DARKMATTERS - The Mind of Matt

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Saturday, February 15, 2025

Matt tunes in to the Tolworth Beacon with Huw Langridge

 


The Tolworth Beacon

Huw Langridge @huwlangridge

Reviewed by Matt Adcock (X @cleric20, Bluesky @cleric20.bsky.social) - follow all my film reviews and reaction on Letterboxd (Cleric20)

Inspired by the enigmatic allure of numbers stations those cryptic shortwave broadcasts that have tantalized conspiracy theorists and insomniacs alike, Langridge weaves a narrative that's as much about the mysteries we seek out as it is about those that find us. 

Agent Langridge writes with a nice matter-of-fact style which is easy to read and keeps the plot cracking along.

It's a tale that feels like a lost gem from the golden age of 1970s BBC horror, where the line between the banal and the bizarre is deliciously blurred.

For those who crave a story that lulls you into a false sense of security before pulling the rug out from under you, The Tolworth Beacon is your next must-read. 

Just be prepared to leave the lights on, you might not ever look at your radio the same way again either...


Out of a potential 5, you have to go with a Darkmatters:

öööö1/2

(4.5 - Tune in, turn on, freak out..)

Have you seen this man?

I got to ask Huw some Q's...

Matt: If you had to broadcast a code radio station what might it be sending out?

Huw: Certainly nothing as deep as The Tolworth Beacon. I’d probably devise some elaborate treasure hunt and broadcast co-ordinates out to players. Maybe I could make a business out of it! Like a corporate team-building game or something that people would do on a stag party!


Matt: What is the most life-affirming thing you’ve ever read or watched in a book/film of any genre?

Huw: I often revisit the wonderful Cameron Crowe film “Almost Famous”. It’s such a great coming-of-age movie which depicts how fulfilling it can be to be creatively honest. It zooms right in on the emotional journeys of the characters. It has a great soundtrack, including that wonderful scene when they sing Tiny Dancer on the coach, which is a great depiction of how like-minded people can come together despite their differences.


Matt: If you were hired to throw a parade of any scale or theme through the centre of London what type of parade would you organise?

Huw: Well if there’s any truth to the rumours that UFOs are real, then how about Disclosure Day! To celebrate everyone finding out!


Matt: If you could choose to be a fictional character who would it be?

Huw: Commander Norton in Rendezvous with Rama. Not the most well-written character in fiction, but he gets to experience that awe-inspiring moment when the lights come on inside a 40km wide cylindrical alien spacecraft.


Matt: Who or what inspires you most (can be living or dead)?

Huw: Thomas Dolby. A supremely talented musical artist who’s recorded some wonderful albums that have been very inspiring for me, and who has had a pioneering career in the digital/tech world. He’s always had a lens on how technology and creativity come together and is fascinating to listen to when he talks about his career and life.


Matt: There’s a masked assailant with a gun to your head, who is most likely to be under the mask?

Huw: Someone telling me to stop procrastinating and do more writing.



Matt: What is the meaning of life?

Huw: To understand all facets of human consciousness, what it is, and what it can do, as I believe we’ve only scratched the surface of how powerful it is.


Matt: What was the best gift you’ve ever been given?

Huw: My grandparents gave me the money to buy a (quite expensive) Yamaha V50 synthesizer when I was sixteen. I composed and recorded music on it for years, and that creative outlet was joyous for me in the way it helped shape my thoughts and feelings, and helped me channel many emotional parts of my writing in later years.


Matt: If you could have a sidekick of any sort – what would it be able to do for you?

Huw: My sidekick would have the power to pause time for everyone but me, whenever I wanted. I’d no longer be able to use “lack of time” as an excuse to not be writing.


Matt: What would you like written on your tombstone?

Press X to restart.


Matt: Any final words you like to add.

Huw: Thanks for these questions. They really made me think! 

>>> Imagine a world where the earth is becoming hell?

Click banner below to hear a FREE 5 mins sample of my audiobook which is becoming a graphic novel too)...

https://www.amazon.co.uk/Complete-Darkness-Darkmatters-Matt-Adcock/dp/0957338775

Wednesday, February 05, 2025

Unicorn Overlord review

Unicorn Overlord (PS5) – A High-Fantasy Tactics Banger 

Darkmatters Review – By Matt Adcock (X @cleric20, Bluesky @cleric20.bsky.social) - follow all my film reviews and reaction on Letterboxd (Cleric20)

You know the drill:a young prince, a kingdom’s gone to hell, and it’s up to you to amass an army, wage war, and somehow not get yourself impaled on a pike before the credits roll. But while Unicorn Overlord hits the fantasy-tactics notes like a bard who actually knows what they’re doing, it does so with such style, wit, and strategic depth that it makes even the most predictable tropes feel like fresh battle orders. Oh, and it’s got Disgaea energy in the best way possible, chaotic, stylish, and just unhinged enough to keep you grinning through every over-the-top battle.

