As the World Burns

The Day the Earth Caught Fire (Val Guest, 1961)

The enduring British heatwave provides an opportune time to revisit the prescient science fiction classic The Day the Earth Caught Fire (1961), written by Val Guest and Wolf Mankowitz. Guest’s impressive filmography as a director reflected the thriving health of the British film industry through the 1950s; as evidenced by The Quatermass Xperiment (1955), Quatermass 2 (1957) and The Abominable Snowman (1957) for Hammer Films. The decline would also be mirrored by his sex comedies Au Pair Girls (1972) and Confessions of a Window Cleaner (1974). Fortunately The Day the Earth Caught Fire was produced during a period when both the quality of Guest’s output and the state of British cinema were far healthier. Nevertheless, the film maker had to use a combination of determination and persuasion to get this personal passion project off the ground as it was not deemed a desirable property by various studios. 

Presented in a striking yellow hue, The Day the Earth Caught Fire opens with a car announcing an important countdown as it drives through a dystopian Piccadilly Circus in central London. The purpose of this announcement is yet to be revealed. The scene transitions to a solitary man walking through a deserted Fleet Street, the hub of the British press. This man is Peter Stenning (Edward Judd in his first lead role), a journalist at the Daily Express, who is unable to write what might potentially be his final article and that of mankind, because the ink ribbon of his typewriter has turned into a molten sludge. He finds a work around by transcribing it to the perspiring copy desk worker on the other end of his phone.

“It is exactly 30 minutes since the corrective bombs were detonated. Within the next few hours, the world will know whether this is the end or another beginning. The rebirth of man or his final obituary. For the last time, man pursued his brother with a sword, and so the final fire was kindled. The Earth that was to live forever was blasted by a great wind towards oblivion. It is strange to think that barely 90 days ago…” — Peter Stenning

Before Stenning can finish his monologue, The Day the Earth Caught Fire flashes back to a more palatable monochrome visual, depicting the busy offices of the Daily Express. It’s raining outside. Amidst reports of floods in Ascot and earthquakes in Jakarta, an even more concerning hot scoop has occurred: the simultaneous detonation of two atomic bombs by the United States and the Soviet Union. Stenning is reintroduced in a less ominous context.

Due to a messy divorce which has driven him to hard drinking, it is revealed that our reckless journalist never fully realised his career potential. If not for the watchful care of his professional colleague Bill Maguire (the best Number Two from The Prisoner, Leo McKern), Stenning would have already been out on his ear by now. In the wake of the detonations, our protagonist is sent on a menial task by the paper to learn more about the recent increase of sunspots. The’ve been causing havoc on aerial transmissions. After barging his way to speak with the big cheese at the British Met Office, our reporter encounters Jeannie Craig (Janet Munro), a typist there who Stenning had been rude to during an earlier phone conversation. He subsequently receives a slap in the face from her. Even more humbling for our protagonist, he misses his sunspots article deadline, and it’s Maguire who saves his skin, by both writing the article and crediting it to Stenning.

Despite its sensationalist title, The Day the Earth Caught Fire approaches its outlandish premise with maturity and intelligence. This is largely due to the enduring relevance of its anti-bomb message and its prophetic poignancy on extreme climate change.

The nuclear detonations have caused widespread outrage. While attending a nuclear disarmament protest in Trafalgar Square, Stenning witnesses an unexpected solar eclipse. Along with the unusual weather conditions occurring globally, the Daily Express’s editor-in-chief Jeff Jefferson (played by real life editor Arthur Christiansen delivering some truly amateur levels of acting in the few scenes he is in) hypothesises that all the phenomena are linked to the nuclear tests. Evidently, he isn’t the only one who believes this, hence an unexpected television broadcast by the government denying the connection.

The record breaking heatwave is felt all over the nation. After spending quality time at the funfair with his young son, Stenning has a chance encounter with Jeannie once again, while she is sunbathing by the Thames river. This time, it’s a much friendlier meeting between the two, and the potential of a romance appears to be on the cards. “Look there’s a lunch place down there, by the boating pool. We can get fish and chips and pretend we’re in Venice.” Classy. During the flirtations, the local crowd rushes to the edge of the Thames. An eerie fog, not unlike the luminescent one from John Carpenter’s 1980 film The Fog, envelops the entire city. Maguire theorises that the heat mist is the result of the melting of the polar ice caps. He further speculates that the unusual weather conditions can be explained by a shift in the Earth’s axis caused by the two atomic tests. Maguire’s hypothesis is confirmed when Jeannie reluctantly turns whistleblower. The global emergency is further compounded when Jefferson’s source in the Soviet Union reveals that the Earth’s orbit has been disrupted by the atomic tests and has sent the planet hurtling towards the sun. 

