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Jolt Review | Lacks Any Spark

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You know that feeling when you get so riled up and so angry that you just want to take your anger out on something or someone? Well due to a lifelong, rare neurological condition dubbed as Intermittent Explosive Disorder, Lindy, played by Kate Beckinsale, does just that in the new action-thriller Jolt.

Lindy is a beautiful and sardonically funny woman, but she’s been unable to live properly due to this condition that she keeps a secret from everyone else. Because of this condition, she experiences sporadic rage-filled murderous impulses. Whenever she sees someone being cruel, deceitful, abusive, or even just a little bit annoying, Lindy reacts violently, normally leaving them in a lot of pain. And there’s only one way that she can stop these impulses. Lindy’s physician Dr Munchin (played by Stanley Tucci) has created an experimental vest that Lindy can wear so that with the press of a button, it sends electric shocks to her brain that stabilizes her and stops her violent impulses.

The film, written by Scott Wascha, provides a really interested premise, one that you know will result in lots of violence. And that’s what happens. Lindy’s never been able to find love or companionship in the world because of her condition until one day she has a date with Justin (Jai Courtney) and she feels a strong connection with him. Unfortunately, she finds that he’s been murdered the following day. Heartbroken and enraged, she embarks on a revenge-filled mission to get to the bottom of it and find who killed Justin. All while being chased by the police who think Lindy is the prime suspect.

The film sets itself up with a lot of potential, but it never really fulfils any of that potential. It never manages accomplish any of the things it sets out to achieve. None of the action scenes are especially memorable. And that’s a big missed opportunity as a film about a woman who pretty much snaps and rages out of control at the smallest things should provide some really great action scenes. But instead, Jolt provides a few short action scenes that never really show much imagination or bring anything exciting to the table.

The film has a few funny moments and there are a couple of amusing juxtapositions as we do see brief glimpses of Lindy snapping and letting loose on people on a few different occasions, but the film is never funny enough to warrant it being an action-comedy. At its centre, the film is an action-thriller but there’s not tons of action and it isn’t particularly thrilling either.

As well as this, Jolt never really explores the character of Lindy that much despite the fact she could have been a character of great interest. She’s a person marked by an endless toggle between hope and despair as she can never experience love or normalcy and she’s trapped in a state of limbo, and yet the film never really dives into this or embraces this character fully so that she does just become a bit of a generic action protagonist. Yes, it’s nice to see a bad-ass female leading the film and Kate Beckinsale does a good job as Lindy, it’s just that the character is never treated with as much personalism as she should be.

To add to that, the film’s final act definitely brings it down another level. Firstly, the film has a bad and predictable twist that to some extent, undermines pretty much the rest of the film. What should be a really exciting action-packed final showdown ends up being quite lame and boring leaving you wanting, and expecting something a bit bigger and more exciting. And to top of the film’s bad ending, the final scene is just unnecessary sequel baiting that will look very out of place if a sequel is never made. Whilst the film does have a good premise, Jolt never inspires as much as it should do and it’s never entertaining enough to deserve a sequel despite the tagged on final scene setting up future adventures.

There was certainly a lot of promise in this film but ultimately it ends up being very bland and forgettable with inadequate entertainment value.

★★☆☆☆

Jolt is released on Amazon Prime Video July 23rd

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My Little Pony: A New Generation

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Like many cinematic universes so called phases, My Little Pony has come in stages. My Little Pony: A New Generation is the latest adventure based on Hasbro’s toy range created over 35 years ago. Its become one of the company’s biggest brands on toy shelves around the world, so with this latest interpretation of the franchise now in its fifth generation takes off as a fully CGI standalone film on Netflix. 



Set in the same world and years after the events of the Friendship is Magic series, A New Generation shows that Earth ponies, Unicorns, and Pegasi all live in fear of each other. But one earth pony Sunny voiced by Vanessa Hudgens has been raised differently and believes that the different species can be trusted, and she wants to build bridges so that they can all be friends again. However when a young unicorn, Izzy (Kimiko Glenn) , turns up in Maretime Bay, Sunny helps her escape. Going against her community, including childhood-friends-turned- local-law-enforcement Hitch (James Marsden) and Sprout (Ken Jeong), Sunny sets out with Izzy to contact the Pegasus community. There, they befriend Princess Zipp (Liza Koshy) and Pipp (Sofia Carson) and start to unravel the story behind the separation of the various pony communities. 

