Genre: Drama/ Action
Director: Clint Eastwood
Cast: Anthony Sadler, Alek Skarlatos, Spencer Stone, Judy Greer, Jenna Fisher 
Runtime: 1 hr 34 mins
Rating: PG13 (Some Violence)
Released By: Warner Bros 
Official Website: 

Opening Day: 8 February 2018

Synopsis: From Clint Eastwood comes The 15:17 to Paris, which tells the real-life story of three men whose brave act turned them into heroes during a highspeed railway ride. In the early evening of August 21, 2015, the world watched in stunned silence as the media reported a thwarted terrorist attack on Thalys train #9364 bound for Paris- an attempt prevented by three courageous young Americans traveling through Europe. The film follows the course of the friends lives, from the struggles of childhood through finding their footing in life, to the series of unlikely events leading up to the attack. Throughout the harrowing ordeal, their friendship never wavers, making it their greatest weapon and allowing them to save the lives of the more than 500 passengers on board.

Movie Review:

On August 21, 2015, Ayoub El Khazzani boarded the titular train service armed with a knife, a pistol, an assault rifle and nearly 300 rounds of ammunition. His attack was thankfully thwarted by a couple of brave passengers – including three American tourists: Anthony Sadler, Alek Skarlatos, and Spencer Stone – who wrestled, disarmed and subdued him before he managed to more than critically injure an American-born Frenchman on board.

After ‘American Sniper’ and ‘Sully’, you can see why director Clint Eastwood was drawn to their tale of real-life heroism; but unlike those earlier two films, his latest will leave you less in awe than aloof, owning to a leisurely narrative that doesn’t quite know what it wants to do aside from re-enacting those tense few minutes. Besides occasional cutaways to remind us just where it is all leading up to, the first hour is littered with random snippets of their lives together – beginning with their days in a Christian middle school in Sacromento where they first met each other, to Spencer’s pursuit of his dream to be an Air Force para-rescueman, to Alek’s tour as a National Guardsman in Afghanistan, and last but not least to their European vacation where they will make the last-minute decision to hop on that fateful train to Paris.

Oh yes, it is as dull as it sounds. Their pre-adolescent days are meant to illustrate how young Spencer and Alek bonded over their love for camo-wear and war games, while demonstrating their mothers (played by Judy Greer and Jenna Fisher) battling the headmaster’s stigmatisation of single mothers. Spencer’s journey through Air Force school shows his determination when he sets his mind to something, but also his subsequent disappointment when he fails to qualify due to eyesight issues. Alek’s brief stint in Afghanistan reveals his frustration at being essentially a ‘mall cop’. But worst of all, their days in Rome, Venice, Berlin and Amsterdam prior to that pivotal train ride are no more than a glorified travelogue, what with them cruising down Venice’s waterways or biking in Germany or clubbing in Berlin.

It isn’t difficult to guess what Eastwood is trying to accomplish – by showing Spencer, Alak and Anthony going about their daily lives with absolute verisimilitude, we are supposed to better appreciate how they are simply just three ordinary guys who stepped up with valour when the occasion demanded it. Yet these curated episodes from their respective lives don’t build up to anything meaningful, substantial or simply engaging in first-time writer Dorothy Blyskal’s script, which ultimately fails to acquaint us adequately with these characters, their personalities and motivations, and/or convince us that their lives thus far are indeed “catapulting them towards some higher purpose” as Spencer claims.  

If much of the first two acts comes off as mere filler, then the attack itself is nothing less than the highlight of the whole movie. Alas even then, Eastwood fails to deliver a genuinely nail-biting finale worthy of the wait – that’s partly because the actual physical struggle itself doesn’t last very long, and partly because little attention is paid to the other characters on board who also played significant parts in detaining the terrorist, including the aforementioned Frenchman Mark Moogalian. It is telling how much of the movie actually consists of that crucial event when we spend a good five minutes after the fact just watching then-French President Francois Hollande presenting them with the Legion of Honour, which Eastwood depicts using a mix of real and recreated footage. By the time the movie ends, you’ll be left thinking just how a few minutes of heroism does not a feature-length film make.

