(trailer review) - Resident Evil

 

When I watched the teaser some months ago, I said that, for this film to work, it needed to stick as closely to the games as possible, making changes only where necessary while keeping the core of what made them so memorable. Do that, and you'll satisfy the fans while still bringing in general audiences if the story is compelling enough. I also admitted that, while I liked the teaser, I wasn't fully convinced. Well... this trailer changed that.
By the time it finished, the first words out of my mouth were, "Yes, this is definitely for me." It might sound like I've done a complete 180, but I haven't. I already liked what I saw—I just wasn't sold. Oddly enough, the moment that finally won me over wasn't a monster reveal or a big action sequence. It was the protagonist frantically searching drawers for shotgun shells. Anyone who's spent time with the Resident Evil games knows that feeling. Running low on ammo while desperately hoping the next cupboard saves your life is practically a gameplay mechanic in itself. It's such a small detail, but it's exactly the kind of authenticity I wanted to see. On top of that, this trailer also gives us a much better idea of the story.

The trailer follows a courier making what should be a routine drop-off. After accepting another job, he accidentally hits someone on a snowy road, only for the body to mysteriously disappear. Looking for help, he takes refuge inside a nearby house, but something immediately feels off. The place is a mess, strange noises echo through the rooms, and after finding a shotgun, he desperately searches for ammunition as someone sprints through the snow towards the house. It's incredibly tense, and the frantic editing really sells the panic.

From there, the trailer ramps things up. We see him wandering through a deserted city, while Paul Walter Hauser explains that whatever happened in the town unfolded in just a matter of hours. Bodies fall from the sky, grotesque creatures begin emerging from impossible places, and the protagonist is left bloodied and fighting to survive. Just as he's about to pull the trigger on whatever's behind/past a door. At the end tag, we're finally told where he's heading. Raccoon City General.

That reveal alone was enough to put a smile on my face. Not that it was of any importance, but Raccoon City and Monsters/Zombies, this is simply another story told from the point of view of a random courier venturing into the city while all hell has broken loose. Plus, doing it this way does not put pressure on the studio and the makers of trying to stick as closely to the storylines within the game; they can play it a little fast and loose.

The teaser nailed the atmosphere, but this trailer finally gave me the confidence that the filmmakers understand what makes Resident Evil work. It feels tense, creepy, unpredictable and, most importantly, like it actually respects the games. If the finished film can maintain this level of tension while delivering on the horror, then this could be something special.

(trailer review) - Spider-Man: Brand New Day

 

If I'm honest, I didn't even want to watch this trailer. At this point, I'm seeing this film regardless, and recently I've found myself wanting to avoid as many trailers as possible once I'm already sold. I understand the marketing cycle—a teaser, the main trailer, Trailer 2, then the inevitable final or international trailer—but it's starting to feel like overkill. I felt exactly the same with Dune: Part Three. If you've already got me buying a ticket, why keep showing me more?

That said, this is the final trailer, Peter's Journey, the film is only a week or two away, and... I'm glad I gave in. This is really good.

Rather than trying to sell us on spectacle, the trailer focuses on Peter himself. It opens with him reading a letter as we're taken through his entire journey, from high school and Ned discovering his secret, to Europe with MJ, Mysterio's illusions, Doctor Octopus, the Green Goblin, Sandman, Electro, the Lizard and, of course, Aunt May. It's less of a recap and more of an emotional reminder of everything Peter has sacrificed.

The line that really hits is when Peter explains that the only way to stop the bad things from happening was to make everyone forget him. Watching him walk into MJ's café, choose not to tell her who he is, and simply order a coffee still stings. It's a great reminder that, beneath the suit, Peter Parker has lost almost everything.

From there, the trailer shifts gears. Peter accepts that he's the only one who can carry the truth before launching back into action. We get our first proper look at the new threats, with Tremell Tillman warning that the enemy "can be anyone." Spider-Man squares off against Scorpion, goes toe-to-toe with the Hulk, battles what certainly looks like The Hand, dodges a shuriken in slow motion, and even lands an electrified punch on the Hulk. The action looks fast, creative and exactly what I'd hoped to see.

The trailer ends on a classic Spider-Man note. Ned reveals that his Spider-Man tracker says the hero is nearby, only for Spider-Man to appear behind him and casually reply, "Oh yeah? No way. That's crazy." It's a simple gag, but it's the kind of humour that has always made these films work.

I went into this trailer thinking I didn't need to see another second of this film. I came out even more excited than I already was. Thankfully, the emotional core seems just as important as the action, and if that's true of the finished film, then Peter's next chapter could be something really special.

