Looker (1981) Review​

 

Dr Larry Roberts, a plastic surgeon whose beautiful modelling clients begin dying under mysterious circumstances. When suspicion turns towards him, Roberts is drawn into a sinister world where technology, corporate greed and the manipulation of human desire collide.

Michael Crichton's Looker is one of those early-1980s thrillers whose ideas have grown more relevant with time. Beneath its glossy Beverly Hills surface lies a sharp examination of beauty, wealth, advertising, celebrity and the entertainment industry's relentless pursuit of physical perfection. Written and directed by Crichton, the film feels remarkably ahead of its time. Its observations on manufactured beauty, image manipulation and the commercial exploitation of appearance read as prophetic in an era of digital enhancement, artificial intelligence and ever more impossible standards of perfection.

The glamorous world is filled with striking characters-Susan Dey's Cindy Fairmont, Leigh Taylor-Young's Jennifer Long, Kathryn Witt's Tina Cassidy, Terri Welles's Lisa Convey, Ashley Cox's Candy, Donna Kei Benz's Ellen and Catherine Parks's Jan-yet Crichton treats that beauty as part of the commentary. Perfection is not merely admired; it is commodified, analysed and treated as something that can be owned.

Albert Finney is excellent as Larry Roberts, bringing intelligence and humanity rather than conventional leading-man glamour. He feels grounded amid the artificial surroundings, which is precisely why he works so well. Dey gives Cindy warmth and vulnerability; James Coburn is smooth and imposing as the powerful John Reston. Both Dorian Harewood and Tim Rossovich are memorable.

Crichton's direction is confident and stylish, blending science fiction, conspiracy thriller and Hollywood satire with impressive practical action. The stunt work stands out, particularly the spectacular balcony falls-one of them into a car-that still carry real impact. There is a physicality here that modern digital spectacle often lacks. Real-world locations and thoughtfully designed sets, complete with interesting futuristic touches, are immersive.

The concepts remain the film's strongest suit. Crichton understood the dangers of technology becoming inseparable from commerce and entertainment long before digital imagery became everyday reality. Some transitions and visual techniques now show their early-1980s origins, yet the ideas behind them stay startlingly modern.

Looker may not always receive the recognition of Crichton's better-known work, but it deserves rediscovery: an intelligent, glamorous and surprisingly prophetic science-fiction thriller with something genuine to say about high society, the modelling industry and the machinery of entertainment.

Watching Susan Dey today, one is struck by certain similarities of look and presence to Cara Delevingne; a contemporary remake with Delevingne in the central role could prove intriguing if handled with the same mix of style and satirical edge.

A stylish, thought-provoking glimpse into a future that, in many ways, has already arrived. Recommend and well worth checking out.

Dr Larry Roberts, a plastic surgeon whose beautiful modelling clients begin dying under mysterious circumstances. When suspicion turns towards him, Roberts is drawn into a sinister world where technology, corporate greed and the manipulation of human desire collide.

Michael Crichton's Looker is one of those early-1980s thrillers whose ideas have grown more relevant with time. Beneath its glossy Beverly Hills surface lies a sharp examination of beauty, wealth, advertising, celebrity and the entertainment industry's relentless pursuit of physical perfection. Written and directed by Crichton, the film feels remarkably ahead of its time. Its observations on manufactured beauty, image manipulation and the commercial exploitation of appearance read as prophetic in an era of digital enhancement, artificial intelligence and ever more impossible standards of perfection.

The glamorous world is filled with striking characters-Susan Dey's Cindy Fairmont, Leigh Taylor-Young's Jennifer Long, Kathryn Witt's Tina Cassidy, Terri Welles's Lisa Convey, Ashley Cox's Candy, Donna Kei Benz's Ellen and Catherine Parks's Jan-yet Crichton treats that beauty as part of the commentary. Perfection is not merely admired; it is commodified, analysed and treated as something that can be owned.