Similarly, it doesn’t mean that these real-life individuals are the best people to play their onscreen personas. Much has been said about Eastwood’s decision to cast Stone, Skarlatos and Sadler as themselves in a bid for non-professional naturalism, but the outcome is less awkward than authentic. With no disrespect to these three men, they come off stiff and wooden reciting Blyskal’s lines, leaving one to wonder if they would have been better served given the liberty to improvise. Ironically, Eastwood’s minimalist directing – which works best when his actors deserve the space to flesh out their characters – makes their performances look even more raw and unpolished, so much so that even their interactions sound forced.

In the end, ‘The 15:17 to Paris’ is a frustrating misfire from an auteur whose artistic choices here seem utterly misguided. In recreating the events of his characters’ lives before the main event, Eastwood seems to have rolled a Christian drama, a military drama and a holiday travelogue into one, but without proper character development to hold the disparate parts together, the result is pure tedium. Ditto his casting of three non-actors as their real-life selves, whose sheer inexperience in front of the camera negates whatever realism they might have brought with them. Don’t get us wrong – we’re not dissing or dismissing the courage that these men have displayed, but this slack, inert and enervating drama is hardly the tribute that they deserve. 

Movie Rating:

(There's Christianity, military and parties thrown in to turn a few minutes of heroism into a feature-length movie - and the result is as terrible as that hodgepodge sounds)

Review by Gabriel Chong

Genre: Horror/Sci-Fi
Director: David Freyne
Cast: Ellen Page, Sam Keeley, Tom Vaughan-Lawlor, Stuart Graham, Hilda Fay
Runtime: 1 hr 35 mins
Rating: NC-16 (Some Mature Content and Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 22 March 2018

Synopsis:  Years after Europe was ravaged by the Maze virus, transforming people into cannibalistic monsters, a cure is finally found. Senan Browne (Sam Keeley) is haunted by what he did while infected. As he returns to the home of his brother's widow, Abbie (Ellen Page), fear and suspicion threaten to plunge the world back into chaos.

Movie Review:

The premise of the film is an intriguing twist to zombie genre films that gain quite a lot of attention these days. The devastating Maze Virus that infected the European continent has finally found itself a remedy, and the next big question to ask is: What does it mean to be an ex-zombie?  

We find ourselves in Ireland, where 75 percent of the population have been cured, and there is a need for these rehabilitated individuals to be reintegrated into society after a lengthy stay in quarantine. Senan (Sam Keeley) is among the 75 percent and appears at the door of his sister-in-law Abbie’s (Ellen Page) apartment. Abbie is an widowed immigrant who has unfortunately lost her husband to the outbreak and works as a journalist, documenting Ireland’s transition into a post-zombie society. 

To me, The Cured is a special film because it is more than just a story of people eating people. Very much treated like an ex-criminal, those who were cured became hardly employable and often stigmatized – because they were remembered for their horrifying actions when they were monsters. The first half of the movie sets up its characters with immense tension and there is a healthy fusion of suspense and drama. We feel for the guilt-ridden Senan as he fears he may pose danger and harm to Abbie and her infant son Cillian (Oscar Nolan). Like many other ex-zombies, Sean deals with shame and nightmares from the memories they retained on what they have horrifyingly done during the infection. 

Another interesting character we see is Senan’s friend Connor (Tom Vaughan-Lawlor), who does not favor his new life as a shunned lower-class citizen as he sees the injustices facing him as the Cured. He gets a job no better than a janitor despite his former political aspirations, and just like many others of the Cured who show resentment towards the local government for their plans to kill all zombies, Connor starts an underground resistance movement that forms the main crux of the film. Tom’s acting here is remarkable as he negotiates finely between a disturbing villain and a character that is also pitiable. This makes Connor a compelling character in the film and Tom surely has delivered a solid performance.

While acting of other talents is commendably decent, one of the letdowns of the film was the jump scares that we are pretty familiar with, littered throughout the film. And expectedly, music cues us to the third, final act of the film where we get a spectacular horror of how Connor’s resistance movement eventually plays out. Having said that, The Cured is nonetheless extremely successful in creating a tense atmosphere and there are also moments in the film that tug at your heartstrings.   