Yes, the setup is familiar. Yes, you play as Alain, a deposed royal with a birthright to reclaim. And yes, an evil empire, corrupted allies, and an ancient prophecy are involved. But don’t roll your eyes just yet. Unicorn Overlord manages to take this well-worn tale and inject it with genuine personality.

At its core, this is a strategy RPG with a combat system that feels like the lovechild of Fire Emblem, Final Fantasy Tactics, and yes, Disgaea on a mild dose of caffeine. Squads move across the overworld, which looks like someone’s lovingly hand-crafted tabletop RPG come to life, engaging in auto-resolving battles where every decision you make beforehand determines whether you’re victorious or redecorating the battlefield with your own entrails.

The unit variety is gloriously over-the-top. You’ve got your standard knights and archers, sure, but also werelions, elven fencers, and a sorceress whose idea of ‘winning’ is perching smugly on a throne made of actual bats. Positioning, synergy, and a bit of sadistic creativity are key. Want a squad of mounted lancers who blitz the battlefield like cavalry on steroids? Go for it. Prefer an unholy mix of tanks and rogues that hit like a hammer wrapped in barbed wire? That works too.

It’s not just about swinging swords – Unicorn Overlord loves throwing morally ambiguous choices at you. You’ll decide the fates of your potential allies, with decisions ranging from ‘heroic mercy’ to ‘oops, guess I’m a war criminal now.’

One moment, you’re weighing whether to forgive a noblewoman who sold out her people to save her bloodline. The next, you’re debating whether a doctor experimenting on plague victims deserves a second chance or just a swift exile. There’s no real ‘right’ answer, just a series of compromises that make the world feel weighty and real. Except for the elves. Those rascals are suspiciously noble, which makes me think they’re hiding something.

Vanillaware’s signature 2.5D animation is back, and it’s great - each frame is drenched in handcrafted detail. But Unicorn Overlord is more than just a top-tier strategy RPG – it’s a testament to how far the genre has come. It takes the best elements of its predecessors, adds a healthy dose of creative chaos, and refines it into something truly special.

Whether you’re here for the deep tactical combat, the kingdom-spanning rebellion, or just to press X to eat, Unicorn Overlord is an absolute triumph. And if anyone tells you otherwise, they’re probably just bitter they lost their best unit in battle because they forgot to check a terrain modifier.


Out of a potential 5, you have to go with a Darkmatters:

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öööö

(5 One of my favourite games for a long time...


>>> Imagine a world where the earth is becoming hell?

Click banner below to hear a FREE 5 mins sample of my audiobook which is becoming a graphic novel too)...

https://www.amazon.co.uk/Complete-Darkness-Darkmatters-Matt-Adcock/dp/0957338775

Sunday, February 02, 2025

Irvine Welsh on screen


IRVINE WELSH SCREEN ADAPTATIONS

Matt Adcock (X @cleric20, Bluesky @cleric20.bsky.social) - follow all my film reviews and reaction on Letterboxd (Cleric20)

Irvine Welsh’s world isn’t just built on ink and paper, it’s scrawled in sweat, blood, and the twisted, darkly comic energy of life on society’s fringes. His stories don’t just get adapted; they detonate on screen, leaving a mess of grit, gallows humour, and unflinching humanity in their wake. From the skag-fuelled nihilism of Trainspotting to the depraved police horror of Filth, Welsh’s work has been the catalyst for some of the most electrifying and unsettling cinematic experiences of the past few decades.

Of course it all started with Trainspotting (1996), Danny Boyle’s lightning-in-a-bottle adaptation that took Welsh’s chaotic masterpiece and turned it into a pulse-pounding, era-defining riot. A tale of addiction, survival, and the fragile bonds of friendship, Trainspotting crackled with anarchic energy, powered by Ewan McGregor’s career-defining turn as Renton and Robert Carlyle’s terrifying Begbie. Then, two decades later, T2 Trainspotting landed, a haunting and unexpectedly poignant meditation on nostalgia, regret, and the passage of time. If Trainspotting was a sugar-rush high, T2 was the comedown, reflecting on lost youth with a bruised and knowing heart.

But Welsh’s world doesn’t begin and end with Renton and his mates. Filth (2013) saw James McAvoy dive headfirst into the abyss as Bruce Robertson, a man so drenched in corruption, vice, and personal demons that he made Begbie look like a saint. A grotesque yet tragic cop spiralling into his own personal hell, Robertson was Welsh’s storytelling at its most scathing, wrapped in a neon nightmare of delusions, excess, and raw, gut-punch emotion.

