[EXPRESSO] The Last Viking (2025) | Brother Pepper

One thing i didn’t quite expected from cinema in the future is to spawn a “Beatles-borne/like” kind of subgenre, and i’m not even talking about the 4 upcoming films about the band by Sam Mendes, or Across The Universe. i’m talking about having the Beatles be the instrumental catalysts of unrelated films, for example Danny Boyle’s 2019 film, Yesterday, where a mediocre singer found himself isekai’d into a world where the Beatles never existed, while he does remember their songs.

Again, it’s a Doofenschirmz situation, it is weird it happened at least twice, this time for the sake of crime comedy, the Norwegian-Danish The Last Viking.

A criminal, Anker, after having paid his 15 years sentence for a bank heist, he comes home, planning to retrieve the loot as he had his autistic brother Mandred hide the money underground in a place they knew… problem is Manfred now believes himself to be John Lennon (among other things), so Anker has to deal with this and try to play along, travelling together to some childhood places of theirs in order to eventually make him remember where he hid the money.

Which might mean having to get the “Beatles” back together.

Obviously this leads Anker to confront his rooted family traumas and his difficult relationship with his brother Manfred, and the movie to tackle the themes of mental health, happiness, perception,, but also – and especially – acceptance of one self, finding solace in our own “madness” in face of a delusional reach for complete, unrealistic “real sanity” , through a lot of surreal bizarre characters, grotesque situations, and plenty of dark comedy.

And i do mean dark comedy, it’s funny and hearthwarming in the end, but even for a Nordic black comedy it can get so bleak to be almost depressing.

[EXPRESSO] If I Had Legs I’d Kick You (2025) | My (Speed) Tube

Definitely an A24 release, If I Had Legs I’d Kick You is a classic tale for the ages.

Linda isn’t just a mother, she is a psychotherapist that has to tend to her daughter, whose eating disorder has her eating through a tube in her stomach, bringing her daily to a daycare center, while her husband is constantly away due to his job as a ship captain.

She is already stretched beyond her limits, but then one day their apartment’ roof cracks open due to a water pipe collapsing, creating a huge hole and flooding their home, forcing Linda and her daughter to move to a squallid motel in the time being.

Making things even worse, Linda is aggravated by not only becoming even more of a drunkard, repairmen that vanish hence extending their stay at the motel, the medical staff attending to her daughter trying to get Linda to committ properly, one of her patients coming off even crazier than before, among other things pushing Linda well beyond any semblance of a breaking point long since gone.

It’s a fever dream depiction of parental stress, but while Linda is gunning for the “worst mother of the year” award hard as fuck, is also impossible to not emphatize with this woman that is really trying but its also unbelievably flawed and a complete mess of a parental figure, tearing herself apart trying to still cling to reason despite her destructive tendencies, commenting in how often even the safety nets for mental health issues are just not enough.

There are is some horror like-imagery, i guess because it’s a A24 film, though the film it’s just an almost surreal (but not quite) fever dream, an uncomfortable cavalcade into disaster that’s hard to look away from, thanks to Rose Byrne’s incredible performance.

[EXPRESSO] Hoppers (2026) | Mindjacking In Nature

While i skip most of Pixar’s (and Disney’s for that matter) output nowadays, i decided to give Jumpers a try even if the premise didn’t quite excite me.

The premise sees Mable, a young girl that loves animals and grew attached to a pond her grandma used to take her and relax with the sound of nature, trying to fight a local politician that is banking its campaign on expanding the highway by constructing over that very pond.

Much to Mable’s dismay, he can because the pond is actually devoid of animal life, but she finds out bringing in a beaver will make the other animals follow suite, and trying to do so, she discovers a secret university project where they use advanced robot animals and project their mind into these to infiltrate and monitor the fauna better.

She then forcefully “mind jacks” into the robot beaver using the device in an effort to make the animals swarm the pond and so demonstrate they can’t actually build over that habitat….

Gotta say, maybe Pixar isn’t completely washed up, because Jumpers is actually quite good.

First, it doesn’t take nowhere as long as expected for Mable to get into the “not Avatar” device and start journeying into the animal’s world, there is enough time spent to characterize Mable herself as a likeable young activist moved by actual love and respect for the animals, maybe a bit too much to understand some consequences, but well meaning, plus the animal world itself and its rules are actually more interesting than one would expect, harboring some genuinely surprising turns.

It’s an ecological fable that’s actually is more effective because it isn’t preachy, there are some fun designs and very cute animation quirks like the switching from realistic and “talking animals” vision of the events.

Final Verdict: Expresso

Monster Run (2020) [REVIEW] | #giantmonstermarch

While there are some old Taiwanese film i could have choose, i do like to eventually check in with some more modern film made by China, as in Mainland “Taipei is gonna be ours eventually” China, and maybe this time something that doesn’t exactly fall into the “web movie” Asylum-esque category, as in something actually meant for theathers.

