Tag: The Roses

2025 Film Awards: Day Five

On By troubledproductionsIn AwardsLeave a comment

Most Disappointing

Nominees

Havoc

The Raid is a modern classic, Tom Hardy is one of the top performers around, and who doesn’t love seeing Timothy Olyphant in stuff? I remember being incredibly frustrated in the build-up to this, not with the film itself, but with the lack of information or a concrete release date. I was really looking forward to it, and was desperate for it to be released so I could finally watch what I was sure would be one of my favourite films of the year. It’s not. It’s not outright bad, but it’s incredibly forgettable. There’s nothing about it that stands out.

Love Hurts

Maybe this is my fault for expecting something similar to Everything, Everywhere, All At Once. Not in terms of depth, but in terms of fight scenes. That’s on me. What’s not on me is just how bland this is. What’s worse is that you can tell they’re really trying. That’s less annoying than if nobody cared, but it is more disappointing. You can tell there’s a great movie somewhere in the depths, but it never reaches it.

Matt And Mara

I love romantic comedies, and I love dialogue-heavy low-budget films. Matt and Mara just didn’t work for me, though. I think it’s because I didn’t care about the characters or their relationship. Romantic comedies only work when the audience wants the characters to be together before the characters realise it. Defenders may argue that this isn’t technically a romantic comedy, but that’s clearly the vibes it was going for; one of missed maybes and overlooked opportunities.

Nosferatu

I should have liked this. I like dark and weird. But for whatever reason, this left me cold—not in a “this is too horrific” way but in a “yeah, I don’t actually care anymore” way. The only thing stopping me from spending half the film looking at my watch was that my watch had broken. I would have enjoyed that more.

Saturday Night

I REALLY wanted to like this more than I did. It just felt more like a love letter than an actual story. It was created more for the sake of the creators than it was for the audience. I’m not saying creators need to cater solely to audiences, but you need to be aware of them. It’s clear that Reitman has a great affection for the era, but he never gives the audience a clear reason to share that affection.

Wake Up Dead Man: A Knives Out Mystery

It’s weird to put a film that was in the top 10 of the year in this category. But normally, these films are in the top 3, so it definitely feels like a step down.

Winner

Death Of A Unicorn

A film starring Paul Rudd, with a ridiculous premise, a fast-paced trailer, and an opening full of silly, light-hearted jokes. Maybe my expectations for it to be silly and fun weren’t all just me being stupid. I get that sometimes films need messages, and it was possible to portray messages in films like this, but the way it’s handled here is terrible. There’s no sense of fun or joy to any of this. It tries to be The Menu, but ends up being more like a shoddily photocopied discount flyer posted through your door.

Most Surprising

Nominees

Deep Cover

An Amazon Prime original, starring the lead from Argylle, directed by someone mainly known for television. Yeah, my hopes were not high. If you think about it too much, the whole plot falls apart. But whilst you’re watching? It’s an utter delight. This isn’t among my favourite films of the year, but it is one I will watch again, and which I will recommend to people if they have a Prime account.

Fackham Hall

A British comedy released with ZERO marketing in the run-up to Christmas? Screams success. Plus, it’s written by Jimmy Carr, who is very funny, but also makes questionable decisions for his career (Hosting the “top 100 blah de blah” on Channel 4 early in his career? Fine. Going to the Saudi comedy festival in 2025? Nah). Plus, I don’t really give a shit about the genre it’s spoofing, I’ve avoided stuff like Downton Abbey, etc., because they don’t interest me in the slightest. Yet this works. It’s so funny that it broke my brain and made me look for comedy in the next film I saw.

Heads Of State

Very similar to what I wrote for Deep Cover. I love Idris Elba, but he does have a habit of occasionally choosing shit films to be in. This isn’t one of them. His chemistry with John Cena is key to this working, and I want to see them in more. I’m not saying they should remake Lethal Weapon with those two, but they should remake Lethal Weapon with those two.

Winner

Last Breath

I was genuinely disappointed when I finished this film. Not with the film itself, but with how bad the marketing was. Well, I assume their was marketing, it was just done in a way that I never saw any of it. I had a vague idea of what it was about, and that Woody was in it. I didn’t even know it was based on a true story, and that it was set in Britain rather than America. So I was pleasantly surprised by just how damn good this is. It’s everything you want from a movie like this; it’s tense, it’s brilliantly made, and it’s paced well enough that you never get bored. It helps that the characters are believable. There’s not really a villain; there are just people who have to make REALLY tough choices.

I Don’t Get It

Nominees

Matt And Mara (RT Score: 87%)

I genuinely did not give a shit about these characters. Individually, they were fine, but when they were together, they became insufferable. To paraphrase (I’m not confident enough to state it’s a direct quote), It’s Always Sunny: this isn’t will-they/won’t-they. This is I know they won’t, and I hope they never do.

Silent Night, Deadly Night (RT Score: 77%)

Similar to what I’ll say about Toxic Avenger; too bleak, stopped caring. The fact that the victims were all terrible people does not absolve the movie. If anything, the “Yes, we killed these people, but trust us, they were horrid” approach is so transparent you wouldn’t dare use it as a bathroom door. It also means you cheer the serial killer. There’s no horror with the brutality; there’s celebration.

