Noriko's Dinner Table (5 Stars)

If "Suicide Club" was Sion Sono's cinematic hand grenade, "Noriko's Dinner Table" is the slow poison that lingers in your bloodstream long after the explosion. Marketed as a companion piece rather than a straightforward sequel, it revisits the same world from an entirely different angle. Forget the infamous opening train massacre and the barrage of shocking violence. This time Sono's weapon of choice is emotional devastation.

At first glance, the film appears almost restrained. Teenager Noriko (Kazue Fukiishi) runs away from her suffocating rural home after becoming obsessed with an online community, eventually falling under the spell of Kumiko, the mysterious "Ueno Station 54", played with eerie composure by Tsugumi. Kumiko operates one of Tokyo's strangest businesses: a rental family service where complete strangers are hired to become daughters, wives, husbands, parents or entire families. What sounds bizarre quickly becomes terrifying as every relationship dissolves into performance and every performance begins to feel more authentic than reality itself.

This is where "Noriko's Dinner Table" becomes even more disturbing than "Suicide Club". The earlier film shocked audiences with graphic deaths and surreal horror. Here, Sono suggests something far more frightening: that modern society has become so emotionally bankrupt that people are willing to pay complete strangers to pretend they love them. The film argues that identity itself has become a commodity, something to be bought, sold and performed until nobody remembers who they really are.

The portrayal of rental families is unnerving. Every encounter strips away another layer of authenticity until the audience is trapped in the same uncertainty as the characters. Are they acting? Have they become the roles they were hired to play? Was there ever a "real" person underneath? The film offers no comforting answers, only increasingly unsettling questions.

One of Sono's boldest decisions is his extensive use of voiceovers. Nearly every major character narrates their thoughts, revisiting the same events from conflicting perspectives. In lesser hands, this could have become repetitive or self-indulgent. Instead, it becomes hypnotic. Every new narration peels back another emotional layer, exposing guilt, loneliness, resentment and desperate longing that remain invisible on the surface. The result feels less like watching a film than listening to damaged souls desperately trying to explain themselves.

The slower pacing will undoubtedly divide audiences. Anyone expecting another frantic descent into horror like "Suicide Club" may initially wonder whether they're watching the right film. At nearly three hours, Sono deliberately allows scenes to breathe, conversations to linger and silences to become uncomfortable. Yet that patience is exactly what gives the film its crushing emotional weight. Rather than assaulting the audience with horror, it quietly suffocates them.

The links to "Suicide Club" gradually emerge like buried memories. Familiar characters return. Seemingly inexplicable events acquire heartbreaking new meaning. Instead of solving every mystery left behind by its predecessor, "Noriko's Dinner Table" reveals that the mass suicides were merely symptoms. The disease was already there: fractured families, emotional isolation and a generation that no longer knows how to distinguish genuine connection from manufactured affection.

Even the recurring references to Amaterasu, the Shinto sun goddess, become devastatingly appropriate. In mythology, Amaterasu hides herself away inside a cave, plunging the world into darkness until she is coaxed back into the light. Sono transforms that ancient story into a metaphor for modern alienation. His characters retreat into emotional caves of their own making, burying themselves beneath invented identities, borrowed personalities and carefully rehearsed roles. They don't simply lose each other; they lose themselves.

Where "Suicide Club" screamed its anger at a disconnected society, "Noriko's Dinner Table" whispers the same message with terrifying conviction. It abandons shock tactics in favour of psychological horror, and the result is arguably even more unsettling. The monsters aren't killers or ghosts. They're ordinary families who have forgotten how to speak to one another, teenagers who find more warmth from strangers than their own parents and adults so desperate for affection that they'll happily pay someone else to fake it.

This isn't simply one of the greatest companion films ever made. It's one of the bleakest examinations of identity, loneliness and modern Japan ever committed to cinema. "Suicide Club" leaves you stunned. "Noriko's Dinner Table" leaves you questioning every relationship in your own life. Long after the credits roll, that's the film that refuses to let go.

