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

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 ...

Lore review – Brit-horror anthology tells its gruesome stories around the campfire

Richard Brake is well cast as the host for this portmanteau of grisly yarns, where the girls’ tales are made of stronger stuff than the boys’

Anthology films are notoriously hard to pull off but, though it starts shakily, this low-budget British portmanteau has an ace in the hole: horror stalwart Richard Brake, whose grimy leer is normally a kitemark of something at least halfway chilling. (Hopefully his dental hygiene is better in real life.) In Lore, he is a Cryptkeeper-style host for four hikers out for an “immersive” experience in the wilds; informing them that they have pitched their tents above the site of some ancient evil, this campfire compere bids them bring forth their most blood-chilling yarns.

The boys, Mark (Dean Bone) and Dan (Miles Mitchell), think basic: the former trots out a warehouse runaround with gang fugitive Daniel (Andrew-Lee Potts) encountering a saw-toothed monster and a last-gasp psychological twist. Dan offers a boilerplate piece of gothic haunted house, in which a revenant ballerina (who has seen a few too many J-horror films) torments a mother and son. The horror mechanics in the latter, especially, are competently executed, but for a film called Lore there’s a basic lack of backstory or mystery in either.

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