The meticulous attention to the film’s three main characters fosters a strong emotional connection with them. Edward Judd’s character undergoes the most development throughout the film; from his initial saturnine state of personal despair, to receiving a new lease of life with his relationship with Munro’s Jeannie. Val Guest appears to favour having Janet Munro in compromising situations that emphasise her physical attributes and vulnerability. One notable example is her home being invaded by a cult of doomsday beatniks. One wanders what would have happened had Stenning not come to her rescue in time. This scene is reminiscent of the motel scene in Touch of Evil (1958) where a menacing juvenile gang drug and abduct a helpless Janet Leigh. Rounding the trio off, is Leo McKern’s Maguire, who, beneath all the world-weary cynicism, offers a paternal-like helping hand to Stenning (“Tell me about sun-spots, Daddy!”), giving him multiple chances to redeem himself. Perhaps it can be perceived that Stenning might serve as a lab rat in determining whether or not mankind can be redeemed.

Val Guest manages to incorporate genuine newsreel disaster clips, as well as editing in actual footage from anti-bomb demonstrations into his film. They provide an air of cinéma vérité to his offering and build a sense of urgency and realism to his doomsday tale. In the context of the news, it is evident that Guest holds a high regard for the press; portraying it as an honourable profession rather than the bunch of lying, manipulative bastards of today. The inclusion of Arthur Christiansen, a real editor with limited acting ability, in the film may be considered excessive for the sake of authenticity, but I’m willing to believe Guest might have perceived the journalistic class was cut from a different cloth back then. The director even includes the original Art Deco building on Fleet Street which remains as the London headquarters of the Daily Express to this day.

Beyond the three leads, the film’s appeal is further enhanced by its depiction of the British public’s reaction to the worsening ecological situation. Initially, the heatwave is met with widespread enjoyment as women on the high street wear bikinis and revel in the sunny weather. However, when the heat mist blankets the city causing the public to become disoriented and unable to find their way home, concern begins to grow. When water amenities become scarce and force the populace into queues, the film depicts a return to the familiar wartime spirit. As society descends into chaos, particularly among younger generations, who engage in street parties and rioting, the narrative transitions from the whimsical style of the Ealing Studios films to the more sombre and nihilistic tone of science fiction films from the late 1960s and into the 1970s.

Filmed in a 2.35: 1 aspect ratio, The Day the Earth Caught Fire presents the devastation of extreme climate change in a panoramic view. Les Bowie’s special effects are particularly striking in this format. Familiar landmarks and cityscapes are smothered by an eerie fog or distorted by the scorching heat, creating a surreal atmosphere.

I feel obligated to mention a couple of uncredited actors in the film. Carry On stalwart Peter Butterworth appears in a few brief scenes as a Daily Express journalist. An unusual role for him, considering he is primarily associated with being a comedic actor. Finally, there is a minor bit part for a young Michael Caine as a policeman warning our Stenning to “Stay clear of Chelsea! They say it’s pretty rough down there.”

In a desperate attempt to correct this disaster, both the superpowers decide to detonate two additional bombs, at exactly the same positions as before, hoping to return the Earth back to its natural orbit. The film concludes with ambiguity regarding the outcome. Two Daily Express front pages are hanging off the printing press: one celebrating humanity’s successful attempt to save the world, and the other lamenting its total destruction. Stenning's final monologue reflecting the ambiguity of the ending.

“So man has sown the wind and reaped the whirlwind. Perhaps, in the next few hours, there will be no remembrance of the past and no hope for the future that might have been. All the works of man will be consumed in the great fire out of which he was created. But perhaps at the heart of the burning light into which he has thrust his world, there is a heart that cares more for him than he has ever cared for himself. And if there is a future for man, insensitive as he is, proud and defiant in his pursuit of power, let him resolve to live it lovingly, for he knows well how to do so. Then he may say once more, truly the light is sweet, and what a pleasant thing it is for the eyes to see the sun.” — Peter Stenning

Unless one considers the US release of the film which added the sound of jubilant church bells signalling the world had been saved. This is not the only classic British film to have its finale altered for its transatlantic release. The 2005 film The Descent features a similarly upbeat alternative ending that was the basis for an inferior sequel.

Given its age, The Day the Earth Caught Fire may disappoint those expecting something more akin to a trashy science fiction B-movie. This is a distinctly more serious film with a heavy focus on character and emotional resonance. Beneath the veneer of the doomsday scenario lies a story of mankind as its central theme. There are no actors in bug-eyed, alien suits as our foes; our enemy is ourselves. And it is driven home by Val Guest with a sense of earnest emergency that makes us pay even greater attention today. Thus, it's a very relevant film.

The Day the Caught Fire is currently available on Blu-ray in the US by Kino Lorber and in the UK by the BFI.

The Enshittification of IMDb

The diminishing transformation of Internet Movie Database by Amazon is a prime example of enshittification. What was once the go-to film hub online has gradually turned into a platform that is now difficult to navigate, largely obsolete and filled with adverts.

The history of IMDb can be traced back to the 1980s when Col Needham, a British software engineer, created a database to collate data relating to various films he had watched. In 1990, he transformed it into a Usenet group. Three years later, it became a website on the fledgling World Wide Web. By 1998, the corporate monster that is Amazon had acquired it.

The late 1990s and 2000s were like the Wild West for internet users. Regulations were less stringent than they are today, as exemplified by the once infamous forums of IMDb. While some topics were trolled to oblivion with highly offensive comments, others provided informative help that expanded one's artistic tastes and horizons. IMDb was a prime (no pun intended) example of the proverbial double edged sword.