Suicide Club (5 Stars)

Time and time again the sky is blue,

And yet it's strange how people seem to always fall in love.

An unfamiliar yellow dog keeps grinning

As it tears us from the ones we love.

Because the dead,

Because the dead,

Because the dead shine all night long.

I want to die as beautifully as Joan of Arc

Inside a Bresson film.

Lesson one, apply the shaving cream and smile

As you slowly slice away the heart

Because the dead,

Because the dead,

Because the dead shine all night long.

Feel the warmth of the spring rain

As it gently moistens down a cheek

That's streaked with dried up tears.

A guileless boy of five years old stares blankly in the face of death

While his heart is cut and torn away.

Because the dead,

Because the dead,

Because the dead shine all night long.

Because the dead,

Because the dead,

Because the dead shine all night long.

Few films have ever announced themselves with such breath-taking audacity. "Suicide Club" opens with one of the most infamous scenes in horror history, as fifty-four smiling schoolgirls calmly join hands and throw themselves beneath an oncoming train. The resulting carnage is so extreme that it's almost surreal, immediately signalling that Sion Sono has no interest in making a conventional thriller.

As mass suicides sweep across Japan, weary detective Kuroda struggles to uncover the truth. Every lead only deepens the mystery. A bizarre website appears to predict the growing death toll, grotesque rolls of stitched human skin arrive at police stations and the relentlessly upbeat J-Pop group Dessert seems to cast an eerie shadow over every tragedy. Meanwhile, the flamboyant psychopath Genesis, played with unforgettable manic energy by Rolly, taunts the investigation while hinting that something far larger is unfolding.

Is Dessert secretly manipulating its fans through coded messages hidden in its posters and songs? Is there a suicide cult operating in the shadows? Or has modern society become so emotionally hollow that people no longer need anyone to persuade them to die? Sono deliberately refuses to provide simple answers, leaving viewers to wrestle with one haunting question: "Are you connected to yourself?"

Beneath the shocking violence lies a savage satire of celebrity culture, media obsession and the loneliness lurking beneath modern life. The unforgettable final concert by Dessert offers no comforting explanation, only the chilling suggestion that the machinery of pop culture will continue smiling long after the bodies have been cleared away.

Violent, provocative and deeply unsettling, Suicide Club remains one of the most original cult horror films of the twenty-first century. Its gruesome set pieces may grab your attention, but it's the questions it leaves behind that will haunt you long after the credits roll.

Baby Doll Strippers (3 Stars)

I read that the Blu-ray "Harlots of the Caribbean" contained an extra feature, a short film called "Strippers Inc". I had no idea what it is, but as soon as it started I recognised it as "Baby Doll Strippers" with a new name.

The film, if it can be called that, is about a strip club owner interviewing three girls who want to work for her. After the interviews she asks them to show their skills as private dancers. The girls take turns in pretending to be men, so that the potential strippers can show how they seduce them.

The interview sections were so realistic that they seemed like they were candid question and answer sessions, with the actresses giving honest answers from their own lives. The dancing sections were obviously rehearsed. I greatly enjoyed the interview sections, but the dances didn't live up to my expectations. I doubt I'll ever watch this film again.

Despicable Me (4 Stars)

Amazon Friday #43

Today I collected my granddaughter Evelyn from kindergarten. On the way home I asked her if she wanted to watch a film with me. That was an important question. She recently turned five, and she's never watched a film. She's happy watching videos on YouTube. Now it's time for her to move up to the next level. I picked the film "Despicable Me", better known as "the Minions film". Isn't that what everyone calls it?

I thought she might get bored, but she didn't. I'm sure she didn't understand everything. The film started with the Egyptian pyramids being stolen, but she doesn't know what the pyramids are. Nevertheless, she watched the whole film intently, bursting into laughter at any slapstick intervals. The film was a success, and there will be many more.