Then there’s Crime, the TV adaptation that drags us deeper into the murky underbelly of law and order. Dougray Scott’s DI Ray Lennox battles inner demons while hunting the real monsters lurking beneath Edinburgh’s respectable veneer. If Filth was an unfiltered look at lawlessness, Crime asks what happens when the supposed ‘good guys’ are barely keeping themselves together.

Beyond these headline acts, The Acid House (1998) serves up three gloriously demented short stories, dripping in surreal grotesquery, body swaps, divine punishment, and all-out anarchy. Meanwhile, Ecstasy (2011) attempts to capture the euphoria and inevitable crash of club culture, though it struggles to hit the same electrifying highs as its predecessors.

For me, Welsh’s cinematic and televised legacy is a kaleidoscope of depravity, desperation, and dark humour, where morality is a grey smear and redemption is as elusive as the next hit. His stories don’t just entertain—they provoke, disgust, and linger, long after the credits roll. Whether it’s through the visceral poetry of Trainspotting, the monstrous mayhem of Filth, or the grimly compelling Crime, Welsh’s world remains as magnetic, messy, and brutally brilliant as ever. Choose Irvine Welsh. Choose madness. Choose cinema that dares to go where others fear to tread.

Trainspotting

Dir. Danny Boyle

“Choose life. Choose a job. Choose a career…” Or, if you’re Mark Renton and his crew of Edinburgh misfits, choose heroin, chaos, and a rollercoaster ride into the dark heart of addiction, friendship, and grim hilarity. Danny Boyle’s Trainspotting is a cinematic gut punch - an electrifying adaptation of Irvine Welsh’s novel that oozes style, grit, and unforgettable moments.

From the opening sprint down Edinburgh’s streets to the throbbing beats of Iggy Pop’s “Lust for Life,” Trainspotting hooks you instantly, grabs your soul, and doesn’t let go. It’s a film that takes you deep into the highs and rock-bottom lows of Renton (played with jittery brilliance by Ewan McGregor) and his band of dysfunctionally lovable rogues: the psychopathic Begbie (a terrifying Robert Carlyle), the wide-eyed Spud (Ewen Bremner, a chaotic ball of innocence), and Sick Boy (Jonny Lee Miller), a smooth-talking James Bond aficionado with dubious morals. Plus the amazing school girl Diane (Kelly McDonald)!!

Boyle directs with anarchic flair, filling every frame with raw energy and stylish chaos. Whether it’s Renton’s surreal dive into “the worst toilet in Scotland” or the heart-stopping baby-on-the-ceiling hallucination, the film balances jaw-dropping visuals with gut-wrenching emotional beats. The juxtaposition of bleak humour and brutal reality is masterfully handled, leaving you laughing one minute and devastated the next.

The soundtrack deserves its own paragraph—it’s a time capsule of ‘90s alt-cool. From Underworld’s pulsating “Born Slippy” to Lou Reed’s melancholic “Perfect Day,” each track feels inseparable from the scenes they underscore. They don’t just accompany the action; they amplify it, carving into your memory long after the credits roll.

What makes Trainspotting endure is its unflinching honesty. It doesn’t glamorize addiction but refuses to moralize either. Renton’s narration cuts through the bleakness with pitch-black humour and razor-sharp insight. This isn’t just a tale of drug abuse; it’s about disillusionment, escape, and the fragile bonds that tether us to one another.

As Renton says, “The world is changing. Music is changing. Even drugs are changing.” Yet nearly 30 years later, Trainspotting feels as vital, raw, and relevant as ever. It’s a time bomb of a movie—an unmissable ode to rebellion, survival, and the messy, human search for meaning amidst the madness.

Choose a glorious, harrowing blast of cinematic adrenaline. Choose Boyle and his stellar cast injecting life into every frame, delivering a film that’s as scuzzy as it is sublime. Choose Trainspotting. You won’t regret it.

A classic that burns bright, dark, and unforgettable.


-

T2 Trainspotting 


Twenty years after the first chaotic sprint through Edinburgh’s streets, Danny Boyle reunites with the gang for T2 Trainspotting, a sequel as audacious and electrifying as its predecessor. It’s a film steeped in nostalgia, regret, and redemption, offering a haunting, hilarious, and heartbreakingly human reflection on ageing, friendship, and the passage of time.


