Almost 10 years on and I have a confession, my favourite spy in Miami is still Michael Weston.
Times have changed a little since the late 2000’s. You can now choose from thousands of things to watch at the press of a button, with new releases springing up weekly to compete for your attention. This wasn’t always the case though, and back when Burn Notice was on the free-to-air lineup, I was all in. I blame my love back then on youth – something about mid-budget action scenes, car chases and cheesy one-liners just struck a chord in high school. So why do I find myself dipping into it now, a full decade later? Is it that same nostalgic hook that Hollywood has come to rely on for the past few years? Probably. But there’s something else to it, something familiar in its design, structure and vibe that makes it so easy to slip back into. For the lack of a better term, there’s something I find comfortable about the action-heavy, spy drama that is Burn Notice.
For those unfamiliar with Michael Weston (Jason Donovan), he used to be a spy. After being ‘burned’ (fired) from the CIA, he’s dumped back in his hometown of Miami to pick up the pieces. Regrouping with ex-girlfriend and gun-runner Fiona (Gabrielle Anwar), ex-Navy Seal Sam (Bruce Campbell) and former spy Jesse (Coby Bell), Michael spends 7 seasons and 111 episodes getting to the bottom of who burnt him and why. This is the main plot thread, but it is rarely the focus. Each episode devotes a small amount of time to pushing the wider story forward, but the majority of the runtime is devoted to an involved, if somewhat predictable, side hustle of local hero work. Someone from the core group comes across some trouble, which leads Michael and the gang to assume identities, stage gunfights, run cars off the road and essentially blow holes across the better half of Florida.
20th Television, 2007 – 2013
Therein lies the magic formula: a problem arises and the heroes arrive with a solution. A spanner is thrown into the works, and the heroes must make a last-minute comeback to save the day. It’s this grade-school story structure that served as the backbone of classics such as Magnum P.I. and The A-Team, and it continues to work here. Granted it doesn’t always make sense, some of the dialogue isn’t great and it jumps the shark on more than one occasion, but the episodes are consistent, the characters are endearing and it knows exactly what it is. You could watch an episode from the second season followed by another from the fifth, and you’d still be getting a solid hour of action without all the strings that would regularly be attached to episodes between.
I think this is the main reason I slip into shows like Burn Notice now and then. The biggest programs at the moment are cinematic, evolving stories that are so enormous that they become episodic by necessity, rather than by design. Something like Stranger Things is engrossing, intricate, surprising and emotional all at once, and it’s inarguably fantastic. However it’s also something that you need to completely invest in to enjoy at its fullest. Missing a reference or scene in an early episode can deteriorate your understanding of events later, and you constantly need to keep on top of a range of plotlines, characters and conflicts during each season for everything to piece together.
20th Television, 2007 – 2013
When all of this is a bit much for a mid-week watch after work, you can find me deep in a rerun of Burn Notice. It could be something different for you – Friends, Grey’s Anatomy, The Blacklist, Supernatural, even Law and Order – anything that gives you that engaging hour or so without demanding more. ‘Comfort TV’ still doesn’t quite have a nice ring to it for me, but I think we all have a show or two we turn to when something simple and familiar is on the docket. For me, this zen state involves Miami spies driving nice cars and blowing things up – and I wouldn’t have it any other way.
Burn Notice stars Jeffrey Donovan, Gabrielle Anwar, Bruce Campbell, Sharon Gless and Coby Bell. Watch it now on Disney +.
What game are you most looking forward to playing next week, and why is it the 1999 triumph Ape Escape?
We’re fast approaching the local release of Sony’s largest refresh to their online Playstation Plus service since it began, and it has been quite a ride. A launch of this magnitude didn’t even appear to be on the cards a mere year ago, despite expectations being set by both Microsoft and Nintendo with their own take on the Netflix-style subscribe-to-play service. Sony will be the last of the three to join this particular market next week, and their plans are certainly ambitious. Boasting 400-500 games from most Playstation consoles available at launch and more rotating monthly, the new model could be both a huge financial success and a celebration of all that came before if it manages to hit the ground running. I personally have my eyes on a few games from the initial lineup, but I will lie to no one when I say I’ll undoubtedly play through all of Ape Escape before the anything else.
As a marketing tool, nostalgia is my absolute kryptonite. Full remakes of Crash Bandicoot and Spyro the Dragon? Sold. Vaguely polished ports of the old Final Fantasy games? Add to cart. Ocarina of Time rises again? Take my money. There’s something I can’t resist when it comes to a classic I know and love, and I’ve stopped trying to fight it. I can almost always look past the aged visuals, controls and themes because these games and I have history. I know them like the back of my hand, and each of them were legends of their time. Ape Escape is, admittedly, a little different. I personally have a soft spot for the time-travelling, monkey-catching adventure, however it’s understandably not to everyone’s taste. Without that nostalgic pull, it’s not as easy to recommend this one as some of the games previously mentioned. In fact, I’ll just come out and say it – playing Ape Escape today is a rough time.
Japan Studio & Sony Computer Entertainment, 1999
You play as Spike, a boy caught up in the accidental release of dozens of apes who have since fled across time and space. Thanks to helmets that boost their intelligence, each monkey has its own personality, strengths and abilities. As you travel through time to catch them, some will defend themselves by training dinosaurs, flying UFOs or turning an assault rifle on you in chilling Planet of the Apes fashion. While the plot is absolute marbles, the visuals also haven’t aged too well over the decades. Ape Escape has plenty of polygonal points and bright colours across its environments, and then there’s the trademark PS1 fog that hides everything until Spike comes within a few meters. Some of us can look past these flaws as a sign of the times, but the toughest pill to swallow is still the inexplicably difficult controls.
The game was initially designed to help familiarise Playstation owners with the new Dualshock controllers, given thumbsticks weren’t rolled out for PS1 consoles until the late 90’s. While we’d later perfect how these thumbsticks should be used, Ape Escape made a right mess of it. Picture this: a weapon wheel tied to the face buttons on the right of the controller. To use one, you need to push the right stick in the direction you want to strike. Where’s the camera then? The d-pad of course. Don’t forget the jump button as well, hidden back there on one of the triggers. Nothing is where your brain would like it to be, and it adds a whole extra layer of difficulty to even the most basic tasks. Add occasional first-person shooting and steering cars into the mix, and you have a recipe for sheer chaos.