Toxic Avenger (RT Score: 87%)

I feel like the reasons people like this are the same reasons why I dislike it. The tone, the deliberate shoddiness, the needless ultraviolence, etc. It didn’t feel like some of the choices were for budgetary reasons, but more like they were designed to make it look like they were made for budgetary reasons. The cinematic equivalent of pre-torn clothes.

Urchin (RT Score: 96%

Imagine if Bojack Horseman had zero charm and no jokes. It was just a drug-addicted mess fucking everything up and blaming everybody else for it. How quickly would that get frustrating?

Winner

Nosferatu (RT Score: 85%)

Obviously, this was going to win. It was pretty much destined to win from the moment I saw it. I have almost zero positive recollections of this movie. Everything about it either frustrated me or bored me.

Well I Liked It

Nominees

M3gan 2.0 (RT Score: 57%)

That’s an insultingly low score. This is a flawed movie (I genuinely figured out the villain reveal and his motivations within a second of them being introduced), but it’s also a lot of fun. It’s tonally different from the first one, but also feels like a natural progression of the story.

Snow White (RT Score: 37%)

I am in no way saying this was a good movie. But the vitriol it received was far beyond what it deserves; you’d think this movie literally killed children. There’s no way that this deserves to receive as many Razzie nominations as War Of The Worlds, which was one of the worst films I’ve ever seen. Snow White is, at worst, mediocre.

Winner

The Roses (RT Score: 64%)

Nope, I refuse to accept that. I know a lot of people who have seen this, people with varying cinematic tastes and opinions, and they’ve all liked this. It’s hilarious, dark, and has one of the best endings I’ve seen in a long time. 67% is not a failure, but it’s still much lower than it deserves to be. That’s only 12% higher than Weekend At Bernies.

Worst Movie

Nominees

Everything here

Winner

War Of The Worlds

My fear is that I come off too negative. I don’t want that. I read a lot of wrestling reviews where it feels like they hate everything; they seem bitter and annoyed. I don’t want to be like that. I want my love of film to still come through; it’s why I prefer talking about films I love rather than ones I hate. When I left the cinema after watching Eternity, I messaged 5 different people telling them about it. War Of The Worlds? That’s the ONLY film I felt negatively enough that I told people about it unprompted. That’s how bad this movie is; it made me impolite. I’ve never seen a film as stupid, badly written, corporate shilling, and lazy as this. Everything about this is terrible.

Best Movie

Nominees

Everything here

Winner

If I’m being honest, it was always down to three films. A Real Pain, Sinners, and Eternity. Then, whilst going through the end-of-year roundups, I discounted A Real Pain. Don’t get me wrong, it’s incredible, but it’s clearly more flawed than the other two. So down to Sinners and Eternity. One of which has received more Oscar nominations than any film in history, one of which I’ve not even seen anybody mention. It’s incredibly close; it’s the first time I’ve considered co-winners. Then I remembered Five Nights At Freddy’s 2. Trust me, I am going somewhere with this. After leaving the cinema for that, I read that there was a mid-credits scene that’s incredibly important to the narrative. That annoyed me. If a scene is that important, it shouldn’t be mid-credits. But Sinners has that. So can I really give “Best Movie” to a film which does something I’ve criticised another film for?

Then I thought: fuck it, yes I can.

Winner – Sinners

It has one of the best scenes I’ve ever seen. A scene so good it almost made me rude. I said semi-loud “This is fucking cinema”. No film has had that effect on me, has felt as earth-shattering as this has. So it has to win. Fun fact: I genuinely still had Eternity winning until about 3 minutes ago.

2025 Film Awards: Day Four

On By troubledproductionsIn AwardsLeave a comment

Best Opening

Dangerous Animals

Two tourists go on a boat so they can swim with sharks. They’re then killed, with a knife. Wonderful way to subvert expectations. Up until the murder, it feels like a romantic comedy. It’s so sudden, blink and you’ll miss it.

Opus

Sets up how important the musician is. I like it. It didn’t just TELL us he’s a big deal, it showed us; his music, his talk show performances, his fans. It all feels real.

The Last Showgirl

The character performs an audition. Very nervous, and obviously lying about her age. Anderson is best known for essentially being Ms. Fanservice in the 90’s. So to see her so emotionally naked and visually honest in the opening scene? Shows you what it’s going to be.

The Woman In The Yard

Ramona watches a video of her deceased husband. It’s weird she filmed that moment, but it’s very sweet, and sets up SOOO much very quickly. Sets up what their relationship was like, sets up that they’re having problems fixing problems in the home, even the way she’s watching it sets up that he’s dead. Genius.

Winner

Final Destination: Bloodlines

The disasters have always been a highlight of these movies, and Bloodline is no exception. Some truly all-time great kills, with the funniest death of a child you’ll see. The childs death made you realise that nobody was safe in these movies; death will come for anybody, regardless of age. Subverts expectations slightly, with it being a vision from a descendant rather than the actual person. It’s been years since a Final Destination movie, and scenes like this make you curse that time.