By the way, she drew this picture for me this morning. The two hearts are her heart and mine. Forever together. I love her so much.

Success Rate:  + 5.9

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Harlots of the Caribbean (4½ Stars)

It's taken a long time to get here. After 20 years, "Harlots of the Caribbean" has finally been released on Blu-ray. I was worried that Fred Olen Ray would only release his bikini films (as he likes to call them) if they starred Christine Nguyen, because she's his most popular actress, but here we have a film with the amazing Beverly Lynne, Rebecca Love, Nicole Sheridan and Beverly Lynne. Did I just say Beverly Lynne twice? It must be the echo out at sea.

That's not a harlot on the Blu-ray cover. It's the pirate queen Morgana, who used to have sex with every man before she made him walk the plank.

And those aren't harlots either. It's Beverly Lynne and Nicole Sheridan, modern day treasure hunters.

In fact, there aren't any harlots at all in the film. It's just a catchy title.

I bought two Blu-rays in the Medina collection that were released at the same time this month. I'll give a complete summary when I watch the other film.

Vier Fäuste für ein Hallelujah [comedy version] (4 Stars)

This is the comedy version of "Four Fists for a Hallelujah". Supposedly. I don't think it's any funnier than the version I watched yesterday. From what I've read the dubbing was more accurate in the theatrical version, but there's one significant exception: in the new version Terence Hill is called Trinity, as he should have been from the start.

Which version is better? I prefer this one. Trinity remains Trinity.

Vier Fäuste für ein Hallelujah (4 Stars)

I'm so frustrated with this film that I almost decided not to review it. It makes a mockery of my film blog and films in general. I reviewed it once before, using the English DVD title, "Trinity is still my name". That's the literal translation of the original Italian title. In Germany the film is called "Vier Fäuste für ein Hallelujah", i.e. "Four fists for a Hallelujah". That means absolutely nothing, but Germans like spectacular film titles. The title change doesn't bother me, except in the German dubbing Terence Hill isn't called Trinity, his name is Sleepy Joe. Why? The answer is only known to the super-intelligent boss of the German studio responsible for the dubbing when the film was released in 1971.

In 1982 the film was rereleased for video. For reasons also unknown to me the film was redubbed and called the "comedy version". That doesn't make sense either, because the original film was already a comedy. I just watched the original "theatrical" version, and I'll watch the comedy version tomorrow.

The Holy Virgin vs the Evil Dead (4 Stars)

There are cult films, there are cinematic oddities, and then there's "Holy Virgin vs the Evil Dead", a gloriously unhinged slice of Hong Kong supernatural cinema that seems determined to throw every outrageous idea at the screen. The result is a film that's messy, wildly inconsistent and almost impossible to forget.

The story combines Taoist magic, vampires, ghosts, zombies, black magic and martial arts into a single chaotic package. Logic is sacrificed in favour of spectacle, with one bizarre set piece following another at a relentless pace. The film rarely slows down long enough for the audience to question what's happening before introducing another monster, magical duel or outrageous plot twist.

What makes the film so entertaining is its refusal to play by any conventional rules. Horror, slapstick comedy and fantasy action collide throughout, creating the kind of manic energy that defined many low-budget Hong Kong productions of the late 1980's and early 1990's. The special effects are charmingly primitive by modern standards, relying on practical tricks, wire work and energetic performances rather than digital effects. The rough edges only add to the film's appeal.

The performances embrace the madness with complete sincerity. Nobody seems concerned about realism; every actor commits wholeheartedly to the increasingly absurd situations. That commitment helps transform what could have been an incoherent mess into something strangely infectious.

Viewed as a conventional horror film, "Holy Virgin vs the Evil Dead" has obvious flaws. The plot barely holds together, character development is minimal and tonal shifts can be dizzying. But those are also the qualities that have earned it a loyal cult following. Fans of Hong Kong genre cinema appreciate its fearless imagination and willingness to ignore every filmmaking rule in pursuit of entertainment.