The Cured is more than just about fleshing-eating people. It is a message of people who are marginalized by society and the film can be interpreted as a potent sociopolitical allegory of many world’s issues today – from issues of immigration and xenophobia to terrorism and war, as well as the Northern Ireland conflict itself. Instead of being a zombie-horror film, The Cured is closer to a psychological drama-thriller that delves into these pressing issues we see on the news everyday and the concept of zombies is a mere façade that represents the marginalized individuals we see across societies. Perhaps the only horrifying element retained in the film is the subtle hint that evil is in the nature of human beings as themes of love, forgiveness and atonement surfaces. 

Movie Rating:

(Interesting twist to the recent slate of zombie films that set you thinking about pressing, real-world issues. Sometimes, it may not be zombies that kill; it could be the people)

Review by Jason Lee

TRAILER WATCH - VENOM Posted on 09 Feb 2018 We all have our own problems, as Tom Hardy intones over this new teaser trailer for Venom. Our own issues. Our own…demons. “You used to be one thing,” Hardy’s narration continues, “now you’re something else.”The teaser doesn’t show us what that something else will look like, but the build-up is pretty intense. We see, in flashbacks, that some ... more

TRAILER WATCH - LIFE OF THE PARTY Posted on 09 Feb 2018 in the same vein as the 1986 Rodney Dangerfield classic Back to School, Life of the Party follows recently dumped housewife Deanna (Melissa McCarthy), who is looking for a new lease on life by going back to college — and it just so happens it’s the same college her daughter attends. Plunging headlong into the campus experience, the increasingly outspoken Deanna — now Dee Rock ... more

TRAILER WATCH - I FEEL PRETTY Posted on 09 Feb 2018 After last summer's dud 'Snatched', Amy Schumer is backas an ordinary woman who struggles with feelings of insecurity and inadequacy on a daily basis and wakes from a fall believing she is suddenly the most beautiful and capable woman on the planet. “I’ve always wondered what it would feel to be undeniably pretty,” Schumer ponders in the trailer. Cut to a fall ... more

Genre: Comedy/Animation
Director: Will Gluck
Cast: Rose Byrne, Domhnall Gleeson, Sam Neill, Daisy Ridley, Elizabeth Debicki, Margot Robbie, James Corden
Runtime: 1 hr 33 mins
Rating: PG13
Released By: Sony Pictures Releasing International
Official Website: http://www.peterrabbit-movie.com

Opening Day: 1 March 2018

Synopsis: Peter Rabbit, the mischievous and adventurous hero who has captivated generations of readers, now takes on the starring role of his own irreverent, contemporary comedy with attitude. In the film, Peter's feud with Mr. McGregor (Domhnall Gleeson) escalates to greater heights than ever before as they rival for the affections of the warm-hearted animal lover who lives next door (Rose Byrne). James Corden voices the character of Peter with playful spirit and wild charm, with Margot Robbie, Elizabeth Debicki, and Daisy Ridley performing the voice roles of the triplets, Flopsy, Mopsy, and Cottontail.

Movie Review:

Just by looking at the original artwork of English writer Beatrix Potter’s children book The Tale of Peter Rabbit, you wouldn’t think the titular character is a mischievous and disobedient rabbit. On the contrary, you’ll think that he is docile, gentle, kind and polite. With the lovely hand drawn illustrations, Peter Rabbit could easily be a character from the world of Winnie the Pooh, another well loved talking animal living in a world set against pastel coloured backdrops.  

Imagine our slight shock when Peter Rabbit was introduced as an animal who wears a shirt and no pants. It doesn’t stop there - you also get singing birds rudely interrupted by a rushing Peter Rabbit, as well as a human being who wants to blow up Peter Rabbit and his siblings for being a nuisance.

Not that we are complaining, because the 93 minute movie is sometimes clever, mostly funny and moves at a much appreciated brisk pace to satisfy everyone in the family.

Directed by Will Gluck (Annie) and based on the series of books created by Potter, the screenplay written by Gluck and Rob Lieber adds a modern touch (many movies based on classics are taking this approach now) and visualise the series of (mis)adventures Peter and his friends go through.

