An Attaché Case

In 2025, dare I say that it’s nice to be highlighting a film made for mature audiences. Avoiding the pratfalls of sequels, remakes, comic book movies, and overly costly bombast, Black Bag, written by David Koepp (Mission: Impossible) and directed by Steven Soderbergh (Traffic), is most easily described as an old school spycraft feature. Opening with an extended tracking shot of spy George Woodhouse (Michael Fassbender) making his way through a happening nightclub in London, his contact soon informs him that there is a rat leaking some sort of tech software named Severus from within the agency. If there is one thing Woodhouse despises, it’s a liar, so he invites all of the suspects to a dinner party to try to get to the bottom of it.

Filling in a lot of the back story gaps of the 2015 sensation Mad Max: Fury Road – which was a spectacle for its non-stop pedal to the medal action, George Miller’s prequel to the fourth film of the franchise, Furiosa: A Mad Max Saga (2024), sets aside some of the thrills (but don’t worry, they are still aplenty) in order to explain more about his post-apocalyptic landscape and his main character at the centre of the story – the titular Furiosa. Rather intriguingly, this screenplay was already written during the filming of Fury Road – it was handed out at the time to help the actors better understand who their characters are and where they came from. For those of you who have seen the 2015 edition, this narrative will explain how Furiosa (originally Charlize Theron in Fury Road, now the younger version is played by Alyla Browne, the teen version by Anya Taylor-Joy)

It all started with X – an ode to the 1970s early slasher movies; then, it was followed up by prequel Pearl – a horror flashback paying tribute to the early days of colour cinema; and it all concludes (supposedly) with MaXXXine (2024) – which leaps into 1985... following survivor of the original, Maxine Minx (Mia Goth), as she navigates Los Angeles – attempting to make it in the cutthroat world of show business. One of the more unique trilogies in cinema history, writer/director Ti West’s conclusion is not complex in its narrative... if you’ve been in tune with the films from the very beginning, it will likely not be too difficult to guess where it’s all leading to, but it is utterly impressive in its cinematic dialogue – in other words, how it pulls its inspiration from the history of the industry to create a striking pastiche of the 80s era.

A clever reworking of the Predator franchise, 2022's Prey, a prequel co-written and directed by Dan Trachtenberg (10 Cloverfield Lane), is set some 250 years prior to what we thought was the alien species first arrival opposite human beings on Earth. Set in the vast Great Plains in 1719, the story follows Naru (Amber Midthunder), a young Comanche woman who has been trained as a healer, though not so secretly yearns to be a hunter. Overshadowed by her successful bow and arrow wielding brother Taabe (Dakota Beavers), she uses whatever free time she has to continue training at the useful skill. It is worth noting that the familial relationship is nicely crafted, not simply one of brutish sibling rivalry (like we’ve seen in other motion pictures), instead holding within it a nuanced combination of direct competition, hunting mentorship, and much needed cooperation.

What looks to be the closing note of Denzel Washington and director Antoine Fuqua’s trilogy (a rare thing for both men, as these are the only sequels they’ve ever done), The Equalizer 3 is a much more contemplative form of an action movie... a character with a violent past that is trying to work through it as he enters the final chapters of his life. Opening with a lengthy single take that shows the destruction that Robert McCall (Denzel Washington) can cause, it is a cinematic gem of a piece set in a baddie’s lair in Sicily... a strikingly stylized moment that leaves our lead wounded in body and soul.

What do you get when you cross Dorothy Gale with the Wicked Witch of the West? The answer may just come in the 2022 melodramatic horror film Pearl, co-written and directed by Ti West. The approximately six decade prequel to West’s homage to the early years of the slasher subgenre of 1970s horror with X, this rewind throws us into the life of the titular Pearl, originally the slash happy elderly woman who we now see as a young woman.