Monthly Archives: February 2023

Film Review – Saint Omer

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Credit: Les Films Du Losange

A genuine 2016 court case inspired this critically acclaimed drama from Alice Diop. It concerns a Senegalese woman, Laurence Coly (Guslagie Malanga), on trial in a French court for killing her 15-month-old daughter. She claims she wasn’t in her right mind due to sorcery, and that she’d been cursed by relatives. Literary professor and writer Rama (Kayije Kagame) witnesses the trial, as she intends to frame the events as a modern version of Euripedes’s Medea. But she finds herself deeply affected in the process, due to unnerving similarities between herself and the defendant, concerning her nationality, class, education, romantic life, relationship with her mother, and her own impending motherhood.

Director Alice Diop, usually a documentarian, found herself unable to film the trial of Fabienne Kabou, who was charged with an infant killing crime in 2013, citing the same defence. Instead, Diop fictionalised the story, but her documentary background is evident, often to good effect. Given the limited locations (most of the drama takes place in the courtroom) Diop attempts to diffuse staginess with cinematic verve, perhaps channelling films like 12 Angry Men in the way her angles go from wide, to mid, to close as Laurence’s testimony progresses. The results are often compellingly claustrophobic, but the length of these scenes is perhaps a tough ask for general audiences, whose attention and intellectual rigour are demanded throughout.

So perhaps not one to watch if you’re in the mood for a Gerard Butler film, but there is much to praise in the performances, particularly from Kagame. As her character Rama grapples with her research and watches Pier Paolo Pasolini’s 1969 Medea adaptation, her conflicted hang-ups around motherhood and the trial’s defendant are depicted with subtlety and nuance. Malanga is also excellent, especially in her interactions with defence barrister (Aurélia Petit). There’s also a fine performance from Valérie Dréville as the court president, who interrogates the sorcery defence with composed but crystalline dexterity.

Those expecting clear-cut conclusions will be disappointed. This film essentially asks the audience to act as jury (as is made clear by the defence barrister’s final summing up, delivered directly to camera), so the deliberate ambiguity will frustrate some. Still, it’s certainly a thought-provoking piece, especially concerning how a western court can maintain objectivity when dealing with profound cultural differences about which they are bound to have inherent biases. Cynicism around accusations of sorcery is inevitable, but some of the testimony against Laurence is underpinned with unconscious racism (by her former university professor, for instance). How much the brazen sorcery claim can be dismissed out of hand with secular incredulity, versus how much it can be reframed as a compassionate mental illness defence more palatable to western sensibilities, is a central question with which the narrative grapples.

UK Certificate: 12A

US Certificate: PG-13

Dillon Empire Update February 2023

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Me having had a haircut at last.

Whilst I carry on writing the first draft of the new novel in earnest (currently about 75,000 words in, closing in on the end of chapter 18), I’ve continued to be as prolific as ever on Medium and Patreon. Here are a few highlights.

On Patreon, I’m serialising the current unpolished draft of my psychological mystery thriller The Balliol Conspiracy. I’ve also kept up with my awkward video updates, and one or two other bits and pieces. Here’s a sample of what’s available to supporters.

February Video Update

Watch me awkwardly bumble my way through a writing update in a woodland, decidedly in need of a haircut, and sounding out of breath. Plus added snark from subtitles added by my eldest son.

Interviewing My Characters: James Harper from Children of the Folded Valley

I thought it might be fun to run a series of short interviews conducted with characters from my novels. First up, the protagonist of my most successful novel to date, Children of the Folded Valley. Here, I imagine him being harassed by a curious journalist in-between the events of acts two and three (which are alluded to in mysterious, hopefully intriguing terms, but not spoiled for those who haven’t read the novel).

Diary of an Alien Invasion Commander

This is a snippet of a satirical sci-fi comedy project I started fifteen years ago, abandoned, and am considering picking up again. It might wind up as a short story or novella, but this is a sample what I’ve written so far. It concerns an extremely reluctant alien invader, mired in middle management apathy.

