Bone Keeper review – there’s a critter in the caves in serviceable Brit horror

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An unconvincing group of friends is briskly picked off one-by-one while searching for a beastie that hitched a ride to Earth on a meteorite You get the measure early on of the tentacled predator in this British horror film when it makes mincemeat out of a hairy tough-guy Neanderthal. The movie opens with some punching-above-its budget special effects explaining the origins of the flesh-eater, which crash landed on Earth with a meteorite. Like Neil Marshall’s The Descent, it’s a creature that makes its home in caves – though unlike the earlier movie, Bone Keeper lacks a sense of sweat-trickling-down-your-back claustrophobia, despite a couple of good scares. Sarah Alexandra Marks plays Olivia, whose journalist grandfather vanished in the 1970s while investigating reports of a creature in a cave somewhere in the UK. Now years later, Olivia’s mother has disappeared while searching for him. So Olivia heads to the caves with a group of mates, who feel as if they’ve been dreamed up in a 20-...
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Solo review – joyful yet heartbreaking story of drag artist consumed by toxic relationships

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Théodore Pellerin is outstanding as Simon, a performer navigating a bullying boyfriend and a distant mother in Sophie Dupuis’s sad and celebratory film

Théodore Pellerin is a star, and director Sophie Dupuis knows it. In their third film together, the rising Canadian actor is at once magnetic and utterly heartbreaking as Simon, a young gay artist honing a budding career as a drag queen. At night, he transforms into Glory Gore, a glittery vision dressed in exquisite costumes that have been lovingly designed by his sister Maude (Alice Moreault). Off stage, Simon is much less self-assured, despite his swagger. An unexpected visit from his absent mother Claire (Anne-Marie Cadieux), along with a toxic romance with fellow drag performer Olivier (Félix Maritaud), soon throw this sensitive soul into an emotional whirlpool.

Dupuis’s astute writing keenly conveys the paradox of falling for a narcissistic manipulator. At first glance Olivier is a perfect creative and life partner, but soon whittles down Simon’s self-esteem with jabs about the latter’s talent and looks. As the relationship grows more dysfunctional, Dupuis pushes Pellerin to the edge of the frame, a visual correlation of his isolation among his real-life and drag family. Pellerin, moreover, embodies the character’s turmoil with stunning physicality; his quivering gaze betrays a vulnerability that starkly contrasts with his larger-than-life stage persona – and yet, like a boiling frog, he also luxuriates in the attention of his cruel lover.

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