the hunting trip is an ambush, and they kill him and bury him in the woods.

As they set about covering their tracks, and making away with the contents of their father’s safe, a series of flashbacks reveal the lifetime of physical and mental abuse these boys suffered at the hands (and fists) of their tyrannical father. Trust me when I tell you, this bastard had it coming. When a single mistake in their plan sends them back into the woods, fear, guilt, and paranoia begin to consume them.

The opening scenes to ‘Kill’ are as promising as anything you are ever likely to see from a low budget indie thriller. From the moment the boys turn their guns on their dad I was hooked. There’s a feel of early Ben Wheatley about the film, with its earthy mix of the domestic and the horrific. The atmosphere of the film is thick with claustrophobia, whether it be the oppressive house, still lingering with awful memories, or the terrifying woods closing in around them.

The film becomes less steady as it progresses, with more twists, flashbacks, and reveals than I think the narrative can handle. There’s also an uncertain dalliance with the occult, when the boys come across some very Blair witchy looking stuff in the woods. It briefly suggests that the film might be about to take an altogether different turn, but then forgets it just as quickly.

The performances are decent, especially Paul Higgins who is suitably terrifying and convincing as the abusive father. Some of the flashback scenes make for difficult viewing. Sadly, the film rather falls apart in the final act, with one ridiculous contrivance after another. When you’re dealing with such serious themes (domestic violence / child abuse / patricide), and the tone of the film is so dark and portentous, it just can’t cope with silly things happening. It breaks the spell.

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Originally staged at Leith Theatre, Dickson Leach’s adaptation is a unique take on the classic tale. A hybrid of theatre and cinema; as well as the main set, there was a screen mounted behind the stage. Within the corridors and basements of the theatre, they built other sets which had camera crews in them waiting for the actors, whilst the director would vision mix it live on the night.

When it finished its theatrical run, it began the process of being reconfigured for the big and small screen. Additional location shots were filmed, new music was composed, a stunning sound mix was done, and the best takes from the live performances were edited into a film which made its world premiere at the Edinburgh International Film Festival this week, before it moves to Sky Arts later in the year.

As with the novella, the main character of this latest version is modest lawyer Gabriel Utterson (Lorn Macdonald), a close friend of Dr Henry Jekyll (Henry Pettigrew). Concerned by Jekyll’s recent behaviour, Utterson becomes consumed with learning the identity of the mysterious and brutish Mr Hyde, whom Jekyll has made the sole beneficiary in his will. 

An intriguing new twist however, sees Utterson’s social status elevated as he gets closer to the truth. His association with the renowned Dr Jekyll puts him in the orbit of the repulsive Sir Danvers Carew (David Hayman), a brewery owner whose inhumanity towards his workers sadly rubs off on Utterson. As he hunts for a monster, he finds he is becoming a monster himself.

As a commentary on social class structures and the ruling elite, it does certainly have a stinging relevance to life in Britain in 2023. This does however put Jekyll and Hyde somewhat in the periphery. Which is a shame, because when Dickson Leach leans fully into the horror aspect, it is genuinely quite scary. The thundering sound design, and slick editing result in a couple of meaty jump scares.

The theatrical setting certainly has its limitations, and we can see where the same sets have been repurposed, but it’s only a minor distraction. Overall, it’s a very well choreographed piece of work, making excellent use of iconic Edinburgh locations to add to the gothic vibe of the film. The sharp black and white photography, along with the theatrical sets lends an almost German expressionist feel to some of the scenes. I found it to be quite haunting.

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Charting the relationship of two childhood sweethearts over a 24-year period, ‘Past Lives’ is a film about longing and connection, and the intangible forces in life that bind and separate us. Throughout the film, characters refer to inyeon, the Buddhist belief of the spiritual connections between two people over the course of their past lives, which impact their current lives.

We first meet Hae Sung and Na Young as school kids in Seoul. They walk home together each day, and tease each other about test results. Na Young has a crush on Hae Sung, but before anything can happen between them her family emigrates to Canada, and she changes her name to Nora.