Japan Studio & Sony Computer Entertainment, 1999
I fear at this point that I’ve not presented much to like about Ape Escape, but rest assured the real magic comes from the gameplay itself, and the pure moment-to-moment bedlam of it all. Once you’ve wrapped your head around the controls and graphics, the game opens up into a charming roller-coaster of platforming and puzzle solving that rewards you for sticking with it. There’s a monkey based on Rambo, another a simian Schwarzenegger. Some are tame, while others have backstories that would most certainly not make it into a game of this rating today. The entire package is a zany, colourful and bizarre adventure that tricks you into looking past its shortcomings in favour of finding out just where it could possibly take you next.
Or maybe that’s just me. In a sea of hundreds of other games launching with the service, there are plenty of options that are far easier to look at and to physically grapple with. My rose-tinted glasses are my own, and I’m sure many will have their own nostalgic weaknesses that come calling at one point or another. But as you scroll past Ape Escape in the new catalogue next week, at least spare a thought for me out here in the trenches. Despite everything else on offer, I’ll be staring at a pixelated “Game Over” screen, unsure of which emotion to feel after being done in once again by a well-armed chimp in cheap sunglasses.
Playstation Plus Essential, Extra and Deluxe tiers are available in Australia from June 22nd on PS4 and PS5.
You’d be forgiven for letting The Last Kingdom slip you by over the years. The BBC-turned-Netflix production has been streaming for the better part of a decade now, and its final season rolled onto screens just last week. Similar to Peaky Blinders – another gritty, British drama set not quite as far in the past – this is a series that doesn’t arrive to the fanfare of a Stranger Things despite being fantastic television all the same. Instead, it has spent years quietly garnering an audience who come for the promise of big budget action sequences and a well-paced plot, but ultimately stay for the meticulous character arcs and rewarding story threads. Season five is nothing if not the absolute peak of what came before, successfully closing the book on its characters and storylines like few other shows have managed before. If you have even the slightest interest in character-driven drama with a large slice of action, The Last Kingdom is undoubtedly one of the best in the business.
As in previous seasons, the plot follows Uhtred (Alexander Dreymon), a Saxon warrior raised by Dane Vikings in the years where the two sides fought across a divided England. Quite some time has passed since the climactic events that ended the last season, and Uhtred now holds the peace in the north on behalf of Queen Aelthelflead (Millie Brady) and King Edward (Timothy Innes). Naturally, the peace quickly turns to chaos early on with the return of Uhtred’s former ally Brida (Emily Cox), who is now hell-bent on extracting revenge against him and those he is closest to. This spurs Uhtred and his band – Finan (Mark Rowley), Sihtric (Arnas Fedaravicius) and Osferth (Ewan Mitchell) – to run to the aid of his daughter Stiorra (Ruby Hartley) and Dane King Sigtrygger (Eysteinn Sigurdarson), with fears this could break the already uneasy alliance between the Saxons and Danes. What follows is a series of events spun together with moment-to-moment action, resulting in the return (and loss) of a number of the series’ most interesting personalities as the grand finale approaches.
Netflix, 2022
The key to the show and this season in particular’s success is The Last Kingdom constant sense of pace and purpose. Much like the earlier seasons of Game of Thrones, this series has been built, beginning to end, from a successful collection of novels which the show veers very close to. This allows for character arcs to be completely planned with an ending in sight; each event or conversation feeding into the larger narrative and culminating in fantastic payoffs. The narrative is ultimately fixed, and not liable to sway with audience popularity like shows such as The Walking Dead. The writing may lack at times compared to the aforementioned Thrones, with several plot threads devolving into nothing of much consequence (particularly rife in season four). But these nitpicks rarely affect the overall package, never diluting the show’s incredibly fine eye for detail.
While Uhtred and his kin are fictional, the plot throughout The Last Kingdom is tied to actual historical events, figures and locations of the time. The significant battles between infamous rulers all play out as they do in the history books, and the show is able to deftly weave detailed stories around each of them whilst maintaining that larger accuracy. This approach grounds The Last Kingdom in realism, whilst presenting the human story at its core in a far more accessible way than some similar fantasy epics, despite its distant time period.
The whole effect is bolstered by the incredible locations and set pieces used throughout this season in particular. The dedication to capturing the period is clear in the intricate buildings, forests and towns that fill each frame and backdrop, and which work immediately to transport you to the time and place that each scene demands. Combine this with the frenetic action sequences often taking place in the foregroun and you’ve got something special on your hands – the excellently choreographed battles between large armies looking like something from a blockbuster film.
Netflix, 2022
Yet despite all these strengths, the show’s greatest success lies with its characters. It’s rare to have a whole cast embody a group of personalities as well as they do here – to the point where it would seem bizarre to watch them play anyone else. Dreymond’s Uhtred continues to carry the show with his wide emotional range, and it is his character arc that is the most satisfying to bring to a close here in season five. With such a lengthy history and list of of allies and enemies at this stage, it is hugely entertaining to see how these past events dictate the final scenes he shares with characters such as Brida, Edward and Aelthelflead. New personalities do a great job in making their mark on the already expansive roster, with other long-term characters – Aelswith (Eliza Butterworth) and Haesten (Jeppe Beck Laursen) amongst them – also finding their long-awaited retribution this season. Each of the cast seem to take pride in the characters that they’ve brought to life, and most are able to capitalise on their own final chapters before things come to a close.
Concluding on a high note for a series so thoroughly consistent across its run is no easy feat, and by following a well-designed plot from start to finish, season five of The Last Kingdom manages what most other shows fail to do in their final outings – maintaining its strong momentum right up until the bloody end. The brutal action and general setting of the series may act as a barrier for some and it isn’t always as smart as the early seasons of Game of Thrones, but the fantastic character work and considered, exciting story threads place it among the top shows you need to be watching at the moment. If only all history lessons were as engaging and thrilling as this, some of us probably would have paid a little more attention in high school.
Netflix, 2022
The Last Kingdom: Season 5 stars Alexander Dreymon, Emily Cox, Millie Brady, Timothy Innes, Eliza Butterworth, Ruby Hartley and Mark Rowley – Streaming on Netflix now.
Much like the myriad of monsters that rear their ugly heads throughout the series, Netflix’s The Witcher is a strange beast. With an enormous amount of existing lore available, an incredibly passionate lead actor and early expectations that the series could be the next Game of Thrones, more than a few were disappointed to receive a relatively average first season – one that was built on a needlessly complicated timeline and characters in desperate need of chemistry. Despite an initial run that would have spelt an end to many other Netflix originals, The Witcher managed to build enough goodwill to warrant a second shot at getting the formula right. It’s a good thing too, as the series finds redemption here in season two; a focused and intimate cut of Witcher world-building that sets the series up for years to come.
