Tags: tv, blog, sci-fi, thriller, 2025, essential
Author: KickingK
Date: Tuesday May 20th, 2025
There's an episode of the tv series Spaced that features the greatest depiction of clubbing in cinema history. It's greatness is that it understood that a truly great night out isn't just about the club you go to. It's what you're running from, to get to where you end up. It spends most of the episode detailing the tensions and problems of the cast, the bit in the club is literally just a few minutes. But because of the time spent on the tensions and anxieties and problems and fears, you get the release of an epic night out.
Anyway...part way through the second series of Andor, fifteen episodes into a relentless narrative equivalent of a Shepard tone, there's a wedding party scene. And it goes OFF
And maybe Spaced doesn't have the best club scene anymore.
I don't think I can add much to the conversation regarding Andor's greatness, other than my slightly shonky Spaced comparisons. Pick an element: music, costumes, acting, script, anything at all, it's all superb. However, I do want to mention a couple of personal highlights.
Firstly, the brokeneness of the antagonists. Every single character working for the empire is a shell of a human being, living half a life. Too many movie and tv villains are hyper-competent, charismatic, sexy bastards. When the reality is these kind of people are deeply pathetic, emotionally limited turds.
Secondly, all of them are punsished for their loyalty and competence. Literally every single one of them is crushed by the weight of the system they are trying to uphold. If any of them had just clocked in, did the bare minimum and clocked out again they'd have been fine. But the one thing fascism absolutely demands is comformity. Stick your head up too high and it's going to get scythed off.
And lastly, if there's one point that Andor hammers home relentlessly, it's that fascism contains within it the seeds of it's own destruction. Fascism won't work, can never work, will never work because it will always create the conditions that will bring it down. The harder the Empire pushes, the more the people push back.
To go back to that G.K. Chesterton "quote"
Fairy tales are more than true: not because they tell us that dragons exist, but because they tell us dragons can be beaten.
Andor tells us that whilst that victory is long, painful and must be fought for, it is inevitable.
Tags: blog, film, thriller, 2025
Author: KickingK
Date: Sunday October 05th, 2025
Not as good as the Wikipedia page
It's a bit unfair to watch this straight after the magnificent Relay, but there you go. This is the story behind the biggest art theft in Irish history, spearheaded by Rose Dugdale, an English woman from an incredibly wealthy background, for the cause of the IRA.
The first mistake the film makes is by spending so much of it's runtime on the heist itself. Stealing stuff is the easy part, the boring part. Anyone can steal something, the trick is to get away with it. Relay doesn't even bother to show the theft, it's already happened before the film even starts.
The problem here is that the main characters don't seem to realise this and their getaway plan is staggeringly dumb, full of holes and badly implemented. It's difficult to empathise with them when they keep making schoolboy errors that we can see coming a mile off.
Which leads to the second mistake the film makes which is to focus on the art theft in the first place. A quick read through Rose Dugdale's Wikipedia entry is jaw dropping. She led a truly extraordinary life which the film shows snapshots of but never enough to show how committed she truly was. You could come away from this film with the idea that she was something of a dilettante, where as I think the the lack of commitment is from the film makers, not Rose.
The film has a lot of interesting ideas and tries to knit everything together in an attempt to create something that's more than the sum of it's parts. The way it uses the artworks themselves to explore aspects of Rose's characters is a good idea. Unfortunately it doesn't use the rest of the script to really dig deep and so everything is little more than a scratch on the surface.
Which is a shame as if anyone's life is interesting enough to make a movie of, it's Rose Dugdale. It's just a shame that this one doesn't do it justice.
Poster Credit Where to Watch
Tags: blog, film, thriller, 2025
Author: KickingK
Date: Monday October 06th, 2025
Caught Napping
It's rare to see a film that manages to add up to so much less than the sum of it's parts. There's nothing here that, taken in isolation, can be criticised. Pick any element of the film: it's fine, good even.
But the actual film as a whole? It's a nothing burger. A standard sized bowl of regular, unflavoured porridge, made with skimmed milk. It made one hour and forty five minutes slide past. I doubt I'll remember any of it by next week.
Poster Credit Where to Watch
Tags: blog, film, thriller, 2025, essential
Author: KickingK
Date: Saturday October 04th, 2025
Credit or Debit?
Riz Ahmed plays a middle man who works on behalf of whistle blowers and the corporations they've stolen from to ensure that they both get what they want out of a deal.
To do this he uses a relay service for deaf people, typing messages into an old-fashioned computer modem that is then read out by a call centre operative. Nobody hears him speak and the service is untraceable.
So in every tense conversation, every high stakes negotiation, the 'Jason Bourne' character is played by a random call centre person who is literally phoning it in. One staggeringly tense, life or death scene is finished off with a jaunty "Thank you for using the tri-state relay sevice, have a wonderful evening".
This deadpan approach to tension building is carried over to much of the rest of the film. Outside of the occasional (and decent) needle-drop the soundtrack is barely noticeable. The cinematography is restrained and un-showy, not a single trace of camera shake. The acting is similarly pared down, Riz Ahmed has about two lines of dialogue in the entire first third of the film.
This is a film that lets the plot and the characters drive the tension. And boy is this film tense. It starts at a level of 'gripping the arms of the sofa', rapidly escalates to 'fitness tracker heart-rate warning' before gradually climaxing to 'choking claustrophobia'.
Like director David Mackenzie's previous film, Hell or High Water, Relay draws from the real-world effects of late-stage capitalism to bury it's characters in impossible choices. There's no 'good guys', just people trying not to drown. There are antagonists, but the real villains are out of site, everywhere and nowhere at the same time. Untouchable but inescapable. As the 'heist' begins to fall apart in the latter stages of the film, there's a growing realisation that there's no way to not lose this game. Even if you win, it'll cost you your soul. A single answer phone message breaks your heart and you know the game is rigged every single way.