Twelve years later, Nora (Greta Lee) is living in New York, where she aspires to be a playwright, and Hae Sung (Teo Yoo) is still in Korea. He is studying engineering and has just finished his military service. Whilst on a call with her mum, Nora is stalking old friends on Facebook (something we all did back in those more innocent days of social media) and discovers that Hae Sung has been looking for her, but didn’t know she had changed her name.

They reconnect over Skype, talking for hours and hours at all times of the day and night, and it soon becomes clear that Hae Sung never stopped thinking about Nora. But when neither of them are willing to uproot the lives they are in the process of building, the communication stops and they lose touch again. Another 12-years pass until Hae Sung visits Nora in New York.

This is an astounding piece of work from Song. I cannot quite believe it is her first time behind the camera. Her command of story and character is so impressive, with each scene so elegantly composed. 24-years are condensed into 105-minutes, and every frame of it feels utterly authentic and lived in. Factor in the gorgeous and distinctive cinematography for each city by Shabier Kirchner, and you have a visual and narrative masterpiece.

I was genuinely blown away by this film. There’s such specificity to it, yet it feels utterly universal at the same time. A sweeping, continent (and decade) spanning romance, yet it is intimate, and completely contained within the experiences of these characters. Bittersweet and affectionate, ‘Past Lives’ will speak profoundly to anyone who has moved to another country, who will understand that you leave something behind, but you gain something too.

Greta Lee and Teo Yoo bring the material to life with their exceptional performances. Whether delivering dialogue or even how they just look at each other, they are so natural and so convincing as lifelong friends. Every wordless exchange, the body language, the almost imperceptible change of expression, it all conveys a lifetime of backstory and missed opportunity. A word also for the brilliant John Magaro, for his intelligent and sensitive portrayal as the other man in Nora’s life. The conversation between the three of them at a hotel bar is sublime. Easily one of the best films of the year.

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The film follows young Danish couple Stine (Marie Bach Hansen) and Teit (Mikel Boe Folsgaard) who are uprooting their metropolitan lives in Copenhagen to live in the wilderness for a year with their young son Nemo. Their idea is to unplug from modern society and therefore give themselves the freedom to fulfil their creative potential. Stine wants to finish a novel that she’s been working on for a decade, and Teit—being a white dude in his 30s—is going to record a podcast about the whole adventure.

Of course, they aren’t really unplugging from society at all. When they get to their lodge, it is a stunning modern retreat in the middle of the woods, fully stocked with food and wine. They aren’t exactly having to hunt and forage for their dinner, which is a good thing as Stine comments upon seeing Teit with a rifle that he looks “like a nun holding a sailor’s dick.”

The first act of the film is very much a slow burn. Stine makes some progress on her novel, but is constantly distracted by Nemo. Teit wants the podcast to be as honest and authentic as possible, but this brings into question something from their recent past that they are running away from. Even in this romantic seclusion, attempts at intimacy stutter and stall.

Things very much change gear when Nemo briefly goes missing in the woods. Upon finding him, he is frantic, and keeps screaming that Stine is not his mother. A few days of this behaviour are too traumatic for them all, and so they decide to return to Copenhagen. Only they can’t get away. Their attempts to escape the woods only lead them to another lodge, identical to the one they have been staying in, and with two identical occupants called Stine and Teit. To say anymore would spoil all the Freudian fun.

Technically, the film is a triumph. The juxtaposition of the stunning natural scenery with the cool modern interiors is captured expertly by cinematographer Sine Vadstrup Brooker. The use of reflection and mirror images is very on the nose from a thematic point of view, but it adds to the visual style, and also leads to the film’s most startling moment. The slick camera work is accompanied with clever editing, subtle VFX, and flawless double work to achieve the remarkable doppelgänger scenes.