Worst Opening

A Minecraft Movie

Steve wants to mine but can’t as is a child, he comes back as an adult. Overly long, plus I feel it would have made more sense if he first arrived in the other dimension as a child, would have explained how he became so good at building.

Black Phone 2

A young girl makes a phone call. Doesn’t really look like the rest of the film. Does come back later and tie into the narrative, which is a plus. But isn’t something that will hook people in. Plus, the central performance isn’t great.

Fantastic Four: First Steps

Sue and Reed at home being domestic. I have very specific issues with this opening, the big one being that it’s kind of mundane and dull, especially when there’s a REALLY good introductory scene afterwards of a talk show host explaining the characters background. That would have been a much better opener.

Lilo And Stitch

Stitch is being investigated. Not how I would have opened it. Mainly because it seems weird to open a live-action adaptation of an animated movie with a scene that’s mostly CGI. Feels like you’d want to showcase the filming locations.

Renner

I know it’s a common joke to make that the vanity cards that open up films are so long they seem like an actual movie, but the opening credits for this legit seem like a vanity card.

Winner

The Accountant 2

A character dies, and it’s one of the blandest deaths you’ll ever see. It feels like it belongs in a lesser movie.

Best Moment

A Real Pain – Pictures At A Statue

The group posing for pictures with a statue. It shows everything that works. The character interactions, the warmth, and the sadness. You can show that scene and instantly know the characters.

Companion – Lying To The Police

Her encounter with the cop. She can’t lie, but she can change her language to non-English so the cop can’t understand her. Genius.

Eternity – Enter The Archives

The first trip into the archives is very sweet. This is one of best demonstrations of love.

Final Destination: Bloodline – Tony Todds Goodbye

This broke me. The subtext is obvious, but so beautiful. Any other year, this would have won.

I Swear – Fucks In A Car

Not fornication, just swearing. Lots of swearing. You wouldn’t think two people swearing would be so sweet, yet it is.

September 5th – Whoops, We Were Wrong

I wasn’t that familiar with the events of the movie. So I was genuinely blindsided by the reveal that their sources were wrong, the hostages haven’t been saved, they’ve been killed. This will catch people out, and it will horrify you, as it should.

The Ugly Stepsister – Makeover

Weird choice, as I didn’t even have this as best moment in the end-of-year roundups for some reason. Probably because I wrote that section just after seeing the movie, whereas this is new, so I’ve had time. With time, a certain moment has stood out; when Elvira is forced to go through a makeover. Not a “haircut and makeup” makeover, full on mutilation. There’s one moment in particular that stands out: chisel to the nose. It’s simple, not overly bloody, but it makes me wince whenever I think about it.

Urchin – Karaoke Bar

Three people singing an Atomic Kitten song should be skippable. But it’s incredibly sweet, and the way the three characters do it tells you so much about who they are. It’s the only part of the movie that has genuine emotion.

Winner

Sinners – Music Montage

Sammie plays in the bar, and we see it conjuring spirits of the past and future. It’s a good thing nobody was close to me at the cinema, otherwise they would have heard me say, “That? That’s fucking cinema”.

Worst Moment

Fear Street: Prom Queen – Dance Off

It feels so out-of-character for the people involved. It baffles me that this was left in there.

Good Fortune – Arj Gets Fired

He deserved to get fired. He stole from his employer. He has no justification for being annoyed. Which makes him kind of unsympathetic, and hurts the message of the movie.

Heart Eyes – Killer Reveal

Films like this have to nail the killer reveal. Part of my dislike for the sixth Scream movie is down to how much I hated that reveal. It’s similar here. It feels lazy. I get what they were going for; but the rest of the film is too genuine to do something so subversive this late in the game.

Kinda Pregnant – Threesome/proposal confusion

It feels incredibly fake. It would be like if you invited someone to your house on their birthday and all their friends were there, along with a birthday cake and a sign saying “Happy birthday”, but it wasn’t for their birthday, and you get annoyed at them for daring to think you were planning a birthday for them.

M3gan 2.0 – Villain Reveal

I called it within seconds of the character being introduced. I guessed not only that they would be the villain, but also their motivations.

Renner – Attack The Thieves

Purely because the way its shot (quick flashes whilst he’s asking what to do) makes it come off as a fantasy sequence rather than reality. The visually unclear storytelling happens a few times, but its most clear then.

The Bad Guys 2 – Wrestling Match

It’s weird how this film can open with a heist/chase that makes such great use of space and logistics, and then forgets that they’ve shown us how big the wrestling ring is, and you can’t run for more than a second without hitting the ropes.

Thunderbolts – Kid “Death”

Mainly because it reveals that the people shadowed away to oblivion weren’t actually dead, there’s no way Disney/Marvel would kill a young child in that manner.

