Echo Valley (2025)

This is a tidy little thriller/drama/mystery available on AppleTV+ (and probably elsewhere by now) directed by Michael Pearce (Beast, Encounter) very nicely as he pulls the strings together in a well-paced, unfolding tale of greed, money, motherly love and betrayal.

Julianne Moore (Still Alice, Hannibal, Sharper) plays Kate who has a backstory of  being married to a man (divorced), then a woman (she died) and throughout, running a horse stable - supposedly paying for itself by her offering out riding lessons to the wealthy locals. However, she's still (not) recovering from the tragic loss of her wife, so it's all going a bit to pot. She leans on wealthy ex-husband for money when needed - and it looks like he usually kicks and screams, but gives in.

They have a now-grown-up daughter, Claire, except that she's not terribly grown-up and lives a life of addiction, mixing with the wrong people and turning up at mum's when in strife, looking for a hand-out to fuel her (and her friends') drug-fuelled lives. Claire is played by Sydney Sweeney (Immaculate, The Voyeurs, The Handmaid's Tale) and does an irritatingly good job as the wayward, privileged brat, expecting the world (or at least mum) to serve her desires.

Claire turns up one day, looking to groom mum, as usual, showing her affection/emotion, then dropping the clanger after a couple of days about 'needing' cash. As usual, mum gives in, try as she might to not. This time, however, Claire is in real trouble it seems as she's thrown away one of her friend's stash, worth $10,000. It just so happens that Kate has been able to get $9,000 from ex-husband to mend a stable roof. So yes, mum digs her out of the hole with it.

Waster boyfriend Ryan, played by Edmund Donovan (Civil War, Your Monster) and his mate Jackie, played by Domhnall Gleeson (Ex Machina, Alice & Jack, Brooklyn) are lurking around during this time, threatening mum that if Claire doesn't cough-up the cash, they'd all be in for big trouble. Kate, mum, is pushed over the edge into capitulating when Claire turns up during her stay, covered with blood, telling her that there's been a tragic incident which has left Ryan dead. What's a loving mother to do - see her daughter embroiled in a police investigation (or possibly worse) or take matters into her hands by mopping up the mess!

Fiona Shaw (Kindred, Killing Eve, Fleabag) plays Leslie, her friend, who lends support and help during this time and fully understands Kate's unconditional love for her daughter, regardless of what a mess she has become, so they both go to it, covering the tracks and sorting it out. This is where the mystery bit comes in as twists and turns start to happen - maybe everything is not quite as it seems. Ryan's friend Jackie gets wind of something he can make money from - so becomes even more threatening towards Kate and Claire.

It's really well-paced in terms of the reveals, some of them in very recent flashbacks, filling in gaps in the narrative which have been skipped over on first-run for impact later. The cinematography is nicely executed with interesting visuals and there's some real edge-of-the-seat moments when you wonder where on earth it's going next, who is doing what and whether or not there's even one final twist or turn to come!

It's very much Julianne Moore's show, in pretty-much every scene, and she, as usual, does a grand job of anything she turns her hand to, convincing the audience of her character's authenticity. It's a great little intelligent thriller which covers many themes from family bonds, betrayal, blackmail, money, crime and much more. Really worth a watch, but don't read reviews too deeply, just watch and enjoy the unfolding tale. Highly recommended.

Before Sunrise (1995), Before Sunset (2004), Before Midnight (2013)

Here's a trilogy of films about a couple of young people who happen to meet on a train and start to fall for each other in a short space of time. The films follow their path over the course of the next two decades, as they contemplate the meaning of life, existence, their place in the universe and the social constructs around the role of men, women and relationships.

Richard Linklater (Boyhood, School of Rock, Dazed and Confused) directs and links up with actor Kim Krizan to write much of the storyline - and latterly, joined by the two stars. The two young people were Jesse and Céline played by Ethan Hawke (Snow Falling on Cedars, A Midnight Clear, Boyhood) and Julie Delpy (Three Colours White, Killing Zoe, Europa Europa) and are largely the main players through the three films.

Before Sunrise (1995) is the start of it all when a couple meet on a train and experience an instant attraction. Instead of going their separate ways, they agree to spend what time they can together waiting for connecting transport in Vienna. The film then depicts their whirlwind love blossoming as they spend the rest of the day and throughout the night together, wandering the streets, until she has to get back on the train and he, a plane. They agree to meet back on the same spot in exactly six months.

Before Sunset (2004) catches up with them 10 years later in Paris, he, by this time a successful author, having sold the story of the first film's encounter, in the story, not for real! They spend the day together in Paris, catching up, we find out more details about what happened about the six-month rendezvous back in Sunrise as they reminisce and bump about in Paris together, only to have to part again (or do they?) when the successful author has to catch a plane. Again.

