Timothée Chalamet recently said at an awards ceremony that he is in pursuit of greatness. Fittingly, the role that will almost certainly earn him his first Oscar is that of a man obsessed with greatness at any cost, through the bizarre arena of table tennis. Chalamet trained between Dune shoots for years, wore makeup to dull his natural beauty, and excavated the darkest side of the same ambition that drives him in real life. It is the perfect role for him: as a skinny man physically suited to the sport, culturally suited as a Jewish New Yorker, and psychologically like the characters relentless hunger. This may be the performance of the decade.

‘Marty Supreme’ is a quintessentially dark American hustler story, an optimistic yet brutal portrait of an amoral, egotistical, borderline psychotic man in absolute pursuit of a dream and the terrible price that pursuit demands. Marty is a truly awful human being, leaving destruction, narcissism, and chaos in his wake. Yet, like Scorsese’s Jake LaMotta in ‘Raging Bull’, he becomes an anti-hero we cannot help but empathise with. The film achieves that rare feat of making us feel for someone we know we should not.

Watching the film feels like having a prolonged heart attack. As with the Safdie brothers’ ‘Uncut Gems’, the frenetic pace is so unrelenting it becomes physically exhausting. The 2.5 hour runtime flies past in a cascade of escalating disasters, each sequence raising the stakes until the final, devastating climax. The editing, score, and screenplay mirror Marty’s manic psychology, everything vibrates with panicked energy. It plays like a series of emotional explosions. I was completely enthralled from start to finish.

In an age of hyper-competition and winner-takes-all ambition, the film feels profoundly timely. It asks when does a dream become a nightmare? Truman Capote once wrote that more tears are shed over answered prayers than unanswered ones. ‘Marty Supreme’ suggests that achieving our deepest desires may reveal the terrible cost of what it took to get there, and how the endless chase blinded us to what truly mattered, the relationships and lives already around us.

The film hints at redemption in its closing scene, which moved me to tears. People want to be great, but in that pursuit they often miss what really makes their lives great. 10/10

I love going back to Pandora. Every time I do, I’m reminded of that first viewing in 2009, seeing the bioluminescent forest in 3D remains one of the best cinema experiences of my life. At this point, the spectacle alone, the visuals, the scale, the world-building, is enough to make me want to see every Avatar film. James Cameron is one of my all-time favourite directors and remains the undisputed king of the epic.

If you love Avatar for Pandora itself, the unbelievable visuals and immersive world-building, the latest film will not disappoint. It is breathtaking. However, if you’re hoping the plot will advance significantly beyond where the last film left off, you may find yourself wondering, as I did, why we’re essentially back at the same narrative point, with only a new villain and some fresh discoveries. At times it feels less like Avatar 3 and more like The Way of Water: Part 2.

I was particularly surprised that after learning about the Forest Na’vi in the first film and the Water Na’vi in the second, the Fire and Ash people are only briefly explored here. Their backstory, culture, and nihilistic, villainous leader are a highlight, but one I wished had been developed much further. In places, the film feels like it’s retreading ground already covered.

This is the darkest of the three films and, with a reported $400 million budget, it is visually rich, but paradoxically, it feels the least original in terms of plot. I found myself wanting to finally see Earth in this universe and to better understand the broader endgame. The heavy focus on Spider, one of the least compelling characters, whose defining trait seems to be calling everyone “bro”, suggests he will play a major role in films four and five.

More than the previous films, the anti-colonialist themes land strongly, particularly the uncomfortable historical echoes of some Indigenous groups siding with invading colonial powers. That strand felt especially resonant. My favourite line, “I have a PhD, how hard can it be?”, made me feel very seen.

Ultimately, I felt transported, wowed, and immersed, but not transformed. I sincerely hope films four and five are completed, because I want to see the full arc of this story. As with all great sci-fi, Avatar is ultimately about our own time. Pandora is Earth, if we know where to look: a reminder that we are all interconnected, with the natural world, and with each other. Please, Mr Cameron, finish the story. 8/10

To me, a great movie feels like a symphony or a Swiss watch, every moment precisely calibrated, building toward a unified crescendo. Remove a single beat and the whole is diminished. Wicked for Good never achieves that coherence. It often feels like episodic TV: crowded with unfinished side plots, anti-climactic beats, and a general sense of narrative drift. Strangely both bloated and hollow, it’s full of unexplained choices and meandering dead ends.

