Joe Bloggs About Films

Following the wildly successful and Oscar winning 'Godzilla Minus One', Takashi Yamazaki returns to the writer's and director's chair for its sequel, 'Godzilla Minus Zero'. Cue even more unbelievable monster action, spectacular set pieces and jaw dropping destruction.

This time, a new threat has emerged, forcing our heroes to once again band together and find a way to stop it. Somehow, Yamazaki has managed to create an even darker and more sombre tone, which is quite the achievement considering both this entry and its predecessor tackle such powerful themes as grief, trauma and guilt in the aftermath of the Second World War. With a new threat bringing further death and destruction, tensions among the human characters are pushed to even greater extremes.

Unfortunately, unlike 'Minus One', the human drama isn't quite as convincing or engrossing this time around. There are some interesting new character arcs, particularly for Minami Hamabe's Noriko, but the emotional connection simply isn't as strong and the story lacks some of the heart that made its predecessor so effective.

Where 'Minus Zero' really shines, however, is in its visual effects and sound design. The craftsmanship on display is absolutely astonishing. The creature designs are flawless, and considering the relatively modest resources at Yamazaki and his team's disposal, the scale and ambition of what they've achieved is remarkable. They expertly deliver one jaw-dropping spectacle after another, creating sequences that will leave you wide-eyed as the destruction unfolds.

It may not be the perfect sequel, but 'Godzilla Minus Zero' is another impressive reminder that Toho still knows how to deliver compelling stories around one of cinema's most iconic monsters, regardless of the era in which he appears.

Full thoughts in this review

Tis the season to be spooky, and with that, I thought I'd revisit one of my favourite entries in the 'Saw' franchise: 'Saw VI'.

The sixth instalment is arguably the strongest entry since 'Saw II', delivering a genuinely thought provoking central premise as it tackles the US health insurance industry, and the difficulties many face when navigating the system. It's an immediately compelling angle that makes it easy for the audience to get behind the film's central conflict. Rather than focusing on a group of strangers being tested for some perceived moral transgression, we have someone being punished for their business practices and the loopholes they exploit to deny people the medical care and coverage they desperately need.

It's a surprisingly bold direction for the franchise, and one of the reasons 'Saw VI' manages to distinguish itself from the rest of the series. That said, there's plenty here for fans of the franchise's more gruesome side too. Some of the traps are among the series' most memorable, with the Steam Maze and Carousel traps being particular highlights. However, it's the more intimate moments that stand out just as much, with the filmmakers occasionally relying on silence and mounting tension rather than the screams and elaborate mechanics we're accustomed to.

Although 'Saw VI' underperformed at the box office, it remains one of the strongest stories and most compelling entries in the franchise's entire run. It's a firm favourite of mine, and one that was an easy choice to revisit this Halloween.

Full thoughts in this review.

The latest entry in the DCU ventures into the horror genre with 'Clayface'... and honestly, it’s pretty great.

While Clayface has taken on many different interpretations throughout the comics, the story of Matt Hagen is the one I’m most familiar with, thanks in large part to my nostalgic love for 'Batman: The Animated Series'. He’s a character brimming with potential, making a solo film centred on him feel like a natural fit.

What sets 'Clayface' apart from other comic book films is its embrace of horror, particularly body horror, alongside its focus on Matt Hagen’s character study. Tom Rhys Harries is fantastic in the lead role, delivering a terrific range of emotions, as we watch Matt go from fame and stardom, to becoming a monstrous version of himself. The very power that gives him everything he could want ultimately becomes his undoing, and the film has a great deal of fun exploring that descent.

Outside of Naomi Ackie, who is solid throughout, much of the supporting cast feel a little underdeveloped. Several characters lack the material needed to make a meaningful impression. There are some strong moments from the supporting players, but the film’s priorities are firmly centred on Matt’s journey - and in that respect, it succeeds exceptionally well.

'Clayface' won’t win everyone over, but if you appreciate intense, stomach-churning body horror paired with a satisfying revenge story, this might just be worth your money.