© 2021 Hasbro, Inc.

The new generation of Ponies set out on an adventure to prove that friendship is for every pony. this is my introduction to the franchise which seems to be a new renaissance for My Little Pony, but all jokes aside it truly was a lot of fun. It’s full of colour and positivity with themes of overcoming your fears and overall the powerful magic of friendship. You could also easily see the political messages in this film, however the target audience aka the young viewers will skip past that and enjoy the sweet characters and sparkly tone and songs featured in the film. 

Speaking of music, many of the songs find parallels with real life as the New Generation characters sing about welcoming others rather than building walls as a marching mob of ponies brainlessly out of fear follow their leader. Another aspect shows how a sheriff’s badge creates an unhealthy power dynamic. The film never gets too heavy as we are in Equestria, with its visually rich magical settings, heart and humour and great music. 

The star-studded voice cast truly bring these ponies alive. Vanessa Hudgens, Kimiko Glenn, James Marsden, Sofia Carson, Liza Koshy, Elizabeth Perkins, Jane Krakowski, Phil LaMarr, Michael McKean and Ken Jeong make up an impressive cast that performs a variety of songs ranging from edgy rock tunes to full on Broadway showstoppers. 

© 2021 Hasbro, Inc.

The animation is magical as the filmmakers have brought these Ponies into the CG world for the first time. They have built a colourful and modern take as each pony is given the same amount of care, making them look unique from one another, they’re very expressive thanks to the animators.



There’s tons of details that make the film aesthetically pleasing, such as the gold marbled city where the pegasus’ live to the old lighthouse that’s home to Sunny overlooking Maretime Bay. It’s also filled to the brim with product placements but with a pony twist. For example the film advertises Judgment Neigh, complete with an Arnold Schwarzenegger Terminator inspired unicorn.

© 2021 Hasbro, Inc.

My Little Pony: A New Generation is surprisingly pleasing to the eyes and young children no doubt will especially enjoy it.

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Dear Evan Hansen | Review

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In the space of just 2 films, The Perks of Being a Wallflower and Wonder, Stephen Chbosky has shown just how great a grasp he has on the minds of the young. He tackled big issues of mental health and self-acceptance in both of these films and now he’s back with another film about anxiety and mental health issues, this time in the form of an adaptation of the Broadway phenomenon Dear Evan Hansen.



Despite being 27 years old, Ben Platt plays 17-year-old Evan Hansen as he did in the original Broadway production. Evan is a high schooler with social anxiety that unintentionally ends up getting tangled in a web of lies after the suicide of one of his classmates Connor. Connor’s parents mistakenly think a letter that Evan wrote to himself (and addressed ‘Dear Evan Hansen’) was their son’s suicide note.

One of the problems with Dear Evan Hansen as a film is this problematic plot. Having not seen the original stage production I can’t comment on if the show also has this problem but there’s something about this plot that just doesn’t sit right. And the more I think about it, the worse it seems to get. A huge part of the plot is that Evan lies about being friends with a boy who just committed suicide and essentially deceives the grieving family members. This just doesn’t feel right, nor does it feel like this should be a character that we’re meant to side with. There is a bit more to it in the film and it makes sense why Evan goes down this route within the context of the film, but it’s not entirely dealt with in the best manner.

In fact, everything to do with anxiety and mental health issues in Dear Evan Hansen is quite on the nose and not particularly nuanced which is very surprising given the film’s director. Unfortunately, the problematic story seems to lead the way for much of the film’s issues. However, whilst watching the films these problems never felt like they were at the forefront of my mind and I did enjoy watching the film for almost all of its entirely overlong 2 hours and 17 minute runtime, but it’s only afterwards that it leaves a bit of a sour taste in the mouth and the problems start to shine through a bit more.