Following the explosive finale of season one, monster-hunting and magically-enhanced Witcher Geralt (Henry Cavill) departs for his home of Kaer Morhen after uniting with his ward Princess Cirilla (Freya Allan). Upon arrival, they are welcomed by Geralt’s mentor Vesemir (Kim Bodnia) and the other remaining Witchers while Ciri begins to find a place for herself amongst her new surroundings. Elsewhere, the now powerless mage Yennifer (Anya Chalotra) is captured by an opposing army and forced to forge an uneasy alliance with the enemy’s chief mage Fringilla (Mimi Ndiweni) and elven sorceress Francesca (Mecia Simson).
As far as a synopsis goes, there is admittedly much to take in there – and it says nothing about the vicious monster hunts, political subterfuge and numerous references to existing lore that underlie just about every episode along the way. Yet where the first season of The Witcher tried to overwhelm viewers with (often needless) information, throwaway characters and an erratic timeline that shifted with every episode, season two succeeds in concisely and logically delivering most of these complex pieces naturally.
Netflix, 2021
Central to all of this success is the partnership between Geralt & Ciri, who spent the entirety of the first season chasing each other from one disaster to the next, building relationships with minor characters who were mostly forgotten by the time the credits began to roll. By pairing the show’s two leads from the start, this season successfully makes the most of the tried-and-true father-daughter narrative from the novels. Cavill’s well-documented dedication to not only his character but to the wider world of The Witcher is evident in all of his scenes; Geralt is increasingly torn between his role as a stoic protector to Ciri and the empathetic guiding hand she desperately needs. Ciri herself is brought to life excellently by Allan, as her character transitions from a damsel-in-distress to a young woman more than capable of handling herself. Chalotra’s wayward sorceress Yennifer also fares better than last season, given a storyline that humanises and defines her character in a way she never was before.
These three key characters do a great job at carrying the audience through each episode, however you’re still bound to miss a casual reference to some of the show’s deep source material or find yourself lost when characters start rattling off terms like the ‘White Flame’ or the ‘Brotherhood of Sorcerers’ in quick succession. Where the show struggles is balancing the fine line between accessibility for newcomers and the expectations of decades-long, dedicated fans who are completely immersed in the novels of Andrzej Sapkowski. Often these deep cuts fly too fast and furious, forcing the less well-versed viewer to wrack their brains for a previous casually mentioned line or simply hope it is integral going forward. While you won’t need to understand all of these references to appreciate the wider events that unfold (and some may even be inspired to explore some of the other media featuring The Witcher because of them), they are frequent enough that casual viewers may feel like they’ve dropped into season four or five of a complex fantasy show without much to immediately fall back on.
Netflix, 2021
Despite whatever amount of pre-existing knowledge audiences come to season two with, most will definitely be able to appreciate the show’s blockbuster effects, intricate settings and frankly amazing monster designs. The Witcher is certainly not short on budget, and season two presents some of the sharpest CGI and set designs that Netflix has dedicated to a series. The numerous monsters are almost always as menacing and imposing as they sound, and the choreography during each battle is generally well done. Many of the show’s characters are adorned in meticulously detailed outfits that are usually about as high-fantasy as the genre can get – from Geralt’s intricate armour sets to Fringilla’s imposing gowns later in the season. A huge amount of work has also gone into bringing the world’s dense forests, dilapidated castles and crowded towns to life alongside a sweeping musical score that sets the tone in each scene. In saying all of this, it is unfortunate that the first episode – ‘A Grain of Truth’ – easily features season two’s weakest offerings in terms of character design, effects and general plot development; a shame given that some audiences may lose interest before the show truly finds its feet in the following episodes.
All in all, Netflix’s The Witcher is a show dedicated to its fans. Whether these are newcomers who were introduced to the franchise via Netflix or those who have been following since the books or games, season two does an excellent job of developing its characters and world in places where the first season struggled. While you will get the most enjoyment out of it with some pre-existing knowledge and events can also become needlessly complex at times, you are rewarded for following along as the plot and relationships unfold. Not quite the next Game of Thrones just yet, but season two of The Witcher proves to be a cut above many other Netflix releases in 2021 – and the future looks bright.
Netflix, 2021
The Witcher stars Henry Cavill, Freya Allan, Anya Chalotra, Mimi Ndiweni, Mecia Simson, Kim Bodnia, Eamon Farren & Joey Batey – Streaming on Netflix now.
Since the grand end of Avengers: Endgame, Marvel have shifted gears significantly when it comes to continuing the stories of their biggest characters and franchises. Feature-length releases continue to keep trucking along, but we now have a growing range of episodic tales spun around some of the characters that Marvel had otherwise yet to explore. The latest in this recent trend is Loki, an action-mystery blend that finally gives the fan-favourite anti-hero his own shot in the spotlight. The result is, for the most part, a great genre mashup led by a solid leading cast. It may not always justify the protracted, 6 episode runtime and it does ask for more than a few leaps of logic, but Loki is ultimately an entertaining ride that, for the most part, does justice to Marvel’s infamous trickster.
The story kicks off from the last time we saw Loki (Tom Hiddleston); escaping custody during the chaotic events of Avengers: Endgame. It is an incredibly short-lived freedom for the God of Mischief as he is quickly apprehended by a mysterious group known as the Time Variance Authority and charged with offences against their ‘Sacred Timeline’. The TVA plan to put a rather permanent fix on the problem until Loki is spared from execution by Judge Ravonna Renslayer (Gugu Mbatha-Raw) and drafted by TVA agent Mobius (Owen Wilson) to help track down an even bigger threat to the timeline and TVA. Things begin to spiral pretty quickly after Sophia Di Martino’s mysterious character Sylvie enters the fray, bringing with her a few trademark Marvel action scenes and, in keeping with the the theme of the titular character: twists. It’s just unfortunate that the plot struggles maintain the pace all the way through to the climax, with the last episodes grinding things to a halt and dealing out more questions than answers.
Marvel Studios, 2021
It’s clear from the outset that Loki isn’t your average Marvel adventure, nor does it tread familiar ground with its plot or ideas. So much of its complex background lore and concepts are introduced in the opening episode that you’re almost as overwhelmed and confused as Loki himself. The plot also requires you to quickly get on board with the complex concepts of time travel and alternate universes, which start to create holes in the wider MCU if you poke too much. Despite this, you will be rewarded for sticking with Loki through its more complicated and lengthier scenes. Early episodes build on the groundwork laid previously in great fashion, slowly building tension and allowing for a more complex examination of Loki as a character than we have previously seen.