It's not a polished classic, it's an unforgettable curiosity. If you enjoy supernatural martial arts films, over-the-top practical effects and wonderfully unpredictable storytelling, "Holy Virgin vs the Evil Dead" offers a delirious ride unlike almost anything else. It's exactly the kind of wonderfully eccentric film that rewards cult cinema enthusiasts willing to embrace its glorious insanity.

The Paperboy (5 Stars)

Quietly, practically unnoticed, "The Paperboy" delivered one of the creepiest evil child thrillers of the 1990's. Directed by Douglas Jackson, the Canadian film follows a lonely paperboy who becomes obsessed with creating the perfect family, eliminating anyone who stands in his way.

What makes "The Paperboy" memorable isn't graphic violence but the unsettling performance by Marc Marut. He gives Johnny an unnerving mix of childish innocence and cold-blooded manipulation, making him far more disturbing than many supernatural horror villains. The suburban setting and low-budget production give the film an everyday realism that makes his behaviour even more believable, while the script plays on the fear that true evil can hide behind the face of an apparently ordinary child.

Although it was released straight to video and largely overlooked by critics, "The Paperboy" has steadily built a reputation among horror fans. Much of that reputation can be traced to legendary horror host Joe Bob Briggs, who championed the film during his MonsterVision run, famously calling it "the most underrated horror film ever". That endorsement introduced countless genre fans to a film that many had never even heard of, and Briggs' enthusiasm helped cement its status as a hidden gem.

Its scarcity only added to the mystique. For many years "The Paperboy" was difficult to obtain in English-speaking countries, leading horror fans to seek out rare VHS tapes, imported DVDs and later online copies. Combined with its bizarre premise, memorable scenes and Marc Marut's unforgettable performance, that rarity transformed the film into exactly the kind of title that thrives through word of mouth. Rather than becoming famous through box office success, it earned its reputation through devoted fans recommending it to one another.

The Paperboy isn't a polished classic, but its creepy atmosphere, genuinely disturbing central performance and enduring reputation as an overlooked gem make it one of the most deserving cult horror discoveries of the 1990's. Even if Joe Bob Briggs' claim that it's "the most underrated horror film ever" is open to debate, the fact that people are still discovering and celebrating it more than three decades later suggests he wasn't exaggerating by very much.

There's a high probability that the film will one day be released on Blu-ray or even 4K. The reason for optimism is that "The Paperboy" has gone from being an obscure direct-to-video thriller to a genuine cult title. Over the last decade it's been rediscovered by horror fans, helped enormously by Joe Bob Briggs' enthusiastic endorsement and the rise of boutique labels that specialise in forgotten genre films. Companies such as Vinegar Syndrome, Severin Films, Arrow Video, Terror Vision and Unearthed Films have built their businesses on releasing exactly this kind of overlooked cult horror.

A new Blu-ray would make sense because:

• the film has never received a widely available, restored HD release in North America.

• its reputation has grown steadily through word of mouth.

• boutique labels are increasingly licensing direct-to-video horror from the 1980's and 1990's.

• Marc Marut's performance has become something of a cult talking point among horror fans.

A special edition could easily include:

• a new 2K or 4K scan of the original camera negative (if it still exists).

• an interview with Marc Marut.

• a retrospective with director Douglas Jackson.

• a commentary discussing the "evil child" subgenre.

• Joe Bob Briggs explaining why he considers it "the most underrated horror film ever".

If any forgotten 1990's horror film deserves this treatment, "The Paperboy" is one of the strongest candidates. Its cult reputation is still growing rather than diminishing, which is exactly the kind of trajectory that attracts boutique physical media labels.

