Clearly the Pope wasn't so impressed with Russell's last outing as his exorcist so abandoned the project to some new producers who have decided he might do better as an dissolute actor ("Anthony") cast to play a priest who is an exorcist. Unbeknown to him, though, we know that the studio set is home to a malevolent spirit - who saw off his predecessor (or perhaps he just volunteered) - and is now determined to cause more mischief. Luckily, director "Peter" (Adam Goldberg) has engaged the services of a real priest (David Hyde Pierce) to authenticate the clerical aspects of the film as "Anthony" and co-star "Joe" (Sam Worthington) find their efforts constantly disrupted by his increasingly vivid dreams, lots of bursting light bulbs and the tiniest bit of Satanic body-bopping. There's really nothing at all to recommend this to anyone. It's not original, nor is it funny. The acting is wooden and it appears to have been written by someone who extensively studied the Janet & John book of dog-collar horror and thought it would make an entertaining film. Neither big name here do themselves any favours, and it ends, weakly, not a moment too soon. Perhaps an October/Halloween release might have served it better, but otherwise this is just a derivatively poor exercise on how the mighty have fallen.

Oh dear, poor Russel Crowe. He's a more than decent actor, so its a shame to see him in a film this uninspiring. Washed up alcoholic actor with PTSD (as a result of church based child abuse) takes on the lead role of priest in an Exorcist horror film, only to become the subject of his own demonic horror. Its not a great premise to start with not helped at all by its grim back drop of a struggling actor father, with a long suffering daughter, who is forced to adopt a parental role. Its more depressing and sad, than terrifying, adding to the generally leaden vibe, this flick gives off. The limited upsides include above average acting and production values, including special effects. In summary, if you have seen The Omen or The Exorcist, you have effectively already seen what is on offer here, just done a whole lot better.

Maxxxine is a film I have eagerly anticipated since it was teased as the final installment of Ti West's X trilogy. Having thoroughly enjoyed the first two films, I had high hopes for this one. Each film in the series brings a unique style that represents the period it’s set in. 2022’s X was a gritty homage to the brutal horror films of the 1970s, with The Texas Chainsaw Massacre being a major influence. The same year, Pearl offered an even more stylistic approach, serving as a prequel with influences from the silent era and visual nods to The Wizard of Oz. These distinct stylistic choices set a high bar for Maxxxine. In Maxxxine, we follow the lone survivor of the farmhouse massacres depicted in the first film. Now a bit older and blonder, Mia Goth’s Maxine is still striving to become Hollywood’s next biggest star. She finally lands a role as the lead in a new horror film, but her past begins to catch up with her. She is pursued by a sleazy private investigator, played by Kevin Bacon, who works for a vicious killer targeting Maxine’s closest friends. Concurrently, Maxine must navigate the terror of the Night Stalker, who is haunting Los Angeles, while detectives try to unravel her connection to these events. Maxxxine is a beautiful love letter to the horror films of the 1980s. Ti West draws influence from many great horror filmmakers of that era. One scene in particular, where Maxine ascends a staircase toward the film’s climax, is reminiscent of the cinematography of David Lynch films from that period. This meticulous attention to style and atmosphere enhances the film’s nostalgic appeal. Mia Goth is truly fantastic, bringing depth and intensity to her role. Her performance is a highlight of the trilogy, showcasing her versatility as she navigates multiple characters and complex emotional landscapes. For example, her portrayal of Maxine’s relentless determination and underlying vulnerability adds layers to the character, making her journey compelling and relatable. While Maxxxine is a strong entry in the series, it is, in my opinion, the weakest installment. The film serves as a fitting conclusion to the trilogy but leaves some unresolved threads from X. I would have appreciated more closure regarding the events of the first film, as the connections feel somewhat superficial. Additionally, the reveal of the main antagonist, while surprising, feels somewhat detached from the overarching narrative. For instance, the motivations and background of the killer are not as deeply integrated into the story as they could have been, leading to a somewhat disjointed climax. Despite these criticisms, Maxxxine is a well-crafted horror film that offers plenty of nods to genre aficionados. Ti West has created a trilogy that honors the horror tradition while bringing fresh and innovative storytelling to the table. The film is rich with familiarities from 1980s horror, making it a nostalgic yet refreshing experience. Mia Goth’s performance ties the trilogy together beautifully, and her portrayal in Maxxxine cements her status as a standout in modern horror cinema. While the film has its flaws, it remains a fitting and enjoyable conclusion to a remarkable series.