Amongst the action and the drama, these character arcs are really where Loki tends to shine. By essentially limiting its core cast to four key players, the series has room to build personalities and establish complex relationships. Loki is obviously the star of the show, as Hiddleston continues to deliver all of the charisma and charm that has made his character so popular over the years. This time around the story is less about Loki’s powers and abilities, but rather his complicated personality, goals and how he interacts with those around him. Key to this development is Mobius, who seems to see potential and a possible ally in Loki where others don’t. Owen Wilson may not be the first name that comes to mind when picturing a time travelling investigator from a shadowy organisation, but he slips into the role perfectly, wasting no time winning over both Loki and the audience with his dry sense of humour and endearing nature. You might even find yourself more engrossed in his great character arc than you are in Loki’s at time thanks to Wilson’s charm.
Marvel Studios, 2021
Just as key to the plot are Mbatha-Raw and Martino’s characters, who both easily go toe-to-toe with their male counterparts. Judge Renslayer is a formidable presence as the head of the TVA that commands respect from her underlings, but a soft spot for Mobius suggests that there is more to her than meets the eye, a storyline that the show doesn’t quite conclude but does unpack to a degree. Sylvie is arguable a more important character than Loki himself and Martino fully commits to bringing her to life, never crumbling under the pressure. To explore either of these two further here would spoil key moments and twists along the way, and Loki certainly doesn’t shy away from pulling the rug out from under you with varied results. It is safe to say that, in the first few episodes at least, there is a solid amount of action and a number of stunning set pieces on offer that deliver that MCU thrill, albeit on a smaller budget and scale, against vibrant backgrounds of imploding planets and meteor showers.
The final result is a clever, long-overdue exploration of one of Marvel’s most charismatic characters. Hiddleston proves that Loki is able to take the lead without sharing the spotlight with Thor or the Avengers – making it even more surprising that a number of supporting characters are able to carve out their own memorable niches by his side. While Loki does hit the right notes when it gets running, the complex plot is a lot to swallow and the last episodes unfortunately fail to capture the magic or capitalise on the events that came before. It’s been almost ten years since his debut on the big screen, and if he can manage to properly find his footing in the adventures ahead, Loki might just find his glorious purpose.
Marvel Studios, 2021
Loki stars Tom Hiddleston, Owen Wilson, Sophia Di Martino, Gugu Mbatha-Raw, Wunmi Mosaku and Richard E. Grant – streaming on Disney+ now.
The Disney Pixar combination has been responsible for some of the most charming, heartwarming and genre-defining films for as far back as many of their fans can likely remember. Many of their poignant, coming-of-age stories are designed to shine a spotlight on what are often real-world social or personal issues that we have all likely faced at some point or another. These themes are then unpacked and resolved across bright and colourful worlds by larger-than-life characters who often carrying flaws all too familiar to us as an audience. It’s a formula that continues to delight audiences of all ages, and one that Enrico Casarosa’s Luca delivers on beautifully. It’s not one of the most complex or layered examples to join the catalogue of other Pixar films, but instead it’s a story that seems to revel in its freedom and simplicity. By focusing on just a few key themes, Luca manages to explore each of them deeply – ultimately crafting one of the brightest and most charming adventures you’ll find on screen this year.
A quick opening act introduces the audience to titular character Luca (Jacob Tremblay), a young ‘sea monster’ who has grown tired of tedious days spent farming alongside his protective family and combing the sea floor for relics of the world on the surface. Things suddenly take a turn when he meets Alberto (Jack Dylan Grazer), another young monster who takes Luca under his wing and introduces him to life above the water. After discovering that his form changes to that of a human when on dry land, Luca decides to join Alberto on an adventure to the local seaside town where they intend to begin a life of freedom on the road. Things become complicated when the pair discovers that their dream may not be as easy to achieve as first expected, and that the local humans have pretty strong feelings about Luca’s kind.
Pixar Animation Studios, 2021
It’s a plot that hits many familiar beats, but Luca manages to put enough of an original spin on things to keep the story fresh and exciting. You’ve seen other films explore the challenges of friendship, growing up and being different, but have you seen them delivered by colourful Italian sea creatures? It also keeps things fairly lighthearted for the most part, steering clear of some of the more dramatic plot twists or dire villains that similar films play to really turn the emotional screws. Casarosa hits a specific tone with the film, drawing on his childhood life and friendships to craft a world that somehow feels both foreign while also as welcoming as a long overdue trip home.
This general vibe comes largely from the characters of Luca, who collectively go a long way to create a lively community while showcasing the Italian culture. Both Tremblay and Grazer bring a youthful energy and passion to Luca and Alberto respectively, helping their on-screen bond to be as strong as the story demands. Luca’s mother Daniela (Maya Rudolph) and father and Lorenzo (Jim Gaffigan) fill the roles of anxious, overprotective parents that will be familiar to fans of similar films, however they hit their key moments effectively without dragging on the adventure’s momentum too much. One of the most influential characters comes in the form of young human girl Giulia (Emma Berman), who meets the boys as they arrive in town while she struggles with her own identity issues and obnoxious local bully Ercole (Saverio Raimondo). Berman brings an infectious positivity to her character, which immediately endears her to the audience and injects enough energy into the story to keep things flying high until the credits roll. Special mention also goes out to Giulia’s father Massimo (Marco Barricelli) and cat Machiavelli, who both play strong, silent types until it’s time to deliver some of Luca’s more touching and lighthearted moments.
Pixar Animation Studios, 2021
All of these characters and the world around them are brought to life even more by Luca‘s stunning visuals both above and below the sea. As expected from a Disney Pixar film, no corner has been cut when it comes to creating a colourful and vibrant cast of characters and backdrops. The crystal clear sea and rolling hills surrounding the idyllic Italian town deliver what most of us would dream a European seaside looks like on the edge of summer. Similarly, each of the characters have personality traits and stories woven into them simply through their appearance, with the famous animation studio working their usual magic to make each character come alive with colour and emotion. Its particularly hard to refer to Luca and Alberto as ‘sea monsters’ when their water forms are made up of beautifully coloured, coral-like scales that flow on the water as the two glide along from one picturesque spot to another.