The Balliol Conspiracy Chapter 5

In this chapter, bridge engineer Stanley Orchard has an unexpected visit from an old friend, who finds himself in an extremely unpleasant situation.

As for Medium, here are a few highlights of what I’ve been up to over the past month.

A Story Isn’t a Sermon

An interview with yours truly conducted by Ben Human of The Pro Files

Roald Dahl Censored by Sensitivity Readers

Newspeak strikes again. Where does it end?

Schindler’s List: One Person Can Make a Difference

The timeless message of Steven Spielberg’s landmark Holocaust drama.

Titanic in 3D? No Thanks

James Cameron’s romantic disaster epic gets a Valentine’s week cinema rerelease, but the Dillon Empire rages at the absence of 2D screenings.

Oscar Predictions 2023

The Dillon Empire mulls over this year’s Academy Award nominees.

Every Steven Spielberg Film Ranked: Part 1 of 3

The Dillon Empire lists the great director’s films in order of personal preference. (NOTE: There’s a link to the second part at the end, which in turn has a link to the third part at the end.)

How I Brainwashed My Children with Great Films: Part 6

You too can breed smug specimens of cinematic literacy. (NOTE: This is the final part in this series. There are links to all five previous parts at the beginning).

That’s a wrap for this month. Thank you again for all your support, and as always, a massive extra huge thank you to all my supporters on Patreon – Claus, Robin, Eric, David P, Steve, Emma, Sterling, Galina, Ian, Gillian, Yasmine and Ville, plus those who have contributed one-off donations on Ko-fi. Also, thank you to Ruth and Iain, and David S, and to everyone who has bought books, reviewed books, and promoted or supported me in other ways. You are hugely, hugely appreciated, and I couldn’t do this without you.

If you aren’t already a supporter on Patreon, please take a look at this link, which outlines my writing goals for the next year, clearly stating how much I wish to raise and why, and offering support levels of £2, £4, £8, and £25 per month, with different benefits at each level. Please consider supporting me, even if only at the lower level, as every contribution helps.

Those of you who aren’t Medium subscribers get three free reads per month. However, if you decide to subscribe to Medium to read all my work (and the work of many others), please do so via this link, as it means I financially benefit from your subscription.

Thank you again for supporting my writing.

Film Review – Plane

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Credit: Lionsgate Films

As action movie stars go, Gerard Butler is often agreeably preposterous. In his better films (Greenland, for instance) he can even act as well as punch and shoot, within his limited range. Sadly, Plane isn’t anything above average by Butler standards. It’s an agreeable enough time-filler for Butler connoisseurs (Butlerians?) but it certainly isn’t likely to linger in the memory.

Butler plays Brodie Torrance, a Scottish former RAF pilot who now captains commercial airlines. He’s looking forward to spending long overdue quality time with his grown-up daughter, but first, he’s got to fly from Singapore to Honolulu via Tokyo. After the usual famous last words (“There won’t be any delays”) and the complication of having to transport prisoner Louis Gaspare (Mick Coulter), who is being extradited to Canada for homicide, things go south, specifically to the South China Seas, where a lightning strike forces the aircraft down.

Brodie narrowly avoids crashing by landing on a road in Jolo Island; a place controlled by criminals and militia (though the half a million people living on Jolo Island in real life may beg to differ on that point). Plot complications result in said criminals taking the passengers hostage, leaving Brodie and Louis (who Brodie has no choice but to trust) to come up with a rescue plan.

It’s all deeply average stuff, but in fairness director Jean-François Richet at least handles the crash sequence in a moderately gripping fashion, even if it all looks a bit murky. Afterwards, things rapidly degenerate into the expected violent cliches, which come thick, fast, and ridiculous as Butler attempts to contact the various people attempting to coordinate a rescue. Eventually, a group of mercenaries is sent in to help, leading to a jaw-droppingly silly finale. In fact, if you’ll forgive the Dad joke, it’s just Plane stupid.