Winner

Until Dawn – Explosions In The Bathroom

Don’t get me wrong, it was enjoyable, it was bloody, and it was entertaining. But it also demonstrated how luck-based the whole premise was. For a game based around “your decisions have consequences”, it’s annoying how the choices have no impact. “Don’t drink water or you’ll explode” is not a lesson. If the characters’ choices don’t matter, why should I give a shit?

Best Closing

Bring Her Back

Laura carries Cathy’s corpse into the pool and cradles it as the police arrive. The best way it could have ended. I did fear it was going to end with her winning.

Fear Street: Prom Queen

Someone gets bludgeoned with a trophy. Nicely thematic way to end their life, and I liked that they didn’t die immediately. They collapse, there’s not that much blood, but you can tell by the way they’re speaking that their brain is fucked.

Friendship

A hostage wig disaster. Nope, not giving you more information or context.

Novocaine

He visits Sherry in prison. Delightful surprise that there are consequences to actions. Always nice to see that in a movie like this.

Spinal Tap II: The End Continues

Stonehenge related disaster. And there’s some great stuff in the credits. It comes very quickly yet doesn’t feel unsatisfying. It helps that the jokes are very funny, plus the way the “disaster” happens makes sense and suits the narrative.

The Roses

The two reconcile. Awwwww. Then almost certainly die in a house explosion that we don’t see.

Wolf Man

He’s in pain and gets shot. Best way it could have ended, had actual emotion.

Winner

Wake Up Dead Man: A Knives Out Mystery

Jud has reopened the church, the jewel being the hidden centrepiece. This franchise has a habit of NAILING the endings, and that continues here. It’s closer to the ending of the first film than the sequel, but that’s not a bad thing. It’s immensely satisfying.

Worst Closing

A Minecraft Movie

The ending song is not as good as the film thinks it is.

Avatar: Fire And Ash

The ending implies that Spider will play a bigger part in the next one. He sucks, so that does not bode well.

Final Destination: Bloodlines

Most of these movies end the same way: with the “survivors” about to die. As such, it’s getting a little hard to care about anybody in the franchise.

I Know What You Did Last Summer

One of the killers is still alive. This is revealed in casual dialogue. Far too casual. “wearing jeans to your wedding” casual. Tone-deaf. That’s without even going into the killer reveal, which is one of the weakest I’ve ever seen.

Opus

“haha you caught me but that was my plan all along”. I don’t know why, but for some reason this didn’t vibe with me. It just didn’t work or land the way it was intended.

Superman/Relay

Both of these suffer from the same unrealistic ending: rich people are punished for their misdeeds. That’s like if Casablanca ended with the characters becoming robots and assassinating Hitler.

The Monkey

A bus of cheerleaders die. Funny, but needless and a bit TOO stupid.

Until Dawn

A car pulls up to a snowy cabin. A clear reference to the game, I assume. It’s shot in such a way that it’s obvious it’s SOMETHING, so I can only assume it’s that. Incredibly unsubtle.

Winner

The Woman In The Yard

It cannot be overstated how much the final third absolutely torpedoes any goodwill the rest of the film provides. A visual and narrative mess which confuses deliberate confusion for scares, rapid cuts instead of tension, and a final shot “reveal” that doesn’t actually reveal anything going by online discourse which gives it two different meanings. It feels like the writer isn’t sure he’s going to get another shot at writing a horror film so crammed as many horror tropes and conventions as he could, regardless of whether it worked for the story he was trying to tell.

2025 In Film: Day 10 (The Amazeballs)

On By troubledproductionsIn Year round upLeave a comment

A Real Pain
Ups: Emotional. This film will hit you harder than Mike Tyson, and with less mercy.
Excellent use of time. It somehow packs so much into a short runtime.
It’s nice to see Jennifer Grey again. She’s one of the most underrated performers of all time.
Downs: Visually, it could be a little more interesting.
There are fleeting times when the lead characters seem kind of dicks.
Best Performer: Kieran Culkin. Eisenberg is up there, but Culkin JUST about edges it.
Best Moment: Okay this is difficult. There are at least 4 choices. I suppose I have to go with the group posing for pictures with a statue. It shows everything that works. The character interactions, the warmth, and the sadness. You can show that scene and instantly know the characters.
Worst Moment: The ending. The rest is brilliant, and the actual closing shot is good, but it does seem to lose momentum in the final few minutes.
Opening: David leaving A LOT of voicemail messages. A good way to show his character.
Closing: Back at the airport.
Best Line: We’re on a fuckin Holocaust tour. If now isn’t the time and place to grieve, to open up, then I don’t know what to tell you, man
Original review here

Eternity
Ups: The chemistry between the performers.
Will make you feel things.
Unique.
Shows the difference between young/carefree and lifelong love.
Will inspire discussion and self-introspection.
Downs: Won’t appeal to everyone.
Tries to have every possible ending.
Surely this isn’t the first time it’s happened?
Best Performer: Da’Vine Joy Randolph. Everyone else is great as part of an ensemble; she’s great on her own.
Best Moment: The first trip into the archives. Very sweet.
Worst Moment: The fake Dean Martin. It’s very funny, but it stretches credulity that Anna wouldn’t tell Larry that it was an impersonator.
Opening: Larry and Joan are driving to a party, arguing, but in a way it’s clear that there’s no malice behind it. Larry then dies.
Closing: Joan and one of her husbands decide on their Eternity. Very sweet.
Best Line: Love isn’t just one happy moment, right? It’s a million. And it’s bickering in the car, and supporting someone when they need it, and it’s growing together, and looking after each other.
Original review here

