Supergirl [2026 film] (4 Stars)

Over the last few weeks I've seen various trailers for "Supergirl" in the cinema. I rarely watch trailers at home. I've seen videos on YouTube predicting it would be a massive flop. Again, I didn't watch the videos, but the titles and info screens told me all I needed to know. But I didn't let myself be put off. I went to the cinema today, and I enjoyed the film. The only major thing I disliked is that it's set on alien planets. I would have preferred to see Supergirl on Earth.

What I enjoyed most was seeing Supergirl's power. She's more than a match for any opponent or groups of opponents who face her. I couldn't help thinking that her fight scenes are what MCU's Drax should have fought like. The whole outer space alien planet setting reminded me of the Guardians of the Galaxy films, which isn't something bad in itself.

On the way home I watched "Supergirl" reviews on YouTube and replies to the reviews. It seems like most of the critics liked the film less than I did, but I understood their arguments. The replies were less balanced. They claimed that critics don't like "Supergirl" because it's a film about a powerful woman. That's not something I read in any of the critical reviews. They also claimed that the opponents of the film are MAGA supporters. That's an even stranger argument, which isn't backed up by anything I've read online. People are trying to politicise fair criticism. That's wrong.

I'll probably read more criticism of the film. but it won't change my mind. I like it.

The Legend of Fong Sai Yuk (4½ Stars)

Few martial arts films capture the sheer joy of Hong Kong action cinema as perfectly as "The Legend of Fong Sai Yuk". directed by Corey Yuen in 1993. Starring Jet Li at the peak of his abilities, the film combines dazzling fight choreography, broad comedy and memorable characters into one of the most entertaining kung fu adventures of the 1990's.

Loosely based on the legendary Chinese folk hero Fong Sai Yuk, the story follows a gifted young martial artist whose impulsive nature repeatedly gets him into trouble. Jet Li brings an infectious charm to the role, balancing heroic swagger with comic timing. Unlike many martial arts heroes of the era, Fong is neither brooding nor solemn. He's playful, mischievous and constantly finding himself in absurd situations.

The film's greatest strength is undoubtedly its action. Corey Yuen's choreography is nothing short of extraordinary, blending traditional kung fu with acrobatic stunts and inventive visual gags. Every fight sequence feels unique, whether it's a chaotic street brawl, a duel fought under impossible circumstances or the legendary tournament sequence that has become one of the defining action scenes of Hong Kong cinema. The performers execute astonishingly complex moves with a speed and precision that still impresses more than three decades later. Even viewers who have seen countless martial arts films will find themselves amazed by the creativity on display.

Another aspect that sets "The Legend of Fong Sai Yuk" apart is its treatment of female characters. The women aren't merely spectators or romantic interests; many of them are formidable fighters in their own right. The standout is Josephine Siao's Miu Tsui-fa, Fong's mother, who is every bit as skilled, fearless and entertaining as her son. Her action scenes rank among the film's best, and she often steals the spotlight from Jet Li himself. At a time when many action films relegated women to supporting roles, The Legend of Fong Sai Yuk presents female fighters as genuine equals.

One of the film's most unusual elements is the romantic subplot between Miu Tsui-fa and Xiaohuan. While disguised as a male martial artist, Miu Tsui-fa encounters Xiaohuan in combat, and the younger woman becomes captivated by the stranger's fighting skill and heroic bearing. The resulting romance is played largely for comedy, but it remains surprisingly affectionate. Long before homosexual themes became common in mainstream action cinema, "The Legend of Fong Sai Yuk" devoted a substantial portion of its running time to a woman falling in love with another woman, albeit under a mistaken identity. The subplot adds another layer of charm to a film already overflowing with personality.

The film's blend of spectacular action, strong female characters and unconventional humour gives it a unique personality. It never pauses for heavy drama or historical realism. Instead, it embraces entertainment in its purest form, delivering one inventive set piece after another while maintaining an infectious sense of fun.