The Baby's Room (4 Stars)

It's taken me a long time to get my hands on this film. It's the only film made by Alex de la Iglesia that's never been released with English subtitles. I was finally able to find a downloadable version on the web site DVD Lady. Unfortunately, the subtitles are poor quality with countless spelling mistakes, but at least they're understandable. For instance, the word forget is always spelt with two t's, i.e. "forgett". Apostrophes are either omitted or inserted in the wrong place, e.g. "I dont wan't to go home".

The film stands apart from all of De La Iglesia's other films. It's lacking his typical comedic elements. The reason is that he was commissioned to make a film for a horror anthology series; six films were made by six different directors. He was constrained in the content he could create, and he was even more constrained in his budget. He was only given one million Euros to make the film, which limited him in his use of locations. And yet I was surprised to read glowing reviews of "The Baby's Room". It's considered the best of the six films in the anthology, which hardly surprises me, but many critics also call it a masterpiece of supernatural horror. 

The film is about Juan and Sonia, a couple with a seven-year-old son who buy a large run-down building. The problems begin when they install a baby phone. They hear a man's voice in their baby's room, but when they rush into the room the baby is alone in his bed. So they buy a baby monitor with a camera. Juan wakes up and sees someone sitting next to his son. He rushes into the room and finds nobody. Is it possible that there are ghosts who're only visible on electronic devices, not to the human eye? That's the mystery.

Do I like it or not? Initially I was disappointed because it was so un-Iglesia-ish. As the film progressed and the secrets were slowly unveiled I became increasingly enthralled. I'm sure to watch the film again later this year. Wait for my next review.

The Legend of Fong Sai Yuk 2 (4½ Stars)

While "The Legend of Fong Sai Yuk" is remembered as one of the great martial arts comedies of the 1990's, "The Legend of Fong Sai Yuk 2" takes a noticeably different approach. Although it reunites Jet Li with director Corey Yuen and retains the dazzling action that made the original such a success, the sequel shifts away from broad comedy and romantic adventure towards a more serious patriotic drama. The result is a film that feels less playful but more emotionally driven.

The first film balanced spectacular kung fu with slapstick humour, outrageous misunderstandings and an almost screwball romance. Much of its charm came from Fong Sai Yuk's youthful recklessness, his attempts to win the heart of Ting Ting and the hilarious relationship between his parents, especially his formidable mother. Even the elaborate fight scenes often had a comic edge, turning martial arts into a form of physical comedy.

The sequel largely abandons that tone. Instead, Fong becomes involved with the Red Flower Society, an underground resistance movement dedicated to overthrowing the Qing dynasty. Political intrigue replaces romantic confusion and the story carries genuine emotional weight as questions of loyalty, sacrifice and patriotism come to the forefront. The stakes are considerably higher than in the original, giving the film a more mature atmosphere.

Jet Li adapts effortlessly to this change in tone. His Fong Sai Yuk is still energetic and charismatic but has become a more responsible and determined hero. Rather than simply reacting to outrageous situations, he is forced to make difficult moral choices, making the character feel as though he has genuinely grown since the first film.

The action remains exceptional. Corey Yuen stages another series of inventive martial arts sequences, filled with speed, precision and astonishing athleticism. The choreography is slightly less whimsical than before, favouring fast, intense combat over comic invention. The climactic battles are among the most impressive of Jet Li's early Hong Kong career, combining graceful wirework with bone-crunching hand-to-hand combat.

The supporting cast also reflects the film's changing priorities. While Fong's mother still provides flashes of humour and proves once again to be one of Hong Kong cinema's greatest action heroines, the comic family dynamics take a back seat to the larger political conflict. The villains are darker, the betrayals more personal and the emotional consequences far more significant than in the first film.

Viewed on its own, "The Legend of Fong Sai Yuk 2" is an outstanding martial arts adventure that successfully broadens the scope of its predecessor. Those expecting another carefree action comedy may initially be surprised by its more serious direction, but the stronger dramatic focus gives the sequel an identity of its own rather than simply repeating the original formula. Together, the two films complement each other perfectly; one celebrates youthful exuberance and romance, while the other explores courage, loyalty and sacrifice without ever sacrificing the breath-taking action that defines the series.