(Spoilers) So many basic questions go unanswered: Why aren’t Dorothy’s shoes ruby? What exactly is the Wizard’s hidden motivation? Why is the Scarecrow absent from the climax? And in a story about good, evil, and the price of truth, why doesn’t Elphaba actually want her truth revealed? “For Good” is a powerful song on its own, but the muddled road leading to and from it dulls its impact.

Fundamentally, Wicked is another film that never should have been split in two. Most of the strongest songs and story beats belong to the first half. I haven’t seen the musical, but as a non-fan, I was genuinely moved to tears in the first film during the school-dance scene, something anyone who struggled at school can relate to. The second part feels emotionally thin, with Glinda surprisingly becoming the more complex, compelling character. Ariana Grande ends up stealing the show, both in acting and vocals.

There are some not-so-subtle nods to our own times, creatures in cages, propaganda, scapegoating—but the real heart of the story is female friendship. Which is why the scene that irritated me most was the bizarre slapping match between the leads immediately after a key character’s death, capped off with a soap-opera-style tellanovella love-triangle reveal. It’s cringe and emotionally flattening. Other low points include awkward de-aged CGI and a climactic “hero reveal” that had the audience laughing, including the little girl beside us who simply said, “Ew.”

Despite all this, I understand why this story means so much to people. The lead performances are excellent, and the sets, costumes, and production design are genuinely impressive. There just isn’t enough material to stretch a three-hour musical into a five-hour film duo without making it feel both rushed and empty. Still, I enjoyed moments throughout, and Erivo and Grande are undeniably perfect casting.If anything endures, it’s the message: always choose the ugly truth over the beautiful lie because truth is beauty, and beauty truth. 6/10

1. One Battle After Another 10/10
2. Hamnet 10/10
3. Marty Supreme 10/10
4. It Was Just An Accident 10/10
5. Sentimental Value 9/10
6. Sinners 9/10
7. Secret Agent 9/10
8. Train Dreams 9/10
9. Sorry Baby 9/10
10. Perfect Neighbour 8/10
11. Frankenstein 8/10
12. Bugonia 8/10
13. Avatar Fire and Ash 8/10
14. Weapons 8/10
15. Knives Out: Wake Up Dead Man 8/10
16. Plainclothes 8/10
17. Cover-up 8/10
18. Apocalypse In The Tropics 8/10
19. House of Dynamite 8/10
20. K Pop Demon Hunters 7/10
21. 28 Years Later 7/10
22. Mickey 17 7/10
23. Wicked For Good 6/10
24. Don’t Die, The Man Who Wants to Live Forever 6/10
25. Thursday Murder Club 6/10
26. Nuremberg 5/10
27. After the Hunt 5/10

Best Picture: Anora

Best Director: Sean Baker, Anora

Best Actress: Mikey Madison, Anora

Best Actor: Timothee Chalamet, A Complete Unknown

Best Supporting Actress: Zoe Saldana, Emilia Perez

Best Supporting Actor: Kieran Culkin, A Real Pain

Best Original Screenplay: Anora

Best Adapted Screenplay: Conclave

Best Editing: Conclave

Best Cinematography: The Brutalist

Best Production Design: Wicked

Best Costume Design: Wicked

Best Original Score: The Brutalist

Best Hair and Makeup: The Substance

Best Visual Effects: Dune Part 2

Best Sound: Dune Part 2

Best Original Song: ‘El Mal’ Emilia Perez

Best International Film: Emilia Perez

Best Animated Film: Wild Robot

Best Documentary: No Other Land

Ridley Scott, the director of two of the greatest films of all time—‘Blade Runner’ and ‘Alien’—has seen the quality of his recent films decline significantly. His latest projects, particularly ‘Exodus: Gods and Kings,’ ‘House of Gucci,’ and ‘Napoleon,’ have been woeful. While he still excels in creating grandeur and spectacle, the emotional depth of his films and, notably, his scripts have felt quite lacking lately. Although ‘Gladiator 2’ stands out as one of his better recent films, the question remains: amidst all the visual splendor, where is the emotional truth?

