Reel Review Roundup

Beetlejuice Beetlejuice (M)

Directed by: Tim Burton

Starring: Michael Keaton, Winona Ryder, Catherine O’Hara, Jenna Ortega

Review by: Julian Wright

It has been a lifetime since the afterlife’s biggest mischief-maker Beetlejuice (Michael Keaton) terrorised the dysfunctional Deetz family from beyond the grave; so what have the dead and the living been up to? It’s showtime.

Now a big city TV star medium, Lydia Deetz (Winona Ryder) is manipulated by her money-hungry manager Rory (Justin Theroux) and estranged from her moody teenage daughter Astrid (Jenna Ortega), who doubts her mum’s ability to see ghosts.

When Lydia’s dad Charles dies, she returns to the Winter River mansion on a hill, where she faced off with Beetlejuice, to grieve with her eccentric artist step-mother Delia (Catherine O’Hara).

But Astrid figures out how to enter the afterlife, and the only one that can help Lydia get her back is, gulp, Beetlejuice.

Beetlejuice Beetlejuice beefs up the character list, fleshes out backstory and motivations, expands upon the afterlife mythos, pumps up the comedic gore and explores death and grief.

Perhaps it was a conscious decision to over-stuff this sequel with twice the plot as a peace offering for making us wait so long for it.

It’s all very busy and at least two characters feel incredibly superfluous, despite their comedic contribution, but despite a bit too much going on, this proves to be a fun romp that almost matches the original’s off-kilter magic and atmosphere.

After a recent run of unfortunate films that suggested Tim Burton had lost touch with his imagination, this long-gestating follow-up, he seems to be back in his kooky comfort zone, and relishing the opportunity to revisit his former playground.

The cast is stacked, and Keaton steps back into the sleazy role as if no time has passed – the creation is uniquely his.

Meanwhile, O’Hara recaptures Delia’s narcissistic spirit, which is dialed up to hilarious levels in the wake her husband’s untimely death (how could he this to her?!), delivering some of the best comedic moments.

Newcomers range from serviceable to hilarious, and there are a couple of nice cameos for a game of celebrity spotto.

We have waited a long time, teased and tormented about Beetlejuice’s return, so was it worth the wait

It is another worthy wild ride through the strange and unusual.

I Saw The TV Glow (MA)

Directed by: Jane Schoenbrun

Starring: Justice Smith, Brigette Lundy-Paine, Ian Foreman

Review by: Julian Wright

Two outcasts bond over their shared love for a late-night television show in a deeply relatable story about the power of pop-culture.

Twelve-year old Owen (Ian Foreman) is a quiet kid without any friends, who spots 14-year-old Maddy (Brigette Lundy-Paine), a fellow introvert, reading an episode guide of late-night teen sci-fi television show The Pink Opaque.

The late time-slot prevents Owen from watching the show but his fascination and curiosity is fuelled by Maddy’s passion.

The two organise for Owen to watch it one night at her house, and so begins a years-long unlikely friendship and bond over this cult-hit show.

Anyone who spent hours theorising over The X-Files episodes, caught a quirky late-night program and discussed it with school mates, obsessed over Buffy, or exchanged theories on message boards will get a kick out of this on-screen representation.

I Saw The TV Glow recognises and celebrates fans of cult film and TV and understands the bond created between fans, who find escape in their favourite show.

What begins as a beautiful story about a friendship blossoming between two outcasts segues into a very surreal, David Lynchian experience that slowly loses some of the impact of what it initially sets up.

It’s deliberately slow pace is at times challenging, but as this heads into unusual and unpredictable territory, it is hard to disengage from this journey

While the later stages of the story do not match those that precede them, I Saw The TV Glow is a worthy trip into the beauty of pop-culture.

Strange Darling (MA)

Directed by: JT Mollner

Starring: Willa Fitzgerald, Kyle Gallner

Review by: Julian Wright

The less one knows about Strange Darling, the better – so this is going to be a short and sweet review of a bold twist on the routine slasher film.

A man and a woman in their 20s meet, hang out in his car outside a cheap hotel, share a couple drinks and cigarettes, and flirt.

They eventually consent to spending the night together – but a night of innocent fun between strangers turns into a deadly cat and mouse game of survival.

The set-up is familiar, and we all think we know where this is heading, the dread building slowly….until the rug is pulled out form under us and it turns out that very little is what it seems.

Cleverly told in non-linear style, with chapters unfolding out of order (a la Kill Bill), for maximum surprise, Strange Darling subverts at every turn to shatter and explore societal and film trope expectations.

The performances are strong, the approach is fascinating, with writer/director JT Mollner giving heavy nods to 70s and 80s horror aesthetics…and yet Strange Darling maintains an incredibly low-key vibe throughout.

One can’t help but want a bit more out of the experience, whether a deeper dive on its themes or even shock value.

But when cinema is currently littered with by-the-numbers storytelling, this is the fresh approach that is needed.

Drive Away-Dolls (MA)

Directed by: Ethan Coen

Starring: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein

Review by: Julian Wright

A cheeky lesbian road trip comedy that doesn’t shy away from sexuality and bouts of graphic violence? Sign us up!

Jamie (Margaret Qualley) is wild and outgoing with a thick southern drawl while Marian (Geraldine Viswanathan) is far more measured and reserved in her behaviour, yet the two are best friends.

When they decide to take a road trip to Tallahassee, the rental car they are given by the monotone owner turns out to have precious cargo sought after by a couple of violent goons Arliss (Joy Slotnick) and Flint (C.J Wilson), who begin pursuit.

Short on plot but abundant with wit, bright performances, genuinely funny gags, queer representation and a wicked sense of humour, Drive-Away Dolls is a breath of fresh air.

The leads are both knockouts, and there is a great turn by Beanie Feldstein as Jamie’s nutso ex-girlfriend cop.

Throw in a couple of amusing cameos and a cheeky twist (the contents of the suitcase is a hoot), and you have a winner.

It is also refreshing to experience a zippy comedy that is short, sharp, breezy, and to the point – at under 90 minutes, it is the perfect little distraction.

Baghead (M)

Directed by: Alberto Corredor

Starring: Freya Allan, Jeremy Irvine, Ruby Barker

Review by: Julian Wright

What would you do if you found a creepy old witchy woman who can channel the dead in your basement? For down-on-her-luck Iris Lark, it’s a chance to make big bucks fast.

Iris (Freya Allan) has no money and no home when she inherits a rundown pub after her estranged father, and pub owner, Owen Lark (Peter Mullan) dies.

Not only is it a temporary place to crash, on night two, grief stricken Neil (Jeremy Irvine) comes knocking with wads of cash wanting to clear the air with his dead wife via the creepy woman living in the locked basement.

As if basements weren’t creepy enough! But Iris sees dollar signs.

Of course, there are dire consequences that come with speaking to the dead.

This film ask a giant leap of faith of the audience, when in one single scene, Iris reconciles a crazy local, a witchy tenant, supernatural occurrences, a possession, and a lot of rules about her downstairs resident.

It is an intriguing set-up, that feels like it needed an extra beat or two to sink in.

Regardless, the atmospherics are on point and even the most hardened horror buff should get a few jolts out of it.

There are echoes of the recent Talk To Me, though where that explores flirtations with the dead as an addictive adrenaline rush, this is more about the need for closure with loved ones. Although the closure that Neil seeks offers us a delicious twist.

And there is a surprising amount of emotion weaved into this little chiller that, at first, comes off simply as a haunted pub flick.