(film review) - The Oddysey

As some of you may know, Christopher Nolan is one of my favourite directors. Bar two films, I've seen everything he's directed, and I'll get around to those eventually. What I never thought I'd say, though, is that I'd be halfway through a Christopher Nolan film thinking, "Yeah... this one isn't for me."

Don't get me wrong, I really liked 'Oppenheimer', and I enjoyed 'Dunkirk', but neither reached the heights of 'Tenet' for me. I know Tenet divides opinion, but I absolutely loved it. Yes, Nolan maybe pushed audiences a little too hard with that one, but I was completely on board.

This? Halfway through, I genuinely wasn't. Something just wasn't clicking. I couldn't put my finger on what it was, but I remember thinking, "This isn't connecting with me at all."

Then something happened. It's like someone flipped a switch.

By the time the credits rolled, I'd gone from questioning whether this was for me to walking out saying, "That was amazing." Let me explain.


The story opens on a beach, where Elliott Page's character encounters advancing soldiers near the Trojan Horse. Fatally wounded, they manage to utter one final warning—that the horse is a gift. Naturally, the Trojans accept it. From there, Nolan does what Nolan does best, jumping across timelines as we're introduced to Odysseus' home, his family, the aftermath of the war, his legendary bow, and the trials he and his men must endure on their long journey home, all while exploring his defiance of the gods and the consequences of his choices.


I'll be honest—I don't know The Odyssey particularly well. I know bits and pieces, but it's been years since I've revisited the story, and I genuinely wondered whether my lack of familiarity was hurting my enjoyment. Maybe it was that. Maybe it was simply the way the narrative unfolded. Whatever it was, I wasn't invested... until I suddenly was.

By the final act, I was completely hooked. In fact, if one particular moment had gone the way I feared it might, I'd have wanted to flip a table in the cinema. There weren't any tables, thankfully, but the rage would've been real.

I genuinely have no major negatives.

The Cyclops sequence was the first moment that completely floored me. Without venturing into spoiler territory, the design alone was enough to make me feel genuinely uncomfortable. It was unlike any Cyclops I've seen on screen before, and it was honestly terrifying.

Then there are the giants in the forest.

You've seen them in the trailers. You've seen them on the posters. Trust me... you haven't seen them. That entire sequence is astonishing.

But the standout moment of the entire film comes later. It's graphic, brutal, incredibly tense and, in my opinion, the best scene in the entire movie. I was completely captivated. Matt Damon's Odysseus has spent the whole film trying to get home (like other Matt Damon films - trying to get home), and for the first time, I genuinely believed he might not make it.

The remaining trials are all handled brilliantly. Some are visually stronger than others, but every challenge feels distinct, memorable and cinematic.

Performance-wise, everyone turns up.

Regardless of where people stand on Elliott Page personally, their performance here is exceptional. There's one particular scene that absolutely had me invested emotionally and reminded me just how talented they are. The only thing that didn't quite work for me was one brief running sequence at the end of it, which I did not buy, but that's about as nit-picky as I can get.


Matt Damon is excellent throughout, while Anne Hathaway, Himesh Patel, Charlize Theron, Tom Holland, Jon Bernthal and Robert Pattinson all bring their A-game whenever they're on screen. The cast is stacked, and it absolutely delivers.

Ludwig Göransson's score is phenomenal. At this point, the man simply doesn't miss. Every emotional beat lands exactly where it should.

If you've seen Christopher Nolan's work before, you'll know linear storytelling isn't exactly his thing. Even Tenet, arguably one of his more straightforward films structurally, literally plays in reverse. The Odyssey is no different. It jumps around, trusts the audience and never spoon-feeds you.


Visually, though, this might be one of his most breathtaking films yet. The crashing waves at the beginning instantly reminded me of 'Inception', while the forests, landscapes and sequence involving Elliott Page are absolutely stunning. You can also tell just how much of this was achieved practically. Yes, CGI is used where necessary, but Nolan's commitment to doing as much as possible in-camera gives the film a scale and authenticity that's becoming increasingly rare.

The giants alone left me wondering, "How on earth did they pull that off?"

What surprised me most is just how much this film grew on me. I genuinely thought I was watching my least favourite Christopher Nolan film... only for it to completely win me over.

I'm already considering seeing it again.

And if this really is only the beginning of Nolan's take on this world, then I want him to direct every single sequel, spin-off or connected story. Because if history has taught us anything, it's that when Christopher Nolan commits to a world, you're almost guaranteed something ambitious, unforgettable and worth watching.