Edgar Wright is the kind of virtuoso director that gives action cinema a good name. In his hands, chases nimbly streak down city streets and fights are a symphony of intertwined punches and gun shots – when characters move, you have no choice but to pay attention, due to the sheer kineticism of his storytelling.
After bringing that contagious exuberance to his British Cornetto Trilogy – Shaun of the Dead, Hot Fuzz, and World’s End – he’s turned his focus stateside with his new film Baby Driver, a crime caper set in Atlanta. Fortunately, the change in setting doesn’t detract one bit from his trademark manic energy. And in fact, a special new element is added to his usual tale of a good guy trying to get out of a tough scrape – the vroom vroom of a car’s engine and the call of the open freeway.
Our good guy here is Baby, played with an appealing sweetness by Ansel Elgort. He’s in that arrested development place where he’s not a kid anymore, but still hasn’t assumed the heavy yoke of adulthood. But Baby’s not a typical 20 year old – instead of dealing with nagging parents or student loans, he lives with his deaf foster father (played by real-life deaf stand-up comedian CJ Jones) and works as the getaway-car driver for a crime syndicate headed up by Kevin Spacey’s Doc. And man can this kid drive. The opening heist, involving him and some bank robbers in a high-speed pursuit from what seems like every unit the Atlanta PD can deploy, involves so many break-neck turns and close calls, the audience I saw the film with broke into spontaneous applause at its conclusion. There’s no CGI on the screen, so it looks amazingly real (not too fast or too furious, if you get my meaning), so you’re gripping your armrest and holding your breath as they take another tight corner at over 100 mph.
Now that’s telling you a lot about the scene, but I still haven’t even mentioned the most important part – that the whole spectacle is set to “Bellbottoms” by the Jon Spencer Blues Explosion – a righteous jam that builds with the chase’s intensity and sets the stage for what is probably one of the most impressive fusions of visuals and music in modern cinema. As song after song rolls through with each scene (and you will be buying the soundtrack, so just go ahead and factor it into your budget now), sounds from the movie’s action are cut in to the beat – and not just the sounds you might expect like the swish of windshield wipers or the reloading of a glock – all the little noises we don’t normally register, as someone makes a peanut butter sandwich or sets down a thick stack of money, are incorporated too. It takes the concept of “diegetic” sound to a whole new level.
See, Baby always has a song playing in his head, usually through his earbuds, which start to just feel like an extension of his body – like the endless sunglasses and Ipods he shuffles through. He has to in order to drown out the ringing in his ears – a bothersome symptom of the tinnitus he got in a car crash years ago – the same crash killed his parents and resulted in him ending up in a kind of indentured servitude to crime boss Doc. The funky soundtrack drowns out something else for Baby too – the cries of the victims and bystanders who actually get hurt as a rotating cast of more hardened criminals – played with some really fun scenery-chewing by Jon Hamm, Jamie Fox, Jon Bernthal and more – enact Doc’s elaborate robberies. We see that Baby isn’t cut out for that life from the beginning – he’s the guy who goes out of his way to throw the old lady’s purse back to her, even as he steals her car to get away. But however loud he turns up the volume, he can’t deny that he is a part of it. And the moment he meets Lily James’ Deborah, a lovely and equally wide-eyed waitress with a yearning to get out of town, it all becomes about how he can leave behind the fast lane, for a shot at a normal life with her.
And so it becomes Baby and Deborah vs. the world. Someone calls them “Bonnie and Clyde” at one point and the movie does develop that romantic, fatalistic drive. How can their young love, which feels so pure, survive in a place where everything feels a little bit…well, bananas. Luckily they have Edgar Wright’s vision to keep them moving, one step ahead of the cops and robbers, and luckily we have him to keep us on the edge of our seats, toes tapping for the whole ride.
Director: Adhik Ravichandran
Starring: Ajith Kumar, Arjun Das, Trisha, Simran
Genre: Action / Crime Drama
Rating: 4.5/5
“Good Bad Ugly” centers on Red Dragon (Ajith Kumar), a notorious gangster who chooses to surrender himself in the hopes of turning over a new leaf and reuniting with his estranged son. However, when unforeseen threats emerge, Red Dragon is forced to step back into the dangerous underworld to protect the only family he has left.
“Good Bad Ugly” plays to the strengths of Ajith Kumar, delivering a fan-pleasing portrayal of both his vintage villainy and his matured emotional depth. Ajith’s powerful screen presence, coupled with his iconic voice, shines against Arjun Das’s brooding and intense new-age antagonist, creating an electric old-school versus new-school dynamic. The nostalgic return of Simran is a clever nod to longtime fans, bringing heart and familiarity. Trisha brings a strong, grounded performance as the moral compass in Red Dragon’s life, helping move the emotional threads of the story. The film smartly balances action, comedy, and sentimental fan-service moments.
While the film delivers on fan expectations, its narrative could have benefited from tighter pacing and deeper character development for its supporting cast. Some plot conveniences and an overreliance on nostalgia may limit broader audience appeal beyond the fanbase. Certain dramatic beats felt rushed, leaving little time for emotional resonance to fully land.
The ambition to blend high-octane action with heavy emotional stakes sometimes leads to tonal inconsistencies. At moments, the shift from gritty underworld drama to lighter fan moments feels abrupt. Additionally, though Ajith Kumar’s effort to showcase his dancing skills is commendable and welcomed by fans, it slightly disrupts the otherwise darker tone the film establishes.
“Good Bad Ugly” is a tribute to Ajith Kumar’s enduring legacy, offering vintage thrills while teasing new dimensions to his craft. It’s a solid entertainer that successfully taps into fan nostalgia while hinting at an exciting evolution for AK. While not without its flaws, the film’s heart, energy, and performances make it a must-watch for fans and a compelling action-drama for broader audiences.
