M Night Shyamalan’s creative career was cursed from the moment he was hailed ‘the next Spielberg’. Such a title was only going to be met with disappointment. His early films, The Sixth Sense (1999), Unbreakable (2000) and Signs (2002) were a trio of enticing, original supernatural thrillers that offered enough intrigue to match such a lofty title. Since then, the ride’s been a little rockier. In the late 2000s, a string of weaker offerings left a lot to be desired. Notably, Lady in the Water (2006) and The Happening (2008) were horrific for all the wrong reasons – and the less said about his ‘airbending’ effort the better.
Yet, a recent renaissance in his ability to tell original stories has sparked fresh excitement. And, next to maintain the thrills is Old. Although lacking the spine tingling bite of his earliest attempts it’s another example of why we should welcome his contribution to modern cinema.
Part horror, part thriller, part goofy comedy – the film depicts a rough day on a secluded beach for a group of characters who begin to age rapidly as the day progresses. Oh, and it goes without saying – they can’t escape. Based on the graphic novel Sandcastle by Pierre Oscar Levy and Frederik Peeters, it is an adaptation in the sense that director and writer Shyamalan found a concept and went in his own twisted direction with it.
For all parents with young children a day on the beach can often be plagued by horror and heat, as screaming children, sticky sand and warm drinks provide more stress than serenity. After watching Old, I’m sure parents will be dreaming of crowded shores, as a family’s idyllic stop in paradise descends into disaster.
Anchoring the story is a family of four, the warring parents played by Guy (Gael Garcia Bernal) and Prisca (Vicky Krieps). Both Bernal and Krieps have already carved a magnificent dramatic career and their acting chops offer the majority of the emotion and dramatic pull that the screenplay sorely lacks. A selection of actors take the role of their rapidly ageing children, Trent and Maddox. Perhaps the standout sequences are carried by Alex Wolff and Thomasin McKenzie – who harness their rapid growth and sudden hormones of teenagerhood with confidence and believability.
‘Ah, relaxing time in the shade’, Thomasin McKenzie (Left) Alex Wolff (Right), still courtesy of IMDB
With much to owe to the zany execution of the The Twilight Zone (1959-1964), much of the unique concept is delightful to watch on screen. A strong sequence in the middle of the film see’s the ageing effects of the beach in full effect, and this was a genuine treat. It felt like an early morning pitch meeting fuelled by caffeine, in which all plot possibilities were stuck to the storyboard and from that day, never left.
The physical and mental breakdown of the characters is exceptionally entertaining. Suspiria style, limb bending gore and Cronenbergian body horror take full advantage of the physical possibilities of this rocky trip to the shores. There is very little coherence, but this is where the film is at the height of it’s powers, as the often whiplash inducing shakey-cam captures the thrilling chaos and the silly set-pieces in equal measure. Darkly comedic and outrageously stupid, at times the concept clicked into place and captured the magic that Shyamalan is capable of.
It is this push for conceptual creativity that holds the film back just as much as it propels it, as plot direction takes precedence over depth and substance. Patchy doesn’t quite cover the expositional superficiality of the script. In an opening scene which mentioned ‘living in the moment’ and ‘enjoying youth’ a lot more than necessary – I could actually hear Mr Shyamalan screaming through the screen “have you got it yet? They are about to get Old!”
Particularly in the film’s final 15 minutes, where the screenplay crashes back to land with a bump – a studio driven, expositional ending of nightmares, which is probably the most horrific part of the whole thing. Old would’ve benefited endlessly if it tapped into the psyche of the experience – as the obsessive fixation on concept and plot see’s the weak dialogue get washed away in the sand.
Where the screenplay truly shines is on the surface. Go deeper into the waters of the writing and you’ll find there’s very little but coral and sand. Pushing the concept as far as the runtime will allow – it seems that Shyamalan is beginning to make his name as the fast-food Christopher Nolan. He takes the idea, extracts all the silliness and story he can find, ditching the style and substance in the process.
It simply succeeds as mindless fun. With more plot holes than grains of sand on the beach and moments that tiptoe into pastiche – we are welcomed into a world that is as paradoxical as it is parody. But, for the most part it stays on the right side of the shore, as many moments on the heat-soaked beach truly shine.
Forget McConaissance, it’s time for the Shyamasurgence – a true rejuvenation of original, silly big-screen entertainment. Perhaps the most typically Shyamalan film of all – the good, the bad and the cameo.
As Shyamalan as it gets – for better and for worse. Whose up for some dumb fun in the sun?