This film stands along side the previously mentioned Hell or High Water and the more recent How to Blow Up a Pipeline at the absolute pinnacle of the modern heist movie genre.
Poster Credit Where to Watch
Tags: blog, film, thriller, action, 2025, recommended
Author: KickingK
Date: Saturday September 06th, 2025
Young Blades (Go For It)
It’s been ten years since John Maclean last turned the Western genre on its head.
Slow West subverted expectations by having a very traditional setting that gradually unspools in very untraditional storytelling. This time he’s flipping it around. The story itself is roughly what you would expect. A story of thievery, criminal gangs, backstabbing and revenge. It’s very well done and has a slightly non-linear structure that works exceptionally well, getting into the drama without delay. Tension right from the off.
It’s the setting that tilts everything into a weird, off-kilter zone where everything’s familiar and yet unsettlingly
It’s still the Wild, Wild West, but now it’s the west highlands of Scotland. There’s plenty of quick-draw showdowns, twitchy hands, itching to draw weapons, but the weapons are swords. The main character is a samurai.
There’s also plenty of shots of the crisp, clear, sun drenched landscapes. But instead of feeling the parched heat, you get cut through by a frigid, Scottish spring breeze.
And the cinematography is pure Western. Wide, glorious, sweeping landscapes mixed with tight, tense close-ups of tight, tense faces. Usually covered in dirt, stubble and wrinkles.
All the actors turn in terrific performances. Tim Roth is superb as the gang leader, managing to be convincing as a brutal, ruthless killer, whilst still engendering sympathy for having to put up with and deal with the gangs stupidity and greed. I’ve always thought (probably terribly unfairly) that Jack Lowden comes across as an unlikeable tosser, so he’s perfectly cast as the most unlikeable tosser in a gang of complete scum.
However, the absolute star of the film is the composer, Jed Kursal, who turns in a moody, dramatic spaghetti western of a score. It’s rich and muscular and flows over every scene, adding colour to everything.
I’m a little torn. On the one hand, this is so good that I wish Maclean would speed up his output from one film per decade. Whilst on the other hand, if it’s going to be as good as this, it’ll be well worth the wait.
Poster Credit Where to Watch
Tags: blog, film, thriller, 2024
Author: KickingK
Date: Wednesday April 10th, 2024
Sponsored by Lucky Strike cigarettes
The ever excellent Thomasin McKenzie plays a mousy, plain young woman in 1960’s Massachusetts, working in a prison for young offenders. She gradually becomes obsessed with the prison’s glamorous new doctor, the occasionally excellent Anne Hathaway.
As we were talking about plot twists last time, this one has an absolute belter. A proper eyes-wider-sit-back-in-your-seat-mouth-agog sideswipe.
Unfortunately, the script can’t quite tie anything together after that. Everything feels a little off and the ending is deeply unsatisfactory.
It’s a shame as the film as a whole is thoroughly enjoyable. Both leads are superb, the period details are excellent (it wrings a lot out of ‘smoking in inappropriate moments’) and the script trusts the audience enough to ask their own questions in order to build the tension. I really wanted everything to add up to more.
Tags: blog, film, thriller, 2024, essential
Author: KickingK
Date: Saturday April 06th, 2024
Lean, mean and electrifying
A violent homophobic assault leaves Jules (Nathan Stewart-Jarrett) traumatised. Only for a chance encounter that reveals that his attacker, Preston (George MacKay), is a closeted gay and leads him to plot his revenge.
Clocking in at just a smidge over ninety minutes, this electric little thriller doesn’t waste a single second of its run time. The tension starts to crackle within the first few minutes and refuses to abate until the credits roll.
Oddly enough, it reminds me a lot of the Michael Caine/Laurence Olivier film Clue 1. But where that film’s plot twists and role plays were the result of devious plotting, here it’s down to the shifting sands of the emotional state of the characters.
Perspectives change and turn as the characters learn and grow, leading to a sense that you can never quite put your finger on what, exactly, is happening and where it’s going to go.
Absolutely top draw stuff. Film of the year.
1. They are not similar films, this is just how my brain works sometimes) ↩
Tags: blog, film, thriller, 2024, essential
Author: KickingK
Date: Sunday April 28th, 2024
Most disturbing hair piece since Anton Chigurh
Oh, this is absolutely blistering. A tale of love, lust, domestic violence, revenge, steroid abuse and family legacies.
There’s a whole load of things going on here with the film knowing exactly where the lines are between comedy, horror, erotica, tension and thrills, and knows exactly how to dance around them. The level of control the director, Rose Glass, has over both the story and the audience is magnificent. By the end of the film you feel like your emotions and expectations are being played with like a cat teasing a mouse. And. It. Is. Great.
There’s Cronenberg-ian body horror, toxic masculinity satire, some genuine shocks, a little slapstick comedy, an ever escalating, ratcheting tension, terrific cinematography and Ed Harris’ hair.
Something this versatile shouldn’t be this focused or this good. But it is and it’s an absolute blast.
Tags: blog, film, thriller, 2024
Author: KickingK
Date: Sunday April 07th, 2024
Classy, comic heist movie
Abel, mourning the loss of his wife, can’t bring himself to welcome his mother’s new husband, freshly released from jail, into his life. Convinced he hasn’t renounced his criminal past Abel sets out, with the aid of his wife’s best friend, to find out the truth. Setting in motion a bizarre chain of events that could have dire consequences for everyone.
This is a bit of a delight. Frothy, funny and heartfelt, the whole thing zips along at pace. Every character is engaging and likeable, even when they’re being arseholes.
The heist, which the entire film is built around, is brilliant and (a rare thing for the heist movie genre) moving.
A lot of fun.