Three Films Make A Post: Even if I kill you, I won't forget.

Werewolves (2024): This werewolf plague movie by Steven C. Miller is absolutely a SyFy original movie script of the style before these films discovered “irony” someone threw a bit of money at. As such, it is pretty dumb, doesn’t think about any of the actual implications – the mind-breaking horror and utter trauma - of its set-up that would make for a more interesting movie, and instead turns into a Frank Grillo and company versus werewolves shoot ‘em up with occasional cool gore effects.

Which I’d be fine with if Miller’s direction were a bit more inspired, or a bit more dynamic, or a bit grittier instead of being workmanlike and okay, and so full of lens flare some scenes genuinely look as if someone had farted light at the screen.

Flow aka Straume (2024): If it were nothing else, this is a brilliant example how much individuality and personality can fit into unashamedly digital animation – these things really don’t all need to look like Pixar. Of course, there’s quite a bit more to Gints Zilbalodis’s tale of a cat and her increasingly large group of animal friends roaming what looks a lot like the more pleasant part of a post-climate apocalypse world. There’s no dialogue here, but a lot of expressive animal noises (watching this at home with a cat would prove interesting, I believe), and animation so emotionally expressive, I certainly wasn’t missing dialogue or voice overs.

There’s a sense of wonder as well as one of melancholia running through the film, and where its plot is at its core simple and very generic, its artistic impression is singular and individual, leaving an immense emotional impact.

Heavier Trip aka Hevimpi reissu (2024): Where the first Heavy Trip was a delightful example of a comedy about misguided but loveable enthusiasts, its sequel by original directors and writers Juuso Laatio and Jukka Vidgren is rather less successful.

Too much of the film consists of re-treads of rock music comedy standards that hit only about half of the time; everything here feels more generic than it did in the first film, less heartfelt and more professionally competent.

Which doesn’t turn this into a terrible film, just one I don’t see myself returning to very often, or at all.