Albert Finney is excellent as Larry Roberts, bringing intelligence and humanity rather than conventional leading-man glamour. He feels grounded amid the artificial surroundings, which is precisely why he works so well. Dey gives Cindy warmth and vulnerability; James Coburn is smooth and imposing as the powerful John Reston. Both Dorian Harewood and Tim Rossovich are memorable.

Crichton's direction is confident and stylish, blending science fiction, conspiracy thriller and Hollywood satire with impressive practical action. The stunt work stands out, particularly the spectacular balcony falls-one of them into a car-that still carry real impact. There is a physicality here that modern digital spectacle often lacks. Real-world locations and thoughtfully designed sets, complete with interesting futuristic touches, are immersive.

The concepts remain the film's strongest suit. Crichton understood the dangers of technology becoming inseparable from commerce and entertainment long before digital imagery became everyday reality. Some transitions and visual techniques now show their early-1980s origins, yet the ideas behind them stay startlingly modern.

Looker may not always receive the recognition of Crichton's better-known work, but it deserves rediscovery: an intelligent, glamorous and surprisingly prophetic science-fiction thriller with something genuine to say about high society, the modelling industry and the machinery of entertainment.

Watching Susan Dey today, one is struck by certain similarities of look and presence to Cara Delevingne; a contemporary remake with Delevingne in the central role and a few tweaks could prove intriguing if handled with the same mix of style and satirical edge.

A stylish, thought-provoking glimpse into a future that, in many ways, has already arrived. Recommend and well worth checking out.

Dead Heat (1988) Review

 

LAPD detectives Roger Mortis (Treat Williams) and Doug Bigelow (Joe Piscopo) investigate a wave of violent armed robberies carried out by reanimated corpses; when Mortis is killed in the line of duty he is briefly brought back to life and given a short window before decomposition sets in to solve his own murder and shut down the scheme.

Directed by Mark Goldblatt. Riding the coat-tails of fish-out-of-water buddy-cop hits such as Lethal Weapon (1987) and its near-namesake Red Heat (1988), Goldblatt's film delivers charmingly practical 1980s special effects and excellent make-up work. It never pulls its punches on the stunts or the gore, while the on-location shooting around Los Angeles with cinematography by Robert D. Yeoman gives the undead antics a gritty, atmospheric lift along with Ernest Troost's score.

Terry Black's script is hokey at times, yet several one-liners land cleanly and in amongst the shootouts, the central idea remains intriguing from the outset. The mortality theme hits harder than expected.

The cast is a real strength, with several familiar supporting faces including prolific actor Darren McGavin. The late great Treat Williams brings his customary straight-faced likeability as the determined Mortis; Joe Piscopo (a mini-Schwarzenegger in attitude if not quite in stature) is good fun as the wisecracking partner; Lindsay Frost is memorable and does solid work with the material she is given; and Clare Kirkconnell steals every scene she appears in with natural presence and believability as Dr Rebecca Smythers. Star Trek's Robert Picardo and Gremlins' Keye Luke also feature, alongside a welcome cameo from acting legend Vincent Price. Return of the Living Dead's Linnea Quigleyappears as an uncredited Go-go dancer along with writer director Shane Black as a motorcycle patrol man.

Overall, a bumpy but enjoyable lively buddy-cop zombie comedy ride thanks to the entertaining concept, 80s charm and special effects.

After Midnight (1989) Review

 

A college class called Psychology of Fear is taken over by a gun threatening teacher who insists on demonstrating the true meaning of fear; he invites a group of students to his house, where stories are told.

Not to be confused with After Hours (1985) or The Midnight Hour (1985), this modest American horror anthology was written and directed by brothers Jim and Ken Wheat (collaborators on The Fly II and A Nightmare on Elm Street 4: The Dream Master). Cinematography is by Phedon Papamichael, with music by Marc Donahue. It features three main stories framed by a wraparound narrative (a fourth "filler" segment), and while it never reaches the heights of Creepshow, Creepshow 2, Tales from the Darkside: The Movie or the later Trick 'r Treat, it remains more entertaining than most of its kind.

The segments include an elaborate haunted-house prank that goes disastrously wrong in "The Old Dark House", starring Munchies and Critters actress Nadine Van der Velde as Joan and Back to the Future actor Marc McClure as Kevin; this is the most atmospheric of the tales.

