David Jonsson

The Long Walk

14/09/25

Cineworld, Edinburgh

As I’ve observed elsewhere, Stephen King is one of the most screen-adapted authors in living history and you’d think, wouldn’t you, that by now they’d have run out of titles to turn into movies? I mean, what stone has been left unturned? Well, there’s always The Long Walk, a story about a dystopian future where young men enter a lottery in order to be able to compete in a gruelling competition – where the winner will be handed a fortune while losers will be eliminated one by one, with a well-aimed bullet.

And before people start muttering about this being ripped off from The Hunger Games, it’s worth mentioning that King wrote the original novel when he was seventeen and that it was published way back in 1979, under the pseudonym of Richard Bachman. (Bachman also wrote The Running Man, already filmed in 1987 starring Arnold Schwarzenegger, with a new version looming on the cinematic horizon.)

The competitor we’re rooting for in the titular ordeal is Raymond Garrity (Cooper Hoffman) and the guy he pals up with is Peter McVries (David Jonsson) – but there are plenty of other participants and we learn something about most of them by the time we approach the three-hundred-mile marker. The event is presided over by The Major (an almost unrecognisable Mark Hamill). As the walk progresses, we witness some truly horrible executions and some almost as awful depictions of what happens when the participants are not even allowed the luxury of a toilet break…

The danger here, of course, is that such a stripped-back storyline might mean that the narrative becomes repetitive, so kudos must go to director Francis Lawrence and screenwriter JT Mollner, who somehow manage to incorporate enough gear changes to keep me thoroughly entertained (if that’s the right word) throughout a one hour and forty-eight minute run time. It’s also chilling to note that, with the current political upheaval in the USA, the premise of this story feels queasily credible.

More than anything else, this is a film about male friendship, about honour and sacrifice. Hoffman, who made such a confident debut in Licorice Pizza is quietly compelling here as a young man nurturing a secret thirst for vengeance, while Jonsson makes the perfect foil for him: relaxed, compassionate and nurturing. As I say, we do learn about several of the other competitors, but this film belongs to its central duo, who keep us walking alongside them right up to the shattering conclusion.

4.2 stars

Philip Caveney

Alien: Romulus

16/08/24

Cineworld, Edinburgh

The cinema generally takes a back seat for us in August when the Edinburgh Fringe takes up so much of our time. But a new addition to the Alien franchise has to be an honourable exception. Like most people who say there are Alien fans, it really only applies to the first two films: Ridley Scott’s iconic original and James Cameron’s (IMO) superior sequel, which qualifies as one of my all-time favourites. Since then, it’s been an irritating game of misfires. Even Scott’s two attempts to rekindle the series have been well-intentioned disappointments.

But Fede Alvaraz seems like a decent bet to attempt a reboot. After all, he somehow managed to breathe some fresh er… death into the Evil Dead films. So when I spot a two-hour slot in my schedule, I’m off to the multiplex with high hopes.

It starts well. Rain (Cailee Spaeny) lives and works on a horrible planet where it’s eternally dark. Her adopted brother, Andy (David Jonsson), does his best to look after her. He’s a synthetic, rescued from a rubbish dump by Rain’s father, but his aging technology means that he has a tendency to glitch and he is regarded with suspicion by a lot of the planet’s inhabitants. When Rain tries to get permission to leave – she’s desparate to get some sunshine – she’s denied the chance and told she’ll be transferred to the mines, so when her friend Tyler (Archie Reneux) suggests an alternative, it’s timely to say the very least.