Speaking of which, although the film has been on the receiving end of derision for its daft title (perhaps James Cameron will direct a sequel called Planes), my big problem is that, for an action thriller, it’s weak on action and thrills. The former turns up much later and happens suddenly, making the film feel uneven. The latter is entirely absent, as this is predictable to a fault and entirely bereft of suspense. But if you fancy seeing Gerard Butler in stoic Scotsman mode (he says “haggis” and complains about the English within the first ten minutes, just to make his portrayal particularly nuanced), perhaps there’s a modicum of entertainment value to be gleaned.

UK Certificate: 15

US Certificate: R

Film Review – Marcel the Shell With Shoes On

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Credit: Universal

Marcel The Shell With Shoes On ought to be extremely annoying in its knowing lean into the sheer cuteness of its subject. Yet somehow, this small miracle of a film winds up a disarmingly funny and poignant bit of offbeat filmmaking; a sublime combination of stop-motion animation and live-action, based on the viral shorts of the same name by Jenny Slate.

Expanded to mockumentary feature by director Dean Fleischer Camp, this features Slate in a vocal performance as the eponymous Marcel, who becomes an internet sensation after Camp (essentially playing a version of himself) makes short films about his mollusc friend and posts them online. Marcel is adorable and hilarious, but also full of deep thoughts, wisely noting, for instance, that an audience isn’t a community when scrolling through the endless adulation from online commenters.

The importance of community and finding your tribe are key themes throughout. Dean and Marcel try to find the rest of the mollusc’s family and friends, after they all went missing when the previous house occupants, a young couple, split up. The home has since become an Airbnb, hence why Dean is able to rent it and chronicle Marcel’s life. Eventually, Marcel’s plight comes to the attention of Sixty Minutes host Lesley Stahl, who offers an interview to help.

Marcel’s relationship with his grandmother (voiced by Isabella Rossellini) is another key element of the narrative, since she is the only other shell not to have disappeared along with the others. They have a life of sorts together, and even as Marcel longs for his wider family, he comes to find safety and security in his new routine, despite the trauma of the separation. The fear that things could get worse causes him to question the wisdom of appearing on Sixty Minutes, especially after he learns the hard way that fame brings problems.

Visually, the film is a marvel of organic, natural imagery blended with simple yet surreal, fantastical animation. There are many amusing sight gags ;  for instance, involving tennis balls, ziplines, and a bed consisting of two slices of bread (a “breadroom”). Marcel’s rant about the superfluousness of signing a message “Peace” also had me in stitches, as did a scene involving Dean filming a sombre moment from a neighbouring tree, only to be berated by his neighbour as he is legally liable should Dean get injured.

However, the biggest achievement of the film is making the viewer care about Marcel. Although the premise is absurd, the smart, pseudo-verite format, the strong vocal performances, and deeply uncynical approach are utterly disarming. I was surprised by the film’s depth and pathos, amid the whimsy and silliness. It’s a beautiful and profound labour of love for all concerned, and something of an unexpected masterpiece. I should add it isn’t just for children either. Marcel The Shell With Shoes On is an unexpected delight for all ages, and well worth shelling out the money to see at the cinema.

UK Certificate: PG

US Certificate: PG

Film Review – Ant-Man and the Wasp: Quantumania

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Credit: Marvel/Disney

Whilst watching Ant-Man and the Wasp: Quantumania, the latest instalment in Marvel’s seemingly endless superhero saga, a nagging question kept cropping up in my mind: Why does a film this weird feel so ordinary? By rights, Quantumania ought to be a surreal, opulent delight. So why did it feel so murky, so dull, so utterly indifferent?

I want to be clear: It isn’t terrible. It’s perfectly serviceable in an adventure-of-the-week sort of way, despite the obvious and rather tedious manner in which it portentously sets up sequels and spin-offs in the now customary and rather irritating mid and post-end credits scenes. But the law of diminishing returns seems to have finally caught up with the Marvel Cinematic Universe.