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

Insomnia [American Version] (4½ Stars)

The original Norwegian "Insomnia" and the American remake tell essentially the same story: a police detective investigating a murder in a town where the sun never sets accidentally kills his partner and then becomes psychologically entangled with the murderer. However, the films differ significantly in tone, themes, characters and even in what they ultimately say about guilt and morality.

The setting

Original (1997)

The Norwegian film, directed by Erik Skjoldbjærg, takes place in northern Norway. The setting feels cold, isolated and alien. Even though the midnight sun provides constant daylight, the world seems emotionally frozen.

Remake (2002)

The remake, directed by Christopher Nolan, moves the action to a small town in Alaska. The landscape is grander and more picturesque. Nolan uses mist, forests and mountains to create atmosphere, whereas the Norwegian film often feels stark and oppressive.

The detective

This is the biggest difference between the two films.

Original: Jonas Engström

In the Norwegian film, detective Jonas Engström is already morally compromised before the story begins.

He arrives in the north under investigation by Internal Affairs. There are strong suggestions that he has previously falsified evidence and may have convicted innocent people. When he accidentally shoots his partner during a foggy pursuit, he deliberately covers up the truth.

The film gradually reveals that Engström's sleeplessness isn't simply caused by the endless daylight. It is caused by his guilt and by the collapse of the dishonest life he has built.

He is not a sympathetic hero. He is arrogant, dishonest and increasingly desperate.

Remake: Will Dormer

In Nolan's version, detective Will Dormer, played by Al Pacino, is much more sympathetic.

Dormer is also under investigation, but the circumstances are softened. His previous misconduct appears motivated by a desire to convict criminals rather than personal corruption. When he accidentally shoots his partner, he covers it up, but the film presents this as a tragic mistake rather than the action of a fundamentally corrupt man.

The audience is encouraged to feel sorry for him.

This changes the entire moral balance of the story.

The murderer

Original

The killer, Jon Holt, is intelligent, manipulative and disturbingly calm. He gradually becomes almost a mirror image of Engström.

The relationship between the two men is the heart of the film. Both have committed crimes. Both justify their actions. The detective and murderer become morally indistinguishable.

Remake

The killer is Walter Finch, played by Robin Williams.

Williams gives one of the most restrained performances of his career. Rather than playing the role as a monster, he portrays Finch as an ordinary, lonely man who committed a terrible act.

The remake spends more time humanising the killer. The cat-and-mouse relationship remains important, but it is less existential and philosophical than in the original.

The female detective

Original

The young detective investigating Engström is a relatively minor character. The focus remains squarely on the duel between the detective and the murderer.

Remake

The character is more important. She's played by Hilary Swank.

She represents the moral centre of the film. Dormer increasingly sees in her the idealism he has lost. This gives the remake a stronger redemption narrative.

The use of insomnia

Original

The insomnia feels almost physical.

The endless daylight becomes torture. Engström blocks his windows with blankets, tapes and cardboard, yet the light still penetrates. The film often feels like a nightmare in which reality is gradually disintegrating.

The audience experiences his exhaustion.

Remake

Nolan retains the concept, but uses it somewhat differently.

The sleeplessness becomes a manifestation of guilt and psychological pressure. It is important, but the remake is more interested in character relationships and moral choices than in making the viewer feel physically exhausted.

The Norwegian film is more oppressive.

The endings

This is perhaps the most important difference.

Original

The ending is bleak.

Engström survives but is exposed. There is no sense of redemption. The film suggests that guilt cannot be escaped and that moral corruption eventually destroys a person.

The conclusion is deeply pessimistic.

Remake

The remake moves toward redemption.

Dormer ultimately confesses the truth and encourages the young detective not to repeat his mistakes. After he is shot, he dies having finally accepted responsibility.

His final words, "Don't lose your way", transform the story into a cautionary tale about integrity.