Ewan McGregor’s Mark Renton is back, older but maybe not wiser, returning to a world he betrayed decades ago. His reunion with the unforgettable trio—Simon “Sick Boy” (Jonny Lee Miller), the tragic Spud (Ewen Bremner), and the utterly unhinged Begbie (Robert Carlyle), is fraught with unresolved anger, bruised egos, and fleeting flashes of camaraderie. Each character feels like a ghost of their younger self, still scarred by the choices (and betrayals) that defined their lives.


Boyle once again directs with a kinetic brilliance, seamlessly blending the raw energy of the original with a more reflective tone. The film is drenched in callbacks, from remixed snippets of Iggy Pop’s “Lust for Life” to subtle visual echoes of the first Trainspotting. But T2 isn’t just a nostalgia trip, it’s a deeply poignant exploration of how time wears us down and how we fight to reclaim what’s been lost.


The cast is on fire. McGregor’s Renton is a man teetering on the edge of redemption and despair, while Miller’s Sick Boy revels in cynical schemes and bitter grudges. Bremner, though, is the heart of the film, his portrayal of Spud as a tragic, stumbling poet searching for purpose is nothing short of magnificent. And Carlyle’s Begbie? Still terrifying, still magnetic, and somehow even more dangerous with age.


The film doesn’t hit the same high-octane rush as its predecessor, but that’s the point. T2 is less about the thrill of youth and more about grappling with the weight of the years. It’s a sequel that knows you can’t outrun the past—it’ll always catch up with you, usually at the worst possible moment.


And what about those ‘what ifs’? Kelly McDonald pops up as a middle-aged Diane - not longer the wild party girl, she’s a successful lawyer and Renton’s looks he gives her are pure heartbreak as he realizes she’s far out of his league now.


And the visuals? Pure Boyle. The camera dances with surrealism, injecting humour and heartbreak into every frame. From Spud’s scrawled memoirs to Renton’s desperate cries of “Choose life!” Brilliantly updated for the 21st century, every moment feels like it’s been crafted with love and reverence for the original while carving its own identity.


T2 Trainspotting is a bittersweet triumph and I love it very nearly as much as the classic original. This is a sequel that doesn’t just revisit beloved characters but deepens their stories, offering a brutally honest look at the toll of time. Equal parts hilarious, melancholic, and visually stunning, it’s a worthy follow-up and an improvement on the book ‘Porno’ it’s based on.


You can’t recapture the thrill of the first hit, but T2 comes breathtakingly close. Choose this film. Choose nostalgia. Choose life!?

FILTH


“Life’s a joke, and the punchline’s you,” sneers Bruce Robertson (James McAvoy) in Filth, the gloriously depraved adaptation of Irvine Welsh’s darkly comic novel. 


Filth by name and nature, Directed by Jon S. Baird, this is no ordinary crime drama—it’s a psychedelic descent into the warped mind of a man who’s equal parts genius, monster, and tragic victim of his own demons. Strap in, because Filth is one hell of a ride.


Forget Speak No Evil - this film is where McAvoy delivers a career-defining performance as Robertson, a corrupt Edinburgh cop who thrives on manipulation, drugs, and self-destruction. “There’s only one thing you need to know about me,” he smirks, lighting a cigarette after framing a colleague. “I’m a scheming c***, and I’m damn good at it.” His charm is as intoxicating as the whiskey he downs by the gallon, and McAvoy walks the tightrope between comedy and heartbreak with breathtaking skill.


Baird’s direction plunges us headfirst into Bruce’s chaotic world, riffing the novel’s hallucinations of talking farm animals, twisted sexual fantasies, and grim flashbacks that hint at the trauma fueling his spiral. One standout sequence sees Robertson, strung out and paranoid, confronting his own reflection in a dirty nightclub mirror. “You’re a disgrace,” he hisses, only for his reflection to reply, “No, Bruce, you’re the only one who sees the truth.” It’s mesmerizing stuff. As a man in his middle 50s, this is the sort of thing that hits home…


The supporting cast is equally strong, with Eddie Marsan shining as Bladesey, Bruce’s pitiable doormat of a pal, and Imogen Poots adding a touch of warmth as the morally upright Amanda. But make no mistake, this is McAvoy’s show, and he owns every twisted moment.


Filth is equal parts hilarious and harrowing, a riotous blend of pitch-black humour and raw emotion. It’s a film that forces you to laugh even as it makes you squirm, delivering gut-punch revelations about guilt, loss, and the cost of unchecked ambition. By the time the haunting strains of Clint ‘Pop Will Eat Itself’ Mansell’s score kick in for the finale, you’re left reeling, equal parts thrilled and devastated.


For me, Filth is a triumph - a riotous Irvine-Welsh-em-up that’s as unforgettable as it is unhinged. Like Bruce himself, it’s brazen, unapologetic, and utterly compelling.


Filthy, fantastic, and ferociously good.


