A struggling new-in-London fashion student hallucinates that she’s in the 1960s. While there’s bags of confidence and style in this psychogeographic timeslip giallo-ish flick, and some fine performances, the storytelling’s awry: a rushed third act flails to get matters both properly set up and then clarified.
Two single 60-somethings begin a faltering romance based on dog walking. Low key romantic drama with elements of social realism. It doesn’t all work, in part because of clumsy plot mechanics rather than a focus on a believable central relationship. Still, there’s engagement with life’s complexities, and a willingness to leave some matters unresolved.
An assassin tracks those who killed her mentor. While the script gets bogged down in backstory and complications, there’s a sense of unfussy confidence in the direction, action choreography, editing, and stuntwork that makes this a worthwhile watch. A decent – if to-type – cast helps. Some corners cut in production design don’t help.
In 1980s London, a film examiner struggles when a horror movie reawakens a past trauma. Stylish and confident first feature, with an interesting premise and careful use of limited resources. Vaguely Peter Strickland-ish in its approach: a descent into madness rather than story as such: there’s plenty to admire here, nevertheless.
An orphan seeks revenge on the fashion maven who killed her mother. Confident, stylish, though thin and overlong prequel to 101 Dalmatians. Basically a supervillain origin story (Cruella is Tim Burton-era Batman, plus Joker and Catwoman here) though borrowing from all-sorts, including The Terminator. MVP is Paul Walter Hauser, though everyone is in on the joke.
Dracula seeks revenge on the modern-day Van Helsings. This series reboot revisits plot elements from Taste The Blood Of… and … Has Risen but sets them in then-contemporary Chelsea. The swinging London stuff was dated in ’72, but this is still a brisk romp with a time-capsule attraction and some grittier asides.
A toilet factory is troubled by poor sales and industrial action. No lavatorial joke opportunity goes unpunished in this sitcom-ish patchy series entry (the 22nd), the series’ first underperformer at the box office (it makes the mistake of punching down). Of its time, to put it mildly. A couple of genius moments shine through, though the film has principal value as a social document and for exploring ideas (and locations) reused in Carry On Girls a couple of years later.
A man spiralling in work, money, and relationship issues is made an offer he daren’t refuse. Odd drama with genre elements that has strong performances (Andy Nyman and James Cosmo are great) though which struggles to tell a story: overlong, episodic but interesting, and worth sticking with despite its frustrations.
A chaotic Londoner begins to repair her broken relationships when she meets a handsome stranger. Schematic sub-Richard Curtis romantic comedy which, a few good lines aside, clings to the clumsiest of premises. Heartless, but harmless: Henry Golding makes for am impressive beau though.
A former MI6 agent’s past comes back to haunt him. OK DTV actioner from the reliable Scott Adkins, with decent fight choreography and some pizazz in the direction. Secrets and double-crosses as per, though there’s couple of interesting script wrinkles. No gamechanger, but fans will be happy.