Also, this bucks the general trend of these Chinese monster film being overly short, as this is almost 2 hours long… not for the best, but first, plot.

Which one would assume it’s like the starting chapter of Bleach but swapping the genders of Ichigo and Rukia, since Letterboxed’s synopsis is worded in a way that you’d assume this was based on a shonen manga of sorts, but nope, it’s actually about a girl, Ji Mo, an outcast due to her ability to see things no other people can. Not ghosts or spirits, but monsters, which of course made others think she’s just a psycho and for which she has been sent to the looney bin once before.

Her life changes when she meets a monster hunter, and discovers she has an important role to play in adverting a coming disaster…

Continua a leggere

[EXPRESSO] Rental Family (2025) | Gacha Gaijin

Brendan Frasier is back in Hikari’s second feature lenght (the first being 37 Seconds), Rental Family, playing an american actor, Phillip Vandarplough, that has been living in Japan for a lot but now, despite some of his old commercials being very successful, struggles to find work and so takes on menial side roles in various shows and auditions for basically everything.

One day he finds himself hitched to play a role… at a funeral.

Where even the dead isn’t actually dead, just there in classic japanese funeral clothes, happy as a clam.

Turns out he accepted a bit part for an agency called Rental Family, that basically offers actors to impersonate a family member or friend by request, “renting” them for occasional performances, which of course sounds strange to Philipp, but has become a market niche in Japan due to various cultural reasons, including stigmatization of mental illness, meaning instead of going to teraphy, sometimes someone will hire you to be their granpa or soothe their shut-in life by calling you over as a friend to play videogames, among other things.

The company boss, Shinji, invites him on board, as they need a “gaijin” for the catalogue, and Philipp, more out of desperation than curiosity, decides to join them. After an almost botched first job, he gets the hang of it, but when he has to play the father of a japanese-american girl, Mia, for 3 weeks so she can get in a good school, Philipp does find himself more emotionally involved than the “farce” requires…

It’s a canned expression to say “the feel good film of”, but Rental Family does perfectly succeed in that, being inspiring, funny, emotional, and also properly tackle a modern, real problem, the evergrowing societal “loneliness epidemic”, without going for an unrealistic, overly positive ending.

[EXPRESSO] Hamnet (2025) | The House That Will Built

Chloe Zhao (Nomadland, Eternals) is back for an adaptation of Maggie O’ Farrell book of the same name, a semi-fictionalized retelling of the lives of William Shakespeare and his wife Agnes.

Agnes is a peculiar woman for 16^th centhury Stratford: she is skilled with herbs, animals and ointments, she often walks alone in the forest, which makes the town gossip of her as a “witch”. One day she is noticed by Will, a man teaching latin to sons to repay the family’s debt, who falls in love with her, is reciprocated, and despite Will’s family being against it, the two marry, and have three sons: Susanna, Judith, and a boy, Hamnet (which we’re told by text in the prologue was equivalent of “Hamlet” in that day).

Though fate has it in for the young Hamnet, which contracts the plague and dies, further straining the relationship between Agnes and William, the latter which is often away to pursue his budding theathrical career in London…

I think there’s some irony in how the more this tries to work in the famous Shakespeare lines and have this whole familial tragedy serving as what would inspire William Shakespeare to write Hamlet… the more it feels oddly “forced”, almost using the idea as a crutch.

This in a movie where William Shakespeare isn’t actually the protagonist, which is fine, since this IS Agnes’ story by far and large, i get that, but it’s also undeniably way stronger when it’s just being this familial period drama about the loss of a son to illness with some touches of a pastoral magic reality, incarnated by Agnes herself, the “forest witch”.

It just makes the final act a bit wobbly (almost clumsy in how direct it is), but still amounts to Hamnet being a very good film, nonetheless.

[EXPRESSO] My Father’s Shadow (2025) | Abiola ’93

Presented as last year’s Cannes, My Father’s Shadow is one of those films that they sneakily released in theathers and i almost missed, which would have been a shame.

Though i understand there’s no point pushing to general audiences an UK-Nigerian coming-of-age story presented with subtitles only.

It is June 12^th 1993, day of the presidential elections in Nigeria, and two young boys, Remi and Aki, are brought along to Lagos by their often absent father, Folarin, as he goes there to ask for months of unpaid salary to begin with, but decides to bring the boys along and – as he waits for the supervisor to come back later that night – have them seen some city life, relax at the beach, go to an amusement spark, spend some time with them.

The boys in turn get to see more him open up to them, but in the tense political atmosphere of the city (with military mowing in pre-emptively into town after denying a massacre happened some days prior) and eventual uprising due to the election failing, their father is suspected of subversive activities, making them question even more who he really is…

It’s a really good coming of age story that while is enhanced by taking place on the backdrop of a politically troubled piece of Nigerian history (which doesn’t narrow it down much, the more i think abourt it), it doesn’t use it as a “crutch” for the characters dynamics, and is a heartfelt drama about absent fathers with great characterization and terrific performances.