-

CRIME


Both seasons are excellent - nicely capturing the murky darkness swirling behind the facade of respectability!! I really hope there is a third now the book is out.


The World of Crime, Irvine Welsh’s hard-hitting TV drama drags the shiny veneer of respectability through the dirt, revealing the rotten underbelly of society. This copper-em-up takes Welsh’s trademark filth and flips the perspective to the other side of the law, delivering a gritty and gripping exploration of justice, trauma, and the horrifying depravity hiding behind closed doors.


Dougray Scott leads the charge as DI Ray Lennox, a man on the edge. He’s a cop with demons aplenty, haunted by past failures and battling his own addictions while chasing down the worst humanity has to offer. Scott is absolutely magnetic, delivering a performance that’s equal parts broken and determined. Lennox feels like the antidote to Bruce Robertson of Filth, where we first met Lennox.

But where Bruce revelled in his own debauchery, Lennox carries the weight of the world, fighting to keep himself together as he stares into the abyss.


Crime doesn’t pull its punches. The show plunges into the darkest recesses of human behaviour, from child exploitation to systemic corruption, painting a grim portrait of a world where morality is in short supply. Welsh’s writing is as sharp as ever, blending gallows humour with moments of raw emotional impact. This is no procedural whodunnit—it’s a harrowing journey into the heart of darkness, where even the “good guys” are barely holding it together.


The supporting cast helps flesh out the bleak tapestry, with Joanna Vanderham as DS Amanda Drummond providing a much-needed counterpoint to Lennox’s spiralling chaos. The interplay between them offers moments of humanity amid the gloom. Meanwhile, Jamie Sives brings a smarmy charm as Lennox’s morally ambiguous colleague. It’s a strong ensemble that keeps the drama grounded, even as the plot edges into almost unbearable territory.


Visually, the show captures Edinburgh’s duality, its postcard-perfect exteriors starkly contrasted with grimy interiors and shadowy corners. This isn’t the Edinburgh of tourist brochures; it’s a city steeped in secrets, where respectability masks a festering rot. The direction leans into this contrast, creating a sense of unease that lingers long after the credits roll.


But while Crime doesn’t shy away from the horrors it depicts, it also has moments of defiant hope. Lennox’s journey is as much about redemption as it is about uncovering the truth. Welsh’s knack for unmasking humanity—flawed, damaged, but still striving—is what elevates this above standard police dramas.


Irvine Welsh’s Crime is a gripping, harrowing, and unflinchingly brutal take on the crime genre. It balances the grotesque with the profound, peeling back the layers of filth to find fractured humanity at its core. A must-watch for anyone who can stomach its unrelenting darkness, and a shining example of how Welsh’s work continues to evolve.


Feels like some sort of bandage for Broken Souls

Dougray Scott as DI Ray Lennox is as I said is fantastically haunted and Joanna Vanderham as DS Amanda Drummond is superb!!

Highly recommended!

-

The Acid House


“If you’re God - what are you doing sitting here wasting time with the likes of me?“


Welcome to The Acid House, a grimy, gut-punching, nasty ne’er-do-well-em-up based on the twisted tales of Irvine Welsh. If you thought Trainspotting was the peak of his sordid genius, think again. Here’s a film that doesn’t just poke at the filth under society’s carpet, it tears the whole thing up and rolls you in it for good measure.


Directed by Paul McGuigan, this deranged triptych of tales bursts onto the screen like a drug-fueled fever dream. E.g the wildly unhinged The Granton Star Cause, where a down-on-his-luck loser meets God (yes, God) in a pub and promptly gets transformed into a fly - and wreaks shitey revenge on those he thinks has wronged him.

Or the blisteringly bleak A Soft Touch, where one man’s life becomes a black comedy of humiliation. And then there’s The Acid House, a brain-frying body-swap freak-out that plays like Kafka on acid.


Oh, and let’s not mince words, this film isn’t just wallowing in filth; it’s practically marinated in truckloads of sex, violence, and depravity. You’ll see everything from hedonistic benders to brutal beatdowns, all shot with unflinching glee. The explicit content isn’t just a feature, it’s the fuel that powers this anarchic rollercoaster.


The cast delivers every grimace, snarl, and grotty line of dialogue with sweaty, wild-eyed conviction. Stephen McCole’s swaggering performance as Boab is a standout, a man whose life goes so off the rails, it crashes straight into a morose hell. And Maurice Roëves as disenchanted God? He’s handing out cosmic punishments like a Glaswegian bouncer kicking you out of heaven.


Visually, The Acid House is a riot of surreal, chaos. McGuigan cranks up the madness, serving up everything from trippy hallucinations to the grimy underbelly of urban decay, all set to a pulsating, mind-melting soundtrack. It’s a scuzzy, anarchic aesthetic nihilism.