The film tries to tackle big, but important issues surrounding anxiety in teenagers and suicide, but it struggles to achieve this. Connor’s suicide is washed over in order to focus on Evan’s character but even Evan’s anxiety isn’t handled well and it seems to disappear every time the film is in need of another musical number. The music however is one of the highlights of the film. Some of the songs, in particular some of the more well-known ones from the play, including “You Will Be Found” and “Waving Through a Window” are excellent and really stir up strong emotions inside you, making Dear Evan Hansen an entertaining watch.

As well as the music, the cast are excellent too. Once you see past the fact that Ben Platt doesn’t look like a teenager, you can accept his excellent performance. He sings the songs to perfection and has really nailed the character after all these years of playing Evan Hansen. Of the supporting cast Kaitlyn Dever shines as Connor’s sister Zoe and Julianne Moore is excellent in the role of Evan’s mother. Amy Adams, Danny Pino and Amandla Stenberg help to round off the supporting cast, all putting in worthy performances.

Beyond the plot there are some problems on the technical side with the editing being a little jarring at times but the biggest issue Dear Evan Hansen is faced with is the melodramatic, manipulative and sappy plot that just doesn’t strike the chord it’s trying to. Its heart is in the right place and Chbosky very nearly had another fantastic exploration of mental health amongst teenagers but unfortunately, he doesn’t quite hit the mark this time.



Dear Evan Hansen is an entertaining watch with exciting musical numbers and great performances however upon greater reflection, the story is a complete mess. Certain emotional beats really hit you hard and provide the emotional depth that we’ve come to expect from Stephen Chbosky’s work and the final 45 minutes do redeem the film greatly. But a film about-and this is a slight oversimplification of events- a film about a teenager lying to a grieving family about being friends with their son who’s committed suicide is never going to end well and really isn’t handled with much nuance or sophistication, and ultimately the end result leaves you let down and wanting better despite the uplifiting and joyous songs.

Dear Evan Hansen is released in US cinemas on September 24th and UK cinemas on October 22nd

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Dune – Movie Review | Venice Film Festival Review

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Before we get started. Word of Advice: See it in IMAX! That’s all.

This was the big one. Literally. Out of all the films at Venice, Denis Villeneuve’s Dune was indisputably the big ticket film on this years festival. Not only in terms of (IMAX) size, scale, scope and star-power but also in terms of how much hangs in the balance.



Many have tried before to adapt Frank Herberts’s renowned sci-fi novel before with varying degrees of success. But if anyone seemed like the right fit to take on Herbert’s space epic and do it justice, it was Denis Villeneuve. The man’s CV speaks for itself, with recent sci-fi gems like Arrival and Blade Runner 2049 under his belt. But with Villeneuve’s decision to split the acclaimed novel into 2 parts and Warner Bros controversial decision to release the film both in cinemas and on HBO Max at the same time. Many were worried (myself included) that we might see another repeat of what happened to Blade Runner 2049 – raved by critics but poor box office performance. Will Villeneuve’s blend of mainstream grandeur and artistic integrity render Dune part 2 doomed to exist?

Well, fear not. After an uproarious response from critics and cinemagoers at Venice and TIFF. I would bet my first born child that Villeneuve will get to see his vision come to fruition with Part 2. People would riot if he didn’t because the film is simply too damn good. Warner Brothers have offically stated that as as long as Dune’s numbers are strong on HBO Max then part 2 will be green-lit regardless of box office numbers.

I can only imagine what a relief that must feel to the die-hard Dune fans but for someone like myself who had zero knowledge of the books and previous adaptations going into Dune, I too am beyond ecstatic to know I’ll get to see how part 2 will play out.

The added benefit of never having read the book or having seen David Lynch’s 1984 version or the early 2000’s TV series, is I had no preexisting knowledge or expectations for Villeneuve’s film. I had nothing to compare it too so I could go in as a blank slate and judge objectively for myself.

I will admit after reading the synopsis, I was worried that a story so vast as this would be a challenge for me to keep up. Thankfully that was not the case. Not once did I feel lost watching Dune. The exposition is handled extremely well. Villeneuve has taken newcomers by the hand and explained the universe in a way that is very easy to digest. So those worrying it might not be accessible to all audiences – if I can keep up with it, then anyone can.