Essentially, the movie is about Peter Rabbit's ongoing dispute with the human ‘antagonists’. There is an old man who drops dead after being shell shocked by Peter Rabbit, as well as distant relative who is ambitiously obnoxious. Things change when a charming animal lover comes into the picture, but it seems like there is some sort of rivalry for the girl – will man or rabbit prevail?

Yes, this definitely doesn’t sound like a story based on children books (there is a death!), and we aren’t really sure whether the message will go down well with the young ones (there is rivalry between a man and an animal over a woman!) – but this is what you get when you have a movie marketed as an “irreverent, contemporary comedy with attitude”.

It’s not a bad thing though, because adults can also be entertained by the cynical jokes while kids go gaga over the cute animals. Thanks to technology, the CG animation is perfectly executed too. Of course, it helps that popular talk show host James Corden (The Emoji Movie) lends star power by headlining the production by voicing Peter Rabbit. His fellow voice actors include Margot Robbie (I, Tonya), Elizabeth Debicki (Guardians of the Galaxy Vol. 2), Daisy Ridley (Murder on the Orient Express) and singer songwriter Sia.

Naturally, human actors leave a deeper impression. Domhnall Gleeson (Goodbye Christopher Robin) experiences great pain to play the man who gets tortured (physically and mentally) by the rabbit, while Rose Byrne (Bad Neighbours 2) plays the sweet female protagonist based on Potter’s real life character. After the hilarious cameo appearance in Thor: Ragnarok, Sam Neill is unrecognisable again as a grumpy old man.

Is this a comedy meant for suitable for family bonding over the weekend? Yes. But is it a heartwarming movie filled with positivity and encouraging messages? Parents will probably have to do some explaining.  

Movie Rating:

(The visually appealing comedy features a very funny but sympathetic Domhnall Gleeson, and a cute but occasionally offensive CGI bunny voiced by James Corden)

Review by John Li

SYNOPSIS: Using a magical photo booth that sends him back in time, Noah relives the night he met Avery over and over, trying to persuade her to fall for him. 

MOVIE REVIEW:

With Valentine’s Day round the corner, Netflix’s latest original rom-com, When We First Met is Groundhog Day meets Back to the Future although the time-travelling part is not exactly discerning. It’s basically a nonsensical comedy about laying your hands on your dream girl instead of life consequences in case you are wondering.

The movie opens with Noah (Adam Devine from Pitch Perfect and Mike and Adam Need Wedding Dates) starring blankly at his crush, Avery (Alexandra Daddario from Baywatch) getting engaged to hunky Ethan (Robbie Amell). It turned out that Noah has a shot at being Avery’s boyfriend at a Halloween party three years ago. However, the night ended when Avery declared Noah as her best guy friend thus instantly crushing Noah’s dream.  

When Noah accidentally discover an old photo booth in the jazz club he is working at has the ability to send him back in time, Noah decides to win back Avery from the clutches of Ethan by continuously sending himself back after every failed attempt.

For the record, there’s nothing inventive or original about When We First Met. The entire story is clobber together from nearly every time travel movies from the past years, there’s even a Big homage if you are old enough to be familiar with the 80’s Tom Hanks comedy. Still, leading man Adam Devine is such a smooth operator that you wouldn’t mind tagging along with this goofball. Watching him being smashed by a tree, sing and play jazz and being an asshole is far more entertaining than the whole premise.  

Despite being a middling effort, there’s a sweet, endearing turn around for Noah in the last act. Real-life relationships don’t always have a perfect ending, don’t they? When We First Met is the sort of perfect movie for Netflix. It’s too expensive to screen this budgeted title on the big screen plus no one will bother to pick this one on DVD thus streaming is the only best way especially for those who wish to spend Valentine’s Day on a budget.

