Diamantino (2018): If you’re looking for an(other) unusual movie, look no further. This is a trip, both visually and narratively, and the only thing I can say against it, is that Diamantino reveals its cards too soon, lacking a gut-punching finale. That said, if you want to find out how a global football icon, fluffy dogs, the refugee crisis, spy-ops, cloning and Porexit might coalesce into a anything resembling a coherent story, well, then you just have to watch this. It might walk its way into a conclusion, but everything up to there is a trip and a brave piece of filmmaking. Also, if you still aren’t swayed, I’ll just add that it’s the 2018 winner of the Palm Dog Grand Jury Prize in Cannes. 8
Destroy All Neighbors (2024): For something that seems to have come out of the “B-movie lab, DAN is just a funky groove. William (Jonah Ray) has been trying to finish his album of prog for many years now and it only gets harder when a rowdy neighbour moves in next door. Well, yeah, that’s about it, things go south quickly after a twenty minute lull to set things up and it all stays freakishly bizarre until the end. Sometimes silly and redundant, but also visually effective and surprisingly introspective (about otherness, shelterdness, assertiveness), this highly quotable trip with a few notable guest stars is well worth the time for genre fans. Otherwise, I reckon you might just hate it. 7
Emergency (2022): There are many things to like about Emergency, in spite of its anger seeping through one too many scenes, to the detriment of the story. When two (three) college friends come upon an unconscious girl in their apartment, one of them loathes the idea of calling the police because of how things might be perceived. Did I mention they’re not white? Well, things obviously escalate in the roundabout way that our protagonists try to sort out the mess, not always to the best of effects. The first part of Emergency is definitely the more exciting part, with the shaping of two interesting leads in Sean and Kunle, and parts of the conclusion also hit hard. But it’s uneven, leaving some frustration to taint the otherwise effective stylistic romp. 7
Upgraded (2024): This “upgraded” Devil Wears Prada takes us on a similar path through the fancy word of art galleries and auction houses. It’s twists and turns means that the movie doesn’t make much sense if you think too hard about it and, thankfully, there’s enough wit to go about to keep your mind of too much thinking. The nice cast helps, with Camila Mendes a bit of a treat and Marisa Tomei, Lena Olin and Anthony Head having good fun with their characters. It’s always enjoyable and reminiscent to see London, though if we are to reminisce, I can’t help but put into context that this not-really-upgraded Devil has the same ratings from critics as the Meryl Streep fashion drama. This is me just banging on about how 75%+ on the likes of Rottentomatoes used to mean something serious. 6
My Best Friend’s Exorcism (2022): I was really expecting a light, maybe inventive exorcism story here, but instead got a mostly serious take on a theme that’s been done (similarly) more times than I can count. If anything, MBFE has a problem with tone, because the levity it brings (which ends up counting for some of its better scenes) doesn’t gel well at all with the straight story it’s otherwise telling. Also a problem with excessive cuts. It’s a shame in a way, because the cast takes this to a decent place and there are maybe a couple of memorable moments, but most of it will be forgotten by the time Culture Club finally plays on the credits. 4
tributary stu 