It turns out that there’s a decommissioned Weyland-Utani space station in the sky above them and Tyler reckons they can gain access to it using Andy (who is a Weyland-Utani creation) to get aboard. There are just thirty-six hours left before the station hits an asteroid belt but it will almost certainly have sleep pods aboard, which the threesome – and their accomplices – can use to make the nine-year journey to the nearest inhabited planet. What can possibly go wrong? Rain reluctantly agrees to give it her best shot and it isn’t long before the gang are approaching their destination…

I like the fact that the protagonists are young. If the mature astronauts of Alien: Covenant seemed to constantly make stupid decisions, the recklessness of youth makes for a much more acceptable premise – and, once aboard the ship, which of course features more face-huggers and chest-bursters than you could shake a stick at, Alvarez and co-writer Rodo Sayagues manage to keep the pot of suspense bubbling nicely. There are visual references to the earlier films and the audacious decision to bring back a character from the first film – or rather, half of him – just about pays off. What’s more, Andy is given an upgrade which makes him faster and better – but way more logical, a development that means his loyalties now lie with the corporation that owns him rather than with Rain.

There are some new ideas in here too. A situation where the space station’s gravity keeps switching off in order to reboot really ramps up the torment, while a solution to all that acid blood flying around is an interesting development. Spaeny is terrific in the lead role, managing to fill Ripley’s action boots with aplomb and Jonsson (who made such a good impression in Rye Lane), is also memorable as her unreliable sidekick.

It’s only as the film thunders into the home straight that it takes a wrong turn. I almost stand up and shout at the screen, as Alvarez makes the baffling decision to homage Prometheus and all those hard-won plus points make a swift exit through the nearest escape hatch. It’s a shame, because it is so nearly home and dry.

Overall, Romulus is a decent addition to the canon, certainly the third best offering in the series, but still light years behind films one and two.

3.8 stars

Philip Caveney

Rye Lane

15/03/23

Cineworld, Edinburgh

Imagine, if you will, a Richard Curtis style romcom, where two young people meet, have a whirlwind romance and celebrate whichever part of London they happen to live in. But with a big difference, because in this film all the leading characters are Black, while a few well-known white actors are relegated to tiny cameo roles. What’s more, the area where the story is set is depicted in such exquisite detail it almost becomes a character itself. That is essentially what Rye Lane is: a love letter to Peckham, previously immortalised onscreen in er… Only Fools and Horses.

The film opens in a unisex public toilet stall at an art gallery, where Dom (David Jonsson) sits weeping loudly. He’s bewailing the breakup of his six year relationship with Gia (Karene Peter), who – it turns out – has been cheating with Dom’s best friend, the handsome but dim-witted Eric (Benjamin Sarpong-Broni). The cause of the breakup? Dom has spotted Eric’s distinctive private parts in the background of a Messenger call to Gia. Awkward.

Into the toilet wanders Yas (Vivian Oparah), a vivacious young woman with an unconventional worldview. She believes that people can be divided into two basic categories: those who wave at boats and those who don’t. Yas overhears Dom’s distress and notices his footwear, so when she encounters him later, she feels impelled to become involved in his situation. At first the two of them seem to have absolutely nothing in common, but when Yas comes to Dom’s rescue during an awkward conciliatory meeting with his ex, their budding friendship is given a considerable power charge. Throwing all caution to the wind, he and Yas head off for a wild, adventurous day out…

If this all sounds depressingly familiar, don’t be fooled. Debut director Raine Allen-Miller has crafted a delightful odyssey across South London, backed up with vivid cinematography and a witty (sometimes downright hilarious) script by Nathan Bryan and Tom Melia. But the film’s real trump card is its vibrant depictions of everyday life in Peckham, throwing a whole set of dazzling locations and eccentric local inhabitants into the mix. What we get is a riot of open-air markets, street performers, public parks and an adrenalin-charged karaoke session. The film never allows one set-up to overstay its welcome, but keeps moving restlessly onwards to its heartwarming conclusion.

Okay, at the end of the day, Rye Lane may just be a slice of entertaining fluff but it is realised with such vigour and ingenuity that, long before we hit the end credits, I’m totally sold (and talking of end credits, stay in your seat for a brief but very funny outtake!). Anybody looking for a recharge should check this out without further delay. It’s utterly charming and the best fun I’ve had in the cinema for quite some time.

4.4 stars

Philip Caveney