Austin Abrams returns to the big screen, fresh off the back of his terrific work in Cregger's 'Resident Evil', only this time he's fighting a whale sized different kind of battle in 'Whalefall'.

While Whalefall leans into the survival genre, there’s much more for Austin Abrams to explore emotionally within his performance, as we delve into his strained relationship with his father. Escaping the whale is one thing, but finding closure after his father’s death is another - and both Abrams and Josh Brolin are terrific, with their dynamic at the heart of the film’s success.

Of course, the claustrophobic tension is equally effective. You feel the weight of being trapped inside the whale, while the graphic injury detail makes you wince on more than one occasion. However, the film’s biggest flaw lies in its third act.

It’s not a complete nosedive, but the shift feels at odds with the survival thriller that precedes it. While it reaches its intended destination, the finale doesn’t quite land as effectively as it perhaps did in the novel.

Still, 'Whalefall' is a welcome surprise for 2026 and another strong showcase for Abrams in the lead role.

Full thoughts in this review

We've been treated to a variety of Godzilla stories in recent years, but back in 1998, the King of the Monsters made his first American big-screen appearance in a film that was pretty much hated by all. For me, though, it was the right film at the right time, sparking a love for kaiju that has stayed with me ever since.

Like many others, this was my first introduction to the big lizard. It opened the door to discovering more of Toho's legendary monster movies, but despite its many, many flaws, I've never been able to shake my affection for the 1998 film. It might not be the Godzilla movie fans wanted, but it's the one that started it all for me.

It’s essentially a disaster film first and a Godzilla film second, which makes it a perfect fit for the era of big, bombastic blockbusters. The characters are gloriously ’90s, the action descends into absolute chaos, and the story is about as simple as they come — but I still absolutely love it.

Though I have previously spoken about this film on the pod a few years ago (albeit a bumpy review), I wanted to give this giant another stint in the spotlight - because after all, size does matter.

Full thoughts in this revisit.

When 'Avengers: Endgame' arrived in 2019, it brought a decade of storytelling to an epic, emotional and, importantly, satisfying conclusion. It dominated the box office, became a defining cinematic event, and left an impact that is still felt today.

It was something audiences hadn’t experienced from an MCU film before: our heroes losing, and having to deal with the consequences of that loss. The familiar formula of our heroes winning was thrown out the window. Instead, we explored these characters at their absolute lowest, before giving them that glimmer of hope - the possibility of undoing Thanos’ victory and setting the universe right again.

On top of all that, 'Endgame' brought so many character arcs to a genuinely satisfying conclusion. It gave key players like Tony and Cap the send offs they deserved, while leaving the MCU in a position where it could finally move forward into a new era. But, as we now know, nothing in the MCU ever truly stays finished.

Now, audiences have the chance to revisit the film ahead of the upcoming 'Doomsday' - only this time, there are a few extra scenes designed to tease the arrival of the next big bad, complete with a very familiar face. While 'Encore' gives audiences another opportunity to experience the spectacular finale, the question still lingers: is this actually a “mandatory” watch?

It’s a question I’ll answer, but for me, simply being able to sit in the cinema and experience 'Endgame' again was more than enough. While the new scenes are a welcome bonus, which I unpack and discuss in this review, I felt it was only fitting to revisit 'Endgame' as a whole, too. To pick out the many, many fan pleasing moments sprinkled throughout a pretty tight and polished script, and to reflect on what made this finale so memorable in the first place.

Full thoughts in this review - available on all streaming sites.

Is this the best video game adaptation ever? There’s a strong argument that it is. Bold words, I know, but Zach Cregger’s 'Resident Evil' ticks all the boxes, and then some. It respects the source material, includes the ingredience that defines survival horror, whilst also having Cregger's voice and vision front and centre.

Cregger is on a hot streak, and this latest release is arguably my favourite of his yet. It’s intense, it’s gross, it’s terrifying when it wants to be, but it also manages to keep things relatively grounded, with a sprinkling of humour that goes a surprisingly long way. It’s that balance between horror and comedy that makes Cregger stand out, with both elements complementing each other to wonderful effect.