The ending is tragic but hopeful.

Style and atmosphere

Original

• Minimalist
• Cold and clinical
• Psychological
• Ambiguous
• Art-house sensibility

The film often feels closer to a European character study than a conventional thriller.

Remake

• More polished
• More emotional
• Stronger focus on suspense
• Larger scale cinematography
• More conventional crime-thriller structure

Despite this, it remains one of Nolan's most restrained films. Viewers expecting the complexity of Memento or Inception may be surprised by how straightforward it is.

Which is better?

That largely depends on what you're looking for.

The Norwegian original is generally regarded as the more psychologically rigorous film. It presents a detective whose corruption is inseparable from the crime he is investigating. The moral ambiguity is unsettling and never fully resolved.

The remake is more accessible and arguably more emotionally engaging. The performances by Pacino, Williams and Swank are excellent, and Nolan adds a stronger sense of redemption and tragedy.

A useful way to think about them is this:

The original asks: "What happens when a corrupt man is forced to confront himself?"

The remake asks: "Can a good man who has done something terrible redeem himself?"

They start from the same premise, but they arrive at very different conclusions about human nature. The Norwegian film is darker, colder and more cynical. Nolan's remake is warmer, more compassionate and ultimately more hopeful.

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Insomnia [Norwegian Version] (5 Stars)

Few crime thrillers have achieved the reputation enjoyed by "Insomnia", the 1997 Norwegian film directed by Erik Skjoldbjaerg. Long before the Hollywood remake starring Al Pacino and Robin Williams, the original established itself as one of the defining Scandinavian thrillers of the modern era. Nearly three decades later, it remains a benchmark for Nordic crime cinema and a deserved cult classic.

The film follows Swedish homicide detective Jonas Engström, played by Stellan Skarsgard, who travels to Tromso in northern Norway to investigate the murder of a young woman. The endless daylight of the Arctic summer soon becomes an enemy in itself. Unable to sleep, increasingly paranoid and burdened by guilt after a tragic shooting incident, Engström finds himself trapped in a psychological battle with the killer he is pursuing.

What makes "Insomnia" so extraordinary is its atmosphere. Unlike many thrillers that rely on darkness and shadows, the film creates tension through relentless sunlight. The bright Norwegian landscapes become oppressive, almost surreal. The perpetual daylight reflects Engström's deteriorating mental state, turning the investigation into a study of guilt, exhaustion and moral compromise. Skarsgard delivers one of the finest performances of his career, portraying a man whose confidence slowly collapses under pressure.

The film's cult status comes from its unusual approach to the crime genre. Rather than focusing on the mystery of "who did it", the audience learns the killer's identity relatively early. The suspense instead comes from watching the psychological relationship that develops between hunter and hunted. This emphasis on character, morality and atmosphere helped pave the way for later Scandinavian crime dramas and the wider Nordic noir movement. Many of the themes that would later become associated with Nordic crime fiction are already present here: flawed investigators, bleak moral ambiguity and a landscape that becomes an active participant in the story.

The influence of "Insomnia" can still be felt today. Its combination of psychological depth, visual originality and moral complexity remains remarkably fresh. While many Scandinavian thrillers have followed in its footsteps, few have matched its hypnotic power. As both a gripping crime story and a haunting character study, "Insomnia" stands among the greatest Scandinavian crime thrillers ever made and remains essential viewing for anyone interested in the evolution of Nordic noir.

TV-Series: Spider-Noir

I don't often watch television series. Even when I do, I don't write about them in my blog. I've made a few notable exceptions, such as "Smallville" and "The Sopranos", but even with those two series I didn't have the energy or the patience to continue until the end. The reason is that I have so many films I want to watch, and let's face it, may passion is films, not TV series.

However, when "Spider-Noir" was announced, I knew straight away that I had to watch it. The main reason was that Nicolas Cage was playing the title character. That guarantees quality, in my eyes.