The plot concerns Scott Lang aka Ant-Man (Paul Rudd), scientist Hank Pym (Michael Douglas), Hank’s wife and fellow scientist Janet van Dyne (Michelle Pfieffer), their daughter Hope aka The Wasp (Evangeline Lilly), and Scott’s daughter Cassie (Kathryn Newton), now suddenly a teenager thanks to the events of Avengers: Infinity War/Avengers: Endgame. In some ways, Cassie is a chip off the old block as she keeps getting arrested by police, though not for thefts. Instead, she’s involved in various activist-y protests.

She’s also been developing a probe with Hank’s assistance to scout the Quantum Realm; the sub-atomic world briefly explored in previous Ant-Man films, where Janet was trapped for several years. When Janet learns of the probe, she immediately becomes anxious, urging them to switch it off. But it’s too late. All four are zapped into the Quantum Realm, which they discover is an entire micro-universe inhabited by a myriad of strange beings, some of which appear more human than others. Janet knew about this place, but for some silly reason failed to tell the others about it. Then before you can say dammit Janet, they find themselves in the centre of a surreal but oddly plodding adventure, revolving around villainous mutiverse meddler Kang (Jonathan Majors).

Peyton Reed directs solidly enough, and performances are OK I suppose, but there’s no significant character development or sense of jeopardy (especially given the introduction of multiverses). There are a couple of amusing cameos I won’t spoil, but in truth, this is a considerable step down from previous Ant-Man pictures, and for the Marvel universe overall. It takes a step into the weird, but lacks the trippiness that characterised the Doctor Strange films, for instance.

The visual effects may be technically good, but they don’t impress in the same way previous Ant-Man films did. All that shrinking and enlarging stuff, with minuscule cars and buildings, giant pigeons and Thomas the Tank engines needed the grounded relatability of the real world to generate the required wow factor. By contrast, getting bigger or smaller in the Quantum Realm doesn’t mean much, because there’s no common frame of reference in such a bizarre yet strangely flat world.

All things considered, Quantumania is just about passable, but I still think we ought to have a ten-year moratorium on superhero films. Since that’s a pipe dream, I can only hope for better things to come. However, on the evidence of this (including the obligatory sequel set-ups in the closing credit scenes), I don’t hold a great deal of hope.

UK Certificate: 12A

US Certificate: PG-13

Film Review – All Quiet on the Western Front

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Credit: Netflix

First, a clarification and a confession: Those of you who are familiar with my writing will know I favour the cinema experience over streaming with evangelical zeal. When it comes to films released via Netflix, I typically wait for them to arrive at one of my local independent cinemas, which means I generally get to them a couple of months after their release on streaming. Here in the rural southwest, I’m too far from London to make the trip to see Netflix films during their minuscule first-run releases.

My views on such paltry cinema releases — a cynical measure designed to qualify films for awards on a technicality — are well-documented, so I won’t repeat them at length here. Suffice it to say, the straight-to-streaming trend continues to dismay me. I despise it with a burning passion, as cinema should be the place to see films first and foremost. I wish Netflix and their ilk would negotiate a proper compromise with cinema chains, so we get more situations like last year’s Glass Onion (which had a brief wide cinema run), rather than me twiddling my thumbs waiting for critically praised films like All Quiet on the Western Front to darken the doors of my local independents.

This brings me to my confession: Typically, if a Netflix film doesn’t eventually arrive in cinemas in this part of the world (some of them don’t), I pretend I’d been hospitalised during the cinema run, and make the reluctant, through-gritted-teeth viewing via streaming a few months later. I’d been waiting for All Quiet on the Western Front, as I’d been told it definitely needed a big screen. But after three months, I confess, I gave up and watched the film on Netflix. Alas, if only I’d waited that bit longer, since it subsequently showed up at the wonderful Barn cinema in Dartington, hence this review. I hope you can forgive my lapse of cinematic integrity, which I corrected yesterday evening, pretending it was my first viewing.

After that self-flagellating preamble, on with the review. I can confirm All Quiet on the Western Front is indeed a vastly superior experience in cinemas. It’s a gruelling, harrowing new take on Erich Maria Remarque’s novel, previously adapted in 1930 and 1979, with the former becoming a landmark anti-war film, and one of the greatest films ever made. This one probably won’t wind up being as revered, but it’s a very strong piece of work nonetheless.

