Movie Reviews
‘THE BEAST WITHIN’ (2024) – Movie Review – PopHorror
I first saw the trailer for The Beast Within a few months ago and it definitely piqued my interest. A UK set werewolf film with Kit Harington as the wolf? Sign me up! I was recently given the opportunity from Well Go USA to check out The Beast Within. Did it live up to the hype?
Synopsis
After a series of strange events leads her to question her family’s isolated life on a fortified compound deep in the English wilds, 10-year-old Willow follows her parents on one of their secret late-night treks to the heart of the ancient forest. But upon witnessing her father undergo a terrible transformation, she too becomes ensnared by the dark ancestral secret they’ve tried so desperately to conceal.
The Beast Within was directed by documentary filmmaker Alexander J. Farrell in his narrative feature debut. The film was written by Farrell and Greer Ellison. The film stars Kit Harington (Game of Thrones), Ashleigh Cummings (Hounds of Love), Caoilinn Springall (Stopmotion), James Cosmo (The Kindred), Andrei Nova, Adam Basil, Martina McClements (There’s No Such Thing As Zombies), and Ian Giles.
So I was pleasantly surprised when I dove into The Beast Within and discovered the film was from the perspective of the daughter Willow, played by Caoilinn Springall, who I thought was wonderful and creepy as Little Girl in Stopmotion. She gets the opportunity to play a much different role here. Willow is a girl that is sick with an unnamed illness which leaves her short of breath and reliant on oxygen tanks. She lives in isolation near the woods with her parents Noah and Imogen, her sole human contact beside her grandfather her lives in a building next door.
Her father is suffering from an ailments that requires him to be secluded in the woods from his family one day a month in the woods. After following her parents one night she discovers her father’s dark secret and becomes deathly afraid of her father. Springall is perfectly cast as Willow. She is very expressive and is able to capably show the range of what her character is feeling. Kit Harington does a solid job as the father Noah, though we don’t get to see as much of his duality as I would have liked. We are mainly subjected to his dark side and its side effects, only briefly seeing the loving father in him.
Ashley Cummings is great as Willow’s mother Imogen, who is clearly struggling with protecting her daughter and her love for her husband. I loved James Cosmo’s performance as Willow’s grandfather Waylon. You can tell her how much he loves his granddaughter and wants to protect her from her father as well as how strained his relationship with his daughter is due to her relationship with and defense of Noah.

The Beast Within does a good job of building tension, helped greatly by the sense of isolation the characters are subjected to. It feels like the characters are truly alone in their struggle. Willow’s fear that she is like her father is palpable. The mood of the film is very oppressive. The werewolf and gore effects, though we don’t get much, is executed well, particularly a particularly gruesome scene I won’t spoil involving a fingernail. While I enjoyed the majority of The Beast Within immensely, there is a late final act twist that I feel could ruin the enjoyment for some viewers.
Final Thoughts
The Beast Within is a film that excels at mood and a feeling of dread and isolation bolstered by solid effects and strong performances, thought a final act twist could potentially ruin the film for some viewers. Recommended.
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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
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‘I Swear’ Review – Heart Sans Sap, Cursing Aplenty
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
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