Our Fault review – ultra-glossy Spanish step-sibling melodrama is too bland to be annoying

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Third film adapted from the romance novels by Mercedes Ron, originally written in Spanish, feels clunky and cliched This is the third film in a series, after My Fault in 2023 and Your Fault in 2024 , that have been adapted from the Culpable trilogy, romance novels by Mercedes Ron, originally written in Spanish. It’s obviously aimed at a specific market that expects a certain blend of melodrama, softcore sex and lush lifestyle porn, and (more importantly) is invested already in the trilogy’s story. Given those parameters, it probably delivers – although the dialogue, at least judging by the subtitles, is super clunky and cliched. Complete outsiders coming to this cold may be a little baffled by what’s going on, since this concluding instalment makes no effort to fill in any blanks. But even total newbies will get the gist that heroine Noah (Nicole Wallace) still has feelings for her ex Nick (Gabriel Guevara) – who also, somewhat disturbingly, was once her stepbrother, although their ...
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Leave the World Behind review – Julia Roberts and Ethan Hawke’s apocalypto-paranoid thriller

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Roberts and Hawke’s weekend getaway starts to go wrong when two mysterious strangers appear at the door. Then things get weirder

Julia Roberts, Mahershala Ali and Ethan Hawke star in this glossy, Shyamalan-level-10 apocalypto-paranoid conspiracy thriller, adapted from the 2020 bestseller by Rumaan Alam. It’s an example of a growing tendency in the movies: baggy, lengthy, episodic pictures which are starting to split the difference between feature film items and streaming TV. Amat Escalante’s Mexican thriller Lost in the Night is, I think, another example of this tendency: films that go on for a while and, like a shaggy-dog story, leave things open for the possibility of getting recommissioned for season two. (Ridley Scott’s Napoleon epic for Apple TV also straddles film and TV, with extra content for the small screen iteration – although, admittedly, he can hardly be accused of leaving things open at the end.)

Roberts and Hawke play Amanda and Clay, well-off Brooklynites with two teen children; she’s a cynical ad exec, he’s a laidback humanities college professor. On a whim, they decide to take a luxurious weekend break in a luxury Airbnb mansion outside the city. But things get weird; there are storms outside, problems with the phone signal and the wifi and they witness something very disturbing at the beach. That evening, two strangers show up at the door – an elegant sophisticated man and his college age daughter, very well played by Mahershala Ali and Myha’la Herrold – with a very plausible explanation as to who they are and why Amanda and Clay should let them in. Things go terribly wrong.

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