Despite a premise which lends itself to horror (in the vein of Jordan Peele’s ‘Us’), Lyngbye prefers to drill into the psychoanalysis of the situation. Once the initial shock wears off, the two couples must literally confront each other, themselves, their relationships, and all the compromises and betrayals. Maybe it is a horror after all. Unless you are fully invested in these not very likeable characters, it does all get a bit much towards the end. The excellent performances from Hansen and Folsgaard however, keep it engaging.

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Franz Rogowski is Tomas, an impulsive and self-obsessed, control-freak filmmaker, who we first meet on the final day of shooting his latest film. He is married to Martin (Ben Wishaw), and the pair live and work together in Paris. At the wrap party, Tomas wants to dance, but Martin is too tired. An alternative dance partner presents herself in the shape of Agathe (Adèle Exarchopoulos), a friend of someone in the crew, who Tomas just met at the bar. The chemistry between them is immediately off the charts. After Martin goes home, Tomas and Agathe go home together.

When Tomas rocks up the next morning, he almost proudly declares that he slept with a woman last night, and wants to talk about it with Martin. Though Sachs never makes it explicitly clear what the boundaries of their relationship might be, Tomas’s narcissistic desire to brazenly pursue this new avenue of pleasure—and his expectation that his husband should be supportive of it—is too much for the eternally patient and understanding Martin to take. 

Brilliantly written by Sachs and co-writer Mauricio Zacharias, and fascinatingly portrayed by Rogowski, Tomas is surely a contender for the most odious main character in a film this year. Utterly reckless with the feelings of those he claims to love, he is charming and magnetic, but toxic and manipulative too. Slithering between Martin and Agathe, always on the search for the warmer bed, the more docile partner. There’s an almost childlike petulance to Tomas, unable to see past his own capricious desires, and witness the damage he is unleashing.

Sachs deftly and economically paints a vivid portrait of these people and their relationships. How he frames each shot, and positions the actors in the frame expresses more than any line of dialogue could. So much of the film’s power comes from what it doesn’t show us, withholding the scenes that a more conventional narrative would focus on. There is no fiery confrontation between the aggrieved spouse and the new lover. When they do meet in the final act, it’s a quietly devastating moment. Exarchopoulos and Wishaw are incredible.

A word of caution to the dullards out there who are incapable of processing art meant for an adult audience. If you find yourself triggered by nudity, on-screen sex, and main characters who aren’t nice and/or relatable, then this one ain’t for you I’m afraid. For the rest of us however, ‘Passages’ is a sexy, seductive, brutally funny, and emotionally bruising good time at the flicks. Watching these bright, beautiful idiots putting each other through hell is an absolute delight.

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Not that Universal or Nintendo will care about any of those things. From a bottom-line perspective, this is the most successful video game adaptation of all time, and not by a small amount. At the time of writing, it is nearly a cool $1 billion dollars ahead of the next film (2016s ‘Warcraft’) and is still sitting proudly atop the 2023 box office, with nothing coming close to it as yet.

The plot follows brothers Mario (Chris Pratt) and Luigi (Charlie Day) who have just started a plumbing business in Brooklyn. Attempting to fix a major leak in the sewer, they come across a green pipe which sucks them into the world of the game and separates them. If you’ve ever played the game—and given it’s a global pop culture behemoth, you probably have—you will be familiar with everything that comes next. 

Whether it’s bouncing through the Mushroom Kingdom, using power-ups, battling Donkey Kong, or racing karts along Rainbow Road, it’s all in there. The only difference is that instead of Princess Peach (Anya Taylor-Joy) being the character that needs rescuing from Bowser (Jack Black), here it is Luigi instead. That one minor difference aside, you might as well have a controller in your hands.

Co-directors Aaron Horvath and Michael Jelenic have crafted a visually impressive piece of work, full of nostalgic nods to the games, familiar sound effects and music cues. But if you want something more substantial than brightly coloured confection, look elsewhere. The script is paper thin, the jokes rely almost entirely on familiarity with the game, rather than being funny in their own right, and the vocal performances from the A-list cast are so bland they could literally be anyone.