As time has passed since the original Best Picture-winning film ‘Gladiator’ (2000), it’s clear that while it may not be a masterpiece, two elements have truly stood the test of time: its haunting score and its emotional depth. The original score, in particular, could easily rank among the greatest film scores of all time. Therefore, I was surprised by how the title of the original refrain is only used sparingly in ‘Gladiator 2,’ appearing mostly at the end. Even though there are some epic scenes, the emotional impact of the story  is simply not there.

I can easily understand why Paul Mescal was cast in the role, given his Romanesque, aquiline nose and simmering intensity. Although he fits the part, the script does not provide any depth beyond themes of fighting, rage, and revenge. I felt particularly sympathetic towards the actress playing Lucilia, who returned from a powerful performance in the original but is now hindered by the filler and Botox that have frozen her emotional range. The deranged emperors are entertaining to watch, but they seem restrained; if you’re going to explore Roman decadence, you need to be ready to deliver some real shocks. Pedro Pascal’s character feels unnecessary, especially with Denzel Washington commanding the screen with the best role, dialogue, and acting. The nine-time Oscar nominee could be on his way to a tenth nomination with his stunning Machiavellian performance that steals the show. It’s worth seeing the film just for his performance.

As a final note, it’s worth mentioning that Gladiator 2 includes references to the well-known homosexual practices of the Romans. However, the queer-coded characters in the film are portrayed as the most deranged and decadent, seemingly reinforcing the tired trope that associates liberated sexuality with moral decline. Once again, the hero’s straightness stands in stark contrast to the homosexual decadence of Rome. This portrayal is not only clichéd but also lacks depth.

Ridley Scott delivers action and spectacle, though with some eye-rolling CGI sharks and monkeys, but seems unable to evoke any real emotion. A flash back to the famous emotional hand on the wheat field just reinforced the lack of pathos in this sequel. 7/10

Top Films of 2024:

1. Dune: Part 2 10/10
2. Anora 10/10
3. The Brutalist 10/10
4. Don’t Expect Too Much From The End of The World 9/10
5. The Substance 9/10
6. The Seed of the Sacred Fig 9/10
7. Conclave 9/10
8. Wild Robot 9/10
9. Wicked 8/10
10. Challengers 8/10
11. Emilia Perez 8/10
12. All We Imagine As Light 8/10
13. Nosferatu 8/10
14. The Remarkable Life of Ibelin 8/10
15. A Complete Unknown 8/10
16. Inside Out 2 8/10
17. Furiosa: A Mad Max Saga 8/10
18. Femme 8/10
19. The Music of John Williams 8/10
20. The Apprentice 8/10
21. Will and Harper 7/10
22. Gladiator 2 7/10
23. Alien Romulus 7/10
24. Hit Man 7/10
25. Late Night With the Devil 7/10
26. Fall Guy 6/10
27. Bettlejuice, Bettlejuice 6/10
28. Twisters 6/10
29. Scoop 6/10
30. Mean Girls 5/10
31. Unfrosted 3/10
32. Atlas 2/10
33. Uglies 2/10
34. Megalopolis 1/10

BEST PICTURE:
PREDICTED NOMINEES:

1. Oppenheimer

2. Barbie

3. The Holdovers

4. Killers of the Flower Moon

5. Poor Things

6. American Fiction

7. Anatomy of a Fall

8. Past Lives

9. Maestro

10. The Zone of Interest

ALTERNATE:
The Colour Purple

SHOULD HAVE BEEN NOMINATED:
All of Us Strangers

BEST DIRECTOR:

PREDICTED NOMINEES:

Christopher Nolan, Oppenheimer

Gerta Gerwig, Barbie

Martin Scorsese, Killers of the Flower Moon

Johnathan Glazer, The Zone of Interest

Alexander Payne, The Holdovers

ALTERNATE:
Yorgos Lanthimos, Poor Things

SHOULD HAVE BEEN NOMINATED:
Celine Song, Past Lives

BEST ACTRESS

PREDICTED NOMINEES:

Lilly Gladstone, Killers of the Flower Moon

Emma Stone, Poor Things

Sandra Huller, Anatomy of a Fall

Margot Robbie, Barbie

Carey Milligan, Maestro

ALTERNATE:
Greta Lee, Past Lives

SHOULD HAVE BEEN NOMINATED:
Natalie Portman, May December

BEST ACTOR

PREDICTED NOMINEES:

Cillian Murphy, Oppenheimer

Paul Giamatti, The Holdovers

Bradley Cooper, Maestro

Colman Domingo, Rustin

Leonardo DiCaprio, Killers of the Flower Moon

ALTERNATE:
Andrew Scott, All of Us Strangers

SHOULD HAVE BEEN NOMINATED:
Andrew Scott, All of Us Strangers

BEST SUPPORTING ACTRESS
PREDICTED NOMINEES

Da’Vine Joy Randolph5.

Danielle Brooks, The Cooler Purple

Jodie Foster, Nyad

Julianne Moore, May December

Rosamund Pike, Saltburn

ALTERNATE:
Emily Blunt, Oppenheimer

SHOULD HAVE BEEN NOMINATED:
America Ferrera, Barbie

BEST SUPPORTING ACTOR:

PREDICTED NOMINEES:

Ryan Gosling, Barbie

Robert Downey Jr., Oppenheimer

Robert De Niro, Killers of the Flower Moon

Willem Dafoe, Poor Things

Dominic Sessa, The Holdovers

ALTERNATE:
Mark Ruffalo, Poor Things

SHOULD HAVE BEEN NOMINATED:
Charles Melton, May December

BEST ADAPTED SCREENPLAY:
PREDICTED NOMINEES:

Barbie

Oppenheimer

Poor Things

American Fiction

Killers of the Flower Moon

ALTERNATE:
All of Us Strangers

SHOULD HAVE BEEN NOMINATED:
The Zone of Interest

BEST ORIGINAL SCREENPLAY:
PREDICTED NOMINEES:

The Holdovers

Past Lives

Anatomy of a Fall

May December

Maestro

ALTERNATE:
Saltburn

BEST ANIMATED FEATURE:
PREDICTED NOMINEES:

Spider-Man: Across the Spider-Verse

The Boy and The Heron

Elemental

Nimona

Robot Dreams

ALTERNATE:
Chicken Run: Dawn of the Nugget

BEST DOCUMENTARY FEATURE:
PREDICTED NOMINEES:

20 Days in Mariupol

Beyond Utopia

American Symphony

Four Daughters

Eternal Memory

ALTERNATE:
Still: A Michael J. Fox Movie

BEST FOREIGN LANGUAGE FILM:
PREDICTED NOMINEES:

The Zone of Interest

Society of the Snow

Fallen Leaves

The Taste of Things

20 Days in Mariupol

ALTERNATE:
Perfect Days

BEST CINEMATOGRAPHY
PREDICTED NOMINEES:

Oppenheimer

Killers of the Flower Moon

Poor Things

The Zone of Interest

Maestro

ALTERNATE:
Barbie
 

BEST EDITING:
PREDICTED NOMINEES:

Oppenheimer

Barbie

Killers of the Flower Moon

The Holdovers

Poor Things

ALTERNATE:
Anatomy of a Fall

BEST COSTUME DESIGN:
PREDICTED NOMINEES:

Barbie

Poor Things

Killers of the Flower Moon

Napoleon

Maestro

ALTERNATE:
Oppenheimer

BEST HAIR AND MAKEUP:
PREDICTED NOMINEES:

Maestro

Poor Things

Oppenheimer

Beau Is Afraid

Society of the Snow

ALTERNATE:
Golda

BEST ORIGINAL SCORE
PREDICTED NOMINEES:

Oppenheimer

Killers of the Flower Moon

Poor Things

The Zone of Interest

Spider-Man: Across The Spider Verse

ALTERNATE:
Indiana Jones: Dial of Destiny

BEST ORIGINAL SONG
PREDICTED NOMINEES:

I’m Just Ken, Barbie

What was I Made For, Barbie

Road To Freedom, Rustin

Never Went Away, American Symphony

The Fire Inside, Flamin’ Hot

ALTERNATE:
Keep It Movin’ The Color Purple

BEST PRODUCTION DESIGN:
PREDICTED NOMINEES:

Barbie

Poor Things

Killers of the Flower Moon

Asteroid City

Oppenheimer

ALTERNATE:
The Zone of Interest

BEST SOUND:
PREDICTED NOMINEES

Oppenheimer

Maestro

Ferrari

The Zone of Interest

Killers of the Flower Moon

ALTERNATE:
Barbie

BEST VISUAL EFFECTS:

PROJECTED NOMINEES

The Creator

Poor Things

Godzilla Minus One

Guardians of the Galaxy Vol. 3

Society of the Snow

ALTERNATE:
Indiana Jones: Dial of Destiny

When I saw the trailer for Saltburn I thought to myself this film is made for me. It instantly had overtones of one of my all time favourite novels/tv series ‘Brideshead Revisited’ in which, amongst many plot lines, a middle class boy falls in love with the son of an aristocratic family while at Oxford. It also stars one of the most iconically sexy actors today Aussie Jacob Elordi, of Euphoria fame, as well as a rising critical darling Barry Keoghan. Looks of exquisite longing and sexual tension peppered a supporting cast of some of my fav actors: Richard E Grant and Rosamund Pike, all of whom gave hilarious unhinged performances. Further it is directed by Emerald Fennell who directed the close to great ‘Promising Young Woman’.

With so much going for it, it frustratingly, despite being very entertaining, shocking, and uber sexual ends in such a bombastic and cartoonish way that it’s overall diminished. The same criticism I had of ‘Promising Young Woman’, namely that the film couldn’t stick the landing in its ending I had to an even more egregious degree with ‘Saltburn’. I’m not sure if it is meant to be an intentional stylistic choice but in both films towards the climax, precisely when the most profound meaning is meant to dawn, it awkwardly veers from subtly and realism into a kind of over-the-top bombast and ridiculousness.

Fennell is a great provocateur who wants to initiate important discussions of hot button issues such as sexuality, feminism, the class system and the power of white men. And yet despite shocking and seducing us in certain scenes, the film ultimately has very surface level critiques about the out of touch eccentric upper class and the bitter everyone else. Worn out obvious metaphors made me eye roll a few times. With such lush imagery, manic performances, funny moments and raw transgressive lust, it is painful that the film has nothing new or interesting to say about it all. A pastiche of ‘Brideshead Revisited’, ‘The Talented Mr. Ripley’, ‘La Dolce Vita’ and ‘The Great Beauty’ that gets the evocative imagery right but misses the subtle power. Great art subtly suggests with strangeness profound truths that gnaw at our universal human condition, mediocre art spells out with a heavy hand and only reaches the surface shallow depths. I hope that as Fennell grows in confidence as a filmmaker she can match her obvious talent for provoking, entertaining and vivid visual storytelling with greater assured things to say. 7/10