These strengths all help Luca secure a spot among Disney Pixar’s huge catalogue of poignant, thoughtful and visually impressive successes. It may not revolutionise the genre or take any of its themes to strange, new places, but it still manages to deliver a mesmerising tale that should strike a chord with audiences of all ages, featuring an inventive plot that is enough to set it apart from much of the rest. With a gorgeous Italian setting full of charismatic characters, Luca is like a breath of warm summer air among the darker, more intense films doing the rounds at the moment. Let it brighten up your winter this year, unless you really have something against pasta, sunshine or harmless, bicycle-riding sea creatures.
Pixar Animation Studios, 2021
Luca stars Jacob Tremblay, Jack Dylan Grazer, Emma Berman, Saverio Raimondo, Maya Rudolph, Jim Gaffigan & Marco Barricelli – streaming now on Disney+.
For over 20 years, Final Fantasy VII has enjoyed a legacy as one of the greatest games of all time. The original 1997 release revolutionised the Japanese RPG genre, adopted by Western audiences unlike any of the entries that came before it – altering conceptions of an RPG with a fluid battle system, enormous 3D environments and a timeless soundtrack. At the same time, it was still decidedly Japanese when it came to much of the game’s characters, humour and overall atmosphere, resulting in a unique blend that not only secured Final Fantasy VII its incredible success, but also attracted one of the most devoted and die-hard fanbases in the entire gaming industry. So when the announcement came that a ground-up remake of the classic was coming after so many years, it was met with both resounding excitement and more than a little concern. Would it still be as epic and grand as we remember it being? What pieces of the adventure would have to be left behind? Will this remake do anything for those who never experienced the original? To quickly answer these questions and summarise the words that follow: the Final Fantasy VII Remake is incredible. While it may just be a piece of a larger picture at the moment, it is an experience brimming with tons of content, exciting combat and amazing personalities. After two decades we finally have the remake that not only does justice to the source material, but manages to push things even further.
Square Enix, 2020
For those uninitiated to the tale, Final Fantasy VII follows protagonist Cloud Strife, a military defector turned soldier for hire. Players join him as he begins a job with eco-extremist cell Avalanche, offering protection as the group prepares to destroy an energy reactor on the edge of the world’s largest and most powerful city, Midgar. The technological capital is completely controlled by the Shinra Electric Power Company, Cloud’s former employers and the entity that powers the city by siphoning and draining the Earth’s energy known as Mako. Believing that this practice is killing the Earth, Avalanche’s Barret Wallace has resolved to take the Shinra juggernaut down at any cost. Cloud is hired off the back of a tip from his childhood friend and fellow Avalanche member Tifa Lockhart, who finds herself becoming increasingly apprehensive as the group’s use of violence escalates. The opening mission also sees Cloud cross paths with Aerith Gainsborough, a local florist and healer that Cloud quickly discovers is far more than meets the eye. The general plot, characters and key moments all play out as they did in the 1997 original, and most of the above will be immediately recognisable to those with even a passing interest in the game. It’s important to note that this Final Fantasy VII Remake, as we have today, is not the complete adventure from the original – rather the opening events that occur within the city of Midgar. This is possibly the only point that detracts from the game overall, and it will really only hurt those who have taken the full adventure before. We know that there is so much more to the game outside the borders of this initial act – an enormous world littered with towns, caves, forests and people – so knowing that this world is cut off from us here can often be a bitter pill to swallow. However this first installment uses the opportunity to sharpen and focus its plot and features to such a point that you easily gain as much as you feel you may be missing.
Square Enix, 2020
First and foremost, the expanded character work included in the remake is phenomenal. Where the original presented us with blocky, emotionless character models and written dialogue, the 2020 version features fully voiced and realistic personalities with ample room to breathe. Each of the four main leads retain their basic archetypes from the original – Cloud as the cold, distant mercenary, Tifa as the calm yet powerful voice of reason, Barret as the fast talking brute and Aerith as the benevolent and confident free spirit. However it’s what this expanded adventure does with these characters that makes each of them so special, allowing for a far deeper look at how each interact with one other and the finer points of their own personalities. Cloud’s initial cold exterior is broken down here about as much as his entire arc in the original, with his actions later in the game designed to surprise both him and the player. Similarly, characters such as Barret who begin feeling stereotypical and predictable end up achieving far more character development and growth than you’d expect. Even side characters such as Avalanche’s Jessie, Biggs and Wedge are heavily expanded upon compared to the original, again subverting what you may expect at the outset. This is all in addition to the multiple new characters introduced in the remake, with some growing to be key figures in a game where they once never existed.
Square Enix, 2020
The expansion work within the Final Fantasy VII Remake is not contained to just characters, as the game’s world and features have also evolved to meet the new generation. Both the upper and lower levels of Midgar are now sprawling, bustling areas full of chatting locals, hidden paths and side tasks to keep you busy. Midgar is still quite linear when it boils down to it – with the remake being made up of many laneways and thin paths without ever really being ‘open-world’. However this is the same case as with the original, and the remake provides more than enough distractions to pull you from the beaten track. Fancy a game of darts? Perhaps some increasingly difficult colosseum battles? How about one of several side missions dotted throughout each of the major destinations? Participating in many of these activities will generally net you some useful items for the main adventure and completing groups of them will reward you with further plot and character moments as the story rolls on. While some new areas and missions can feel like needless extensions within an otherwise shorter game, most are well worth the time spent to soak up as much of the world as possible. Special mention goes to the events within the Honey Bee Inn, which – despite concerns that things would be toned down from the original – is an absolutely outrageous fifteen minutes that simply cannot be put into words. Exploring the sights and sounds is also helped immensely by how downright incredible the game looks, often turning even the most mundane slums or dimly lit streets into something special and memorable.
Square Enix, 2020
It’s worth mentioning that you won’t just be strolling through these lovely surroundings without a care, but rather tearing through them in a barrage of action, fire and gunshots. Enemies wander the roads and dark corners outside of landmarks, and there are no longer random encounters as there had been in the original. Battles in Final Fantasy VII Remake occur in real time, similar to how fights play out in both Final Fantasy XV and the Kingdom Hearts series. Each character has a basic attack which, after consecutive uses, charges a meter used to pull off more powerful moves and magic. Where the remake differentiates itself from many other similar games is in how specialised each character is. Cloud is a swordfighter that cleaves through enemies at close range with a variety of stances. Tifa is also a close range fighter, but instead fights with an incredibly fast and agile hand to hand style to overwhelm opponents. Barret quite literally has a machine gun grafted to his right arm, and so excels in picking off ranged enemies in a barrage of bullets. Aerith is heavily focused on magic, keeping the party alive and healthy while casting deadly ranged spells. You’re able to switch between active members of your group any time during battle to take advantage of these differences, or you can issue them orders on the fly as you continue an assault. Managing each of their strengths and weaknesses is key to overturning the odds in some of the tougher fights, and watching your crew cut through a group of enemies in a flurry of blades and explosions is always satisfying. For those looking to fight battles in a way more faithful to the original, there are classic battle options available and multiple difficulties on offer if you’re looking to mix things up – especially when you factor in the game’s chapter select and new game plus modes.