The best thing you can say about ‘The Super Mario Bros. Movie’ is that it’s fine. An utterly undemanding 90-minutes. But the whole thing just feels so soulless and hollow. Just an endless parade of references designed to make you point at the screen, whilst recognisable pop songs are played in an attempt to try and inject fun and excitement into a film sorely lacking in both.

The Blu-ray disc comes with a selection of featurettes, which includes interviews with the cast, and an in-depth look into the making of the film. There’s a short clip with the cast talking about the Power-Ups that appear throughout the film, a music video, and Anya Taylor-Joy doing a fun piece about Princess Peach’s lessons in leadership. After watching the film and sitting through the special features, I just wanted to turn on my Switch and play the game instead, which lets face it, is probably what they were going for all along.

Cast: Chris Pratt, Charlie Day, Anya Taylor-Joy, Jack Black Director: Aaron Horvath & Michael Jelenic Writer: Matthew Fogel Released By: Universal Pictures Home Entertainment Certificate: PG Duration: 92 mins Release Date: 24th July 2023

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In hindsight, maybe it wasn’t such a good idea for the producers of ‘Scream VI’ to lowball Neve Campbell. She is the heart and soul of this series, and her absence is keenly felt in this slickly made, brutally violent, but ultimately tired and hollow sequel to 2022s hugely successful franchise reboot – a film I really enjoyed.

The survivors of the latest Woodsboro massacre, sisters Sam (Melissa Barrera) and Tara (Jenna Ortega) have now moved to New York, and taken the twins, Chad (Mason Gooding) and Mindy (Jasmin Savoy Brown) with them. They are doing their best to put the past behind them, in healthy ways like Sam seeing a therapist, and in less healthy ways, like Tara trying to kill her trauma with booze and partying. 

Unfortunately for them, the events of the previous year won’t leave them alone. A social media conspiracy theory that Sam was the mastermind of the last murder spree is spreading like wildfire. When a new (or maybe old?) Ghostface takes Manhattan and the bodies start piling up, with clues from all five previous movies being left at the murder scenes in a never-ending parade of callbacks, Sam becomes suspect number one.

Barring a terrific sequence on a subway train on Halloween (with Ghostface masks everywhere) the film never really lives up to the opening scene, which does something clever and inventive, and briefly threatens us with the prospect of a new and interesting addition to the Scream saga. Unfortunately, it doesn’t pan out that way, and we instead get two and bit hours of mildly diverting chase and kill scenes. However, what used to be thrilling, tense, and funny in the hands of Wes Craven, these scenes are now just furiously violent and bloody, but not in any way that feels impactful.

Overall, it’s enjoyable enough for what it is, and I suspect die-hard fans of the Scream movies will be delighted. In keeping with franchise tradition, ‘Scream VI’ takes us on the most meta of meta journeys, in an attempt to tie this into the rules of horror movies. However, when you’re making the rules up to fit your movie (there are not, and never have been rules to surviving the second film in a rebooted franchise) it doesn’t really work.

Where the film truly sinks however is that there are no stakes whatsoever. I get that the “core four” characters are fun to hang out with, but if there’s absolutely no chance of them dying, then what is the point? The filmmakers have made a slasher film that is cowardly when it comes to delivering a death that might actually matter. In my review of the previous film, I referred to the new crop of characters as largely disposable. Evidently, I could not have been more wrong.

‘Scream VI’ has the feel of a movie that was made by a focus group. “Don’t kill anyone we like please. Sure, you can mangle them and disembowel them, but please make sure they are walking, or at least still breathing by the end of the film. No matter how ludicrous that might be.” Honestly, does being stabbed forty times in the torso mean nothing anymore?