More than thirty years after its release, "The Legend of Fong Sai Yuk" remains one of the crown jewels of Hong Kong martial arts cinema. With Jet Li's star-making performance, Corey Yuen's breath-taking choreography, a cast of unforgettable female fighters and an unexpectedly charming same-sex romance subplot, it's a film that continues to delight audiences and stands as one of the finest action-comedies ever made.

Backrooms (4 Stars)

I didn't wait very long to watch "Backrooms" again. I'm visiting my son Benjamin this weekend, and I told him "Backrooms" is a film he needs to see. We went to the Lichterspielhaus in Schwäbisch Hall, one of Germany's oldest cinemas, opened in 1913. In a way it's a perfect setting for the film, since the rooms are dug into the cellars.

We watched it dubbed into German. That wasn't a problem, since German dubbing is so good. Benjamin loved it, and so did I. He's disappointed with me for only rating it four stars. Maybe it deserves more. Ask me again next year when I have the Blu-ray disc in my hand.

As I mentioned in my last review, the film takes place in 1990. That's a good year. Everything looks modern, but there are no smart phones or Internet. Things like that would spoil the film and make parts of the plot impossible.

Backrooms (4 Stars)

Does a film have to explain everything? And if it does offer explanations, do they have to make sense? That's a question I have to ask when I watch a film like "Backrooms". So much in the film is infeasible, even when explanations are offered.

The film takes place in 1990. The owner of a furniture store has recently been thrown out of his home by his wife, so he now lives in an area on an underground floor of the store. He has everything he needs, since the store contains beds, television sets and armchairs. One night he discovers a hidden door which leads to an endless labyrinth of rooms and corridors.

I'll leave the description there. The atmosphere and the tension make up for whatever might remain unexplained. It's a film I want to see again.

Chiwetel Ejiofor, who I first noticed when he played Baron Mordo in "Doctor Strange", is rapidly becoming one of my favourite actors. Something about his calm demeanour even in the midst  of terror fascinates me.

Disclosure Day (3 Stars)

I saw the trailer for "Disclosure Day" frequently in the cinema, at least ten times during the Stuttgart Nights Festival. The trailer looked curious, to say the least, but I thought to myself, "It's a Spielberg film, and any film directed by Steven Spielberg has to be good".

I was being too optimistic. Today I sat down in the cinema, and despite the high quality production I had a sinking feeling in my chest.

Usually when I write about a new film I've just seen in the cinema I just tell my readers what the premise is. This time I can't do it. The film has a relatively simple premise, but it isn't revealed until late in the film, so it would mean giving spoilers to tell you what the film is about.

The film starts with two young people who have seemingly nothing to do with one another. Daniel Kellner is someone who's stolen secret data from Wardex, the company where he works. Margaret Fairchild is a television weather girl who suddenly becomes able to understand and speak every language, as well as gaining the ability to read minds. For the first hour the action jumps between the two people without telling us their connection. This irritated me, but I knew everything would be explained later.

Then it was explained. But I was still unhappy. Some things still didn't make sense.

Usually I would promise to write a second review with spoilers when I have the film on disc, explaining all the things I didn't like. Not this time. I have no intention of watching the film again, not even on streaming. I wasted two and a half hours of my life today. That's enough.

Steven Spielberg is responsible for some of the best films ever made. "Jaws" and "Jurassic Park" are just two examples. His name is a guarantee for quality. Usually. If "Disclosure Day" is the best he can do now, it's time for him to retire.

Thunderbird 6 (4 Stars)

This is a curious film for me as a Thunderbirds fan. It was released in 1968, less than two years after "Thunderbirds Are Go", but I never heard about it. How did I possibly miss it, even in the pre-Internet age? I didn't find out that the film existed for more than 40 years, and today is my first chance to watch it. Maybe it had something to do with the fact that Richard Lee and I were no longer friends. We were close in primary school, but he lost interest in me in grammar school, even though our alphabetically ordered desks were close together. I know the reason, but in retrospect I still don't understand it. In grammar school Richard was interested in the science subjects, whereas I gravitated to foreign languages. He was only friends with boys who shared similar interests. Strange, but that's what happens sometimes.