MOVIE RATING:

Review by Linus Tee

Genre: Animation
Director: Eisaku Kawanami
Cast: Nobunaga Shimazaki, Tatsuhisa Suzuki, Tsubasa Yonaga, Daisuke Hirakawa, Mamoru Miyano
Runtime: 1 hr 35 mins
Rating: PG
Released By: Encore Films 
Official Website: 

Opening Day: 22 February 2018

Synopsis: In the last summer before graduation, Haruka Nanase (voiced by Nobunaga Shimazaki), a third-year student at Iwatobi High School, finds himself lost and uncertain about his future after graduation. An extraordinary freestyle swimmer, Haruka; however, deliberates from becoming a professional competitive swimmer, because it goes against his beliefs. Haruka sets his mind on swimming the relay at the Nationals for one final time with his teammates Makoto Tachibana (voiced by Tatsuhisa Suzuki), Nagisa Hazuki (voiced by Tsubasa Yonaga) and Rei Ryugazaki (voiced by Daisuke Hirakawa) of the Iwatobi Swim Club. His teammates notice a change in him, as he seems to have given up on individual freestyle swimming, which he loved. Makoto, especially, is worried about Haruka, but a misunderstanding arises between them, as they draw closer to the Nationals.

Movie Review:

Free! - Timeless Medley - The Bond is a Japanese sports anime movie, based on a light novel, High Speed. The Free! series started off with the television anime in 2013, grew its popularity and the second season was released in 2014. The third season is also in the pipeline, targeted for release this summer.

The sports anime category is quite a popular genre in Japan. Other than Free!, a few other anime series such as Kuroko’s Basket and Haikyuu!! are also well received. Unlike sports anime in the past like Slam Dunk, recent sports anime no longerly solely focus on the sports itself. While sports is still the threading theme, it is really more about the passion towards the sports and the relationship built over sports. That’s exactly the premise of the movie, Free! - Timeless Medley - The Bond.

For the uninitiated, it will probably surprise you to be caught in an audience that squeals at the appearance and ‘cute’ gestures of the well sculptured animated swimmers. That’s the popularity and fan following the series has gained, even in Singapore. While each of the characters from Iwatobi Swim Club has a distinct character and are nicely designed, the narrative for the movie lacks depth. Not only was it a clear ‘fan service’ session with many flashbacks and references to earlier Free! series, the secondary story arc was also a clear steer to give airtime to the second lead of the movie, Makoto.

The primary story arc talks about Haruka and his struggle to continuing swimming. He entered a phase of uncertainty and frustration, otherwise as growing up, as they enter the last year of high school (equivalent to our JC2 or Polytechnic Year 3). When made to think about the future, he doesn’t see himself swimming competitively as he never believes in swimming to win. Having realized Haruka’s struggles, Rin brought him on a spontaneous journey just days before the nationals to help Haruka re-discover his true passion and aspiration. What happens after is then fairly predictable…

While the interactions between the boys are indeed ‘cute’ and ‘adorable’, overall it felt cheesy and the excitement derived from the competitive sports was missing. Success of a sports anime these days is not only measured by how infectious the passion for the sports is, it’s also important to be entertaining. Comparing to animes in the same category like Haikyuu!! and Kuroko’s Basketball, Free! wasn’t as humouring. Even some parts in the movie felt awkward; for example, the English voiceovers (the accent for the setting was wrong and the voice acting felt unnatural).

All in all, Free! - Timeless Medley - The Bond doesn’t hit at the sweet spot. While the popularity of the series is backed by the animation awards and fans following, the movie is perhaps not the right starting point.

Movie Rating:

(Fans will love it! But for the rest of us, no loss in passing on it)

Review by Tho Shu Ling

Genre: Romance/Erotic
Director: David Foley
Cast: Dakota Johnson, Jamie Dornan, Eric Johnson, Rita Ora, Luke Grimes, Eloise Mumford, Marcia Gay Harden, Bruce Altman
Runtime: 1 hr 46 mins
Rating: R21 (Sexual Content)
Released By: UIP
Official Website: http://www.fiftyshadesmovieintl.com/index.php

Opening Day: 8 February 2018

Synopsis: Jamie Dornan and Dakota Johnson return as Christian Grey and Anastasia Steele in Fifty Shades Freed, the climactic chapter based on the worldwide bestselling “Fifty Shades” phenomenon. Bringing to a shocking conclusion events set in motion in 2015 and 2017’s blockbuster films that grossed almost $950 million globally, the film arrives for Valentine’s Day 2018.Believing they have left behind shadowy figures from their past, newlyweds Christian and Ana fully embrace an inextricable connection and shared life of luxury. But just as she steps into her role as Mrs. Grey and he relaxes into an unfamiliar stability, new threats could jeopardize their happy ending before it even begins.