Alden Ehrenreich as Luke and Phoebe Dynevor as Emily in 'Fair Play'. (Netflix)
Chloe Domont’s debut film, Fair Play, opens with a captivating scene that foreshadows the thrilling and thought-provoking journey ahead. A deeply in love couple, caught up in the excitement of a wedding, find themselves in a bathroom, passionately kissing. As their intimacy escalates, there is a surprising twist—blood stains their clothes. They share a giggle amidst the exhilaration, and their eyes land on a ring on the floor. With blood on their hands and a murder yet to be revealed, they go down on their knees once more, this time for a proposal. The scene sets the stage for a story that combines elements of romance, finance, and psychological intrigue.
Domont skillfully ventures beyond the trappings of a typical workplace affair and delves into the dark world of financial thrillers through a mesmerizing psychological puzzle. By taking a subtle narrative twist, she explores the fragility of gender dynamics. In a perfect love story, had Luke been promoted, everything would have been idyllic. However, Emily’s success and her private chamber disrupt their relationship, unveiling its underlying fractures. Overwhelmed with guilt, Emily immediately apologizes to Luke for achieving professional success. This familiar dynamic unfolds, highlighting society’s conditioning of women to downplay their achievements.
Alden Ehrenreich as Luke and Phoebe Dynevor as Emily in ‘Fair Play’. (Netflix)
Unlike traditional didactic tales, Fair Play abstains from presenting a clear moral center. Luke is not portrayed as a monster. Initially, he expresses pride in Emily’s success. However, something within him snaps as he faces the corrosive atmosphere of men assuming that Emily slept her way to the top. Emily, too, is drawn into the boys’ locker room conversations, refusing to concede her hard-earned accomplishments.
With astute storytelling and a refusal to pause for respite, Domont takes Fair Play on an unexpected trajectory. The film’s pacing mirrors the emotional claustrophobia of a chamber drama, intensifying the toxic power dynamics that shift nauseatingly fast. The narrative highlights how even well-intentioned condescension can overshadow narratives of men advocating for their female partners. It underscores the reality that equality in love, within heteronormative relationships, relies on unequal gender politics.
Phoebe Dynevor as Emily in ‘Fair Play’. (Netflix)
Cinematographer Menno Mans contributes to the film’s tension through tight close-up shots of the characters. This visual approach accelerates the emotional intensity woven into their relationship. The exceptional performances of the film’s two lead actors further complicate a linear reading of the story, lending an additional layer of ambivalence. The bathroom scene at the beginning recurs in a darker context near the film’s climax, showcasing the dramatic shift in the actors’ body language. Dynevor expertly weaponizes the fragility of her frame, while Ehrenreich masterfully adapts to his character’s evolving mentality. The film progressively transforms Luke from a genuinely loving and lucky man into a familiar representation of a man that resonates with the experiences of many women.
The return of blood on the floor symbolizes an undisclosed satisfaction, leaving the audience captivated by the film’s powerful exploration of gender dynamics and the human psyche.
Alden Ehrenreich as Luke and Phoebe Dynevor as Emily in Fair Play. (Netflix)
To be honest, FAIR PLAY is not what I expected and I enjoyed it very much. A captivating thriller that explores how power, gender roles, and workplace relationships interact.
Ever since The Boys premiered on Prime Video in 2019, it has consistently dropped jaws and blown people’s minds with its weirdly whacky, bloody and horny storytelling about corrupt superheroes. Hollywood had never seen anything quite like this. It is developed by Eric Kripke and creative forces such as Seth Rogen and Evan Goldberg were also involved. Three incredible seasons have made it into one of the biggest shows right now. It was no surprise that Prime Video would expand such a beloved universe and greenlight a spinoff series titled Gen V which is finally coming to Prime Video.
Gen V is focused around teen supes studying at Godolkin University, who strive to make their careers in crime fighting and potentially join the seven one day. This 8-episode series is set after the events of The Boys Season 3. This series is developed by Eric Kripke, Craig Rosenberg, and Evan Goldberg. It stars Jaz Sinclair, Chance Perdomo, Maddie Phillips, Lizzie Broadway, and Patrick Schwarzenegger among others.
If anyone was worried that this series would not be as wild and horny as The Boys just because it is set around teens, let me put those worries to bed because this series stays true to every aspect of its predecessor and maintains the unfiltered storytelling throughout. The tone is as outlandish as always and keeps up all the horniness in the characters, including the obsession with penises. It is very much a hard R-rated show, so it might be safe to think about who you recommend it to.
Chance Perdomo (Andre Anderson)
The performances here are excellent, by everyone. Jaz Sinclair who plays Marie Moreau, and Chance Perdomo who plays Andre Anderson are particularly great. They have an emotional vulnerability that makes them totally convincing and makes the viewer sympathize with them. Shelley Conn is mysterious and shrewd as Dean Shetty. Maddie Phillips and Lizzie Broadway are good too. But there isn’t a powerhouse performance such as Antony Starr as Homelander.