Then, on top of its near perfect script, you have Austin Abrams, who delivers a magnetic performance. He’s grounded to the point where he feels genuine and real. He isn’t some big, macho, plot-armoured hero; he’s just a normal guy working his shift and trying to get home.

His mannerisms, his reactions, even the way he carries himself when faced with something completely horrific make him such a joy to watch. I genuinely can’t stress enough how often this guy had me chuckling.

In a year where we’ve already been graced with some great horror films, 'Resident Evil' may have topped them all. I’m already keen to watch this again, because it’s one of the most horrifying, yet ridiculously fun rides of the year.

A firm, firm standout.

Matt Reeves unleashed 'Cloverfield' upon the world in 2008, bringing with it a mix of mystery, chaos and destruction that has left fans craving more ever since. It also remains one of my favourite releases.

Found footage films certainly aren't for everyone, and 'Cloverfield' can be a shaky cam nightmare at times, but that's also part of what makes it so effective. The film excels at making its audience feel like a passenger, with the camera acting as a window into the disaster as events unfold in real time. We're thrown directly into this world, with these complete strangers becoming our anchor as the frenzy of a monster attack feels immediate, chaotic and frighteningly real.

What really set 'Cloverfield' apart, though, was its viral marketing campaign. If you wanted to dive deeper into this world, the pieces and clues were already waiting for you online. It gave audiences another layer to uncover, encouraging fans to investigate, speculate and piece together the wider story for themselves. That sense of mystery and discovery was another major reason the film connected so strongly with audiences, and why 'Cloverfield' has remained such a fascinating release all these years later.

Full thoughts in this review

Anne Hathaway and Ewan McGregor face off against dinosaurs in this new sci-fi adventure from David Robert Mitchell... and it's actually quite impressive.

The biggest compliment I can give 'The End of Oak Street' is that it expertly captures that classic Spielberg and Amblin feel. The family dynamic, the charming neighbourhood setting, and the fantastical event that catapults these characters into an extraordinary adventure are exactly the kind of ingredients you want from a summer blockbuster.

Whilst the film isn't flawless, it has enough heart to keep you invested, and enough suspense and tension to keep you on the edge of your seat. The dinosaurs, all feathered and furred up, deliver some terrific thrills, even if it does occasionally feel like the leads are being protected by some serious plot armour.

But even with those niggles, the film built around the dinosaurs is strong enough to make you genuinely care about these characters - and that's something a lot of recent blockbusters have been missing. It's a film that understands that the spectacle only works when you have something worth rooting for.

And when the dinosaurs do arrive, it knows exactly how to make them count.

Full thoughts, with spoilers, in this review.

Nearly 20 years after its original release, the second X-Files film, 'I Want to Believe', is back with a brand new cut from original series creator Chris Carter... and, unfortunately, it hasn't changed my overall thoughts on the film.

As a huge fan of the iconic series, I Want to Believe always felt like something of a misfire when it arrived in 2008. It essentially played as an extended 'Monster of the Week' episode, something the show did exceptionally well, but without many of the thrills, tension or excitement you'd expect from an X-Files movie.

Now, nearly two decades later, Carter has released what he claims is the cut he always wanted to put out, titled Vrach Frankenshteyn. Yet, while there are some changes, they arguably make the overall film worse in places. There may be additional gore and more graphic imagery, but the chemistry between Mulder and Scully has noticeably been trimmed back, stripping away one of the biggest and best elements of both the film and the series itself.

That said, there are still plenty of elements (both old and new) that work incredibly well. The themes of science and faith, combined with the immense weight placed on Scully's shoulders, create a fascinating and engrossing portrayal of her character. Gillian Anderson delivers one of the film's strongest performances, while David Duchovny slips effortlessly back into the role of Mulder like a comfortable pair of slippers.

Billy Connolly's Father Joe also brings enough darkness, complexity and ambiguity to the story to pull our characters back into the fray and give the film some much needed intrigue.

If anything, it's simply nice to see these leads together again. Granted, we've had the revival seasons since, but there's always an extra buzz whenever something new emerges from this world - even if it ultimately doesn't stick the landing.

Full thoughts in this review.