1. // Talk to Me
Talk To Me is the debut film from Australian brothers Michael & Danny Philippou, which landed in cinemas this summer with the reputation of being the big indie Horror flick of the year so far … and it absolutely lives up to the hype! For a first picture it is a masterclass in originality providing a completely new spin on the Possession-Horror sub genre, from filmmakers who made a name themselves over the last decade creating short videos on YouTube, while amassing over 6.75 million subscribers in the process. The concept of Talk To Me is based around a group of young adults who have acquired a cursed severed hand, acting as a gateway for contacting the spirit world and a conduit for the dead to posses those who hold it.
The cast of teenagers intriguingly use the hand as a macabre party game and essentially get high on the experience of being possessed, thinking they are being careful by only letting the spirits inhabit their bodies for a short period of time. It comes as no surprise however that the game (a metaphor for drug use) takes a dark turn for the worse as the movie heads into a thoroughly twisted and wholly unique direction. Talk To Me was filmed independently by the Philippou brothers with local funding in their native South Australia, before A24 snapped up the worldwide distribution rights after catching a viewing at the prestigious Sundance Film Festival. And based on the immediate success the film has seen, a sequel has now been commissioned by the innovative production company.
2. // Indiana Jones and the Dial of Destiny
The original Indiana Jones trilogy is rightly considered to be a near perfect Action-Adventure series of movies. A series that brought together the magic of George Lucas and Steven Spielberg at the pinnacle of their creative prowess, a true movie-star at the peak of his career in Harrison Ford, and stories that were expertly paced and thoroughly engaging throughout. The films were iconic for a reason and remain so to this day, holding up on repeat viewings whilst providing warm nostalgia for anyone who saw them back in the day. Then nineteen years after Ford last hung up his fedora in The Last Crusade (1989) the team reformed for The Kingdom of the Crystal Skull (2008), a legacy sequel which received a lukewarm response from most, due to it’s over the top use of CGI and rather absurd Sci-Fi infused events of the final act.
And for a decade it seemed like that was going to be the end of the road for one of the most recognisable adventure heroes in cinema. Harrison Ford turned 80 in July 2022 and surely he didn’t have another Indiana flick in him? Well the answer is yes he did, and this time comes courtesy of the now Disney owned Lucasfilm, and without Steven Spielberg behind the camera for the first time. Instead Director James Mangold (The Wolverine / Logan) was trusted to finally bring the saga to a close, and what’s been delivered is an enjoyable nostalgic trip that while doesn’t compare to the 80s trilogy, is certainly a step in the right direction following Crystal Skull. While the realms of the fantastical it may head towards in the final act of it’s time-travel plot may be on a par with its 2009 counterpart, there is much more of an old-school Indie tone throughout. With an opening passage set in the final year of WW2 and with a passable de-aged Ford, providing the finest sequence by far of both modern movies.
3. // The Boogeyman
Stephen King movie adaptations aren’t exactly few and far between, but for fans of the legendary Horror writer a new film is always an intriguing event. The quality of the work can range from some of the greatest Horror movies of all time (The Shining / Misery) to some that are certainly more questionable in quality (Sleepwalkers / Dreamcatcher). And The Boogeyman probably sits somewhere in between, a classic tale of that which goes bump in the night, which was based on a relatively unknown short story that originally featured in King’s Nightshift collection of tales, first published in 1978.
The Boogeyman focuses on the fears of children as two grieving young sisters who recently lost their mother, face an initially unseen horror that stalks them within their home. While it also explores their trauma and the difficulty they face in trying to convince their father of the cause of their new found terror. Rob Savage (Dashcam / Host) directs a cast including Sophie Thatcher (Yellowjackets), Chris Messina (Birds Of Prey) and David Dastmalchian (The Suicide Squad), in an enjoyable thrill ride with a nice macabre atmosphere throughout and plenty of freaky jump scares.
4. // Oppenheimer
A new Christopher Nolan film deserves attention whatever the subject matter, and Oppenheimer follows a run of releases starting with Dunkirk in 2017 and followed by Tenet in 2020, which has somewhat polarised his fanbase despite them continuing to be juggernauts at the box office. Nolan is perhaps best known for turning the comic book genre on it’s head when Batman Begins (2005) kick-started his iconic Dark Knight Trilogy, while earlier films of his such as Memento (2000), The Prestige (2006) and Inception (2010) all feature original ideas and ground-breaking concepts, that helped establish him as one of the leading auteurs of the modern era.
And of all his filmography Oppenheimer may just be the most straightforward narrative he has created, as he provides a historical biopic which covers the life of the father of the Atomic Bomb, across a story spanning a number of decades over a near three hour run time. Cillian Murphy (Peaky Blinders) is captivating in the leading role, and his odds-on Oscar nominated performance is paramount to the film’s success. The movie also supplies a stellar supporting cast which includes Emily Blunt (The Adjustment Bureau), Matt Damon (The Departed) and Robert Downey Jr. (Iron Man), who combine in a typically stylish Nolan film which was recorded in IMAX and looks fantastic.
5. // The Flash
It’s interesting times over at the DCEU. They’ve spent the last decade or so sitting firmly in the shadow of the competition over at Marvel and watched how over 3 thoroughly successful phases, the studio introduced a series of outstanding characters in excellent stand-alone movies, slowly bringing them together to culminate in the class of Avenger’s: Infinity War & Endgame. In comparison DC were unable to capitalise on their own iconic characters by delivering long winded and somewhat pretentious movies in Man Of Steel and Batman Vs Superman, before delivering the mess that was The Justice League. But Marvel have largely been struggling to find the magic in their output during Phase 4, and it is DC who have gained some momentum of their own after finding success with Joker (2019) and The Batman (2022).
The Flash has landed this summer in a sea of controversy due to the well documented and controversial off screen antics of star Ezra Miller (We Need to Talk About Kevin), and arrives as one of DC’s final movies before the studio head into their next generation of films under the guidance of new Co-Chairman and CEO James Gunn (Guardians of the Galaxy / The Suicide Squad). And the enjoyable popcorn flick unashamedly takes inspiration from Marvel as the superhero film tackles themes of time travel and the multiverse, allowing for the well publicised appearance of Michael Keaton (Beetlejuice), reprising his role as Batman for the first time since Tim Burton’s Batman Returns in 1992.
6. // Run Rabbit Run
It was a pleasant surprise from the left-field when Run Rabbit Run arrived on Netflix, a slow burning Australian psychological-drama which subtly explores the themes of life and death, as fertility doctor Sarah (Sarah Snook – Predestination) comes to turns with the increasingly strange behaviour of her seven-year-old daughter Mia (Lily LaTorre). The film meanders slowly with a dreamlike quality as it builds the tension for the viewer, keeping you guessing as to how it will play out until the very end.
Run Rabbit Run is a melancholic character study which works because of the strong performances of its two lead actresses, with an especially impressive turn from the young Lily LaTorre, as Mia disturbs her mother with her seemingly psychic connection to a repressed past. The film is directed by Diana Reid, best known for her TV work in the thriller genre on shows such as The Handmaid’s Tale, Shining Girls and The Outsider. And this is another fine example of her work in a film full of mystery with a thoroughly bleak tone, and a highly satisfying finalè. KZ
Words by Mark Bates
kult-zilla.com 
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