The year is 10191. Duke Leto Atreides (Oscar Issac) of Calden is tasked by the emporer with the stewardship of the deadly desert planet of Arrakis (also known as Dune). Arrakis is home to the most valuable resource in the universe known as spice which can extend a human life span and is the key to space travel. So naturally, whoever holds Arrakis holds the power.

Leto intends to mine the planet for spice but he also takes his Concubine Lady Jessica (Rebecca Ferguson) and son Paul (Timothée Chalamet) down to Arrakis in hopes of teaching his son how to become the leader he needs to be. By forging an alliance with the native inhabitants of Arrakis known as Fremen his people will know peace and prosperity when Paul becomes Duke.



However, when house Atreides learns of a spy within their rankings Lady Jessica and Paul must venture into the Arrakis desert to find the Fremen for help. Which is no small task as the desert lands are populated by 400m-long burrowing, man-eating Sandworms.

Villeneuve certainly sets the stage for bigger things to come in part 2 but despite being only one half of the story, part 1 completely works as a standalone film.

The praise knows no bound for this film. Every department harmonises succinctly with the next.

The casting alone – while admittedly it’s a tad boastful in it’s star-studded lineup but truly, everybody is exceptional. To go through the cast and effusively sing their praises one-by-one would be a waste of a word-count, so I’ll say everyone fits their role like a glove but I’ll call special mention to a few.

Timothée Chalamet has been a star for years but Dune just solidifies the fact he will be gracing our screens as a leading man for decades to come. As Paul he finds just the right balance of boyish naivety and inner strength. Thanks to his Concubine mother’s lineage, Paul has gifts such as prophetic dreams and mind manipulation but he’s not quite mastered them yet. But where the film leaves us with Paul is tantalisingly teasing.

Rebecca Ferguson does most of the emotional heavy-lifting as Lady Jessica. A mother role that’s pleasantly full of surprises. Ferguson shines here. If the Academy weren’t so genre-biased towards sci-fi I would say she is worthy of best supporting actress nomination.

Many were concerned due to the early trailer footage of Jason Momoa, that he would be coasting on his Aquaman charisma but his Duncan is sincerely heartfelt.

And Stellan Skarsgård is frighteningly good as Baron Harkonnen. He might be caked in makeup and buried in a fat-suit but his stunning performance beams through.

On the technical side, every single department hits the bullseye. There’s a visible fusion of Eastern inspiration between Patrice Vermette’s production design, Bob Morgan and Jacqueline West’s costumes and Greig Fraser’s cinematography. They all should be receiving Oscar nominations next year.

But not only do Villeneuve’s dazzling visuals cascade off the screen. They’re complimented perfectly by Hans Zimmer’s immaculate score. For the past decade Zimmer has been synonymous with the Bwom-heavy soundtracks of the Tenties thanks to his game-changing score for Inception. Now he will be known as the man who pulled off the impossible; the man who made bloody bagpipes sound epic as fuck. For real. His majestic score is nothing short of astonishing.

One really has to go searching for faults with Dune and the only thing that might be concerning to some viewers is Dune is not a particularly funny film. The two humorous lines from the trailers are essentially all you get in terms of comedic relief. But I personally found the lack of snarky Marvel-esque humour refreshing. The truth is, the film simply doesn’t need it – not when the characters are this interesting and the world building is so immersive. Villeneuve’s preference to shoot as much on location rather than green screen sound-stages helps to make Dune one of the most transportive films of late memory. You can practically feel the Arrakis sand beneath your feet.




Dune is the reason we go to the cinema. It’s movies like this which is why I do what I do – to get lost and absorbed in story. Many considered the source material unadaptable for the big screen but in the hands of Denis Villeneuve, he’s truly made the impossible possible. Much like what Peter Jackson did with The Lord of the Rings, Villeneuve has made a film for the fanboys (and the critics) but he’s also made it completely accessible to newcomers. Dune is cinema at its most ambitious, boldest and most beautiful.

Dune is having a staggered worldwide release over late September and October. It will be available on HBO Max regionally as the same time as cinemas. But please, I cannot stress this enough; go see Dune in the cinema. IMAX if possible. THIS IS CINEMA! No home theatre system can do this film justice.

For more of Luke’s coverage from the Venice Film Festival be sure to check out his YouTube Channel.

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