The story still revolves around supes, though this time a younger generation of them, and the overall world-building of this franchise but it is surprisingly deeper and more mature than most would expect. At its core, there is a meaningful coming-of-age story about dealing with loss, power and the pressure of high expectations. Every character has interesting arcs and the character development is very smooth. The writers also managed to juggle so many subplots at the same time and managed to keep most of them intriguing. The pacing is also very consistent and rarely slows down.
Several people just find The Boys too disgusting and can’t stand the extreme and explicit nature of the narrative. Gen V also runs on a very similar track in terms of storytelling. So those who did not enjoy The Boys, will most probably not enjoy the new spin-off either. But this show will definitely delight the die-hard fans of this iconic franchise. Gen V does take a lot of shortcuts in its narrative and I wish they let the relationships between characters marinate for a little while longer. The plot may also seem overstuffed at times and there is arguably a lack of action so far.
Gen V embraces the outrageousness of The Boys while delivering an engaging coming-of-age story and manages to stand out on its own. It is as bloody, horny, crudely funny and dramatic as you would expect. The series finds new energy and carries the legacy of its predecessor. The first six episodes are thoroughly engaging and get you invested in the characters and their motivations. Expect to have a blast and see a lot of cameos.
Episodes Viewed – 6 out of 8.
Gen V episodes 1-3 will stream on Prime on September 29 with the finale on November 3.
Benedict Cumberbatch as Henry Sugar in Roald Dahl's 'The Wonderful Story of Henry Sugar' (Netflix)
Roald Dahl and Wes Anderson have both left an indelible mark on the hearts and minds of generations. Dahl’s timeless stories have enchanted readers for decades, while Anderson’s groundbreaking films have pushed the boundaries of cinematic storytelling. Their unique talents and shared appreciation for the power of literature have now converged in Anderson’s latest masterpiece, the modern short film adaptation of Dahl’s The Wonderful Story of Henry Sugar.
Anderson, known for his extraordinary attention to detail and distinctive visual style, brings Dahl’s adult-friendly tale to life in a truly captivating way. With a star-studded cast that includes Ralph Fiennes, Benedict Cumberbatch, Dev Patel, and Ben Kingsley, the film stays true to the author’s original text, with the actors delivering their lines directly from the page. This dedication to the literary essence of the story sets the stage for Anderson’s exceptional storytelling.
Following his previous successful adaptation of Dahl’s work with the Oscar-nominated The Fantastic Mr. Fox, Anderson is poised to once again captivate audiences with The Wonderful Story of Henry Sugar. In a mere 37 minutes, this short film manages to deliver a delightful and heartwarming experience that can beat any full-length feature film. The commitment and power of the A-list cast shine throughout, ensuring a resounding success on multiple levels.
From the very beginning, Fiennes embodies Dahl himself, narrating the tale as he seamlessly transitions between the comfort of his home and the picturesque outdoors. By applying freeze-frame techniques and cleverly staged tableaus, Fiennes and his fellow actors walk through different sets that are magically transformed by on-screen “stagehands” right before our eyes. This dynamic interplay between reality and cunningness is a testament to Anderson’s growing fascination with the theatrical aspects of filmmaking.
The Wonderful Story of Henry Sugar not only captures the imaginative essence found in Dahl’s works but also showcases the filmmaker’s mastery of visual storytelling. Each scene is meticulously crafted, with Anderson’s staging drawing heavily on theatrical influences. Costume changes happen seamlessly on camera, resulting in Ben Kingsley’s Khan humorously questioning the whereabouts of his mustache. Furthermore, practical effects, including a delightful box trick, add to the mesmerizing experience of witnessing the film’s creation unfold before our eyes.
Anderson’s choice to create a short film rather than a feature-length production proves to be a stroke of genius. The pacing remains consistently engaging, ensuring that viewers remain captivated from start to finish. The Wonderful Story of Henry Sugar is a visual feast, an entertaining experience, and, above all, a whole lot of fun.
When it comes to acting, it’s so hard to pick a standout because whenever an actor comes on the screen, he or she gives a performance that stays with you. Benedict Cumberbatch is magnetic in his portrayal of Henry Sugar and mesmerises you with a performance that shows his acting prowess. Ben Kingsley shows us why he is one of the greatest actors of all time. His monologues are truly special. Meanwhile, Dev Patel and Richard Ayoade are the magical new entrants in Anderson’s world of magical stories. Both of them are brilliant in their respective roles.
On the other hand, Ralph Fiennes showcases his versatility by embodying Roald Dahl in the most fantastic way possible.
Roald Dahl’s rich storytelling finds new life through Wes Anderson’s innovative cinematic techniques. Their creative collaboration results in a short film that is visually pleasing, emotionally compelling, and brimming with the charm and magic that have made both artists legends in their respective fields. The Wonderful Story of Henry Sugar is not to be missed, as it brings together the best of Dahl and Anderson, leaving audiences enraptured by its undeniable allure. Experience this enchanting journey, and let yourself be swept away by the power of imagination.