Raw has in it the most terrifying scene you will see in 2017. A disturbing vignette in which shots disorientate, the soundtrack sickens and all captured in the camera’s frame represent a threat. Three words can describe the sequence and each one will indeed send a chill to the very root of your spine; be warned, they may even put you off from daring to enter your local screening at all: student house party. The nightmare is real and were these deafening drunken exploits not horrifying enough, the plot cascading around them concerns cannibalism. This is certainly an experience offering much to get your teeth into. Ahem.
From the very top Rupert Sanders’ Ghost in the Shell nails its aesthetic. Taking stylistic cues from Blade Runner, Star Wars, Minority Report and company, the artistry on display here really is quite something. There is, however, a ‘but’ coming. For all of its fairground marvels – holographic advertisements, ultra-sleek black cars, neon lights – the world of 2017’s Ghost in the Shell, by contrast to the classic anime of 1995 and the manga serials before it, never quite grasps enough of a sense for the visceral and is thus never able to totally escape a feeling of artificiality.
The arrival of a Power Rangers reboot in the present era of superhero overload was so inevitable that the most surprising facet of its 2017 debut is the fact that it’s taken quite so long to morph from the ether. Those able to remember the 1990s Mighty Morphin TV series may have in the intervening years forgotten just how joyfully awful it was, a prime example as it is of the ability of campy nonsense to transcend its own awfulness and achieve a nostalgic status of adoration. There is something admittedly iconic about badass Teletubbies in onesies vocally karate kicking there way through innumerable bad guys.
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