Before Midnight (2013) moves us on another 10 years and again, we catch up with what happened in the second film, filling in some gaps and this time, spending time with the couple - and others - on a Greek Island. The film, again follows through a day-in-the-life and lets the viewer catch up with, what is (maybe?) the last of the series of films. I'll stop there, having tried to use my words carefully so as to give a flavour of the chain of events, but not anything away that will spoil viewing. All I've given away really is that they're both alive over a couple of decades and still know each other!

What's different and nice about these films, raising them above the ordinary slushy love clap-trap is the way in which they are presented, filmed and most importantly, reliant on the script and dialogue. It's obvious throughout that the actors are given some freedom to ad-lib with the material, inject philosophy, meaning of life and love stuff - of which Woody Allen would be proud. The dialogue is snappy and engaging, so much so that it almost doesn't matter for a lot of the time which city or country they happen to be in! It reminded me also of the dialogue which might be written by Tarantino, where what people are saying is as important as what they're doing.

It does sometimes feel a bit like a tourist-office supported venture as they wander past famous sights and buildings, but it's never aggressive in that respect, more passive and in keeping with the nature of the story and films. It's refreshing not to have solutions and outcomes served up on a plate but rather engage the audience in imaginative work to create their own idea about endings - or new beginnings. The two actors have a real chemistry going on and that oozes out in almost every scene, whether they're in each other's arms or arguing about their differences. They have been cast well and warm beautifully to the task.

It is a series of films which could easily be passed off as romantic escapism, but they are much more than that, having something meaningful to say about almost every topic and theme under the sun, as well as the character's time and potential future in each other's lives. Good stuff, well produced, excellently performed - a thinking person's romantic trilogy.

Novitiate (2017)

I watched this last night. (It's available on various streaming platforms.) Not sure why really as I usually can't stand any religion-centric stuff, but it was well recommended/reviewed so thought I would. And much like with Conclave (2024) I'm glad I did.

It's based on extensive research into the real experiences of nuns during the period of Vatican II (the Second Vatican Council, 1962-1965). It's not a true story in the sense that it's a direct biography of one specific person, rather dramatised out into that within the backdrop as we follow the path of young Cathleen training to become a nun.

Director Maggie Betts drew from a "rich canon of memoirs of ex-nuns" and consulted with former nuns and experts to create a story that reflects the dramatic changes and challenges faced by Catholic sisters during that era. The film aims to portray the authentic emotional struggles as well as the impact of Vatican II, on women, isolation, abuse and sexuality in religious life.

The whole cast are terrific, the production values top-notch, cinematography lovely as the potentially dour tale is whipped up into something much more - almost gripping! Melissa Leo is terrific as the scary, domineering, abusive, old-fashioned-values, "acting on behalf of God" Reverend Mother in the convent, the cute Margaret Qualley in the lead grabs the attention in pretty much every scene and Julianne Nicholson is solid as her mother. There's a distant feeling of The Handmaid's Tale (2017-2025) about some of it.

They've weedled in some sexuality stuff for ratings no doubt - who knows how much of the fine detail is true - there's very brief nudity but it's a really well played-out drama worthy of a look. I might even have a look at the referenced-within film starring Audrey Hepburn now, The Nun's Story (1959).

Superman (2025) - A Guest Review by Chad Dixon

James Gunn, well known for the Guardians of the Galaxy films in the MCU has now been put in charge of rebooting the DCU. His first directorial offering for us under this new regime is Superman. Now I'm old enough to remember seeing the classic 1978 film with the iconic Christopher Reeve as the Alien from the Planet Krypton. I've seen every other Superman film since. Even the much-maligned Zack Snyder directed offerings with Henry Cavill in the lead and I've got to say, David Corenswet is definitely the most charismatic actor to have been cast since Reeve.

Dispensing with showing the well-known origin story this time, Gunn starts with the Man of Steel fully established both as the world famous superhero and mild-mannered, experienced reporter Clark Kent at Metropolis's Daily Planet newspaper. Also his passionate relationship with colleague, Lois Lane (Rachel Brosnahan), is in full-swing.

We join the story in the aftermath of a controversial situation where Superman has unilaterally intervened in a foreign conflict. Physically threatening a megalomaniac dictator to stop an invasion of a poorer, neighbouring sovereign state. To save lives, of course, but it has caused a rift between him and the Pentagon.

It's also causing a temporary rift between him and Lane as they argue over the incident in her apartment after work one evening. Meanwhile, across town at the Luthorcorp offices, tech mastermind and CEO Lex (Nicholas Holt), is beside himself. Through arms sales, his plan in cahoots with President Ghurkos of the aggressive nation to obtain territory for his own use has been foiled by Superman's intervention. Assembling all his allies, he is now determined, once and for all, to take the Kryptonian out of the picture by hatching a plan to discredit him in the glare of the World's media.