The Blu-ray disc comes with a filmmakers commentary, and over an hour of behind-the-scenes featurettes and interviews to dive into. All the main players from behind and in front of the camera are featured. A particular highlight is ‘The Night Train to Terror’ deconstructing the brilliant subway sequence, which is by far the best scene in the film.

Cast: Melissa Barrera, Jenna Ortega, Mason Gooding, Jasmin Savoy Brown, Courteney Cox Director: Matt Bettinelli-Olpin & Tyler Gillett Writer: James Vanderbilt & Guy Busick Released By: Paramount Home Entertainment Certificate: 18 Duration: 123 mins Release Date: 10 July 2023

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By far Lynch’s most inaccessible film, ‘Inland Empire’ is an abstract, stream-of-consciousness epic. Three hours of looping, twisting, elusive anti-narrative madness. A series of fractured ideas, swirling around Laura Dern’s sensational central performance, as an actress caught in a surreal web of shifting identities and parallel realities. Filmed entirely on a handheld digital camcorder, the film pushed digital cinema (as it was in 2006 at least) to the limit, exposing both the stunning potential and ugly limitations of the format.

‘Inland Empire’ is a film of multitudes. A compelling character study, both fascinating and borderline incomprehensible. It’s difficult, it’s challenging, it’s hilarious, it’s horrifying, thrilling, and exhausting. It’s a pure, singular vision from the unique mind of one of cinemas most uncompromising artists. Mesmerizing and polarizing in equal measure, it’s quite simply a masterpiece.

Dern plays Hollywood actress Nikki Grace, who is shocked to learn that she has been cast in the lead role of a new film called “On High in Blue Tomorrows”. As she begins the rehearsals with the director (Jeremy Irons) and her co-star (Justin Theroux), Nikki’s real life, and that of her character in the film begin to blur. When the director confesses that the film is actually a remake of a German production that had to be abandoned when both leads were murdered, the stage is set for a dark and mysterious Hollywood thriller.

In the hands of another director, you might expect a film noir to emerge out of that premise. This is David Lynch though, and his version of this story is a fragmented, time-jumping horror film, featuring Polish prostitutes, menacing circus performers, dance routines, and a family of humanoid rabbits trapped in a nightmarish sitcom. I wasn’t joking when I said this is Lynch’s most inaccessible film. If you found ‘Mulholland Drive’ or ‘Lost Highway’ a bit too weird, this might not be the film for you.

The unfathomable and disorienting imagery is, as always, accompanied by Lynch’s trademark sound design of industrial static and pulsing distortions of reality, adding further layers of menace to what we are experiencing. And the only way to truly experience ‘Inland Empire’ is to let it wash over you. The visual and aural rhythms are so strange it’s almost impossible to engage with it intellectually, and any attempt to try and make sense of the plot will probably just make you hate it. So don’t even try. Just allow yourself to get lost in the mystery.

Switch over to disc two and you’ll find the special features, which kick off with ‘Lynch (One)’ a feature length documentary from 2008 compiled from behind-the-scenes footage of Lynch during the years he worked on ‘Inland Empire’. Essential viewing for fans of the director. This is followed with a short archival interview with Lynch, touching on digital filmmaking, his love of Hollywood, collaborating with Laura Dern, and his famous cow-based awards campaigning on her behalf. Finally, if the 180-minutes of mind-bending cinema wasn’t enough for you, ‘More Things That Happened’ gives you 75-more minutes of deleted scenes.

Cast: Laura Dern, Jeremy Irons, Justin Theroux Director: David Lynch Writer: David Lynch Released By: StudioCanal UK Certificate: 15 Duration: 180 mins Release Date: 19th June 2023

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Combining elements of a ghost story, a murder mystery, and a meditation on grief, ‘The Changeling’ tells the story of John Russell (George C. Scott), a composer who tragically loses his wife and daughter in a car accident. Months later he relocates to Seattle to start a new job as a lecturer. He rents a large, old mansion, hoping to find peace and solitude, and focus on his music. It will come as no surprise to learn that peace and solitude are the last things he finds in that house.