On 20 February 2017, IMDb permanently closed its message boards. The official reasons were a decline in traffic, users opting for alternative social platforms and the rise in toxic behaviour. Since then, the site’s appeal has greatly declined.

The search for relevant information became more challenging. For instance, adult films were unlisted. This necessitated Google searching (preferably in Incognito mode) an adult actor's link to their IMDb page; a cumbersome workaround and a risky endeavour while on a lunch break. A more recent change was seeing miscellaneous actors missing their birth year from their IMDb profile; information than can be found everywhere else. Furthermore, the pervasive promotion of Prime movies and TV shows dominated every page, even with the use of an ad blocker.

And now the ability to read user reviews has been removed for anyone not registered at IMDb. The official reason: to stop review bombing and trolling. Corporate jargon for the site to force you to sign up, gather your personal information and potentially sell it to a data brokers. User reviews were often more honest and less performative than those on Letterboxd, where narcissistic e-celebs were more concerned over their pithy one line reviews making it on the homepage and their follower numbers. Additionally, IMDb's user reviews were more prone to representing the normies. Hence, their movie insights tended to be more welcome thanks to their succinct honesty over the average “professional critic” compelled to flex their media literacy with bloviated analyses behind an online publication’s paywall.

For these reasons IMDb has become another fond resource reduced to obsolescence due to all its completely reductive and unnecessary changes. A site destined to be buried alongside MySpace, GeoCities and other defunct popular sites in the internet graveyard.

R.I.P.

Viewings: July 2026

This month’s selection is a case of the underdog and the outsider both rising to the top during the season of the summer flopbusters. Two exceptional films that are easily my two biggest 2026  highlights so far.

Curry Barker demonstrates that a YouTube filmmaker can produce an ultra-low-budget horror film that transcends its targeted Gen Z audience. Obsession’s phenomenal success can also be attributed to Inde Navarrette’s breakout performance. Good to know she maintains her grounded approach by continuing to produce Let’s Play videos while being one of the most talked-about actors of the summer.

Similarly, Kenji Tanigaki’s The Furious is a stand-out martial arts film, and exemplifies the superiority in quality of Asian brawlers over the typical fix-it-in-post Hollywood actioner. That five-man rumble is epic.

 

Film:

Any Old Port! (James W. Horne, 1932) ^♲

Invaders from Mars (William Cameron Menzies, 1953) ♲

The Gorgon (Terence Fisher, 1964) ♲

Westworld (Michael Crichton, 1973) ♲

Escape from New York (John Carpenter, 1981) ♲

To Live and Die in L.A. (William Friedkin, 1986) ♲

  Spontaneous Combustion (Tobe Hooper, 1989)

Falling Down (Joel Schumacher, 1993) ♲

Welcome II the Terrordome (Ngozi Onwurah, 1994)

Event Horizon (Paul W.S. Anderson, 1997) ♲

Cold Prey AKA Fritt Vilt (Roar Uthaug, 2006) ♲

Cold Prey II AKA Fritt Vilt II (Mats Stenberg, 2008) ♲

Cold Prey III AKA Fritt Vilt III (Mikkel Brænne Sandemose, 2010)

Diabolik (Antonio Manetti & Marco Manetti, 2021)

Diabolik: Ginko Attacks! (Antonio Manetti & Marco Manetti, 2022)

Diabolik: Who Are You? (Antonio Manetti & Marco Manetti, 2023)

Carolina Caroline (Adam Rehmeier, 2025/2026)

Dolly (Rod Blackhurst, 2025/2026)

The Drama (Kristoffer Borgli, 2026)

The Furious (Kenji Tanigaki, 2025/2026) 

Masters of the Universe (Travis Knight, 2026)

Obsession (Curry Barker, 2025/2026)

Vampires of the Velvet Lounge (Adam Sherman, 2026)

 

Television:

Object Z (Daphne Shadwell, 1965)

Doctor Who - Frontios (Ron Jones, 1984)

Doctor Who - Attack of the Cybermen (Matthew Robinson, 1985) 

FIFA World Cup 2026

Mastermind (2026/2027)

♲ Rewatch    ^ Short

Dada Debaser Notes:

• Apart from a smoking hot Miriam Leone, the only other positive aspect to the Manetti Bros’ Diabolik trilogy was that it prompted me to review the more accomplished 1968 film after God knows how long.
• Speaking of trilogies, I finally got around to watching the third and final part of the Cold Prey franchise. It’s a notable departure from the previous films in Norway’s flagship slasher series but decent, nonetheless.
• Tinfoil hat time: the critical reappraisal for the dystopian and horrendously awful Welcome II the Terrordome, which cashed in on Public Enemy's style and music, is nothing more than a convoluted effort to peddle the inevitable Criterion/BFI Blu-ray to gullible cinephiles. A similar deal to the revisionist love for Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles.
• "Where we're going, we won't need eyes to see." Event Horizon is more Hellraiser-in-space than what Hellraiser: Bloodline turned out to be. RIP Sam Neill!
• Carolina Caroline is a clichéd and mediocre Bonnie and Clyde tale made tolerable by Samara Weaving and Kyle Gallner's performances. Starting to think Dinner in America was a one hit wonder for Adam Rehmeier.
• Spontaneous Combustion is essentially Tobe Hooper doing Scanners. The film is a mess, but the pyrotechnic horror effects are genuinely good and Brad Dourif never disappoints.
• The Drama is filled with the most insufferable and cringe-worthy characters I've seen all year; and I've watched Primate and The Bride!