Fackham Hall
Ups: Utterly ridiculous.
Perfect casting.
Some truly classic jokes.
Downs: Some of the jokes are made by the characters long after the audience has made them.
The plot isn’t that great.
The detective subplot feels wasted.
Some people may expect it to be a bit more mature/offensive.
Best Performer: Katherine Waterston.
Best Moment: “Watt’s his name”? Yes, it’s an old routine, but it’s classic.
Worst Moment: The section where he’s arrested feels like it could have more jokes.
Opening: Showing the family. Sets up the jokes incredibly quickly.
Closing: “What happened next”, every joke a winner.
Best Line: “I’m here regarding the murder of Lord Davenport”
“I’m afraid you’re too late; it’s already been done”
Original review here

Last Breath
Ups: Tense AF
Anchored (lol) by great performances.
Barely any time wasted.
Emotional
It’s nice to see people who are good at their job.
Downs: Could occasionally a better job of explaining to the average audience member why certain things are done the way they are.
Needed better advertising.
Best Performer: Woody.
Best Moment: When the umbilical cord is disconnected. Caused genuine gasps in the cinema I was at.
Worst Moment: The computer being reconnected. Isn’t explained enough.
Opening: Drone footage of an unconscious diver convulsing on the sea floor. Along with text saying how dangerous the work is. Almost like a horror movie.
Closing: Footage of the main characters wedding in real life.
Best Line: Back in the day, though, you know, when I was starting out, you only needed two things: little common sense and a good bottle of Scotch.
Original review here

Sinners
Ups: A completely transcendent experience.
Phenomenal music.
Some great performances.
Unique.
Downs: Takes a bit too long to get to the point.
The post-credits point is too important to the plot
Best Performer: Miles Caton.
Best Moment: Come on, really? It’s when Sammie plays in the bar and we see it conjuring spirits of the past and future. It’s a good thing nobody was close to me at the cinema, otherwise they would have heard me say “That? That’s fucking cinema”.
Worst Moment: Some of the deaths in the bar aren’t that clear, visually.
Opening: Sammie drives to his fathers church and stumbles in, bloody and beaten, clutching a broken guitar.
Closing: It’s the 90’s; Sammie performs at a club. Great that Coogler managed to get Buddy Guy in. Kind of weird that ALL of this happens during/after the credits as it feels very important to the plot.
Best Line: white folks, they like the blues just fine. They just don’t like the people who make it.
Original review here

The Naked Gun
Ups: Hilarious.
Damn near perfect casting.
Pays tribute to the original, but not too much that it overshadows the narrative.
Downs: Misses some joke opportunities.
Few too many pop culture references.
Not as quick as the originals.
Best Performer: Liam Neeson.
Best Moment: The cavalcade of “did you get that?” scenes. Utterly stupid but brilliant.
Worst Moment: The snowman scene. It’s very good, but it goes on too long.
Opening: The bank scene from the trailer. Then (and this is the most offensive part), they DON’T do the cars POV for opening credits.
Closing: Freeze frame shenanigans!
Best Line: Like an idiot’s completed jigsaw puzzle, I was being framed.
Original review here

The Roses
Ups: Incredibly funny.
Good chemistry.
Has much more heart than you’d think
“FFS, communicate” is an important message.
Far too relatable.
Downs: A few moments that don’t go anywhere.
Sometimes it feels like characters improv too much.
Best Performer: Olivia Colman.
Best Moment: The final scene. Caused an audible reaction from everyone.
Worst Moment: The almost murders near the end. Seems too far. The marriage counselling scenes also don’t seem to go anywhere.
Opening: The two are at marriage counselling. Allows a perfectly natural “how we met” flashback.
Closing: The two reconcile. Awwwww. Then almost certainly die in a house explosion that we don’t see.
Best Line: If you need a shoulder or an inner thigh to lean on…
Original review here

2025 Film Awards: Day One

On By troubledproductionsIn AwardsLeave a comment

Funniest/Best Comedy

Nominees

A Real Pain

At times, this is the saddest film you will see, it will break you. That’s to be expected; it’s about family trauma, mental health, and the holocaust. What you may not expect is just how funny it is. So whether its with sadness or with laughter; one way ot another you will end up crying. The laughs are big enough to just about carry you through the sadness. They’re logical laughs, too. Based on believable character reactions. If you tell people what this film is about it will be difficult to convince them it’s a comedy. Once they watch it though, they’ll get it.

Deep Cover

I was weirdly charmed by this. I think the trailer lets it down, ruining most of the jokes by changing the timing or removing the context. If you think about it too hard, then the plot does fall apart. Thankfully the jokes are good enough to tide you over the plot issues. It could be funnier, there are multiple missed opportunities, especially towards the end. But the jokes that are there are pretty damn fine.