With a very similar feel to Guardians of the Galaxy, Gunn is definitely going for a more screwball approach to these familiar DC Comics characters. There is an awful lot packed into the 2 hours 9 minutes run time. A constantly challenged and battered Superman faces many different foes sent by Luthor, including two genetically-engineered superpowered villains, an army of flying soldier drones and on one occasion, a giant fire-breathing Godzilla-type creature, terrorising Metropolis! There's even a Subatomic Universe that Lex has opened a portal to in which he is holding prisoners he deems a threat to his overall plans to portray himself as Saviour of Planet Earth!

The Fortress of Solitude now in Antarctica is run by numbered robots that watch over the Kryptonian archive. Oh - and our hero has a Superdog called Krypto that has behavioural issues! As well as help from this superpooch to assist leveling the playing field to a degree, Superman is also helped by a trio of nonchalant non-aligned superheroes led by Guy Garder, The Green Lantern (Nathan Fillion) calling themselves the Justice League International.

There's heartwarming brief performances by Pruitt Taylor Vince and Neva Howell as Jonathan and Martha Kent, respectively, Wendell Pierce as Daily Planet Chief Perry White and Skyler Gisondo as Lane's colleague, Jimmy Olsen - all worth an honourable mention. However there are many more peripheral characters, too numerous to name.

Now with all this going on, you may think that this story sounds like it may get a bit incoherent. I guess that being familiar with previous James Gunn projects, I took in everything very well - and even with all the ultra-fast paced action with much smashing and crashing, I enjoyed this first DCU outing. A lot of that enjoyment has to do with a very confident performance by Corenswet who statuesquely embodies the red and blue cape and underpants with a swagger that belies his newcomer status to the role. Take your whole family along!

Rose: A Love Story (2020)

Also known as just 'Rose' this is a great little drama/mystery/thriller/horror about Rose, who lives in an isolated cottage situation with her husband, Sam, in the middle of the woods somewhere far from most civilisation. I was trying to work out where it was, but couldn't really pin it down. There is mention of Keswick (which is "miles away") so I'm guessing up that way somewhere!

Rose has a terrible illness which means that she can't go out into daylight. References are made throughout to skin conditions, sensitivity to light and more but it's not until the last act that we really find out the truth of what's what. There are clues along the way and it's not really hard to guess what is going on, but that shouldn't take anything away from this small-budget cracker of a 90-minute film.

There's a small cast of three really - Sophie Rundle (Peaky Blinders, Gentleman Jack) as Rose, Matt Stokoe (Jamestown, Bodyguard, who also wrote the story) as Sam and Olive Gray (Halo) as Amber. Rose and Sam live off the land, so he's outside a lot of the time, growing vegetables, trapping animals to eat and attending to their generator. When he's not doing that, he's inside with Rose, caring deeply for her, their love being hugely evident throughout as they value one another, through great warmth and concern. There are strains though, mostly brought about by her concern that her illness is keeping him from living a normal life - which he refuses to accept or act on.

They keep an ear open all the time for anyone infiltrating their corner of the universe and get shiftily paranoid whenever they hear anything rustling outside, day or night. As the story evolves, we find out a bit more about both of them and witness strange events which seem to fit in once the reveals are all done. Young Amber happens along one dark night, having fled her home, and stumbles into one of the animal traps, breaking her leg. She screams with pain, Sam heads out to see what it is, leaving him and Rose to decide what is to be done with her.

Director Jennifer Sheridan (Extraordinary) has created something of a gem here - she's brought out the best from the three key actors, totally convincing, created a spine-chilling atmosphere via camera angles, lighting and shadow and with no time for incidental music. It's all very eerie and claustrophobic set in the dark winter, snow all around them, which is made the most of with lovely cinematography depicting the seasonal ambiance.

I hadn't researched the film at all, so came in blind - and the experience was better for that as I was able to piece things together and watch wide-eyed as I did! The finale provides a gripping climax to the story. It's moving at times, very dark and engaging. Highly recommended. It's been on Shudder and other streaming services, so check it out!

Jurassic World: Rebirth (2025) - A Guest Review by Chad Dixon

This is the seventh film in long-running franchise which started way back in 1993. Set five years after the events of Jurassic World: Dominion (2022), this is a brand new story arc with new characters. We start 27 years prior, when on a secret island facility, scientists seem to be experimenting with cross-breeding species in an attempt to 'wow' the Theme Park crowds. And we all know how that goes in these films! Of course, there is a breach and something very big manages to escape its containment.