Despite her rather florid past, the eponymous porn star (Mia Goth) is determined to make it in the mainstream and seems well on her way when director "Elizabeth Bender" (Elizabeth Debicki) casts her as the lead in the sequel to her own successful first feature. Whilst this is all going on for "Maxine Minx", there is a serial killer on the loose in Los Angeles and the police seem to think that maybe she is involved. Obviously she's not the perpetrator of these vicious acts, but might she somehow be the ultimate target? A rather curious meeting with private eye "Labat" (Kevin Bacon) suggests that she might want to go a mysterious address where she might learn the truth, but she has her own ideas so with the help of her agent/manager/enforcer "Teddy" (Giancarlo Esposito) and a car crusher sets up quite a perilous face-off with a man in black gloves who lives behind a set of green doors. At times this is quite an attitudinal film and Goth does fine, but (no pun intended) Bacon just hams it up too much. Debicki seems totally disinterested in her role and the rest of the cast add very little to a story that is too thinly stretched to pad out one hundred minutes before taking us to a rather weak and rushed denouement. Beware: I sense a sequel might be in the pipe, as if we don't already have enough mediocre slasher fayre on offer already!

Maxine sure wants to be famous. I really hope she's got what it takes. Gotta give 110% if you want that big break! Do you want it? Maxine does. Fun little revenge story. Leather gloves sure make your hands strong. Good humour.

There’s a lot to appreciate about “MaXXXine,” writer/director Ti West‘s latest film in his horror trilogy, even if he doesn’t quite stick the landing. The whole project feels like, as one of his characters says in one of the film’s most memorable lines, a “B-movie with A+ ideas.” There’s plenty of blood and gore to appease slasher fanatics, but there’s a depth to the film that comes from the hefty themes about sex, opportunity, religion, and Hollywood’s dark underbelly. Set in Los Angeles in the mid-1980s, adult film star and aspiring big studio actress Maxine Minx (Mia Goth) finally gets her big break into the mainstream. She’s been cast in a supporting role in a horror movie sequel and is set to work with up-and-coming director Elizabeth Bender (Elizabeth Debicki). Things are looking up for Maxine career-wise, but a mysterious stalker who is targeting the starlets of Hollywood seems to have her directly in his sights. When a trail of blood makes it clear that several murders are directly connected to her, Maxine starts to worry that her sinister past is going to be exposed. The first half of the film is also the best, and West fully embraces the decadence and danger that goes along with the backdrop of sleazy Hollywood. Filmed with a vintage aesthetic and Eighties feel, the neon-lit, blood soaked movie looks like it has stepped out of an exploitation cinema time capsule. It’s an homage that’s done exceedingly well, from the cinematography to the soundtrack to the costume design. The casting is perfect across the board, with standout performances from both Kevin Bacon as a menacing bad guy and Giancarlo Esposito as Maxine’s attorney agent, Teddy Night. (Even the supporting roles are meaty, featuring solid turns from Michelle Monaghan, Moses Sumney, Bobby Cannavale, and Sophie Thatcher). Goth is once again terrific as a shrewd woman with a fierce ambition, lending the ideal mix of street smart toughness with a relatable vulnerability. West never demeans his lead character either, which is refreshing. The film portrays sex work and the adult film industry as a legitimate profession and Maxine as a strong, empowered woman who takes charge of her own destiny. The second half of the film derails with a conclusion that seems both corny and disappointing (at least on the surface). The ending is left open for rampant speculation, which is probably going to polarize audiences. I think it’s fun when a film can be interpreted in several different ways, but this may prove frustrating for moviegoers who like things very black and white. Best of all, “MaXXXine” leaves plenty of room for a fourth film featuring the character, which I certainly hope we get. By: Louisa Moore / SCREEN ZEALOTS

"Nagi" is a bit of a loafer at school. Quite happy to play video games all day only interrupted by the odd nap and food when he absolutely has to. Then he encounters "Reo" - a very wealthy boy with purple hair and purple eyes - who sees in him skills that would make him an excellent addition to their football team. "Nagi" is completely indifferent to this proposal, but his new friend persists and with promises of becoming the best striking partnership the world has ever seen, he manages to induce just the merest hint of fire in "Nagi" - and they become inseparable and unstoppable. This earns them the attention of the Japanese Football Union and both are invited to attended the most competitive football school in the whole nation - the "Blue Lock". It's here that the two - along with a few hundred other aspiring young men - must grow up and learn how to win, lose, play in a team - and this tests their friendship as "Nagi" starts to emerge from the protective and encouraging umbrella of "Reo". Though it's based on a series, this is an enjoyable stand alone film that is quickly paced and written quite poignantly to expose the characters (and us) to some of the difficulties of maturing, making tough choices and getting used to not having everything your own way. At times it's actually quite an emotional animation with plenty to play for and no easy answers.