In spite of the predictable “revelation” at the end, it still lands quite the emotional punch, since the drama and characters are relatable but not banal, heavy but not sensationalized, making My Father’s Shadow an amazing debut film for director Akinola Davies Jr.

[EXPRESSO] The Thing With Feathers (2025) | Corvus Surplus

At first i thought this was the marketing trying to trojan horse this Benedict Cumberbatch movie as a horror film when in reality it was a thriller or something… and i almost wish it was the case.

Based on the short novella “Grief Is The Thing With Feathers” by Max Porter, this movie adaptation sees a recently widowed husband, left to raise his two kids after his wife suddendly passes away, and he has a breakdown, leading to him allucinating the giant crow-man from his drawings (he works as an illustrator for children books), which starts mocking his anguish but eventually become visible to his children too, and an oddly supportive force there to help the family move past their loss.

It’s like a benign take on Babadook, yet again, but the problem is that the film, despite good intentions and Cumberbatch trying his best, the characters and grief drama are so overdone, one note, and it being a horror does not help the concept, since it just goes for some cliched, cheap visuals and ill-fitting jumpscares, just a mesh of horror elements as token as the grief drama ones.

On one hand, i do like the scenes with the giant crowman, i do, even if just for visual entertaiment, since they do undermine any attempt at making the drama itself work, but on the other hand, the drama is undercooked anyway and it’s just too nice to work as a horror film either, so it feels stuck in between, not helped by the fact it’s also a bit of slog that goes exactly where you’d think it would, and just repeats itself over and over.

I don’t think this is a bad film, it means well, it tries but sadly it just doesn’t work either way you slice it.

[EXPRESSO] The Toxic Avenger (2023) | Punk Pretend

Yes, Troma is still around, and just the fact the Toxic Avenger reboot is a big budget PG-13 rated film with big Hollywood actors is already indicative that yes, in this case – to paraphrase Grasshopper Manifacture’s motto – “Punk Is Dead”, coming off as a clear admission that, despite all that clammering, now they do actually want to be like Hollywood and ain’t even trying to mask it.

The plot is basically the same as the 1984 original, but tries to update the concept for modernity, changing some details and adding new characters, and making it more about family (since “Toxie” has a troubled stepson to care for) but basically keeping the idea of a derided janitor falling victim to radioactive waste, which mutate him into a superhero monster, The Toxic Avenger, ready to take down evil, and in this case exact revenge on the evil big pharma company that bamboozled the entire town of St. Roma Ville ( ah ah), harassed its citizens and pollute its waters.

And it’s all presented as subversive like the original was… in 1984.

Sure there is some splatter violence, but it’s kinda tame, even in the international unrated cut, today the ol’ excesses of the company are nothing.

It’s not even that unwatchable, ironically, it’s still trash like the original but that became a cult film for reasons, which do include its sincerity, here completely gone, as this remake also sucks out any of its anti-establishment, alternative, subversive and controversial qualities, being just domesticated and tarted up hollow trash.

Even worse, it’s just so desperate in wanting people to like it, to elect it as their new favourite “so bad it’s good” flick, which itself it’s old hat too.

It’s just fuckin pathetic, even more than it wants to come off as.

[EXPRESSO] Bring Her Back (2025) | Erlic’s Foster House

After the surprise high quality debut of Talk To Me, Michael and Danny Philippou are back with a new supernatural horror film, Bring Her Back.

The plot sees two orphaned step-siblings, Andy and Piper (whom has partial sight) being sent to live with Laura, a former counselor and psychologist that also foster a mute young boy, Oliver, after finding their father dead in the shower.

They are welcomed warmly by Laura (whom also has lost her daughter Cathy years ago) but Andy realizes that’s there something strange going on, as they are part of an occult ritual held by Laura, with the intent of “bringing back” Cathy from the dead, at all costs…

the brothers Philippou again play with what on paper sound like not that great or original, but it’s actually quite gripping, given the rules of the ritual itself (which gets even more disgusting and evil as we learn more of it), some really nasty and disgusting gore, and an incredible villain in Laura, whom is able to undermine the siblings relationship, manipulate them and do any ruthless shit in order to fulfill her desperate bout to see her daughter again, putting up a perfect facade while also being somewhat sympathetic in her plight.

The siblings also are relatable and believable characters, haunted by an ambivalent father figure, unresolved traumas and various issues (both physical and psychological) from their past , feeding the emotional core of the film themes but also being a source of some needed comedic relief here and there, and while some reveals are expected, some element are more original in their execution than what they lead on, plus the relentless pacing also feeds the increasingly disgusting nature of the ritual.

Good stuff, can’t wait to see what the Philippous will be cooking up next.