Cut to now. It's New York City where a dying Brontosaurus that has escaped from a zoo is blocking the traffic. Nobody seems to care that it is dying, only that it's in the way. In this jam we see Martin Krebs (Rupert Friend), who we find out is working for a pharmaceutical company and is there to meet up with Zora Bennett (Scarlett Johansson) - a no nonsense, for hire, special operations expert. Krebs explains that the  pharma company he works for has worked out that a cure for heart disease is very likely possible if the blood from three very specific giant species are collected. These can only be found in the equatorial regions off South America where the species' decided far too dangerous to be in zoos were left to their own devices - and have thrived.

A little later they are both in a closing-down Dino museum where they meet Dr Henry Loomis (Jonathan Bailey), a paleontologist who has developed the tech for the blood extraction in this mission - but is surprised to find out that he is also going on the expedition. The location then moves to Suriname where all three are all suitably kitted up and are meeting rough-and-ready Captain Duncan Kincaid (Mahershala Ali) in a quiet port. Three further members of Bennett's team are there and after a bit of wrangling with the cost of the team's hire, they set off into the equatorial Atlantic Ocean in his sturdy vessel for their destination island - the Ile Saint-Hubert - where all three target species are known to live.

Meanwhile, already out at sea, the Delgado family, father, his two daughters and the eldest's offspring's deadbeat boyfriend are sailing across the ocean in a medium sized sloop. Suddenly they are broadsided by a Mosasaurus (one of the three key species) and their boat capsizes. Clambering on the upturned hull, they send out a 'mayday' on the emergency radio that was recovered. Twenty seven miles to the north, Captain Kincaid hears the distress call and against the strong wishes of Krebs to not divert from the mission, sets a new course to try to help the stricken family.

Like the recent Mission: Impossible film there is a lot of exposition in the first third of this two hour thirteen minute adventure before the real action gets going. Directed by renowned visual effects connoisseur Gareth Edwards, set pieces are very eye-catching on the big screen and all the beasties look suitably realistic in their exotic island locations. The story is easy to follow but is so rehashed from many of the earlier films in the franchise that nothing feels fresh except the cast.

Johansson is well chosen as the kick-ass leader of the expedition and Ali plays a good mercenary with bigger-than-normal dollop of humanity. Friend is solid as your usual two-dimensional unscrupulous company man and they all, on the whole, make the best of a sub-par script. I didn't find many of supporting cast very engaging though, as it looked like dino grub was all that some were put in there for. In fact, I'm still not sure what the purpose of the Delgado family thread was except to maybe to put more bite sized morsels in front of giant jaws.

Perhaps I'm getting too old to be wowed by seeing prehistoric creatures like I was in the first film over thirty years ago, as I definitely felt a bit underwhelmed. I'm sure that this latest offering is still going to make for a decent Box Office as the thrill-ride for this sort of fodder is sill ideal for lots of cinema-goers this Summer season.

Humpday (2009) - A Guest Review by Adrian Brain

An American comedy bromance would normally have me running a mile, but this was on MUBI (which simply doesn’t have bad films) and so I was persuaded to watch it - and I’m quite glad I did. Would a man have sex with his best male friend? Of course not, but that's the premise of the movie and it sells you the idea so well that you forget the daftness of it.

Ben is married to Anna and we meet them trying to conceive their first baby. Ben is climbing up the corporate pole and they share certain life objectives as they slip into a typical American family lifestyle. There is a knock at the door in the middle of the night and in bounds Andy, Ben’s best school and college buddy who has been away for 10 years on an adventure of self-discovery in South America.

Anna soon finds husband Ben is behaving very differently around Andy, but she also finds him somewhat invigorated by the return of his old friend. At a party, in a drunken moment they decide that Andy and Ben should film a porno for an art project, with the tape being destroyed after the screening. The next day, both men reconsider, but in their determination to out-liberal each other, end up cementing the deal. The remainder of the film takes us up to the nominated 'humpday' and the evolution of the relationships between the three characters via lots of subtle observational humour.

What could have been annoyingly dumb is actually handled very smartly, in large part down to the direction and naturalistic performances of the cast. From the credits, it looks like the 3 main cast members were all dialog consultants - and it shows - every conversation feels real. I didn’t recognise any of the cast but they are uniformly relatable. They are completely rounded characters and you’d feel happy to have any of them as your friends.

The film is all about relationships of course and how some evolve with time and others get stuck at a certain fixed point. There is also a contrast drawn between men and women’s attitude to the intersection of friendship and sex.

I found the last scene, the 'will they or won’t they?' hump day, intriguing. I was cringing at the thought that these best mates might possibly destroy their friendship forever, but the wife was cheering them on - shouting “Get on with it! What’s your problem?”. That’s how smart the storytelling is, it exemplifies the observations the film has made.

Not for everyone, but I really enjoyed this. A mature film dealing with adult themes in a non-gratuitous, non-salacious manner which is simply refreshing to see.