Always a pleasant surprise whenever I find a novelty extra included with a Blu-ray/4K UHD. Willem Dafoe's mug on a counterfeit $20 bill is the latest example of this inside Arrow's To Live and Die in L.A. packaging. Other goodies I hope to be included from the subgenre of crooked cop films are Harvey Keitel's school run coke from Bad Lieutenant (1992); the vomit pen from Training Day (2001); and Vince Vaughn's salt shaker from Dragged Across Concrete (2018).

The Man of Steal

Danger: Diabolik (Mario Bava, 1968)

Until recently, I had deliberately delayed reviewing Mario Bava’s deliriously, mad cap film Danger: Diabolik (1968) due to not having read any of the comics it was adapted from. The master thief known as Diabolik was created by Italian sisters Angela and Luciana Giussani in 1962. He was more of an anti-hero/villain, given his motivations and actions. From my understanding, the ingenious thief, with a maniacal laugh, would not hesitate to murder any innocent bystander who stood in his way. Hence, the book is allegedly more subversive than traditional comics of that era. Diabolik’s popularity spawned a whole sub-genre of Italian comics known as fumetti neri (dark comics) and gave rise to other notorious characters: Kriminal, Satanik and Sadik; some of which had their own film adaptations.

I found it challenging to locate an English translation of Diabolik . As an alternative, I decided to watch the recent trilogy of films directed by the Manetti Brothers: Diabolik (2021); Diabolik: Ginko Attacks! (2022) and Diabolik: Who Are You? (2024). Fans of the comic consider the trilogy to be more faithful to the source material compared to Bava’s film. After binge-watching all three films, I shan’t bother with the comic books. They are drab, dire and completely lifeless. The complete opposite of Bava's adaptation. All three of them are diabolically bad (I thought I was being clever here, but I'll probably regret typing that sentence whenever I reread this review). Therefore, I can confidently conclude Danger: Diabolik is the superior version; regardless of its deviation from the comic.

Danger: Diabolik is pure bork overload. A visually striking Italian-French co-production, characterised by Bava’s vibrant colour palette and camera wizardry; grandiose and opulent set designs; recognisable European actors in camp mode; and Il Maestro of film composers, Ennio Morricone, creating a distinctive blend of his trademark spaghetti western sounds, ecclesiastical organs, jazzy pop and lounge lizard muzak, furthering the psychedelic experience. The result is a demented Pop-Art film that easily sits between the early James Bond films and the kitsch Batman television series.

The film’s production history was fraught with difficulties. The Nanny’s Seth Holt was the original director when filming commenced in 1965; with Jean Sorel being cast as the titular character. Producer Dino De Laurentiis was dissatisfied with the dailies and production was brought to a halt until Mario Bava was hired to restart the film on a significantly reduced budget. Sorel was out by this time. Having already been familiar with the comic, John Phillip Law secured the lead after impressing De Laurentiis with his dastardly eyebrow expressions; a skill essential when having to wear a latex balaclava while racing around in a speedboat or a sport scar. Bava was unhappy with Catherine Deneuve as Eva Kent, Diabolik's beautiful girlfriend and partner in crime. The Austrian bombshell Marisa Mell was subsequently cast in her place. This proved to be a successful casting decision as Law and Mell exhibited great onscreen chemistry and contributed to the racy scenes in the film.

In terms of the film’s plot, Diabolik’s ingenious and daring heists have driven the nameless European country’s Minister of Interior, played by the gap-toothed, British toff Terry-Thomas, to extreme measures: by enforcing the death penalty on all criminals. His arch-nemesis, Inspector Ginko (Michel Piccoli), is counting on the crime syndicate, led by Ralph Valmont (Adolfo Celi, virtually reprising his villainous role as Emilio Largo from the 1965 James Bond film Thunderball) to rid them of the master thief. Following the kidnapping of his beloved Eva and a free-falling confrontation with Valmont, Diabolik steals the world’s largest gold ingot. Unaware that traces of the ingot were irradiated under Ginko’s orders, thus the objects serves as a homing device. This leads to the law's discovery of Diabolik’s secret lair and the film’s climactic finale.

Bava’s film presents an intriguing dynamic by positioning Diabolik against both law enforcement and the criminal underworld; forcing the master thief into an anti-hero. This is evident when he unleashes a bombing campaign against the state’s tax department after learning of their enforcement of the death penalty. By not permitting Diabolik to steal, he will reciprocate by preventing the government from doing the same. His anti-establishment and individualistic nature comes across as subversive and ahead of its time for a 1960s comic book character.

Danger: Diabolik is an exceptional visual experience for those who appreciate wonderfully eccentric and vibrant cinema. Mario Bava was a masterful filmmaker; renowned for his exquisite cinematic eye, autistic levels of detail to the mise-en-scène and ingenious visual effects. Bava demonstrated his ability to create a wonderfully whimsical and trippy comic book movie with the same care and attention to the sumptuous, atmospheric, gothic Italian horror he became renowned for. A very versatile and capable director, who was unjustly lumped as a poor man's Alfred Hitchcock.