Heads Of State

No idea why, but my brain links this and Deep Cover, so the fact I put Deep Cover in this category kind of meant I had to put this here too. There are some great comedic action scenes, especially the one where they land and fight a random group.

I Swear

When this site was set up over a decade ago, there were some discussions that had to be made. Among those; the slogan. We hit upon “Making you feel guilty for laughing”. Whilst that may not be totally accurate now due to our move away from lists/opinion pieces and towards reviews, I like to think it’s still incredibly accurate when I showcase scripts (trust me, I’ve got one lined up the next time there’s a lull in reviews, and it was written just to see if I can make a VERY dark scene work). That slogan would also be accurate for I Swear. It’s so inappropriate that you can’t help but laugh. I never thought I’d say this; but this will make you laugh at a cancer-stricken woman being punched in the face. It would be so easy for this to cross the line and be offensive, but the writers make it work. It’s also weirdly sweet at times. The scene of him and the teenage girl in the car (it doesn’t go where you think it does) is both hilarious and sweet.

The Naked Gun

Not quite as joke-filled as the original movie, but if it’s a genuine surprise that you can say something like “sometimes there’s a whole 40 seconds without a joke” then you know a film is packed with gags.

The Roses

This got the loudest laughs of any film I saw this year. Absolutely shocking, but also brilliant.

Winner

Fackham Hall

Very similar to The Naked Gun in terms of comedy style and consistency. Fackham Hall wins out purely based on the fact that I’ve excitedly told more people about it. I haven’t felt a need to watch The Naked Gun trailer again (although I have kept an eye out to see if it’s been added to digital services), but I must have watched the trailer for this at least once a week since I watched it. The only surprising part is that a Jimmy Carr movie would be so inoffensive.

Scariest/Best Horror

Nominees

Companion

Not a traditional horror movie, more of a thriller. But I’d be remiss if I didn’t mention this. In terms of actual movie quality, this is probably the best of this list. But in terms of horror? Not quite. The gore is fantastic though when it is used.

Drop

Not quite as close to the horror genre as the directors previous work. But it would be hard to argue this doesn’t belong here at all. It’s such a simple premise, and one which hits straight at modern fears.

Heart Eyes

For 75% of the runtime, Heart Eyes is a damn fine horror movie. It falls apart at the end with the reveal of who the killers are, but before that it’s a modern classic. Brutal, smart, and (importantly), characters you don’t actually want to see die, so you are worried when they’re near death.

Sinners

Actually, forget what I said about Companion. THIS is the best movie in this category, probably one of the best movies I’ve seen all year, in fact (definitely top 3). It is more of a horror movie than Companion, it just takes longer to become one.

The Monkey

Silly, utterly ridiculous. But so inventive and bloody that I couldn’t help but feel warm towards it.

Weapons

I didn’t rate this as high as a lot of people did, but it would be naive of me to not say how creepy it is when it does work. I had a few issues, but they’re pretty much all personal preference.

Winner

Final Destination: Bloodlines

This was a new experience for me. I’ve seen all the Final Destination movies before, but on TV or DVD, but Bloodlines is the first in the series that I’ve seen in the cinema. It’s difficult for a movie this far into a franchise to still feel fresh. The deaths are as good as ever, incredibly creative and able to make you scared of everyday things.

Worst Comedy

Nominees

Bride Hard

I can’t sum it up better than William Bibbiani did in his review on TheWrap:

“It’s abrasively hard to watch. It’s not just that the jokes fall flat, it’s that the film looks like a pile of celluloid got chopped up randomly and reassembled in what the editor could only assume was the correct order, because the script mysteriously vanished”

Happy Gilmore 2

I suppose my main issue with this movie comes down to the fact that in the time since the first movie, I’ve matured as a person (not by much) and as a movie-watcher, and it doesn’t feel like Sandlers tastes have matured at all. The references to the original don’t feel organic, and the film doens’t trust that you recognise them, so they include flashbacks which disrupt the momentum.

Winner

Kinda Pregnant

The key to comedy is truth. It’s why no comedian has started a routine with “don’t you hate when you’re drinking a glass of lemonade and it mutates into a cheese sandwich, but your girlfriend is allergic to dairy ever since she was bitten by a yak?”, because that’s not a situation anybody can buy into, so the jokes won’t work. The central premise of Kinda Pregnant isn’t one you can buy into, and the way some background characters react makes it even more unbelievable. There are a few good laughs; I particularly liked it when she got a classroom to boo a small child, but those moments are too few.

Worst Horror

I Know What You Did Last Summer

Were people crying out for this film? Was there a need for it to exist? The third one is universally regarded as one of the worst horror films of all time (and think of the ground THAT covers). This version has some fairly decent kills, and it is nice to see some of the original characters again. But there’s not much else to it. It’s a tonal disaster, especially at the end. The story falls apart under the smallest bit of scrutiny. The first movie is incredibly closely tied to Scream, and it’s hard to argue against the feeling that the release of this was entirely due to that franchise being rebooted a few years back.

