Streaming: Steven Soderbergh’s Presence and the best haunted house films

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The director’s witty supernatural thriller joins Psycho, Hereditary, The Brutalist and more – films in which buildings are characters in their own right The first more-or-less horror movie in the lengthy, genre-skimming career of director Steven Soderbergh , Presence is a film about grief, trauma, familial dysfunction and abusive masculinity. But it’s also, to a significant and compelling extent, about property. Beginning with a family’s first viewing of a handsome Victorian home in an unidentified stretch of suburbia, the film never ventures outside its walls for the next 85 minutes, as the ensuing chills make us consider the merits of that purchase. Wittily and unnervingly shot from the perspective of the restless spirit roaming its halls, it’s a haunted house film in which much of the tension feels determined by the shape and flow and light and shade of the house itself. It’s a while since I’ve seen a film where I could quite so exactly draw the floor plan of its primary location,...
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Picture This review – Bridgerton star can’t save tinny romcom

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Simone Ashley tries her best in Amazon’s gimmicky romantic comedy but it’s too flimsy and forgettable to demand our attention

I am generally wary of streaming platform originals, so often do they feel like the fast fashion of the film world: cheap, disposable, chasing ephemeral interests and brittle with repeat use. But I will give Netflix, Amazon and co props for this: for nearing a decade now, they have attempted to fill a void left by the theatrical box office, whose hollowed-out market rarely supports the mid-budget adult films – particularly romcoms and erotic thrillers – that routinely entertained non-franchise audiences in decades past. Only occasionally do they succeed, as in the case of Netflix’s Do Revenge or Players, but the mission remains worthwhile.

Picture This, a new romcom from Amazon Prime Video, has promising elements suggesting it could be one of the better entries. Namely: the presence of Simone Ashley, the always luminous breakout star of the Netflix confection that is Bridgerton; Hero Fiennes Tiffin, nephew of Ralph and Joseph and perhaps best known for his role in the Tumblr smutty After trilogy; and the ever-relevant plot of becoming an unsolicited charity case as a single woman at the ripe age of 30. But though the two leads are capably charming – or, in the case of Tiffin, baseline attractive as a nice hometown guy not given much to do – the movie still has the imprint of a tech company’s content assembly line: cheaply made, over-lit, bumpily paced, ludicrously dialed-up characters without much comic payoff.

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