The elaborate sets provide an exceptional playground that are a huge part to the film’s charm. The most notable is Diabolik’s underground lair. An eye-catching, post-modernist structure built within a vast cavern. It’s spectacular enough to rival some of Ernst Stavro Blofeld’s residences. The home is furnished with modern conveniences including his and hers groovy showers and a giant, rotating circular bed (you won’t find one of them in Dreams) where they make passionate love all day amongst all their stolen cash. Not exactly hygienic, but a lifestyle I can respect. The lair is surrounded by a fleet of Jaguar E-Types; the protagonist’s trademark wheels. With a subterranean entrance to the sea, Diabolik’s hideout comes complete with its own submarine. A convenient transport for moving a giant gold ingot. Above all, I’m particularly fond of the giant pipe organ which serves as the lair’s security alarm. A unique, yet very fitting device for any supervillain.

Sources suggest the reason a sequel was never made was that Bava did not enjoy his experience working with De Laurentiis. Alternatively, the film’s commercial failure is a more plausible explanation. If Danger: Diabolik had been successful, a sequel would have been produced even without Bava’s involvement. Regardless of which is true, it is now considered a cult film and often listed amongst the best comic book movies by various media. 

Danger: Diabolik did not leave the same first impression on me as Bava's gothic horror films initially did. The film has greatly grown on me with subsequent revisits. I think it might have been Diabolik’s quintessential European stylings and campiness being not to my taste during my edge lord youth. This was a time when Batman had long abandoned the campiness of the ‘60s television series and embraced the dark and gothic sensibilities as reflected by Tim Burton’s 1989 Batman film. Since then, however, I have found Danger: Diabolik deeply refreshing in comparison to the irreverent deconstruction and revisionism committed to familiar comics book characters today. They are trends that have become increasingly tiresome and clichéd for me. Hence, a fictional character who steals for the adrenaline rush and to support his lavish lifestyle with his sexy girlfriend, is both beautifully simplistic and far more appealing to me than the latest Marvel and DC slop.

One of Mario Bava’s greatest films.

Eureka has recently released a superb 4K UHD of Danger: Diabolik as part of its Masters of Cinema series. This is perhaps my favourite boutique film release of the year. Alternatively, I would highly recommend that those who have not seen the film to check it out for free on YouTube. Deep, deep down, you know you want to!

20/2020s

The Zone of Interest (Jonathan Glazer, 2023)

Dinner in America (Adam Rehmeier, 2020)

The Northman (Robert Eggers, 2022)

Mad God (Phil Tippett, 2021)

The Substance (Coralie Fargeat, 2024)

Obsession (Curry Barker, 2025)

Benedetta (Paul Verhoeven, 2021)

Hatching (Hanna Bergholm, 2022)

No One Will Save You (Brian Duffield, 2023)

Crimes of the Future (David Cronenberg, 2022)

Furiosa: A Mad Max Story (George Miller, 2024)

Godzilla Minus One (Takashi Yamazaki, 2023)

R.R.R. (S.S. Rajamouli, 2022)

Deadstream (Joseph Winter & Vanessa Winter, 2022)

Last Night in Soho (Edgar Wright, 2021)

MadS (David Moreau, 2024)

The Furious (Kenji Tanigaki, 2025)

Apples (Christos Nikou, 2020)

Anora (Sean Baker, 2024)

Warfare (Ray Mendoza & Alex Garland, 2025)

If you're unfamiliar with the 20/2020s meta, it's essentially your top twenty films of the decade.

It took me just over six and a half years to complete this; which is about six years longer than the average, smooth-brained Letterboxd user when they compiled one.

I wouldn’t say I’m a stickler for perfection, but it took me a while to find enough worthy films that cut through all the noise and glazing. The list is also a constant reminder that I haven't reviewed Dinner in America or Last Night in Soho yet.

With three years and some change left, there are bound to be a bunch of future titles which will qualify and switch up the current list above. At least, I hope so. Imagine the cultural landscape if there weren’t.

Actions Speak Louder Than Words

The Furious (Kenji Tanigaki, 2025/2026)

As an aficionado of onscreen violence, I am particularly drawn to action films that feature intense combat sequences, copious amounts of pain and a dash of blood or two. Fortunately, acclaimed fight choreographer Kenji Tanigaki, who was involved in one of your host’s favourite action films in recent years - Twilight of the Warriors: Walled In (2024), has transitioned to film directing and has subsequently delivered an action-packed bruiser that’s a summer riot.

The Furious (2025/2026) follows Wang Wei (Xie Miao), a mute, Chinese handyman working “Somewhere in Southeast Asia” (the location is intentionally left vague), as he embarks on a mission to rescue his young daughter, Rainy (Yang Enyou), from child traffickers. He forms an alliance with Navin (Joe Taslim), who shares a similar motive in finding his missing journalist wife. The premise is straightforward and the plot is not particularly complex. The narrative’s simplicity justifies the pair’s decision to launch a series of devastating assaults on numerous machete-wielding adversaries in locations connected to the trafficking leader Paklung’s (Joey Iwanaga) operation.