Soon after moving in, John starts experiencing strange and supernatural occurrences within the house. He hears unexplained noises, witnesses objects moving on their own, and encounters spectral figures. Determined to uncover the truth behind these mysterious happenings, John delves into the history of the house and its former occupants. In doing so he uncovers a dark secret, and is soon caught up in a chilling web of deceit, murder, and paranormal activity.

Hungarian born director Medak, orchestrates the film with great style and technique, creating a foreboding atmosphere which never lets up. With his exquisite use of space, the fluid camera movement, precise composition, and emphasis on emotion and psychological horror, you can effectively see him drawing up the template for modern hits such as ‘The Conjuring’ and ‘The Haunting of Hill House’.

The film’s reputation has grown in recent years, thanks to high profile cheerleaders such as Guillermo Del Toro and Martin Scorsese (who named it as one of the scariest movies of all time). One of the great things about this film being rediscovered by old and new audiences alike, is that it has reminded us all of what a great performance George C. Scott gives in the film. The depth of sorrow and anguish he conveys, with such subtlety and nuance, is truly captivating.

Eerie and atmospheric, ‘The Changeling’ isn’t going to have you jumping out of your skin. It’s the kind of film that gets under your skin instead. The kind of film that makes you feel cold all over, and instill you with a deep sense of dread. Bolstered by a haunting score, and exceptional cinematography, ‘The Changeling’ is an engrossing and emotionally resonant chiller, and its recent recognition as a classic of genre is justly deserved.

Before we get to the good stuff that comes with this release, as noted at the top of this review, this isn’t a great restoration of the film. Anyone expecting a crisp and clean scan will be very disappointed. More technical minded critics than myself will be able to speak on this with far greater authority and knowledge, but for a 4K restoration, the image quality in certain sections of the film is surprisingly poor.

You will know by now that when it comes to Second Sight, they always deliver the goods with the special features, and this release is no different. If you are an importer of US discs however, you will be familiar with this material as it has all been ported over from the Severin Films edition. This one has got much cooler artwork though.

The disc kicks off with an audio commentary with Peter Medak and producer Joel B. Michaels. This is followed by a career spanning Interview with Peter Medak from 2018 conducted during the Mórbido Fest in Mexico. There are no clips or cut aways, just Medak and the interviewer for 75 minutes going deep on the main touchstones of his life and career. Surprisingly light on ‘The Changeling’ chat however.

Exile on Curzon Street is a 20-minute programme from 2022, with Medak talking about the early days of his career in 1960s London. Next up is The Haunting on Cheesman Park, which is a short documentary from 2018 covering the haunting true story which inspired the film.

There is an interview with musical arranger Ken Wannberg, who discusses his career and collaborations with John Williams, before moving onto the remarkable work he contributed to ‘The Changeling’. This is followed by an interview with art director Rueben Freed who talks about the level of craft that went into the building of the main house set.

The Psychotronic Tourist is a short programme about visiting the locations from the film, and finally there is an interview with horror director Mick Garris talking about his admiration for ‘The Changeling’. The disc is then rounded off with the trailer and a TV spot.

If you choose to purchase the standard edition that’s your lot. If you instead decide to splash the cash on the limited edition you get a UHD and Blu-ray disc of the film with all the features, plus a CD of the film’s soundtrack. You also get a rigid slipcase with new artwork by Christopher Shy, a 108-page book with new essays by Martyn Conterio, Alexandra Heller-Nicholas, Rich Johnson, Mikel J Koven, Meagan Navarro, Rachel Reeves, Shelagh Rown-Legg, and Heather Wixson, plus an archive interview with Peter Medak, and 5 collectors’ art cards.

Cast: George C. Scott, Trish Van Devere, Melvyn Douglas Director: Peter Medak Writer: William Gray & Diana Maddox Released By: Second Sight Films Certificate: 15 Duration: 107 mins Release Date: 5th June 2023

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