Square Enix, 2020
The 2020 Final Fantasy VII Remake is, quite simply, something amazing. Not only does it deliver on an enormous, decades old legacy, it also somehow manages to exceed it in multiple areas. The completely overhauled visuals, deep character development and broader plot growth are so huge that going back to the 1997 original now would just be a hollow experience. While it does sting slightly to know that this is just a taste of the full adventure, it almost works to build excitement more than it feels restrictive or disjointed. Excitement for what is to come for the rest of story that remains untold, and how extraordinary the following entries will be with the start we’ve been given here. An absolute must-buy for those interested or familiar with the series, and a great entry point for newcomers who want in on the hype. No snappy end quote, no witty conclusion, just get it. Play it. Love it.
As one of the year’s most controversial releases, Jojo Rabbit might not immediately seem to sit well as a feature during the Christmas break. The latest film from director Taika Waititi (Hunt for the Wilderpeople & Thor: Ragnarok) became infamous earlier this year when plot details and trailers were released. Jojo Rabbit is, at least in part, a comedy set against the backdrop of all that came with World War II – featuring a ton of Nazi references, a bumbling Adolf Hitler and some dark humour that succeeds largely on shock value alone. However just below the surface is the real heart of the film, a coming-of-age drama about family, love, how we judge others and ultimately how we view ourselves. It’s a truly odd mix that somehow comes together to create one of the most charming and unconventional films of the year, right as 2019 draws to a close.
Johannes “Jojo” Betzler (Roman Griffin-Davis) is a 10-year-old boy living in a small, Nazi controlled town during the last drawn-out weeks of World War II. Somewhat of an outcast, the desperately lonely Jojo finds belonging as a member of the local “Hitler Youth” group – a junior Nazi training camp where kids are essentially moulded into communist fanatics. Jojo swears complete loyalty to the party even if to just be accepted by those around him, and he is constantly spurred on by his imaginary friend Adolf Hitler (Taika Waititi himself). The boy’s idea of the fuhrer is skewed a bit by Jojo’s age – creating an immature, zany and over-the-top version of the Nazi leader that begins the film as a voice of reason, before becoming a measure of Jojo’s maturity as time moves on. Following the recent loss of his older sister Inge, and with his father off on the front lines, Jojo lives only with his aloof and often absent mother Rosie (Scarlet Johansson). Rosie is strong-willed and fiercely protective of her son, however it’s quickly apparent that she doesn’t share her son’s love for the Nazi regime. All of this tension comes to a head in the early moments of the film, when Jojo discovers a Jewish girl named Elsa Korr (Thomasin McKenzie) hiding in the walls of his home.
Fox Searchlight Pictures, 2019
This is all set up quite early in order to focus the film on its young lead, exploring how easily he’s conflicted by the adults around him. By revealing the stowaway, Jojo would be pleasing his ‘inner Adolf’ and winning him points with the party he dreams to be in. Yet doing so will no doubt bring heavy suspicion down on his mother – as well as a definite and grim end for Elsa. Each of the three core characters convey this struggle beautifully, with Griffin-Davis in particular proving to be another immensely talented child actor in a time where Stranger Things and the It films have raised the bar. McKenzie is also perfect for her role as a young girl who has lost everything she’s known, and must now hide for her life within the walls of a home decorated in Nazi paraphernalia. Both her character and Jojo share most of the deeper moments on screen, aside from the limited yet strong scenes featuring Johansson’s Rosie. Her character fights most of her battles off screen, however she makes herself known when she is around and it’s quite clear that Jojo remains everything to her – despite their differences.
Where these three characters shine, it’s Waititi’s spin on the fuhrer that is most likely to draw a mixed reception. While belittling or tearing shreds off of the real life tyrant has been accepted in cinema for a while, Hitler has never quite been portrayed as he is here. Using the character’s existence as an imaginary friend to his advantage, many of the fuhrer’s jokes land purely based on how outlandish and bizarre he is compared to the man on which he’s based. This humour works for the most part and his appearances are few and far between, however it’s worth noting that the character will likely polarise some viewers. On that note, Jojo Rabbit also doesn’t pull back too much when laying out the dark reality of what it was to live through the time of Nazi rule in Germany. There’s a fair amount of violence, fear and death running through the film’s key moments, and dark humour is often used to take the edge off of the story’s more grim and sombre areas. There are a few characters that walk this fine line during the course of the film as well, including Rebel Wilson’s Fraulein Rahm and Stephen Merchant’s Captain Deertz. Both Nazi familiars, the two are good examples of how the tale of Jojo Rabbit plays out overall – at times goofy and laughable, but at others sinister and downright evil.
Fox Searchlight Pictures, 2019
Yet for every Fraulein Rahm and Captain Deertz, there are characters such as Captain Klenzendorf (another great turn by Sam Rockwell) and his subordinate Finkel (Game of Thrones‘ Alfie Allen). Both characters also rank within Hitler’s army, however they’re made more complex and deep compared to the usual ‘evil Nazi’ caricature. Rockwell’s character in particular gets a strong character arc, seeming to take joy in subverting the audience’s expectations wherever possible. Jojo’s only friend Yorki (Archie Yates) is also a great addition; another boy aiming to join the ranks as a soldier for the Third Reich. With an infallibly carefree attitude and endless positivity, Yorki is often the comedic relief when on screen – seeming to only be involved in an adult’s war because there was nothing else to do. It’s interesting that Jojo Rabbit features characters such as these, as it creates areas of grey where many other films built on the backdrop of World War II tend to deal in solely in black and white. Given director Taika Waititi’s Jewish background, the story could have easily taken a different route – however, to the film’s credit, he went and crafted something bigger here.
While Jojo Rabbit is a well scripted, sharp-tongued poke at the Nazis of World War II alongside some catchy 80’s German music, it’s not afraid to shy away from the evil of it all where it needs to. At the same time, some characters twist the expectation of who they’re often presumed to be, and the film tends to blend a number of themes together at once. This can understandably be too much for some audiences, and the humour may not be on taste for everyone, however Jojo Rabbit has a lot more heart than it initially leads you to believe. It’s a story designed to run you through a range of emotions, yet its ultimate aim seems to be one that makes us consider how we look at ourselves and, more importantly, those around us. It’s certainly not conventional and rarely pretty, but Jojo Rabbit has enough emotional weight and wholesome themes to end a year of quality films on a high.