Wei may lack the ability of speech, but martial arts skills do all the necessary talking in his quest to retrieve his daughter. Throughout his journey with Navin, the extent of the trafficking operation’s reach is revealed, including the corrupt police captain who remains indifferent as desperate children attempt to escape from a dilapidated apartment building known as The Snake Pit.

The fight scenes are choreographed with expert precision; drawing the eye deeper into the intensity of the battle. The impact of every punch, kick and weapon used is viscerally wince-inducing. Bones are shattered, blood is spilt, and in some cases, body parts are severed. This is back from the pub heaven for your humble host. Meteor Cheung’s cinematography is characterised by a fluid dynamic that mirrors the chaotic visual spectacle of the unrelenting action that occurs on screen.

Diminutive Miao’s strict kung fu discipline is contrasted with Taslim’s more erratic judo skills. When Wei mistakenly identifies Navin as a child trafficker, the pair briefly engage in a fight. A comedic moment occurs when Miao removes his jacket as he warms up to unleash pain. To Navin’s relief, he realises that Wei shares a similar objective and they subsequently team up. For fans of the game-changing martial arts classic The Raid (2011), Taslim has a rematch with the indomitable Yayan Ruhian. The latter plays a ruthless henchman to Paklung; who wields a deadly bow, upping the bloody gore quota considerably. However, Brian Le almost steals the film as the bald, dungaree-clad Ho, a strong and persistent antagonist who is more than a match for the combined skills of Wei and Navin. Ho is instrumental in the film’s unforgettable pièce de résistance; consisting of an epic two versus two versus one rumble.

The English dubbing may be an issue for some viewers. While it did not detract from my enjoyment of the film, it was sufficiently noticeable to warrant mentioning it for this review. Apparently, there is a Mandarin language version of the film; one that includes some different scenes. This is enough to interest me in determining which might be the better cut of the film in the foreseeable future. Although, given The Furious is a martial arts film of a very high calibre, it's a win for action film fans, regardless of which version they watch.

The Furious is an excellent martial arts film. Blending the premise of Taken with the intense action of The Raid, and if that justifies it with the label of dadsploitation movie by some, then so be it. Hail to 2026's big daddy of action flicks!

Picks of 2016

2016 was a year for the underdog, a sentiment reflected in several films I enjoyed. Korean horror, low budget thrillfests and problematic action films were my personal highlights in a period dominated by endless comic book movies, unwanted remakes and shameless sequels. No change from any other year then.

13 Hours: The Secret Soldiers of Benghazi (Michael Bay)    

The Autopsy of Jane Doe (André Øvredal)

The Belko Experiment (Greg McLean)

Don't Breathe (Fede Álvarez) 

The Girl with All the Gifts (Colm McCarthy) 

Hotel Coolgardie (Pete Gleeson)

Hush (Mike Flanagan)

London Has Fallen (Babak Najafi) 

The Neon Demon (Nicolas Winding Refn)

The Nice Guys (Shane Black) 

The Shallows (Jaume Collet-Serra)

Terrifier (Damien Leone) 

Train to Busan (Yeon Sang-ho)

The Wailing (Na Hong-jin)

I remember being mostly positive about Rogue One: A Star Wars Story, but I've not cared for anything Star Wars related after the deluge of awful films and TV shows ever since. 

Freaky Nikki

Obsession (Curry Barker, 2025/2026)

The Hollywood film industry is experiencing a decline in relevance, a trend that has become more pronounced this summer. Film production has become a large-scale corporate endeavour where hundreds of millions of dollars are invested in formulaic and rehashed blockbusters rather than creative properties with a more modest budget. Expectations for grossly expensive tentpole films  are often deemed as commercial failures whenever they fail to surpass the billion-dollar box office threshold. This has become an unrealistic expectation for an entertainment industry struggling to maintain the interests of the public. Hence, Blumhouse Productions, a film company with a history in low-budget horror, will always survive Hollywood’s downhill decline, like a cockroach after the nuclear holocaust. All it takes is one of its films to make it big to keep funding a multitude of other potential winners. Its latest co-production, is a monumental success story. At the time of writing, it has earned over 400 times its budget at the box office, and is one of the most profitable films ever made.

Curry Barker’s Obsession (2025/2026) is a variation of W.W. Jacobs’s 1902 horror tale The Monkey’s Paw. It applies the concept to a twisted love story. Barker’s slick writing and direction, along with strong performances from its unknown cast (notably, Inde Navarrette in her breakout role) make Obsession one of the year’s most significant film releases. Notably Barker was a 26-year-old YouTube comedy film maker and Navarette a younger Twitch streamer when they made the film. This demonstrates non-traditional paths to success in the film industry for Gen Z.

Baron ‘Bear’ Bailey (Michael Johnson), a shy and amiable individual, has romantic feelings for his friend and colleague Nikki Freeman (Navarrette). However, he is too timid to express his true feelings for her, which causes considerable frustration for their two fellow friends Ian (Cooper Tomlinson) and Sarah (Megan Lawless), who also work at the music store with them. The film emphasises the extent of Bear’s shyness with a painful rehearsal of his feelings at the very start of the film. Adding to the situation is the accidental death of Bear’s cat Sandy, on the very day he planned to confess his true love for Nikki.