Director Edward Berger’s new version features a first-rate central performance from Felix Kammerer as Paul Bäumer; an idealistic German recruit sent to the trenches in World War I, having been brainwashed by the Kaiser’s propaganda and militaristic dreams. A disturbing opening sequence shows the path taken by the uniform Paul receives; initially worn by a soldier gunned down in battle, then removed from the corpse, cleaned, bullet entry damage sown up, and the garment handed to him. Paul rather chillingly points out that the previous owner’s nametag is still attached.

Once on the frontline, Paul’s idealism is immediately shattered by the realities of trench warfare in the latter stages of World War I. He bonds with his comrades amid their miseries, but they are gradually killed off throughout the skirmishes. Many of these are eye-wateringly horrific. One sequence featuring tanks and flame throwers is especially potent, with Berger’s fiercely immersive direction at its most effective. On a big screen, with a great sound system, you can practically feel the mud and blood under your fingernails. And yes, the famous incident involving Paul and a French soldier trapped in a crater is recreated here. It remains every bit as upsetting.

Intercut with all this are the efforts of Daniel Brühl’s German negotiator, attempting to bring about an armistice (which, as any historian will tell you, resulted in the overly punitive Treaty of Versailles, plunging Germany into economic ruin and planting the seeds for the Nazi dictatorship). Brühl’s world-weary humanitarian character is depicted in contrast with Devid Striesow’s prideful German general, who is pointlessly determined to fight to the very last second of declared hostilities. The luxurious surroundings of both men are also thrown into stark relief by the conditions faced by starving ground troops.

There are a clutch of strong supporting performances including contributions from Albrech Schuch, Aaron Hilmer, Moritz Klaus, Adrian Grünewald, and Edin Hasanovic. It’s also worth adding that the visual effects work is first-rate, with shivering, battle-scarred landscapes seamlessly CGI-ed into the picture with deft aplomb. There are flaws — it feels episodic at times, and Volker Bertelmann’s score sometimes comes off as intrusive rather than innovative — but these are minor nits.

All things considered, the new All Quiet on the Western Front is a powerful affirmation that war is hell, and frankly we can’t have too many of those. To my mind it fails to match the 1930 film, but don’t let that put you off seeing this version, especially if you get the chance to see it in the cinema.

UK Certificate: 15

US Certificate: R

Film Review – Holy Spider

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Credit: MUBI

Denmark-based director Ali Abbasi helms this Iran-set serial killer thriller, inspired by the real-life mass murderer known as the “Spider Killer”, who claimed he was on a mission from God to cleanse the streets of immoral women circa 2001. Holy Spider has proved controversial in some quarters, on account of the immersive, exceptionally unpleasant prostitute strangling scenes, which I know will be enough of a warning to put off some viewers. Nonetheless, I found the film compelling and fascinating, albeit disturbing.

Tenacious investigative journalist Rahimi (Zar Amir Ebrahimi) comes to the city of Mashhad, where the aforementioned prostitutes are being murdered. Stymied by institutional sexism, she often finds herself at odds with colleagues, police, and religious authorities, who prove more of a hindrance than a help in her increasingly perilous job. Intercut with these scenes are those with Saeed Azimi (Mehdi Bajestani), a zealous Shia Muslim and veteran of the Iran-Iraq war. He has a loving wife, children, and a respected place in his local community. On the side, he’s on a secret murderous crusade against immorality.

Performances are strong, and Abbasi makes great use of locations to build suspense. If I have a criticism, it’s that despite audience sympathy being firmly with Rahimi, her character feels a tad underwritten. Given that this has some basis in fact, it’s also a shame the victims aren’t developed a bit more fully, though there is some minor exploration of the poverty they endure, and a powerful scene involving a father grieving his daughter.

