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She plays Bridget, a New Yorker who becomes nanny to mischievous six-year-old Frances (Ramona Edith Williams) – even though she doesn’t really like kids. Kelly O’Sullivan confirms herself as a witty and honest new filmmaking voice as the writer and star of Saint Frances – a film that pushes the 30-something-woman-wonders-what-to-do-with-her-life American indie drama into refreshing territory rarely explored on screen. Read the Empire review of Fear Street Part One: 1994, Part Two: 1978, and Part Three: 1666. Set three nights aside, and begin your binge now. All in, it’s a slick, smart, funny treat – and if it’s primarily playing with teen characters, it goes hard on the gore for a well-earned 18 rating.
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And Part Three: 1666 delivers a witch-hunt horror full of secrets. Part Two: 1978 goes full Camp Crystal Lake as the bodies pile up at a summer camp.
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Part One: 1994 pays significant homage to Scream and establishes the rival towns of Shadyside (where townsfolk regularly go murder-happy for no apparent reason) and Sunnyvale (where people, er, don’t) as a playground for serial killers. Across the summer of 2021, director Leigh Janiak dropped three brand new scary movies on Netflix, each arriving a week apart with their own distinct look and feel, but telling an interconnected story spanning hundreds of years. It’s one of the coolest things to happen to the horror genre in years. Read the Empire review of The Matrix, The Matrix Reloaded, and The Matrix Revolutions. Oh, and the Reloaded rave is shorter and way less cringeworthy than everyone makes out. But the freeway chase, the balletic wire-fu Merovingian brawl, and the mech-suit battle for Zion are a masterclass in action. Yes, the Architect scene is boring and the mythology overly dense.
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Reloaded and Revolutions might lack the (relative) simplicity of the original and dilute its 100% uncut cool with a dollop of camp, but they’re an almighty swing from the Wachowskis – an epic two-parter that continues to blur the boundaries between reality and simulation, delves further into philosophies around free will and systems of control, and does it all while delivering gigantic blockbuster sequences.
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But with The Matrix 4 on the horizon, now’s the time to revisit all three films in the original trilogy – and come to realise that the sequels are worthy of major plaudits too.
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It’s an all-out sci-fi cyberpunk classic, packed with eye-popping kung fu fights, epic slow-mo stunts, and philosophical deconstructions of the systems and structures of 21st Century life. Let’s face it – nobody needs to convince you to watch The Matrix. Brad Pitt is magnetic as Dalton’s stunt double Cliff Booth, Margot Robbie brings real light to her portrayal of film star Sharon Tate, and it’s as stylish as you’d expect from QT. Once Upon A Time In Hollywood is a sunset-hued celebration of a very specific time and place, tinged with melancholy – but it’s an oddly sweet Tarantino film in many ways, one that (as its title suggests) plays out as a fairytale, complete with a history-subverting happy ending. The Golden Age of Hollywood is drawing to a close, cinema icons are partying together in the hills, and folk-rock songs blare out on car stereos – but there’s darkness brewing too, as the film industry teeters on the brink of change, Leonardo DiCaprio’s actor Rick Dalton senses his working days are numbered, and Charles Manson’s hippie commune prepares to morph into something more murderous. Ambitious and fresh, this is one of the best thrillers of recent years.The latest film from Quentin Tarantino is a love-letter to Los Angeles – specifically, the Los Angeles of 1969. You’re barely given time to register the film’s more shocking moments before you’re onto the next. This is an impressive debut by Patrice Laliberte, whose bloodlust finds gallons spilled long before the film’s explosive ending.
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While the movie’s soft open introduces us to one of the workshoppers, Antoine, running through a series of preparation techniques with his wife and daughter, the movie belongs to its solid ensemble who aren’t afraid to get their hands messy and beards frost-bitten. A prepper readying for the apocalypse, Alain maintains his own 500-acre compound out in the snowy Canadian wilderness which is where he regularly runs workshops for those seeking the same lifestyle. It's as lean as the stiff, icy rabbits skinned and gutted by its doomsday internet star, Alain. A Quebecois survivalist thriller that’s stacked to the rafters with knuckle-biting moments, no mean feat considering its brisk 83-minute runtime.