But this isn’t just shock for shock’s sake. Beneath the lurid, often grotesque surface, Welsh’s razor-sharp social commentary cuts deep. These stories might be drenched in filth, but they reflect a society that’s failing its most vulnerable, a world where hope is as fleeting as a drug hit and just as addictive.


The Acid House isn’t for the faint-hearted, but for those willing to dive headfirst into its sordid swamp, it’s a gloriously grim ride. Welsh fans, rejoice, this is the cinematic equivalent of a back-alley endorphin headbutt, and it’s wicked fun.


Prepare for a trip… but don’t expect to come out clean.

-

ECSTASY


Welcome to the darker recesses of Edinburgh’s club culture, where “Irvine Welsh’s Ecstasy” sets out to take you on a drug-fueled thrill ride—but stumbles along the way. Based loosely (and I mean loosely) on the third story from Welsh’s cult-favourite novel Ecstasy: Three Tales of Chemical Romance, this low-budget druggie-em-up aims for the dizzy heights of Trainspotting but lands somewhere in its shadowy wake.


Let’s start with the good. The film treats us to some beautifully moody shots of Edinburgh, a city that wears its grit and glamour with equal pride. Director Rob Heydon makes the most of the setting, capturing both the stark urban underbelly and moments of surprising beauty. There’s also a standout fast-forward sex scene, spiked with a touch of drug-enhanced hedonism, that has some of the manic energy Welsh’s stories are known for. It’s a cheeky nod to the blurred boundaries of pleasure and despair in the rave scene.


Unfortunately, that’s about as high as this trip gets. The acting, while earnest, rarely rises above mediocre. Our leads are fine on paper… Adam Sinclair as Lloyd, the lost soul seeking a spark of something more, and Kristin Kreuk as Heather, his love interest, but their chemistry is lukewarm, and the script doesn’t help. Sinclair gives it his all, but he struggles to capture the raw, desperate charisma needed to anchor a story about love and excess. Kreuk is better but feels underwritten, reduced to playing the moral compass in a tale that should revel in moral ambiguity.


The story itself has been dulled down, neutered of the raw, unfiltered grit that made Welsh’s writing iconic. There’s a sense that the filmmakers were playing it safe, skimming over the sharp-edged commentary on love, addiction, and existential despair that fans of the book might have been hoping for. What we’re left with is a serviceable but sanitized tale that lacks bite.


With a low budget that’s all too apparent, the film struggles to make the most of its potential. The club scenes feel muted, the drug trips lack creativity, and the overall vibe is a little too polished for a story that should leave you feeling unclean.


Ecstasy is, at best, a pale reflection of Trainspotting, a cautionary tale that doesn’t quite land the caution or the thrills. For Irvine Welsh fans, it might offer a mild buzz, but for everyone else, it’s a film that feels like it’s chasing the dragon without ever catching it.


A decent hit of Edinburgh scenery and one or two inspired moments can’t save this from being a diluted take on Irvine Welsh’s potent original. Watch it if you’re a completist or a die-hard Welsh fan like me but don’t expect the high to last.



>>> Imagine a world where the earth is becoming hell?

Click banner below to hear a FREE 5 mins sample of my audiobook which is becoming a graphic novel too)...

https://www.amazon.co.uk/Complete-Darkness-Darkmatters-Matt-Adcock/dp/0957338775

Thursday, January 30, 2025

Neo-Noir Film Picks (Since 2010)

Photo credit: Nicolas Miller (find our more)

Neo-Noir: The Dark Heart Reborn

Imagine a world painted in shadow, where morality is a currency in freefall and every cigarette-lit silhouette is framed like a shattered dream. Welcome to Neo-Noir, the unholy resurrection of classic Film Noir, that seductive cinematic beast first dissected by French critic Nino Frank in 1946.

Back then, noir was all trench coats, femme fatales, and the slow erosion of a once-rigid moral code. Crime, psychological torment, and a creeping nihilism lurked behind every Venetian-blinded window.
But then came Neo-Noir, its name born from the Greek “neo,” meaning “new” (so, literally, “new noir”—but with a sharper blade and an even meaner streak). 

As philosopher Mark Conard puts it, neo-noir is “any film coming after the classic noir period that contains noir themes and noir sensibility.” Translation? The shadows got darker, the cynicism sharper, and the blood on the pavement fresher.


From the existential dread of Chinatown (1974) to the neon-drenched nightmares of Blade Runner (1982), from the sun-scorched fatalism of Blood Simple (1984) to the fractured psyche of Memento (2000), Neo-Noir is an evolution, a mutation, and a love letter written in blood to the genre that never really died. It just got smarter, meaner, and is one of my favourite genres!