In one of the opening iconic shots members of the Osage native Americans dance around an oil blowout as it rains down on them black gold. This imagery of raining black oil with its religious undertones of dark anointment, sets the tone of foreboding doom of this monumental biblical American epic by one of the greatest living directors of all time Scorsese. Based on the true, devastating tale of the Osage tribe who became sensationally rich in the 20’s due to finding oil on their reservations, only to have the tribe deal with an epidemic of murders for their wealth. So much of Scorsese’s oeuvre, of over 56 years, has to do with the soul/ character of humanity. Steeped in Catholic themes of guilt and redemption so many of his characters are deeply flawed despicable humans corrupted by violence, greed and power. His genius is to make us feel for these lost souls despite their horrific crimes. But perhaps for the first time in his filmography, the individual soul of DiCaprios character becomes a metaphor for a larger story about the soul of America and perhaps other colonised societies. Killers of the Flower Moon alludes to a history of colonising greed destroying the lives of natives that has parallels with Australia’s own sad colonial history. In one scene in the third act, as the crimes are finally coming to light, a shot presents us with all the prominent white members of the town, the police, oil companies, landlords and we see writ large the guilt of an entire community. Societies built on violence have a corrupted soul that seeps through the generations. So much of American history is a combination of greed, power and religion. I kept being reminded of the masterpiece ‘There Will Be Blood’, which so perfectly captured the nature of the early American soul. However unlike the seeming nihilism of that film, Scorsese film offers redemption through love. The heart of the film becomes a moving and complex love story between DiCaprios lost character and the runaway star of the film Lilly Gladstone in a performance of nobility, grace and stoicism. It’s her scenes of wrenching pain brought tears to my eyes. This love story reminiscent of ‘The Power of Thread’ a dark romance that offers a glimmer of redemption. DiCaprio gives one of his best performances, playing a very unglamorous role: neither hero nor clever villain, but a greedy, foolish pawn in a greater game. And De Niro creates a calculating villain of manipulation and hypocrisy that is frightening. This sweeping vision of a corrupted American soul with the KKK, Tulsa race riots, Free Masons, and mistreatment of native Americans felt like a pointed allegory of our troubled society today. With its racial injustice, greed and division. And yet father Scorsese seems to offer us absolution only through testifying to our sins and through love.

10/10

If you had told me, a few months ago, that the one of the most profound, insightful and though provoking films of last 20 years about feminism, the patriarchy and the zeitgeist of late stage capitalism would come from a film based on a popular toy doll I would have laughed. And yet in 2023 Gerwig’s masterpiece ‘Barbie’ is just that, it is the zeitgeist. There’s a great anamorphosis paradox in art that if you look at a subject say like feminism/patriarchy/capitalism too directly you don’t see it, however if you look at it indirectly/obliquely it you can see it clearly. Great subversive art often comes from the unlikeliest of places, in this case a deeply meta analysis of our world comes wrapped in the plastic of a film that looks like a marketing gimmick. The self awareness of the film subverts in a brilliantly meta way the entire premise of itself, hilariously and insightfully criticising all at once: the Mattel company, the brand of barbie, the at times negative nature of barbie as a role model, the male dominance of our world, the idea of femininity and beauty standards the doll represents. And yet for a film with such searing nuanced critique it never falls into the trap of cheap cynicism instead deftly walks the line between critique and joy and optimism about what the role of men, women and Barbie herself could be.

There is a monologue a character gives in the 3rd act of the film about what it is like to be a woman in todays world that is so profound and well written that I was in awed silence which was then suddenly punctured by a woman in the audience giving a cheer. It was a magical movie moment. Reading this review so far you might think that the film is a long lecture about weighty subjects and yet after deftly avoiding cynicism the genius screenplay of Gerwig and Baumbach never becomes preachy instead being one of the funniest laugh out loud films I’ve seen in years. Margot Robbie is perfectly cast in this role along side a star cast without a single off note performance. But easily stealing the show is Ryan Goslings hammy, hilarious, sweet turn as Ken that makes you both laugh at him and fall in love with him at the same time. His song ‘Just Ken’ a highlight of the film, that could easily win best song at the Oscars. Ken represents in the end a softer emotional masculinity that was very moving. Everything else, from the dazzling CGI-less, old-Hollywood sound stage production design, to the costumes, cinematography, score and acting was peak. To top of the searing critique, laugh out loud jokes, scintillating screenplay and stellar acting is an emotional ending that brought me to tears. A love letter to mothers and daughters and play. I’m sure many other brands will be eyeing the success of this film, the highest grossing opening for a woman directed film ever, to do their own versions. However this would miss the point of the film. ‘Barbie’ as inexplicable as it may seem not only looks deep into the depressing inequality and injustice of our world but also offers philosophically the way towards a better world. A world of greater gender equality, of women empowerment, of a better kind of masculinity, a celebration of inclusivity and diversity and most importantly an embrace of imperfection. The best film of the year so far. 10/10