Keeper

Not so much a story, more a collection of creepy moments.

M3gan 2.0

I legit love this movie, but it’s not a good horror. Tbf, it’s not trying to be, but the expectation was it would at least play to horror tropes slightly.

Silent Night, Deadly Night

It had some good ideas, and I will always appreciate watching Nazi’s die (especially on the news), but SNDN was far too stupid for me to enjoy. Similar to other films in this category, the plot falls apart once you think about it. The murders all seem to happen in a vacuum, having almost no consequence on the town. I’m not saying every sentence needs to be “I haven’t seen Bob around, have you?”, but if a hundred people die in a small town, people should notice. Also, the deaths in this aren’t meant to be scary, you’re supposed to cheer them.

Winner

Until Dawn

Videogame adaptations are hard; do you adapt the story, or the general spirit? Whenever somebody says “dude! They should make a Grand Theft Auto movie, it would be sick” I wonder what that would actually be like. The fun in GTA is playing it, not the story, so a film would just be a ridiculous gangster movie. The best adaptations attempt both. It feels like Until Dawn focused on story, and in doing so, ruined what made the games great. I haven’t played the game, but I’ve played the Dark Pictures Anthology games and The Quarry, made by the same company. What makes those games special is choice; how seemingly innocuous decisions can kill people. Plus; you have to stick with your choices. It’s all about consequence. So an adaptation which makes a point of saying that consequences don’t really matter because it will all reset seems to have missed the point.

Most Unique

Freaky Tales

You really don’t see many anthology films, so that alone is weird. But the tone of Freaky Tales is what sets it aside. It feels like a comic book adaptation. The science fiction elements are so underplayed it’s almost as if the film doesn’t think it’s worth mentioning because they’re so normalised in this world. I can see why people would dislike this movie; but it’s certainly charming, and unlike anything else I’ve seen all year.

Here

This is a fascinating concept; essentially the history of a house told in a non-linear fashion with the camera never moving. It doesn’t always work, with the crossfading being a bit too distracting at times. It definitely would have been easier to maintain momentum over a shorter runtime, but I’m glad that it tries. It’s not exactly a success, but it’s too impressive to be a failure.

Presence

A host story (very much NOT a horror) from the POV of a ghost. That aspect is really helped by the flowing camera movement. I may not have liked this film, but I appreciate it.

The Second Act

A film that’s so meta that it almost folds in on itself. Too meta, even for me. This will frustrate the hell out of 90% of people, but the 10% of people who like it will love it. I don’t think I’ve ever been as weirded out by a realistic film.

War Of The Worlds

“Unique” doesn’t always mean “watchable”. I love a good screenlife film, and am always excited to watch one when it comes out. An alien invasion movie made like this is a fascinating prospect, but this doesn’t even come close to living up to what it could/should be.

Warfare

Another gimmick, this time, a war movie that takes place in realtime. Not many films portray the reality of war, this at least shows the horror, how it can completely fuck with your head. Essentially, it’s PTSD: The Origin Story.

Winner

Good Boy

A horror movie from the POV of a dog, I haven’t seen anything close to this outside of a video game.

Saddest

A Real Pain

It’s weird that a film can be in both the “funniest” and “saddest”, this manages it, and is a big part of why (spoilers) I’ve nominated it for best film of the year. It’s not just because of the holocaust mentions, the approach to mental health will also be depressingly realistic to those who suffer (or those with basic empathy).

Key scene: So many options. I’ll go with Benji when he loses his cool on the train. Other moments are sadder, but that’s when the mask falls furthest.

Bring Her Back

I was not the biggest fan of this film, but I appreciate the way it showed parental grief. It’s the grief that adds another dimension to the character, turning her from just another horror movie villain, to someone with relatable motivations; motivations which will break you slightly.

Key Scene: I guess the whole thing. The limits that Laura went to so that she can bring back her deceased child.

I Swear

To paraphrase the film: it’s not the tourettes which makes this film sad, it’s peoples reactions to tourettes which are the problem.

Key Scene; When he gets hospitalised due to a misunderstanding. You can tell that he is worried that that’s what his life will be like from now on. That he is always at risk of someone beating the shit out of him because of something he can’t control.

Winner

Final Destination: Bloodlines

I could spin a yarn about how this movie touches on survivors guilt and mortality, and say this film is on that list because of that. Really, it’s because of one scene, and one scene only.

Key scene: Tony Todds farewell. He wrote it himself, he knew he was going to die soon and was given the chance to say goodbye to horror fans on his own terms. Other movies have been sadder all the way through; but the real-life meaning behind the sadness is why this wins.

Sweetest

Freaky Tales

It seems like the modern world is designed to cause division and anger: from football teams, to wrestling companies, to MCU/DCEU (and even then there’s subdivision between Snyder/Gunn). In those times it’s nice to see films like this; films which demonstrate we can all come together in one uniting perfect ideal; knocking seven shades of shit out of nazi cunts (fuck off)

Karate Kid: Legends

This film was not made for me. It was made for fans of the franchise, or people who, at the very least, had watched one of the films in the franchise. I went in relatively blind; yet was still charmed.