Movie Review:

You’d probably be able to find more than 50 reasons to criticise the ‘Fifty Shades of Grey’ trilogy, but then again, why even bother if you intend to catch this final chapter of E.L. James’s erotic romance series?

True to its title, returning director James Foley (who shot this back-to-back with the earlier instalment ‘Fifty Shades Darker) and screenwriter Niall Leonard have approached this sequel completely unshackled from the bounds of critical opinion. This one is for the fans, for the ones who have followed Christian Grey (Jamie Dornan) and Anastasia Steele (Dakota Johnson) through their on-off-and-on relationship, and for the ones who simply want to see them have that happily-ever-after which James smartly and duly accorded his readers at the close of the third book.

No wonder then that their backstory in the first two movies is found right at the end of this movie, but in case anyone needs a refresher, Anastasia had accepted Christian’s marriage proposal after his near-death experience hatched by her vengeful former boss Jack Hyde (Eric Johnson). So appropriately, the opening credits chronicle their wedding ceremony as well as their subsequent jet-setting honeymoon in Paris and Cote d’Azur, culminating in one of the more sexually titillating sequences involving a yellow bikini and two pairs of handcuffs. Notwithstanding, Christian decides to cut short their holiday when he is informed by building security that someone had broken into his company and detonated an explosive device in the server room – and to no surprise, Anastasia recognizes from the CCTV footage that the person is none other than Jack himself.

As much as the whole kerfuffle with Jack inserts a heretofore unseen element of danger, ‘Fifty Shades Freed’ is still very much about Christian and Anastasia’s evolving romance. Whereas the earlier films were about their struggle between domination and submission, this one sees them navigate much more conventional territory as they get used to life as husband-and-wife – whether is it fighting over whether Anastasia should retain her maiden name at work, or thinking about if and when to have kids, or even seeing one’s close friends a lot less often than before. While Anastasia still very much lives in a fantasy of luxury cars, private jets and overseas holiday homes that most of us can only dream about, it is somewhat heartening to see her and Christian wrestling with the type of issues that us mortal newly married couples grapple with.

Even if you haven’t read the book, it’s not difficult to guess that their seemingly trivial disagreements will eventually boil over, but find their resolution when Jack makes a dramatic return to threaten their lives. Truth be told, the whole thriller subplot is rather laughable, given how Jack manages to evade Christian’s three-man security detail (played by Max Martini, Brant Daugherty and Kirsten Alter) to break into his apartment but come up with some hare-brained kidnapping ploy that Anastasia manages to outsmart in the blink of an eye. At least then the build-up remains bearably convincing, illustrating how couples tend to get back at each other in self-destructive ways or revert to their individualistic past selves that only further undermine the fundamental basis of trust that binds any and every marriage. Oh yes, beneath its (ahem) skin-deep pleasures, there are relatable lessons one can draw from Christian and Anastasia’s marriage dynamics, which makes for an unexpectedly riveting watch.

As in its predecessors, Johnson is very much the emotional centre of the whole film, perfectly balancing strength, vulnerability and resilience in her performance. Dornan may appear a lot less expressive but there is no doubting the rapport, even chemistry, between him and Johnson that’s been built up over the course of three movies – and it shows in the many physically intimate scenes that they share. Although the story belongs to them and them alone, it is nonetheless lamentable that none of the other supporting characters and consequently their actors matter much, so much so that even the likes of Marcia Gay Harden and Jennifer Ehle have little to do.

But like we alluded to at the start, such gripes are likely inconsequential to fans of the series, who will certainly be pleased that this adaptation remains faithful to the book. They are also the reason why ‘Freed’ seems unfettered from the demands of critics (who, if they haven’t fallen in love with ‘Grey’ by now, probably aren’t going to) or cynical viewers (who take pleasure in scoffing and sniggering at the proceedings). Much as we didn’t love it as much as the fans probably do, we don’t think it deserves some of the vitriol that’s been thrown at it. This is through and through a modern-day wish-fulfilment fantasy romance (how many of us can even smell wealth like Christian’s?), with some occasional skin and S&M thrown in for good measure – and if that’s your poison, well then go ahead and fall under its spell. 