You would think after the disappointing ridiculous unbelievable mess that was the last Jones film, the Crystal Skull, with that cringe worthy alien plot, that lessons had been learned for the final instalment of the franchise. The formula for a good Indy film is not complicated: focus on real special effects, have a religious/historic/culturally specific artefact plot, epic action scenes, good villain, some light humour, some sense of wonder or mystery, bring back old characters, play on nostalgia and most importantly have a final climax scene that is spectacular. For this latest film to not only have not learned from the mistakes of the last film, to have in many ways doubled-down on everything that made the film bad was actually shocking to me. This film is actually worse than the worst of the franchise. Added to the lessons not learnt are so many frustrating missed opportunities especially an excellent cast, I love both Phoebe Waller-Bridge and Mads Mikkelsen but they are lost in this film. The breathtaking level of failures on nearly every count really did shock me: clunky overused CGI with robotic de-ageing (one scene in the parade people looked like Sims), a truly stupid unbelievable plot barely related to history/reality (with so many holes my head hurts thinking about it), long cartoonish action scenes that become boring, lack of humour, a fairly good villain left sidelined, zero wonder or mystery, corny humour, old characters present and barely used, and worse of all a rushed climax that is so anti climatic it makes the alien reveal in the last one look entertaining. That’s not to say that the film doesn’t have good elements, it does have an excellent cast, obviously loads of money for locations, and plenty of nostalgic moments. Yet all of this make the disappointment all the more pronounced. One aspect that really frustrated me was how little Dr Jones seemingly cares for the destruction of artefacts or history (his great love) in the pursuit of the case/goal, in the same Bond-level disregard for collateral destruction around him. This will probably be the last Jones film as currently it’s on track to be a box office bomb. As someone who admired a PhD hero, the film feels like a tragic ghost of its former self. In recent times there’s been a lot of nasty backlash to Disney, especially from the intense Star Wars fandom, this being I my view overstated and problematic in some cases (I.e. Little Mermaid). However in the case of the Jones franchise I think the fan criticism is justified, even if you aren’t a fan, this film is a painful mess to sit through and an epic missed opportunity. Disney seemingly can get away with bad remakes/films as long as they make money, but if this film bombs as badly as it’s on track to do, the company will have to take notice and change. 4/10

If there was ever a director defined by an aesthetic style it’s Wes Anderson. Audio recently was leaked from one of his sets with him shouting ‘if it’s not symmetrical it’s not in my f***king film’. The obsessive quality of his set designs, costumes, and locations are the stuff of legend. His latest film ‘Asteroid City’ set in desert US is a pastel 1950s homage to buttoned up shirts, dainty signs and cultural cringe. In terms of the aesthetics it is a visual delight on what must been a huge perfectly designed set. Visually it’s like eating bespoke chocolate. The set is then stuffed with a who’s who of Anderson favourites.

Unlike his other films though ‘Asteriod City’ is purposely ‘meta’ in the sense that it sets up the drama as seen through the frame of a theatrical play. It’s this meta theatrical framing device along with a lack of emotional substance that was where film starts to wear thin. The main story of a families grief gets lost by the cuts to a ‘meta’ narrative that seems forced. Grief is explored in many of his films with deadpan delivery of sometimes devastating lines. However here the well acted star cast can’t seem to convey much real feeling. His films start to feel like a roll call of cameos amid stunning set design. The film is at its best when it is more lighthearted and fun, particularly the hilarious musical number, and feels forced in its ‘deeper’ ‘meta’ moments. Like other great stylised film makers of our time, Tarantino and Luhrmann, Anderson seems more and more a parody of himself. An Instagram feature, lacking the emotional punch of some of his other films. Not merely style over substance but parody over genuine emotion. That being said it’s visually stunning and at times very funny, just don’t expect this to rank as one of his best. 7/10