"A Night on the Town" follows four young women who run into a deranged homeless man and his vicious attack dogs. The memorable female leads are Judie Aronson (Friday the 13th: The Final Chapter) as Jennifer, Tracy Wells as Amy, Penelope Sudrow (A Nightmare on Elm Street 3: Dream Warriors) as Kelly, and Monique Salcido as Lisa. It has a strong urban-nightmare feel and excellent dog work.

In "All Night Operator", Alan Rosenberg is genuinely menacing as Richard, a celebrity stalker who terrorises night-shift operator Alex, played by Marg Helgenberger (CSI). Helgenberger carries the segment with real screen presence; it is tense and grounded.

Bookending the film is "Allison's Story", a jock's vengeance tale with a loop twist. Stand-outs are the intense Professor Edward Derek (Ramy Zada) and Jillian McWhirter as Allison (a pity she did not go on to more high-profile work), alongside famed voice actress Pamela Adlon (credited as Pamela Segall, later of Gate II) as Cheryl.

The 80s nostalgia and on location feel helps sell much of the on screen shenanigans. There are solid stunts throughout, the practical effects and pyrotechnics deserve a mention. Although the special effects are sparse, the film does feature a brief, impressive stop-motion skeleton in the closing act.

Overall it is all good fun, though never particularly scary, which is surprising given the now horror faces involved.

Spider-Man: Brand New Day (2026) Review

 

Spider-Man must stop a mysterious villain who, unlike everyone else, cannot enter his mind—while he undergoes profound changes of his own.

Tom Holland once again proves why he is one of the finest live-action Spider-Man since Nicholas Hammond first donned the mask in the 1970s. Carrying the emotional weight of Peter Parker with warmth, vulnerability and quiet determination, Holland delivers his strongest performance yet.

Director Destin Daniel Cretton brings genuine heart to the FX spectacle, packed with nods and also some more obscure comic callbacks. Writers Chris McKenna and Erik Sommers craft a story that embraces Spider-Man's comic-book roots, with the welcome inclusion of several beloved Marvel characters including Hulk and Punisher, to name a few. They have purpose and are not just slotted in. That said, there are many villain cameos thrown in for good measure from the get go, to show how hard Spider-man has been working.

Sadie Sink is excellent throughout, with her seemingly effortless screen presence. Zendaya and Jacob Batalon continue to shine as MJ and Ned, their chemistry with Holland remaining one of the franchise's greatest strengths, while Florence Pugh steals every moment with her extended cameo.

The action scenes feel few and far between, playing out with dot-to-dot, The Fallen, The Hidden and Jason Goes to Hell type vibes. And the bigger set-ups, including the Hulk and Scorpion have very little pay off. The stakes feel all left for the final act.

That said, Brand New Day is an emotional, often heartbreaking chapter that earns more than a few tears. Yet, at two hours and twenty-five minutes, it occasionally overstays its welcome. As with many Marvel productions, it suffers from a little too much padding between its strongest moments. But what about an adaptation of Spider-Man and His Amazing Friends next?

Overall, it's an entertaining, heartfelt adventure. Recommended.

Lady Frankenstein (1971) Review

 

Following the Baron Frankenstein's death at the hands of his murderous creation, Tania, his daughter, and his assistant, Dr Charles Marshall, continue the experiments, with just as much murderous intent as the roaming mindless creature.

There's something intriguing about Lady Frankenstein. Directed by Mel Welles, with Aureliano Luppi also credited as co-director, this 1971 slice of Euro-horror has Hammer vibes running through its veins, from its gothic settings and elaborate interiors to its deliciously macabre obsession with death, resurrection and the human body. Also, on all accounts, extra credit should be given to cameraman Riccardo Pallottini, who added those nice lightings; for instance, he used to place the camera, then he waited for the director; he also solved technical problems and so forth.