Fox Searchlight Pictures, 2019
Jojo Rabbit stars Roman Griffin-Davis, Thomasin McKenzie, Scarlett Johansson, Taika Waititi, Sam Rockwell, Rebel Wilson, Stephen Merchant, Archie Yates and Alfie Allen – In cinemas now.
Video gaming had a good year in 1998. The world had Nintendo mining absolute gold with Ocarina of Time and Pokémon Yellow. Hideo Kojima was dropping Metal Gear Solid onto an unsuspecting public, while both Crash & Spyro had places on every Christmas list. It was around this time that something dark began brewing over at Capcom. They were looking to build on the runaway success of their global 1996 hit Resident Evil, and they were about to unleash a monster with Resident Evil 2. The Playstation One release was an instant classic, improving on the groundwork laid by its predecessor in almost every way. The characters were more authentic, the setting was more dynamic and just as claustrophobic – and the monsters were much, much meaner. So when Capcom announced that they’d be opening the vault for a ground up modern remake, fears for the quality of its transition after 20 years were understandable. Yet it only takes the game’s opening minutes for these fears to be erased, replaced only by the fear of just about everything else in this revisit to Racoon City.
To begin, you’ll be offered the choice between which of the two protagonists you’ll play as – Leon S. Kennedy or Claire Redfield. Leon is the newest recruit to the Racoon City Police Department (RPD), and is en route to the fictional American city on the night before his first day. Claire is a college student on her way to a surprise visit for her brother, Chris Redfield – a lead in the original Resident Evil and himself a member of the RPD. Regardless of your choice, both Claire and Leon share a very similar run through the long night, with the exception of a few key plot beats, areas and enemies. Don’t be fooled though, outside of a few chance meetings with one another over the course of the game, both characters will spend much of the night alone. Well, alone amongst the living at least.
Capcom, 2019
The game’s first act plays out almost entirely within the walls of the Racoon City Police Department, a labyrinth of corridors and offices that previously served as the city’s museum. The building’s history provides context to the numerous puzzles and locks you’ll have to overcome during your visit, ranging from believable to pretty much outrageous. None of these are too onerous, generally only requiring a quick read of a document from another room or simply the right key for the right lock – however it does provide another layer of stress to an already rocky evening. The fact that these elements blend so well into the game’s setting is a testament to the fantastic atmosphere and design choices used throughout Resident Evil 2. Where the original used fixed camera angles and room transitions to create suspense and fear, the remake uses an over-the-shoulder camera view and the cover of darkness. The vast majority of your time in Racoon City is spent in the dark, leaving you to navigate its nightmares using what little light is available at the time. This forces the player to rely heavily on their own wits, as well as sounds and cues in the environment. Combine this dynamic with the close-quarters camera perspective, and the fight for survival becomes much more personal. The sound of footsteps or broken glass from behind spurs you forward, and when the creatures of the night come though the door for Leon and Claire, they’re really coming for you.
These creatures aren’t here to mess around either. For those still unfamiliar as to what haunts Racoon City’s streets and buildings, it’s the tried-and-true, classic zombie fare. Just about all the civilians and upstanding police officers you meet in the city are now shambling corpses hunting the living. These enemies have been created with an incredible amount of detail, reacting appropriately and as gruesomely as the player’s actions demand. Aiming for the head is still the best way of putting any zombie down for good, however a couple shots to the leg will have them drop like a ton of bricks if you need a quick getaway. It’s surprising how often you’ll need to go for the quick exit option, given that your average zombie is a fairly slow-moving target. This is because Resident Evil 2 is old-school survival horror, and part of that means almost never having enough supplies and ammo to be totally prepared for what’s ahead. You’ll often need to reach a far off room for a key item with next-to-no ammo and little health. Put that room at the end of a long corridor littered with the zombified dead, and you’ll be forced to make some tense and desperate plays. These enemies are just small fry, however, compared to the real nightmares that join the hunt in the night. Reanimated police dogs, deadly ivy plants and monstrosities covered in pulsing eyes are all waiting patiently for Claire and Leon to walk through the door. But, of course, there is one monster within the halls of the RPD that waits around for no-one.
Capcom, 2019
The Tyrant (affectionately referred to as ‘Mr X’ by series fans) is an impeccably dressed nightmare that shifts the dynamic of the game completely. He appears around halfway through the game’s first act, just as you’ve finally got your bearings within the police station. Once he’s on the scene, his pursuit of Claire and Leon is absolutely relentless. With the exception of about three or four of the station’s rooms, there are no longer any safe spaces in the building that the invincible brute will not find you. He’ll end your game in two hits, and will barrel through doors and any zombie that crosses his path in order to get his hands on you. Up to this point, I’d been playing a careful and considered game – conserving ammo and reading each room before I’d make my move. Once the Tyrant entered the fray, this approach went out the window – along with a couple years of life. His inclusion in the game is a brilliant (yet thankfully temporary) shake up to the Resident Evil formula, despite a couple puzzles becoming a bit more of a strain with his helpful hand on your shoulder – forcing you into a constant fight-or-flight mentality as you race to collect the items required for your escape. For those worried that you’ll be sprinting through the game on high alert from that point, note that the pacing returns to normal once you move into the second act of the game.
It’s from this point that the story really begins to take centre stage. Without spoiling too much, you’ll be given the opportunity to play as different survivors for a short period – providing new gameplay elements and allowing for different perspectives. You’ll begin pulling the veil back on the cause of the chaos, delving into elements of both corporate espionage as well as the breakdown of a family. The remake really shines here when compared to its original counterpart, which is famous for its almost laughable English dialogue and stilted delivery. Each scene and line delivered in the remake is conveyed excellently and with weight. Environmental reactions and encounters between Leon, Claire and other characters feel genuine and natural, creating a relatable link to the player in the middle of the action.
Upon completing the night for your selected character, you’ll be given the option to play through the other’s scenario – which has been running tandem to your own on your first go. Completing both will reward you with the ‘true’ ending, wrapping up most of the loose ends you may have left from the story. The second playthrough features a few different story beats from the first, while also mixing up enemy placement to keep things interesting. For example, I ran into a spot of bother on my second run with some ‘Lickers’ – flayed, blind creatures that scale walls and attack with spear-like tongues and claws. The creatures are incredibly dangerous, but their lack of vision means you can often (attempt to) sneak around them without attracting attention. Imagine the surprise and delight when – expecting to be met with the sprinting dogs that were there in my first run – I bolted through a door at top speed, only to have a screeching Licker drop on me from the ceiling.