At a new age crystal shop, Bear purchases a One Wish Willow toy as a last-minute substitute for the tiger’s eye pendant Nikki had recently lost. After the group departs from a pub quiz, Bear takes Nikki home. His nervousness in revealing his love for her results in an awkward sequence during which he even calls her “Freaky Nikki”, a nickname she despises. Nikki confronts Bear with the opportunity he wanted and asks whether he fancies her. Like a coward, he tells her that he sees her only as a good friend. With the opportunity lost and Nikki in her home, Bear holds the One Wish Willow and frustratingly wishes for Nikki Freeman to love him "more than anyone in the fucking world". Within an instant, Nikki returns to Bear’s car and behaves strangely; she even requests to spend the night at his home.

Bear’s wish has tragic consequences for all four featured characters. The most evident is Nikki’s total character transformation. The moments where Nikki eerily converses in the dark, along with her physical movements are intensely creepy. Navarrette’s performance is outstanding and should make her a star. The talented young actress conveys a range of emotions that effectively emphasises Nikki’s loss of autonomy; as if she is possessed. This may be the case as the real Nikki briefly resurfaces while her possessor is sleeping.

Nikki: Kill me, please!

Bear: What?

 
Nikki: She's sleeping. It's me.

Bear: You are you, Nikki.

 
Nikki: Ssh! Please, don't wake her up. Just... kill me!

 
Bear: What would be so bad? What's so bad about being with me?

 
Nikki: I've never been with you, Bear... Just kill me, please! Please, please, please, please!

This scene reveals that beneath his affable exterior, Bear is the film’s real antagonist. His primary concern is being in a relationship with Nikki; regardless of her own personal welfare, or the abnormal affect of her  actions and behaviour brought about her complete devotion to him. Therefore, the film demonstrates that his feelings for her are based on an idealistic vision of Nikki rather than actual Nikki. This explains why the cowardly abuser is willing to continue the façade of a loving relationship with Nikki while she serves Sandy the cat in Bear’s packed lunch; duct tapes his front door to keep him home with her; and mutilates herself during a game of Jenga. Bear’s cowardice is a constant throughout the course of the film.

Despite the familiar premise, Barker has crafted a film blessed that's an addictive viewing experience with morally ambiguous characters. They are more complex than the typical protagonists found in mainstream horror films. Bear may be a cowardly scumbag, but his initial plight makes him appear sympathetic. Similarly, Nikki is portrayed as a seemingly innocent individual. However, she’s later revealed to have been manipulative to Bear, prior to his wish. That doesn't excuse the hell of what she's put through, however. These character layers makes them far more three dimensional, in my opinion.

Obsession has resonated with a broad audience of filmgoers; both young and old. This is likely due to its ability to transform a narrative about love and obsession into a terrifying horror story. A concept that many might relate to. Consequently, Obsession is comparable to an old fable whose moral message is still relevant centuries on. A remarkable achievement from such a young cast and crew.

Loved it to death.

Viewings: June 2026

Chances are The Plumber might have been a dreary sex comedy starring Robin Askwith if it was made in Great Britain. Thankfully, Peter Weir's film is an entertaining blend of absurdist comedy and psychological thriller from Australia. I knew it was going to be good once I saw this clip online. 

Blogger is still "buggered", like Jill's pipes.

 

Film:

The Laurel-Hardy Murder Case (James Parrott, 1930) ^ ♲

Oliver the Eighth (Lloyd French, 1934) ^ ♲

The Red Menace (R. G. Springsteen, 1949)

Spaceways (Terence Fisher, 1953)

Ashes and Diamonds (Andrzej Wajda, 1958) 

The Reptile (John Gilling, 1966) ♲

Danger: Diabolik (Mario Bava, 1968) ♲

The Plumber (Peter Weir, 1979) 

Man Bites Dog (Rémy Belvaux, André Bonzel & Benoît Poelvoorde, 1990) ♲

Triangle (Christopher Smith, 2009) ♲ 

Citizen Vigilante (Uwe Boll, 2026)

Greenland 2: Migration (Ric Roman Waugh, 2026)

Project Hail Mary (Phil Lord & Chrisopher Miller, 2026)

 

Television:

 Moviedrome: Welcome to the Cult (Nic Wassell, 2025)

FIFA World Cup 2026

Spider-Noir - Season 1, Episodes 1-3 (Various, 2026) 

 

♲ Rewatch    ^ Short  

 

Dada Debaser Notes:

• Ashes and Diamonds is considered one of the best films ever according to film making luminaries Francis Ford Coppola and Martin Scorsese. I wish it clicked for me like it did for them. Great cinematography, though. I reckon Brian De Palma might have borrowed the fireworks scene from the film and used it in Blow Out.
• The Red Menace is a far too dull to be the Red Scare equivalent of Reefer Madness. Yvonne Kraus AKA Greta Blok would have been a successful Twitch streamer, if she was around today, however.
• The first Greenland was an unexpectedly decent disaster flick; its sequel, however, is a lacklustre effort. Greater plot holes than the ridiculous giant crater in France that happens to be an oasis of life.
• Citizen Vigilante is absolutley awful and the worst 2026 film thus far.
• The more I think about it, the more I realise that Project Hail Mary is essentially Interstellar with MCU quips. I might have overrated it on Letterboxd.