Joseph Cotten is terrific as Baron Frankenstein, and his limited presence is a poignant reminder of just what a sorely missed actor he is. Rosalba Neri, meanwhile, absolutely steals the show as his daughter, Tania Frankenstein. Those smoky eyes, perfect eyebrows and immaculate eyelashes barely conceal a deliciously cold and manipulative streak. Neri gives the film its real spark, turning Tania into an alluringly sinister successor to her father's work.

Renate Kasché (Renata Cash) as Julia Stack, Thomas's sister, is sadly slightly wasted. Herbert Fux as Tom Lynch, the graverobber, is memorable. Mickey Hargitay as the investigator Captain Harris does his best with what he is given. Paul Muller is notable as Dr Charles Marshall, along with Marino Masé in a dual role (as Peter Whiteman) as Thomas Stack.

Tania and Charles's increasingly grisly solution leads to the film's most intriguing idea, a brain-transplant/body-swapping subplot that ultimately takes centre stage over actor Riccardo Pizzuti's hulking, lumbering Creature.

There are plenty of kills, some suitably grisly effects and a creature design that viewers will either embrace or absolutely hate.

The pacing can be a little slow getting there, but once Lady Frankenstein finds its rhythm, it pays off. The settings and sets are excellent, too, giving the whole affair that unmistakable Hammer-adjacent atmosphere.

It also shares some DNA with Hammer's The Vampire Lovers and Blood from the Mummy's Tomb; there's something particularly unsettling about placing a female protagonist at the heart of the horror and allowing her to become the real source of danger. Neri embraces that darker side beautifully.

The score by Alessandro Alessandroni is effective but surprisingly sparse; a few more musical cues might have given some sequences an additional jolt of atmosphere. And despite its reputation as an especially raunchy piece of Euro-horror, the nudity is relatively restrained by the standards of its reputation, and is arguably more tasteful and satisfying than Andy Warhol's Flesh for Frankenstein (1973).

Like many other films of the time, it ends abruptly, even if on a fiery, nudity-driven final moment, but Lady Frankenstein is an underrated little gem... atmospheric, strange, occasionally sleazy and considerably more entertaining once its various pieces finally fall into place.

There's plenty here for the old-school horror fan to enjoy. Recommended.

Ready or Not 2: Here I Come (2026) Review

Grace (Samara Weaving) is forced back into the nightmare as she fights to protect her estranged sister (Kathryn Newton), with both women hunted by five elite families in a deadly ritual to claim a seat of ultimate power.

Directors Matt Bettinelli-Olpin and Tyler Gillett keep the pace relentless, serving up inventive kills, dark humour and plenty of gloriously gory action.

In Halloween, Friday the 13th and Evil Dead fashion it picks up exactly where its predecessor left off. They deliver exactly what fans of the original will be hoping for: a blood-soaked, fast-paced return to a world where wealth, power and ritual collide in spectacularly violent fashion.

The cast is excellent throughout. Samara Weaving's Grace is a compelling modern horror heroine, balancing vulnerability, grit and razor-sharp wit. Kathryn Newton is immediately likeable as Grace's sister, giving an emotional core genuine weight. Elijah Wood brings a memorable unsettling charm to his role. Sarah Michelle Gellar and Shawn Hatosy are both superbly menacing, and Kevin Durand steals a few laughs with a brief cameo.

Written by Guy Busick and R. Christopher Murphy, the sequel expands the mythology in interesting ways. However, despite broadening the lore, it never quite recaptures the novelty or satisfying twist that made the first film such a standout film.

Nevertheless, Ready or Not 2 is an entertaining, horror ride, recommend for Samara Weaving performance and the supporting cast alone.

Supergirl (2026) Review

 

Fiery Supergirl blasts across alien worlds with a snarling Lobo at her side, guarding a mysterious refugee while battling cosmic threats and her own past.

There's nothing wrong with Craig Gillespie's well directed Supergirl; it's just everyone’s Supergirl. It would even feel different if it didn't play out the beats and greatest hits of Guardians of the Galaxy. But if you wanted an extension or rework of the 1984 Helen Slater film, you may be disappointed.