I'll just tell you what the series' premise is. Ben Reilly was an American soldier who gained super-powers in Germany at the end of World War One. He acted as a super-hero called the Spider in New York for ten years. Then he retired after his girlfriend died, and he became a private detective. The series takes place in 1933. While investigating a case he's reluctantly tempted to use his super-powers again. He's out of practise. He's neither as strong nor as skilful as he used to be.

The series was filmed in black and white, but an alternate version has been made in full colour. As I understand it, the producers want the series to be watched in black and white; the colour version is only intended for younger viewers who need colour. I started watching in black and white, then switched to colour for comparison. Black and white is better. Believe me. Here are some comparison shots.

I deliberately picked this scene as something where the colour version might look better. But check the night-time scene below.

The BW version is far superior. But it's not just about the picture quality, it's about the atmosphere. The series is based on the film noir films of the 1940's and 1950's, even though it takes place earlier. Nicolas Cage may be a reluctant super-hero, but he plays a detective in the style of Humphrey Bogart. To get the full impression of the series, it has to be watched in black and white.

I watched all eight episodes in three days. It's worth a binge.

The Supercop (4 Stars)

"Supercop" (1980) is a delightful piece of Italian-American cinematic absurdity that works far better than it has any right to, largely thanks to the electric chemistry between its two leads. The film itself is a silly, low-budget superhero comedy about a Miami police officer who gains superpowers after being exposed to radioactivity, but it's the dynamic between Terence Hill and Ernest Borgnine that elevates it from forgettable fluff to a genuinely entertaining odd-couple romp.

Hill, as the title character David Speed, brings his trademark charm and physical comedy to the role. His character is goofy, good-hearted, and utterly bewildered by his newfound abilities, which include super speed, telekinesis, and the power to deflect bullets. Hill's performance is all about wide-eyed innocence and comedic timing, whether he's accidentally stopping a bank robbery or trying to hide his powers from his superiors.

Borgnine, as Sergeant Willy Dunlop, is the perfect foil to Hill's manic energy. He plays the gruff, no-nonsense police sergeant who's both exasperated by and secretly fond of his partner. Borgnine brings a gravitas and warmth to the role that grounds the film's more ridiculous elements. His deadpan reactions to Hill's antics are comedy gold, and you can tell he's having a blast playing the straight man to Hill's zaniness.

What makes their chemistry so special is the contrast between their styles. Hill is all about physical comedy and boyish charm, while Borgnine is a master of subtle facial expressions and world-weary grumbling. Together, they create a dynamic that feels both familiar and fresh. There's a genuine affection between their characters that comes through in every scene, whether they're bickering about donuts or teaming up to take down the bad guys.

"Supercop" isn't a masterpiece by any stretch – it's dated, cheesy, and often nonsensical – but the chemistry between Hill and Borgnine makes it worth watching. They're the heart and soul of the film, and their partnership elevates the material beyond its B-movie origins. It's a testament to the power of good casting and the magic that can happen when two actors click, even in the silliest of circumstances.

The Phantom Gunslinger (3 Stars)

This is a film I would never usually have watched. I only have it on my shelf because it was released on the same Blu-ray as "Fanny Hill". If I have it I might as well watch it. It might be a hidden treasure, waiting for me to discover it and say Wow!

Not quite. It's a notoriously silly slapstick comedy that's at least funnier than "Fanny Hill". The story takes place in the small town Tucca Flats, which has a population of 52, including dogs, cats and Indians. A gang called the Terrible Seven rides in and takes over the town. The sheriff flees after nominating the young theological student Phil Phillips as his successor. The trouble is that Phil has never touched a gun in his life. Even when someone in town gives him a gun, he's not very good with it.

Phil is called a phantom gunslinger, because he's killed in gunfights more than once, but every time he goes to Heaven he begs God to let him return to Earth to save Tucca Flats from the Terrible Seven.

The film made me chuckle a few times, but I won't watch it again.