Here are Matt (find me on Bluesky) Adcock's slightly left-field Neo-Noir Film Picks (Since 2010) - they are not ranked in order of greatness, and the list doesn't include the masters of the genre Coen Bros or one of my all-time fav films DRIVE - just listed for your thoughts, do let me know how many you've seen... 

1. Arkansas (2020)

A slow-burn crime thriller with a darkly humorous streak, following two low-level drug dealers working for a mysterious boss they’ve never met. Liam Hemsworth and Vince Vaughn anchor this offbeat, Southern noir gem.

2. LaRoy Texas (2023)

A gloriously dark comedy of errors, where a man mistaken for a hitman spirals into chaos and absurdity. Twisty, clever, and perfectly pitched for fans of neo-noir absurdism.

3. Last Stop in Yuma County (2024)

A high-stakes, tension-filled neo-noir set in a remote gas station, where a group of strangers cross paths and chaos erupts. Its single-location claustrophobia makes every interaction feel razor-sharp and oh boy it's brutally bleak!?

4. Hit Man (2023)

Richard Linklater’s witty and stylish neo-noir follows a teacher moonlighting as a fake hitman for the police. Glenn Powell shines as a morally conflicted and unexpectedly charming protagonist in this sharp, genre-blurring delight.

5. Bad Times at the El Royale (2018)

Seven strangers, each with a secret, check into a decaying motel that’s hiding a few secrets of its own. This star-studded neo-noir has Tarantino-esque style and a playful, dangerous vibe.

6. Small Town Crime (2017)

John Hawkes shines as a washed-up ex-cop who stumbles into a murder mystery, turning into an unlikely noir antihero. Darkly funny and unexpectedly heartfelt.

7. I Don’t Feel at Home in This World Anymore (2017)

Melanie Lynskey and Elijah Wood star in this dark, quirky neo-noir about a woman and her oddball neighbour trying to track down thieves. Equal parts crime thriller and dark comedy.

8. Logan Lucky (2017)

Steven Soderbergh’s slick heist movie with a neo-noir twist. Channing Tatum, Adam Driver, and Daniel Craig execute a NASCAR robbery in this sharp, funny thriller which packs the best Game of Thrones related prison riot scene ever...

9. Cop Car (2015)

A minimalist neo-noir where two kids steal a seemingly abandoned cop car, only to find themselves hunted by its dangerous owner (Kevin Bacon). A tense and wickedly entertaining ride.

10. No Sudden Move (2021)

Steven Soderbergh’s tightly wound noir about a botched heist and a tangled conspiracy in 1950s Detroit. Stylish, clever, and filled with double-crosses.

11. Greedy People (2024)

A scathing neo-noir dark comedy about greed, murder, and betrayal among a dysfunctional family vying for a fortune. Twisty, sharp, and packed with pitch-black humour.

12. Out of the Furnace (2013)

A grim neo-noir about crime and revenge in America’s Rust Belt, with powerful performances by Christian Bale and Casey Affleck, in fact, the cast is stacked adding in Willem Dafoe and Woody Harrelson. Bleak, tense, and gripping.

13. The Nice Guys (2016)

Ryan Gosling and Russell Crowe star in Shane Black’s witty, neon-drenched noir-comedy about bumbling detectives investigating a murder in 1970s Los Angeles.

14. Nightcrawler (2014)

Jake Gyllenhaal delivers a chilling performance as a freelance crime journalist who spirals into moral depravity. A neon-lit descent into the darker corners of ambition and voyeurism.

15. Love Lies Bleeding (2023)

A steamy, violent neo-noir following a couple’s pursuit of the American Dream through bodybuilding, drugs, and betrayal. With lush visuals and simmering tension, it’s a stylish new entry in the genre - plus Ed Harris with a mullet has to be seen!

16. The Card Counter (2021)

Paul Schrader delivers a brooding neo-noir about gambling, redemption, and revenge, with a haunting performance by Oscar Isaac backed up by that rascal Willem Dafoe again!

17. Wind River (2017)

A murder mystery set on a Native American reservation, with a noir-like atmosphere of isolation and slow-burning tension. Jeremy Renner and Elizabeth Olsen are excellent.

18. Inherent Vice (2014)

Paul Thomas Anderson’s trippy neo-noir comedy follows a stoner detective (Joaquin Phoenix) navigating a bizarre mystery in 1970s California. Offbeat, surreal, and packed with dark humour.

19. Kill the Messenger (2014)

A taut and compelling neo-noir based on the true story of journalist Gary Webb, whose investigation into the CIA’s drug trade leads to devastating consequences.