Milly Alcock is dynamic in the lead role and feels like a Supergirl rather than Superwoman. She carries the film effortlessly. Jason Momoa is solid as Lobo. The bland stereotype bad guys and young girl out for revenge are what you’d expect, yet, thankfully a little more menacing than most.

I'm not familiar with the Supergirl: Woman of Tomorrow comics, so I can't comment on whether it's a good adaptation or not.

A few iffy special effects aside, the production is pretty slick and well made. The flashbacks, work especially well, and are not merely misplaced (unlike some recent Star Wars Disney shows). The inclusion of Superman/Clark isn't overdone and feels fitting. And hopefully an Earth-set solo Supergirl adventure is still still come.

There are aliens and different planets, yes - it borrows from the best sci-fi, even Blade Runner in terms of some set design. Action poses and explosions come straight out of Transformers and Die Hard. At times it feels a little Marvel-like, but thankfully it's not bloated and padded. Edited by Tatiana S. Riegel and Fred Raskin, it's fast-paced and never boring.

They said, even with director Gillespie's (Fright Night (2011)) flair and a script by Ana Nogueira, it shares the same outlandish action sequences and vibes as James Gunn's Superman (2025), mixed with the aforementioned Guardians.

Music by Claudia Sarne adds even more weight to some hard-hitting and darker moments.

All in all, if you'd never seen any films from the last decade, you'd love this. For the rest of us, there's a strong sense of déjà vu, which is a shame giving Alcock's top performance.

Skipping the cinema? You can pre order Supergirl here: https://amzn.to/3SyUQiE

Colony (2026) Review

 

From the outset, it should be noted that Colony (aka Gunche), written and directed by Yeon Sang-ho, is a completely standalone horror thriller set in its own universe and is not connected to the Train to Busan continuity, which consists of Seoul Station (2016), Train to Busan (2016), and Train to Busan Presents: Peninsula (2020).

Set within a quarantined biotech facility, Colony is reminiscent of REC and Dawn of the Dead in its single-location setting, while featuring zombies with a terrifying hive mind that echoes The Last of Us. However, Colony stands firmly on its own and possesses a distinct identity. The quarantined facility and confined setting provide effective world-building while generating a constant sense of claustrophobia as seen in the aforementioned and Dread.

While the action-oriented Peninsula often felt too messy and frantic, Yeon Sang-ho offers a reset of sorts here, returning to the intensity of Train to Busan and Seoul Station. Although the editing could have been tighter in places, it remains an excellent ride. The cast are great. There are surprising deaths, plenty of emotion, and no shortage of action. It's wonderfully staged, and aside from a few iffy CGI monkeys, the special effects are first-rate.

The zombie movements feel fresh and inventive, with a terrifying hive mind capable of rapidly learning and analysing human behaviour. It's a return to form for Sang-ho.

Highly entertaining.

Spider-Noir (TV Series 2026– ) Review

Set against a beautifully realised Depression-era New York steeped in shadows, corruption and moral ambiguity, Spider-Noir follows its haunted vigilante through a city where justice is bought and innocence is scarce. Drawing from the comics while carving out its own identity, the series offers a darker, more mature take on the Spider-Man mythos.

The production values are outstanding. Every frame feels pulled from a pulp crime comic, thanks to stunning art direction, meticulous period detail and atmospheric cinematography that make it a visually distinctive superhero series. The score perfectly matches the noir tone, blending melancholy, tension and grandeur.

The writing is consistently sharp, confidently balancing mystery, action and character work. It invests deeply in its cast, giving them genuine depth, vulnerability and believable motivations. There's even some horror elements thrown in for good measure. The supporting players are excellent. Some great incarnations of classic characters appear.

Nicolas Cage delivers a career-best television performance. He embodies Spider-Noir's weariness, determination and humanity with total conviction, creating a hero who feels simultaneously mythic and profoundly relatable. Cage anchors the entire series and elevates every scene.

Classic Spider-Man cartoons and comics aside, Spider-Noir is probably the best live-action Spider-Man adaptation since the 1970s television series, bold, stylish, intelligent and emotionally resonant. It fully embraces what makes both Spider-Man and noir so compelling. Quite simply, an excellent series, that would have also made a great film.