The film shows the Thunderbirds member Brains attempting to design a new craft for International Rescue. But the title is misleading. It's only a subplot that's briefly shown at the beginning and the end of the film. The main story is about a skyship that Brains has designed for a civilian aviation company, the New World Aircraft Corporation. Somehow it looks very retro, like an early 20th Century German Zeppelin. The main difference is that it isn't powered by hot air, but by an ant-gravity engine.

Brains is invited to travel on the maiden voyage. He's accompanied by Lady Penelope, Parker and Alan Tracy. As always, the Hood is waiting to attack. He kills the skyship's crew and replaces them with his own men.

There are several features that set "Thunderbird 6" apart from the previous film.

1) Stylistically, it has the feeling of a standalone film, not just an extended television episode.

2) The puppet strings are never visible. In the previous film they were sometimes visible, and in the TV series they're almost always visible.

3) Lady Penelope plays the leading role.

The third change is significant. In a 2010 interview Sylvia said that she pushed for this change. Due to strong women being shown in new TV series like "The Avengers", she thought that audiences were ready for a strong female character. Maybe they were, but the box office said otherwise. "Thunderbird 6" was a big flop. Maybe this was just because it wasn't properly advertised. More young boys like me would have gone to see the film if they'd known about it. "Thunderbirds Are Go" was visible everywhere, including special packets of Kellogg's Smacks, which I ate regularly. The second film wasn't pushed to the same extent.

Here's the beautiful Lady Penelope between her colleagues. Or are they her admirers? In the first film there's a scene where Virgil asks her on a date, but she gently turns him down. In this film she spends a lot of time with Alan, but it's all professional, without a hint of romance.

In case you're still wondering what Thunderbird 6 is, we get an answer at the end of the film. Watch it yourself if you're curious.

Thunderbirds Are Go (4 Stars)

This is a 1966 puppet film based on the Thunderbirds TV series. "Thunderbirds" was an important part of my life when I was growing up. It was my second favourite TV series after "Doctor Who". I never missed a single episode. The film was significant to me, because it was the first time I ever went to the cinema without being accompanied by my parents. I saw it at the Imperial cinema in Walsall with my best friend (at the time), Richard Lee. A few days later I went to see it a second time by myself.

I enjoyed the film, but to me the only thing special about it was the cinema experience. The film was just like a television episode, except it was twice as long. It fitted into the series' continuity. No attempt was made to introduce the characters, because it was assumed that everyone in the cinema already knew the series. Normally I would call that the mark of a bad film, but "Thunderbirds Are Go" was never intended to be a standalone film.

The story itself is untypical. The Thunderbirds are vehicles that work for an agency called International Rescue. In the television series they operate solely when needed for major accidents or tragedies. In the film they're requested to offer security for the launch of Zero-X, the first manned spacecraft to Mars. Jeff Tracy, the head of International Rescue, admits that it's an unusual role, but he says that rules are made to be broken. 

The series creator Gerry Anderson admits that the dream sequence of Cliff Richard and the Shadows performing in a space station has no relevance to the rest of the film, but ironically this is the most famous scene in the film. At the time Gerry and Cliff were neighbours and often met each other. When talking about the upcoming film they decided on a cooperation. Cliff wrote and recorded a song ("Shooting Star"), Gerry arranged for the puppets to be built.

I've watched the TV series sporadically over the years, but today is the first time I've watched the film since 1966. I admit that it looks dated, but I still enjoy it. 

Lady Penelope is the most beautiful puppet ever made. Her appearance is based on Gerry's wife Sylvia, who also provided the voice for the character in the series.

Sylvia Anderson, 25 March 1927 – 15 March 2016
Lady Penelope, 1965 – Forever