Five Nights at Freddy’s 2 review – inept game-based horror is one of the year’s worst

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The box office smash of Halloween 2023 gets a shoddily made follow-up written carelessly and devoid of an actual ending The ghost-possessed family-restaurant animatronics of the Five Nights at Freddy ’s movies lumber around with such heavy-footed gaucherie that it’s hard to figure out how they’re physically able to move from place to place as quickly as they’d need to for a proper killing spree. In what could be mistaken for a case of form following function, Five Nights at Freddy’s 2 moves the exact same way. It’s so ostentatiously awkward that it constantly draws attention to its inept imitations of actions that other movies, even bad ones, intuitively understand – like making transitions between scenes or locations. For example, when faced with the need to isolate a mean science teacher (Wayne Knight) so that he can be vengefully murdered by one of the aforementioned animatronics, Five Nights at Freddy’s 2 bafflingly cuts to him walking down a school hallway (during a science fair...
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Napoleon review – Joaquin Phoenix makes a magnificent emperor in thrilling biopic

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Ridley Scott dispenses with the symbolic weight attached to previous biopics in favour of a spectacle with a great star at its centre

Many directors have tried following Napoleon where the paths of glory lead, and maybe it is only defiant defeat that is really glorious. But Ridley Scott – the Wellington of cinema – has created an outrageously enjoyable cavalry charge of a movie, a full-tilt biopic of two and a half hours in which Scott doesn’t allow his troops to get bogged down mid-gallop in the muddy terrain of either fact or metaphysical significance, the tactical issues that have defeated other film-makers.

Scott cheekily imagines Napoleon firing on the pyramids in the Egyptian campaign as well as witnessing the execution of Marie Antoinette (but not the humiliation of Louis XVI by the Tuileries mob, which he might actually have seen). Out of deference moreover, Scott and his screenwriter David Scarpa suppress all mention of Napoleon’s reintroduction of slavery into the French colonies. But above all, there’s a deliciously insinuating portrayal of the doomed emperor from Joaquin Phoenix, whose derisive face suits the framing of a bicorne hat and jaunty tricolour cockade. Phoenix plays Napoleon as a military genius and lounge lizard peacock who is incidentally no slouch on horseback. Others might show Napoleon as a dreamy loner, but for Scott he is one half of a rackety power couple: passionately, despairingly in love with Vanessa Kirby’s pragmatically sensual Josephine. Scott makes this warring pair the Burton and Taylor of imperial France.

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