By contrast, Saeed is a lot more fleshed-out, which is perhaps why some have taken exception to the lingeringly nasty strangulations. Personally, I didn’t think this film came across as prurient exploitation, but I get why this may make some viewers a tad queasy. Yes, in places, this reminded me of Frenzy and The Silence of the Lambs (and at one point, Krzysztof Kieślowski’s A Short Film About Killing), but it is very much its own beast, in view of the cultural context.

The socially and religiously mandated oppression is alarming enough in scenes where Rahimi wanders the streets at night attempting to bait the killer, or in claustrophobic, panic-inducing moments when men in authority try to take advantage of her. But when seemingly respectable characters express sympathy with the killer and his motivation, and the authorities silently approve his actions as he’s “doing their job for them”, depressed incredulity kicks in. This also provides an intriguing insight into the vagaries of the Iranian legal system, when political expedience becomes the primary motivating force rather than anything to do with the ruthless murder of sixteen women. It feels all the more relevant in light of the many brave women currently standing against the Iranian regime.

All things considered, Holy Spider is a gripping, if not unflawed piece of work. If you have the stomach for it, it’s well worth a look.

UK Certificate: 18

US Certificate: R

Film Review – Knock at the Cabin

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Credit: Universal

Although known for his big twist endings, Knock at the Cabin is a rare M Night Shyamalan film that doesn’t rely on a third-act rug-pull. Frankly, on this occasion, he could have done with one. It’s a more consistent, less frustrating effort than Old or Glass, but we’re still light years from the brilliance of his one undisputed masterpiece, The Sixth Sense.

This opens with almost eight-year-old Wen (Kristen Cui) meeting mysterious stranger Leonard (Dave Bautista) whilst gathering grasshoppers in a woodland. Despite knowing she shouldn’t talk to strangers, Wen chatters away to Leonard, who then says he is extremely sorry for what is about to happen, and that she and her parents are going to face a very difficult choice. This scares Wen, especially once three other figures — Redmond (Rupert Grint), Sabrina (Nikki Amuka-Bird), and Adriane (Abby Quinn) — menacingly appear in the distance, wielding various weapons.

Wen rushes back to her holiday cabin in the woods, where she and her two fathers Andrew (John Aldridge) and Eric (Jonathan Groff) are promptly besieged by Leonard and his companions. They break in, informing Eric, Andrew, and Wen that they face a simple choice: One of them has to be willingly sacrificed, or the world will end. Are these people delusional cultists? Or are their eschatological exhortations genuine?

I’ve not read Paul Tremblay’s source novel The Cabin at the End of the World, so can’t comment on how different it is compared with the film (I understand there are substantial differences). However, this Twilight Zone-ish fable unfolds with twisty-turny melodramatic menace, and for much of the running time, Shyamalan (and his co-screenwriters Steve Desmond and Michael Sherman) keep things tight and suspenseful. It benefits from the restricted setting, though flashbacks are occasionally interspersed. These serve to flesh out the relationship between Andrew and Eric, as well as highlight some of the homophobia they faced, and how they adopted Wen.

Obviously, it’s utter nonsense, but that doesn’t mean it isn’t suspenseful or entertaining. Suspension of disbelief becomes increasingly difficult, but this is aided by some fine performances (particularly Bautista, who impresses me more and more these days). Alas, the ambiguous denouement underwhelms, which goes some way to undoing what came before, leaving the audiences with the distinct taste of shaggy dog tale. It’s a serious enough flaw to knock this down a few notches, but Knock at the Cabin isn’t a total loss. I’d cautiously recommend it to fans of this sort of horror hokum, though more general audiences may be turned off by the bleak, disturbing tone.

UK Certificate: 15

US Certificate: R

Spectre of Springwell Forest and The Irresistible Summons: Two Rave Reviews on Medium

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I sometimes mention reviews for my novels received in places like Amazon or Goodreads. However, I’m thrilled to see a pair of great reviews for Spectre of Springwell Forest and The Irresistible Summons on Medium, by the excellent Arpad Nagy. Word is spreading, and soon my nail-biting horror-thrillers will take the world by storm. Or at least, that’s always the aim.