Movie Rating:

(You should know by now what you're in for - romance, sex, and domination/ submission - and if you free yourself to enjoy it on its terms, you'll find this a satisfying climax)

Review by Gabriel Chong

Genre: Horror/Thriller
Director: Sergio G. Sanchez
Cast: George MacKay, Anya Taylor-Joy, Charlie Heaton, Mia Goth, Matthew Stagg, Nicola Harrison, Kyle Soller, Tom Fisher
Runtime: 1 hr 50 mins
Rating: PG13 (Some Violence)
Released By: Golden Village Pictures 
Official Website: 

Opening Day: 22 February 2018

Synopsis: After their mother's death, Jack and his siblings struggle to survive on their own, hiding from the world and with no other place to go, when a threatening presence begins to haunt the old house.

Movie Review:

In a crumbling old house, at the top of the stairs, a mother (Nicola Harrison) draws a line in the dusty floor and announces, “our story starts here”. As her four children step over the boundary, the audience also gets pulled into a narrative that’s inventive and original, but also bewildering and occasionally frustrating.

Former screenwriter of The Orphanage Sergio G. Sanchez shifts gear into the director’s chair, and his debut effort Marrowbone is similarly drenched in brutal human tragedies, unfortunate alignments and psychological horror. While the surface story is one of a family escaping their dark past, the Spanish director soon introduces the strains of human confinement and supernatural suspicions into the plot, adding layers of conflict and unease into Marrowbone.

This begins when the matriarch dies from a mysterious ailment early in the movie, and the eldest son Jack (George MacKay) rallies his second brother Billy (Charlie Heaton), only sister, Jane (Mia Goth) and his youngest sibling, Sam (Matthew Stagg). The group vows to be together forever, and we can already feel the ominous implications.

They agree to stay confined in the house to avoid discovery, at least until Jack turns 21 and can become legal custodian. But history has a habit of making its presence known. Their father whom their escaping from is a cruel person, and in shocking fashion, announces his arrival with a warning bullet through the window. At this point, the film fades away and we return to a seemingly normal routine, with parent oddly absent and some rather peculiar new behaviour from the children.

All would seem well, except a frightened Sam would often complain of ghostly noises, but a friendship with their charismatic and open-hearted neighbour Allie (Anya Taylor-Joy) lends some warmth to the going-ons.

When assigned lawyer Tom Porter (Kyle Soller) makes some discoveries, especially about the vicious history and hauntings, that’s when things spiral out of control for the family.

Marrowbone flits from topic to topic, and genre to genre, usually strongly handled with Sanchez’s deliberate pace and clues. However, the film does suffer from having too many balls in the air at times, which may annoy some audience members who prefer their stories linear. Remember the fade-to-black earlier after the jarring entrance of the father? The reveal only comes near to the end.

The movie serves up adequate payout, so will no doubt keep goers happy, but Marrowbone’s strongest play comes from the namesake cast.

MacKay holds the fort as he struggles to be the new guardian of the family, clearly sacrificing both physical and mental resources to keep the family safe from harm. Heaton’s Billy may be a little flat, but is luckily bolstered by Goth who comes on tenderly as a voice of reason for the brothers. But it is the unfiltered innocence of Stagg that steals the show.

Clearly this clique of Spanish horror film makers know a thing or two about casting young uns. In a film where all of the characters seem to be under a curse, Stagg’s Sam is disarmingly authentic and lovable. And it is this that makes for some of the film’s best scenes, when he comes face to face with the spectres of the house. With his glittering blue eyes and naive voice and questions, Sam’s lines felt incredibly unscripted, and played up the emotional investment when the family was in trouble.

The film’s luscious cinematography is also a clear treat. Coastal scenes and golden hues dominate the magical and few great outings, while colours, textures and sounds close in for a claustrophobic effect whenever we’re in the house.

Marrowbone clearly cuts a new path with its visual and story narrative, but can benefit with less deliberation and just a wee bit more scares. But Sanchez is definitely one to watch. 

Movie Rating:

(Gorgeous period horror mystery is laden with painful circumstances and a few calculated twists, but offers some refreshing narrative choices and performances to win the day)

Review by Morgan Awyong