A Profound Journey
Est. 1995
Travel, technology, reviews, projects and diary — newest first.
The seventh Mission impossible aims a twenty-seven year old franchise at a rogue artificial intelligence, and Cruise still answers the question with his own body. The plot is half a story, the stunts are all there, and it lands as one of the year's most enjoyable blockbusters. 8.5/10.
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Guy Ritchie drops the geezer banter and makes a lean, serious rescue thriller about an Afghan interpreter and the debt a soldier owes him. It is the most disciplined thing he has made in years. 8/10.
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The Spider-Verse sequel arrives five years on with a bigger world, a sharper emotional core, and animation that keeps inventing new ways to look. It ends on a cliff, but the climb is worth it. 8.5/10.
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James Gunn gives his misfit space band a proper send-off, built around the saddest origin story Marvel has told. The jokes still land, the needle drops still work, and underneath it there is real grief. 8.5/10.
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A tabletop game finally gets a film that understands the joke, the warmth and the loot. Light on its feet, generous with its cast, and far better fun than its pedigree promised. 8/10.
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Four films in, the simplest revenge story in modern action has grown into a globe-trotting assassin opera, and Chad Stahelski stages its biggest set pieces yet without losing the thread. The longest entry is also the best. 8.5/10.
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Adam Driver, a crashed spaceship and a planet full of dinosaurs, from the men who wrote A Quiet Place. The premise sells the ticket and the execution never quite cashes the cheque, but it moves and it lands its scares. 7/10.
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Thirteen years after Pandora first opened, James Cameron takes the family underwater. The story is familiar and the runtime is enormous, but the immersion is once again the thing you come out talking about. 8.5/10.
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Rian Johnson brings Benoit Blanc back for a sun-drenched whodunnit aimed squarely at the tech-billionaire class. Lighter and looser than its predecessor, sharper than its plot pretends to be. 8/10.
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Ryan Coogler turns a film he never planned to make into a study of grief with a kingdom underneath it. Heavy where the first was light, but the world-building still holds. 8/10.
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