20. Vengeance (2022)

A sharply funny and surprisingly thoughtful neo-noir following a podcaster investigating the death of a woman he barely knew. B.J. Novak directs and stars in this clever, darkly comic thriller.


I LOVE NEO NOIR!!


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Sunday, January 19, 2025

Wolf Man Review

Wolf Man (15)

Dir. Leigh Whannell

Reviewed by Matt Adcock (X @cleric20, Bluesky @cleric20.bsky.social)

If you go down to the woods today you shouldn't beware the big teeth and wild eyes because the latest werewolf tale, Leigh Whannell’s Wolf Man manages to bring the beast out in style. A monster-em-up with plenty of growl and bite, this modern reboot doesn’t rewrite the rulebook but wears its gothic influences proudly while throwing in enough blood and pathos to make it stand out.

Christopher Abbott leads the pack as Lawrence Talbot, a man whose return to his cursed ancestral home sets him on a one-way collision with his inner beast. Abbott’s performance is solid, he captures the anguish of a man torn between civility and savagery, but Julia Garner, as his wife Charlotte, quietly steals the show. Garner brings depth and a grounded emotional core to the proceedings without overshadowing the central lycanthropic chaos. Let’s just say she’s one of those actors who elevates anything she’s in, and she does so here with finesse rather than flash.

The film feels like a spiritual successor to the 2010 The Wolfman starring Benicio Del Toro. Like its predecessor, this version revels in moonlit mayhem, foggy forests, and the gothic dread of an inherited curse. But where the 2010 film leaned into operatic melodrama, and had a weak-ass-looking werewolf, Whannell’s take is sharper and more visceral, with transformation scenes that evoke Cronenberg-esque body horror rather than CGI spectacle. Practical effects fans will be pleased, these wolves have claws, teeth, and sinew that feel all too real - even if he doesn't go 'full wolf'...

'mummy, why's daddy pissing up that tree?'

Composer Benjamin Wallfisch’s haunting score complements the film’s dark atmosphere, enhancing the overall viewing experience. Speaking of which there are some very creative moments where we get to witness the enhanced hearing and ‘wolf vision’ - paying homage to the classic Wolfen.

The mist-drenched Oregon setting is a nice departure from the usual Victorian locales, though it still has a dark fairytale quality that fans of The Howling or The Company of Wolves will appreciate.

That said, this is not a reinvention of the genre. It lacks the anarchic wit of An American Werewolf in London, but it compensates with a steady commitment to its tragic heart. Whannell’s direction shows reverence for the classics while injecting modern tension, much like the 2010 Wolfman aimed to do but with a little more restraint here.

Wolf Man is a worthy addition to the werewolf canon, a tragic, blood-soaked tale that respects its hairy heritage while delivering fresh ferocity.

Out of a potential 5, you have to go with a Darkmatters:

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(4 - A stylish reinvention that works...)

Top Werewolf Films:

Here’s my list of the best hairy-em-ups to sink your teeth into, each a testament to the enduring power of the werewolf myth:

An American Werewolf in London (1981)

The gold standard. John Landis blends pitch-black humour with visceral horror, featuring groundbreaking transformation effects and a standout performance from David Naughton.

The Howling (1981)

Joe Dante’s cult classic is a sleazy, terrifying romp with inventive effects and a biting critique of self-help culture.

Wolfen (1981)

What sets Wolfen apart is its atmospheric approach, using the then-groundbreaking thermographic “wolf vision” to give viewers a predator’s perspective, heightening the tension. The film is less about traditional werewolves and more about shape-shifting, supernatural wolves representing an environmental and societal reckoning.

Dog Soldiers (2002)

Neil Marshall’s action-packed werewolf thriller pits British soldiers against a pack of beasts in the Scottish Highlands. Equal parts terrifying and hilarious.

Wolf (1994)

Jack Nicholson as a werewolf? Oh yes! This sleek and surprisingly introspective tale explores power, lust, and the primal instincts we all try to hide.

Wer (2013)

This under appreciated gem blends found footage with brutal realism as a lawyer defends a man accused of being a werewolf, until things take a terrifying turn.

Late Phases (2014)

A touching and gory tale of an elderly blind war veteran taking on a werewolf terrorizing his retirement community. Nick Damici shines in the lead role.

Silver Bullet (1985)

Based on a Stephen King novella, this small-town thriller mixes coming-of-age drama with classic werewolf carnage. Gary Busey steals the show.

The Company of Wolves (1984)

Neil Jordan’s dreamlike adaptation of Angela Carter’s feminist retelling of Little Red Riding Hood is a visual feast and a deep dive into the psychology of fairy tales.


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