Winner

Heart Eyes

You wouldn’t expect to find a horror movie in this section, but here we are. The romantic relationship between the two leads is what separates this movie from other horrors. The romance is so great that I would have been genuinely disappointed if it turned out he was the killer; it would have actually made sad for the character, just as heartbroken as she would be. Of course, I also would have criticised it for being predictable, but still.

Most Me

Essentially, films which may not be great, but I connected with on a personal level. Films which I would show someone to best explain my taste and personality.

Companion

Bloody, funny, and feminist as fuck. Some people have described this as “anti-male”, it’s not. It’s anti-abuse, and if you see that as “anti-male” then that says more about you than it does the movie.

Matt And Mara

A “platonic” friendship full of awkwardness and conversations that consist of pop-culture references? This is the exact type of thing I write. So it’s a shame I didn’t like this. Possibly because it’s so close to me that all I could see is how I would have done it.

Queen Of The Ring

It’s a film about wrestling, of course, this would appeal to me. The soundtrack is very me too, the cover of Gods Gonna Cut You Down in particular, does feel very geared towards me.

The Ugly Stepsister

I’m a fan of retellings, and few have been done as slickly as this was. A few of these types of movies have been bad, so when it’s done well it’s a huge relief. This doesn’t just retell the story, it brings its own identity to it too. There’s some great stuff in here, stuff that will stick with you long after the credits roll (actually, this was released on streaming services, so it’s actully “long after you get a pop-up telling you to watch something else because god forbid a streaming service actually lets you settle with the impact of a movie instead of just forcing the next one down your throat).

Winner

A Real Pain

A depressing yet hilarious film that touches on mental health, isolation, mortality, and the holocaust? Love it. Plus, it stars Jennifer Grey, who I’ve always had a soft spot for.

The Roses (2025) Review

On By troubledproductionsIn ReviewLeave a comment

Quick synopsis: Theo and Ivy are a married couple who are slowly starting to resent each other.

I have not read the book this movie is based on, and I also haven’t seen the original 1989 adaptation. So this review will not contain any “but in the original version they did this” or “in the book this character had a different job, ruined!”. I’ll be taking this on its own merits. On its own merits, this is a damn fine movie. The laughs start early on and don’t stop until the credits roll. That’s not hyperbole; the fade to credits is, in itself, a joke.

One of the most exciting things for me about this was the knowledge that statistically, there’s a high chance that people went in not knowing what it was. They saw Cumberbatch, they saw Colman, and thought it would be a sweet romantic comedy, not knowing how angry and bitter it would get. Meanwhile, I had seen the trailer, so I knew that it was going to be cynical and spiteful and more cold-hearted than a polar bears internal organs that have been stuffed in the freezer for transplant purposes. I would sit there in the knowledge that I knew what to expect, whereas they did not. Oh, how I would mock those fools. But, much like every web comic on April Fools Day 2016, perhaps I am the fool. Because, yes, this is somewhat mean-spirited and bitter (especially in the final scenes, which I’m not a fan of how extreme they got), it’s also incredibly heart-warming.

Crucially, The Roses doesn’t make them hate each other that quickly. We see how their relationship started, then see them together and happy before the cracks start showing, and even longer before those cracks become big enough to cause structural damage. It means that the trailers were somewhat misleading, but I preferred it like this. It meant that we actually wanted them to be together. No matter how funny their barbs are (and they are), there is still a small part of you that feels disappointed that it’s come to this. It’s not like you’re watching two characters in a farce gradually descend into silliness, it’s more like you’re watching two friends tear into each other while you’re helpless to watch.

I’m not sure if you’re aware of Chekov’s Gun. Essentially, it’s a narrative device that says elements in a story must be necessary to justify their inclusion. For example, if you introduce a gun in the first act, then that gun must be fired later on. Obviously, not EVERYTHING, if a character has a cup of tea, it doesn’t mean you then have to reveal that without hot leaf water they will die. But if you make a point to specifically mention and highlight that the character is drinking tea, audiences would be forgiven for expecting that to be an important plot point later on. Sometimes this is done incredibly subtly; a spy movie will feature the character being handed a gadget while being told, “Now this device is lethal to people called Keith”, then the villain will turn out to be someone called Keith. When it’s done well, it’s a sight to behold, and few films have done it as well as The Roses. We’re introduced to so many things that we can easily think of as just symbols of excess and AMERICA, but then turn out to be vital in the third act.

It’s not all great. I wasn’t a fan of just how sociopathic they both turned at the end. Which is weird, as some of the negative reviews I’ve read have highlighted those moments as their favourite parts. It just felt like a huge leap from “flicking eyeballs” (not sexy slang) to “aiming a gun at”. There are also moments where it does feel like it’s repeating itself, and some of their friends should have noticed something was amiss earlier.

In general, though? I enjoyed it. It’s not as cynical as I expected, but it has bite when it needs to. Also, it’s good that a film like this basically centres around the message “FFS, communicate!”.