Masters of the Universe (2026) Review

After being stranded away from Eternia for years, Prince Adam is drawn back home by the Sword of Power to face the evil Skeletor and finally embrace his destiny as He-Man.

Masters of the Universe (2026), directed by Travis Knight, is exactly the kind of colourful sci-fi fantasy adventure many fans have wanted to see for decades. Although it is annoyingly another origin story, once it gets going the film fully embraces the spirit of the classic franchise and delivers a hugely entertaining ride packed with action, humour, heart, monsters, vehicles, magic and cosmic adventure.

For fans of the cartoon it thankfully returns to its animated action sci-fi adventure roots. The film is packed full of nods to the many He-Man and the Masters of the Universe media and incarnations, including Dolph Lundgren's 1987 outing. It’s the complete opposite of the ‘87 adaptation, which in a way set the trend of dark and gritty reboots. There is plenty of product placement throughout and, surprisingly, quite a lot of strong language for younger viewers, which certainly contributes to the rating. For the most part, the humour hits rather than misses, despite the multiple writers’ contributions.

In many ways, this is the film kids would have wanted from the previous 1987 adaptation. Jared Leto is absolutely fantastic as Skeletor, seemingly channelling a mix of Tim Curry's flamboyant menace from The Rocky Horror Picture Show and Legend, while also blending in shades of his own Hatbox Ghost performance. His Skeletor is menacing, theatrical and packed with quips, stealing nearly every scene he appears in.

The main cast are all very strong. Nicholas Galitzine makes for a likeable Adam/He-Man (although not big enough), while Camila Mendes gives Teela real strength and warmth. Idris Elba brings authority and gravitas to Duncan/Man-at-Arms, despite the slightly inaccurate chin guard design on the costume. Alison Brie is also solid as Evil-Lyn. The classic characters, for the most part, all appear or are at least referenced, including several iconic vehicles, which longtime fans will appreciate.

There’s some emotional scenes that work well, Charlotte Riley as Queen Marlena Glenn, and James Purefoy as King Randor offer plenty of emotional weight along with Mendes. But Galitzine and Elba have some memorable standout weighty moments. And thankfully true to the cartoon offering some simmering tension, Teela & He-Man affections stay platonic (as it arguably should forever). 

 There are also some genuinely heartfelt scenes throughout and a few surprising deaths that some give the story real emotional weight.

The editing by Paul Rubell keeps the pace energetic and flowing even during the heavier exposition moments, while Fabian Wagner's cinematography beautifully captures the scale and colour of Eternia with a sweeping fantasy look that often feels ripped straight from classic painted box art.

The soundtrack is outstanding. The inclusion of The Darkness gives the film glorious old-school rock energy that strongly echoes Queen's Flash Gordon vibes. The score itself, composed by Daniel Pemberton with contributions from Brian May, is epic, adventurous and wonderfully pulpy, perfectly matching the film's tone.

Snake Mountain hits the nostalgia nail on the head, but the Palace, Grayskull and some of the geography don't quite meet expectations. That said, casual viewers won't notice and die-hard fans can forgive these issues. Some iffy special effects do appear occasionally - no doubt due to time and budget limitations - but these, like the chin guard design, are minor quibbles in what is otherwise a genuinely fun fantasy blockbuster.

Special mention should also go to the lead visual effects artists and creature teams, who manage to bring many of these bizarre and beloved characters to life far more convincingly than expected. This includes Tim Burke and David Vickery, along with ILM, DNEG, Rodeo FX, Cinesite, Untold Studios and Host VFX. Credit is also due to production designer Guy Hendrix Dyas and costume designer Richard Sale.

With three pre/mid/end-credit scenes firmly setting up a welcome sequel or possible side-quel, the groundwork has now been laid.

Now that the setup is out of the way, what the franchise really needs next is a full old-school Eternia adventure with He-Man charging headfirst into battle from the outset.

Great fun and thoroughly enjoyed.