Dressed to Kill


De Palma’s sordid love letter to Hitchcock’s Psycho, Dressed to Kill is yet a complete and curious beast of its own. Trashy, artful, erotic, violent, silly; it’s never better than when staging its tense set-pieces, particularly the central about-turn, which is to die for. An odd and maybe brilliant film.






Homefront, boasting the unlikely face-off Statham vs. Franco, should have been the guilty pleasure of the year, but instead it’s a disappointingly po-faced thriller, derivative of several current TV shows, and neutered by the seemingly endless procession of villains, each one deferring to the next, until finally not much happens.

Thor: The Dark World


Dark Elves, Aether, beautiful arms, something about a convergence, Darcy! Something something Loki! An absolute banger of a cameo – no, not Stan Lee – some genuinely exciting action, more Loki! More jokes! A climax that’s more farce than drama, but that’s ok too – no, Loki! Yes, Loki! OMG WHO IS THAT?

Now You See Me


A perfect example of why performance magic doesn’t work on film, Now You See Me can’t tell you how its CGI-augmented tricks are done because it simply does not know, instead distracting you with an absurd “twist” at the end, hoping you’ll be too entertained to care. Over-directed, over-written nonsense.