In these uncertain times, you can’t beat a good old-fashioned horror movie. Unfortunately, Presence is not an old-fashioned horror movie. Yet, as I discovered, this is a good thing!
When I heard about the premise of this movie, I was intrigued. The stylishly subtle trailer was, appropriately, haunting. And was that Lucy Liu? A haunted house movie from the perspective of the ghost? As a seasoned horror movie buff, I was all in!
Like the majority of people I missed the films brief theatrical release. Luckily I was able to catch it on streaming. Visually the film is easy to enjoy from your own home, as it’s rather cosy looking. I never thought I’d be describing a horror movie as ‘cosy’ looking but it’s true! This is not a James Wan type creepy, dusty, decrepit house harbouring a haunting. No, this is a 100 year old jewel toned, oak finished colonial style home.
Despite this the story follows the beats we are all familiar with: troubled family of four move into a new house. The big deviation from the trope is we, the audience, are seeing events unfold from the POV of the ghost or presence.
Director Steven Soderbergh (Ocean’s Eleven) chose to film the entire piece using a small (14mm) hand-held digital camera. Soderbergh himself acted as the ‘presence’ following the actors around. From the audiences perspective it is like watching the family through a barrier or pane of glass. Cleverly, windows and mirrors are hugely prominent and integral throughout.
The presence mainly follows and tries to interact with the daughter of the family, Chloe (Callina Liang), who has recently suffered the trauma of her best friend dying suddenly. Through Soderbergh’s experimental filming, we feel the dysphoria and frustration the ‘ghost’ is feeling at trying to affect the world around it, particularly during the anxiety-inducing final scene!
However, in what could be yet another mismarketing of a film, the trailer promised to be the ‘scariest movie you will see this year’ and ‘terrifying’; instead, they delivered this subversive, character-driven, family drama. If you are expecting jump scares and dramatic music stings, this is not your movie. I could understand if someone was disappointed that the only seemingly scary thing is the mother’s and son’s relationship, right up until the gut-punch of the final scene.
Presence is definitely a slow burn, tension building until the final scene, and the unveiling of the ‘presence’ giving us a new understanding of the whole story. The ending is disturbing and stays with you as you re-analyse earlier scenes.
My one complaint is that the character Ryan (West Mulholland) with his Chesney Hawkes hair, perhaps needed more subtlety. The rest of the cast was completely solid and believable as a family with so many unspoken issues.
I wouldn’t recommend this film for everybody but maybe be as so bold to say it’s a horror movie for people that don’t like horror movies. It’s well-lit and cerebral with realistically flawed characters.
Presence is available to stream.
Three and a half stars.
Genre: Action, Fantasy, Martial Arts, Historical
Runtime: Each episode runs approximately 20-30 minutes
Director: Lin Hun (also the Creator)
Studio: Samsara Animation Studio
Main Voice Actors (Chinese Cast):Liu Zhi Shi as Wen Ren Yu Xuan Zhou Qi as Shen Nong Fang Yuan as Xuan
Overview
Fog Hill of the Five Elements is a breathtaking Chinese anime (donghua) that merges traditional Chinese ink-painting aesthetics with high-intensity martial arts action. Created and directed by Lin Hun, this series delivers a spellbinding visual experience that rivals, and in many ways surpasses, mainstream Japanese anime. Produced by Samsara Animation Studio, the anime is a labor of love, known for its hand-drawn animation and meticulous detail.
Set in a mythological world where elemental beasts roam free, the series follows the Five Elemental Envoys tasked with protecting humanity. The story focuses on Wen Ren Yu Xuan, the Fire Envoy, whose actions set off a chain of events threatening the delicate balance between humans and beasts. The tale is steeped in Chinese folklore and myth, weaving a complex narrative of duty, power, and sacrifice.
Without question, Fog Hill of the Five Elements is one of the most visually stunning animated series in recent memory. The blend of traditional Chinese ink wash painting with modern dynamic action scenes is masterful. Every frame looks like a moving scroll painting, with fluid character movements and kinetic fight choreography that puts many mainstream series to shame.
The characters are deeply tied to traditional archetypes found in Chinese legends but are fleshed out with emotional depth and conflict. Voice acting by Liu Zhi Shi, Zhou Qi, and Fang Yuan brings authenticity and gravitas to their respective roles. The dialogue is steeped in poetic language, enhancing the mythic feel of the story.
The soundtrack complements the epic visuals with traditional Chinese instrumentation mixed with modern elements. The sound design heightens the impact of every battle and emotional moment.
Rating: 9/10
Fog Hill of the Five Elements earns a 9 out of 10 for its groundbreaking animation style, deep mythological storytelling, and heart-pounding action. The only downside is its limited number of episodes and slow release schedule, which leaves fans craving more.
Pros
- Unparalleled hand-drawn animation
- Unique art direction inspired by traditional Chinese painting
- Rich mythological lore
- Epic fight choreography
Cons
- Sparse episode release
- Story pacing can be uneven at times
Final Verdict 9/10
If you’re an anime enthusiast or a fan of animation artistry, Fog Hill of the Five Elements is a must-watch. Its fusion of stunning visuals, martial arts action, and mythological storytelling makes it one of the standout titles in modern animation. Whether you’re into Japanese anime or Chinese donghua, this series deserves a spot on your watchlist.
Review of “Good Bad Ugly”
Presence: A Horror Movie For People That Don’t Like Horror Movies
Anime Review: Fog Hill of the Five Elements (Wu Shan Wu Xing)
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