In the meantime, here are a few of snippets from these greatly encouraging reviews. First up, concerning Spectre of Springwell Forest, Arpad says this:

“A fright-inducing, panic-charged paranormal mystery… Putting the book down is nearly as impossible as stopping the horror the story reveals.”

“With each turn of the page, unease swims in your stomach, and your throat goes dry. The reader wants to know what’s beneath the veil and needs to see the truth revealed, all the while wishing the main character would relent in pursuing the mysterious secrets of Springwell and the abnormal behaviours of its citizens.”

“Creepy, dark, shocking, and spooky from beginning to end… Don’t forget to take a long look at the book’s cover when you’ve finished reading.”

Ah, yes. The cover. Anyway, for the full article, click here. On to Arpad’s other piece, this time concerning The Irresistible Summons. Here are a few of his thoughts.

“An unstoppable descent into a paranormal nightmare.”

“From romantic nuance and religious references, Dillon drives the story into dark places. Horror arrives in various forms, and all of them are unnerving and most frightening is the possibility of some of them being real issues we could be facing soon.”

“The story makes you think, unwind and rewind the implications of what is happening, and you quickly lose faith in which characters you can trust. Dillon delivers the right amount of twists and turns, none of which I could accurately predict, and one of them is a real “didn’t see that coming” doozy.”

Arpad’s full review of The Irresistible Summons is here.

To pick up an ebook or paperback of either of these novels, click here (for the UK) and here (for the US). Alternatively, click here to obtain copies via Smashwords and their associated distribution channels.

Film Review – Puss in Boots: The Last Wish

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Credit: Universal/Dreamworks

I’m not quite sure why a Puss in Boots sequel was ordered by whatever HAL-like entity crunches numbers over at Dreamworks, concerning which deceased equines warrant another round of flagellation. Let’s not pretend Puss in Boots: The Last Wish happened for any noble artistic reason. However, I rather liked the earlier 2011 Shrek spin-off Puss in Boots. Therefore, the prospect of another didn’t immediately send me into a fit of why-can’t-Hollywood-try-something-original foaming-at-the-mouth petulance, and the results are modestly enjoyable.

The plot involves Puss in Boots confronting his mortality when, after a giant-slaying opening, he realises he’s used up eight of his nine lives. He is then menaced by a lupine angel of death, who is rather unimpressed with Puss in Boot’s hitherto cavalier attitude to deadly peril. This encounter leaves Puss in Boots afraid for the first time in his life, so he slinks off into anonymity at a cat rescue home, where he inexplicably grows a beard and is harassed by an irritatingly outgoing chihuahua disguised as a cat.

However, when a gangster-Goldilocks and her three bears go looking for the map to a mysterious wish-granting star, Puss in Boots sees a chance to sneak ahead of them to regain his nine lives. But they aren’t the only interested parties, with Kitty Softpaws also searching, along with the psychopathic Big (as opposed to Little) Jack Horner, whose plumb-pulling persona is a lot less benign than you may have been led to believe.

It’s all good silly swashbuckling fun, albeit largely inconsequential. Antonio Banderas, Florence Pugh, Olivia Colman, Salma Hayek, Ray Winstone, and various others all give good vocal performances, and the opulent animation, under the direction of Joel Crawford and Januel Mercado, is an enjoyable mix of traditional digimation and Spider-Man: Into the Spider-Verse inspired frame rate experimental jiggery-pokery. Yes, the plot is predictable to a fault, and the meditations on PTSD and mortality are fairly superficial compared with something like Guillermo Del Toro’s masterful Pinnochio. Yet despite this, the film is never less than entertaining, even though it’s obviously no masterpiece.

I suppose I ought to warn that very young viewers may be a little alarmed by the wolf angel of death, but this plot thread resolves in a positive way that provides good life lessons about overcoming fear. So ignore pearl-clutching mollycoddlers blithering variations of will-someone-please-think-of-the-children (I’ve read a few comments to that effect online). Puss in Boots: The Last Wish is nothing groundbreaking, but it’s passable entertainment for all the family.

UK Certificate: PG

US Certificate: PG