Capcom, 2019
Once all is said and done, you can also take part in a number of additional short scenarios – most of which were added after launch. These quick runs place you in the shoes of a few NPCs you’ll have learned about during the main game, and are a nice little bonus if you’re looking at extending the stories within Racoon City – or if you’re into playing as a not-very-well-armed block of sentient tofu. Otherwise you can challenge yourself by finishing the story at higher difficulties or locating all of the game’s secrets. Weapons with infinite ammo are up for grabs for those ready to dial up the difficulty and blitz through at a pace. Allured by the infinite rocket launcher unlocked by completing under some gruelling conditions, I can tell you that playing for these bonuses is done on nothing but pure adrenaline and high health insurance premiums. It does, however, make it so much more satisfying to go back and drop limitless ordinance on anything that moves on subsequent plays. If you are looking to skip right to the cool stuff though, Capcom have released a DLC key that unlocks all of these bonuses without the work. While not being the most genuine and exciting way to play it through, this option may help those who are yet to dip their toe in due to the spooks.
Regardless of how you go about playing through, there’s no denying that the Resident Evil 2 remake is a fantastic addition to the series. Both the respect to the source material and quality of Capcom’s survival horror design have combined here, producing a high standard for future entries into the series – as well as for the genre as a whole. With ranging difficulty options and DLC designed for both fanservice and accessibility, they’ve also made it one of the most recommendable entry points into the Resident Evil universe – especially now as we get closer to the upcoming Resident Evil 3 remake early next year. So if you’re yet to visit Raccoon City with Claire and Leon, give yourself a shot at this well-polished and gripping run through the night – the locals are dying to meet you.
Capcom, 2019
Resident Evil 2 is available now on PS4, XBOne & PC
Old-school murder mystery tales are always a bit of fun, aren’t they? Made famous since the days of Poirot and similar grand detective tales, these Cluedo-style adventures have since become a whole genre of recognisable stereotypes and traditional storytelling. Yet despite having a generic template to follow, murder mysteries are deceptively hard to pull off in practice. The cast of suspects must be large enough to keep the audience guessing, but each character needs room to flourish unique personalities and motives. The plot and twists need to properly fool the viewer, without coming off as ridiculous or foolish themselves. Then there’s the act of nailing a smart and definitive grand finale, one that could either make or break all the events that precede it. The list reads as a minefield of challenges for any film in the genre, however it’s also a list of tropes that Knives Out deftly delivers at damn near every turn. Featuring a larger-than-life cast, expert writing and a zippy pace, it’s no mystery that Knives Out is one of the best adventures you’ll find in cinemas this year.
As expected from any entry within the genre, Knives Out wastes no time in introducing its crime, suspects and lead detective. Private investigator and ‘last gentleman detective’ Benoit Blanc (Daniel Craig) is called to the Thrombey family mansion after a reunion evening ended in death. Blanc’s heavy southern accent is a bit jarring at first, however it’s cleverly folded into the humour of the film and Craig does an excellent job of bringing the complex key character to life. Ruling all members of the family as suspects, Blanc quickly finds his hands full with the troublesome Thrombey clan as each present their own twisted story of the night’s events. You’ll hear from the aggressive and self made Linda – played expertly by a fiery Jamie Lee Curtis – before her anxious husband Richard (Don Johnson) provides his own contradicting alibi. There’s also the case of their adult son Ransom (a scene-stealing Chris Evans), whose playboy lifestyle and abrasive attitude have all but cut him from the family completely. Each character is expertly crafted as instantly recognisable and completely unique, and we’ve yet to even scratch the surface.
Lionsgate, 2019
We have Christopher Plummer as the wealthy-yet-scorned family patriarch Harlan Thrombey, assisted by his kindhearted caretaker Marta (delivered brilliantly by a talented Ana de Armas). Harlan’s bitter son and business manager Walt (Michael Shannon) has his own agenda, and wife Donna (Riki Lindhome) is quick to fire up when the time calls. Their socially unstable son Jacob is also at the scene of the crime, with the brooding character played well by Jaeden Martell following the recent It films. Rounding out the cast is the hilarious Toni Collette as Harlan’s daughter-in-law and struggling ‘lifestyle guru’ Joni, desperately trying to put her daughter Meg (Katherine Langford) through a prestigious school. There’s quite a lot to unpack there, but know that each personality effortlessly carves out their own little niche of the film – while still managing to form a cohesive, albeit dysfunctional family when all together. As with most similar films, you’ll spend most of the runtime trying to pick the culprit yourself despite the red herrings and plot twists – of which there are many. Knives Out manages to work in some of the smartest twists the genre has seen, however it also makes some bold choices around the halfway mark in an effort to set itself apart from the rest.
Knives Out essentially has two distinct chapters – the first adhering to what audiences can expect from a traditional whodunit, and a second that attempts to spin something almost entirely unique. It would spoil far too much to dip into specifics, however it’s definitely worth noting that this shift does nothing but lift the film even higher, almost as if introducing a second mystery before you’d even put the first together. There’s also a decent shot of adrenaline in the later half, again setting Knives Out apart from films such as 2017’s Murder on the Orient Express, which generally tend to follow somewhat of a slower pace. All of these wild events are of course leading to the expected grand finale, and it’s safe to say that Knives Out has no trouble ending on a dramatic high.
Lionsgate, 2019
For such an integral part of the film, Knives Out offers up a satisfying conclusion that keeps you guessing right up until the final pieces of the puzzle fall into place. The climax is also brimming with the film’s sharp writing and dark humour, all resulting in a worthy ending to the rollercoaster of events that came before it. This is mainly thanks to writer and director Rian Johnson, who has really created something special with Knives Out. Expertly written and delivered, the film soars off the back of its huge and immensely talented ensemble cast. It’s also a tale that never takes itself too seriously, managing to inject a ton of life and humour at every possible opportunity. It’s hard to say much more without spoiling what is easily some of the most fun you’ll have at the movies this year – but just know that it is without a doubt a mystery worth solving.
Lionsgate, 2019
Knives Out stars Daniel Craig, Jamie Lee Curtis, Chris Evans, Toni Collette, Ana de Armas, Christopher Plummer, Michael Shannon, Don Johnson, Katherine Langford & Jaeden Martell – In cinemas now.