Last month, it was Hammer's Dracula (1958) announcement; this month, it's Ken Russell's The Devils getting the uncut treatment:

The Devils | Teaser

Ken Russell | 1971

Water Torture

The Plumber (Peter Weir, 1979)

Given the critical acclaim of Picnic at Hanging Rock (1975) and The Last Wave (1977), it is surprising to learn that Peter Weir, the leading figure of the Australian New Wave, would still have to resort to writing and directing a TV movie to make some cash. Consequently, his fourth feature would eventually be granted a theatrical distribution in the international market.

The Plumber (1979) is a 77-minute feature film that very much resembles a teleplay thanks to primarily being set in a single location. It centres on class conflict and male toxicity, and showcases the hypocrisies of its two main characters. Above all, the film serves as a spiritual forerunner to The Cable Guy (1996).

Jill Cowper (Judy Morris) is a postgraduate anthropologist residing on the university campus with her scientist husband Brian (Robert Coleby). She spends her days at home working on her Master’s thesis while Brian teaches and conducts nutritional research. He is determined to gain the attention of the World Health Organisation for his theory of Kuru, a fatal neurodegenerative disorder caused by cannibalism, still being present among the tribes of Papua New Guinea. His obsession with this discovery occasionally leaves Jill feeling neglected and alone. An expensive watch for Jill, does little to compensate for her being home alone for the majority of the day.

Max (Ivar Kants) unexpectedly barges his way into Jill’s life as the university's plumber. However, his  invasive behaviour is a red flag; suggesting he could be a shady or dangerous individual. Jill finds herself feeling increasingly uneasy and threatened in her own home by the disruptive and overly friendly plumber. The annoying tradesman exhibits a complete lack of respect for her personal privacy. Max’s bizarre behaviour is evident from the outset as she suspects he may have taken a shower instead of doing any work. Hardly professional.

Max is quite vocal about his dislike for the social and intellectual higher-ups. He sees Jill as one of the elitists perched above the ivory tower of academia and class privilege. Thus, she is the recipient of his subtle, irritating comments and disapproving looks. On the other hand, Jill’s quiet exterior hides a woman who despises Max for his complete lack of sophistication; which is rather ironic, given her studies on primitive tribes.

The scenes between the two characters are remarkably awkward and sinister at times. Weir lets various details linger longer than necessary; achieving an uncomfortable atmosphere throughout the course of the film which feels intentionally exaggerated. Thus, The Plumber alternates between absurd comedy and psychological thriller territory. It’s bolstered by a choice selection of library tracks from the KPM vaults; notably the eerie Sea of Tranquility by Edgar Vetter and W. Merrick Farran, which really fits the bizarre tone of the film.

Weir’s inspiration for writing Max originated from a cab driver he met who resembled a long-haired John Lennon. It was during the Vietnam War, and the director was shocked to discover that his driver held abhorrent opinions on the conflict. The apparent contradiction of a peace-loving crusty of the flower power generation, revealed him to be an unapologetic fascist in a deceptive guise. This was how the plumber/wannabe folk-singer Max came to be. He wears a "Save the whale!" badge, but does he really mean it, or is it performative?

Additionally, the blue sticker on Max’s leather jacket that reads, “Liberal = Less Tax”, was a slogan by Australia’s conservative party, ironically known as The Liberal Party. Further contradictions are evident in Max’s rant to Jill when revealing he was once a burglar:

“Anyway, I only ever took from the rich. Bludgers living off the workers. Sucking the life blood of the country. Vampires. I’d tread on them if I could. Squash ‘em like snails. Wouldn’t give it another thought. That’s the way we saw it in Melbourne. We had principles. The crim scene in Adelaide’s just the opposite. Real capitalist.” — Max

Evidently, Max still acts like a burglar by entering Jill’s home via the hole in the bathroom ceiling when she tries avoiding him.

The most distressing aspect of Jill’s situation is the isolation she faces. Her concerns are not taken seriously by the supporting cast. Her friend Meg (Candy Raymond) appears to regard Max as a typical individual, while Brian is preoccupied with his work to notice anything. The gaslighting further exacerbates Jill’s mental health. 

Brian’s subplot concludes with a group of colleagues from the World Health Organisation being invited to the couple’s apartment for dinner. The menu features Jill’s speciality curry, which on this occasion, she’s accidentally made excessively hot. Keep in mind, their bathroom resembles an obstacle course, with scaffolding everywhere, and you have the makings for a classic comedy skit.

Although The Plumber may appear modest and limited in scope compared to Weir’s other films, it is an exceptionally entertaining and fascinating study of the classes. It achieves this in a relatively short runtime. That makes this a beaut, I reckon.

Currently, The Plumber is available to stream on both BFI Player and the Criterion Channel. It's also available as a bonus feature on Peter Weir's The Car That Ate Paris (1974), which was released recently on 4K UHD. Alternatively, there are old DVD copies about.