Long Shot (15)
Not only is Charlize Theron the sexiest actress on screen today, she’s also one of the most talented and versatile, switching from action to drama to comedy without skipping a beat. And it’s her comedic side that illuminates Jonathan Levine’s political parody veined romcom, one which trawls its narrative variously from Notting Hill, Dave and Love, Actually by way of some stray semen a la Something About Mary. She’s Charlotte Field, the elegantly poised US Secretary of State, a passionate environmentalist since high school who, when the blustering incumbent President (Bob Odenkirk) tells her he’s not going to run for re-election because, an ex TV star (playing the President), he wants to transition to movies, declares she’s going to run for office, with his endorsement.
Her aides, Maggie (a slyly hilarious June Diane Raphael) and Tom (Ravi Patel), tell her she needs to beef up her image a little and make her speeches punchier. To which end enter Fred Flarsky (Seth Rogen), a tell it like it is scruffy liberal Brooklyn journalist who, before he resigned after sleazy corporate media magnate Parker Wembley (a Rupert Murdoch send-up with Andy Serkis sporting a bulbous prosthetic nose) took over the paper, wrote columns with titles such as Why The Two-Party System Can Suck A Dick. Field, then his neighbour, used to babysit when he was thirteen and he still harbours a crush, not to mention an embarrassing memory of a tweenage stiffie. They meet up again at a swanky party featuring a Boyz To Men set to which, still wearing the windbreaker that seems to comprise his entire wardrobe, he’s been taken by his high-flyer best friend (O’Shea Jackson) and where, after telling Wembley what he thinks of him, Fred goes flying down the stairs with the video (in a taste of what’s to come) going viral. Nonetheless, Field’s impressed (Maggie less so) and he’s hired on to punch up her speeches, initially by adding a few jokes but then in writing the whole thing.
One of the reasons he agrees is her commitment to her campaign to forge an international environmental agreement, the only stumbling block being certain vested interst who’d rather it didn’t happen, Wembley naturally being one of them.
It’s no spoiler to say that, the more time they spend together, the closer the ostensibly chalk and cheese Fred and Charlotte grow, especially after a terrorist attack. Not to say that the path to true love doesn’t come without some bumps and potholes involving personal and political compromise, climaxing, and I use the term advisedly, with a blackmail proposition that could make or break Field’s campaign.
It’s fairly standard romcom stuff, but Liz Hannah and Dan Sterling’s smart and witty screenplay lifts it several notches while, ably assisted by Patel and Raphael, Rogen and Theron’s chemistry and flawless comic timing and delivery keep it there. Watching a stoned Field negotiate a hostage crisis is a particular highlight.
A couple of misogynistic Fox-News styled talk show hosts and Alexander Skarsgard channelling Justin Trudeau as the dorky would be playboy Canadian PM (and his fake laugh) add to the laughs while the script slips in some never overplayed observations about political double standards, compromise and female empowerment. Hugely enjoyable and if, rather like the Hugh Grant storyline in Love, Actually, the crowd-pleasing feelgood ending may be an unrealistic romantic fantasy, it does show a winning optimism about the American voter.(Cineworld 5 Ways, NEC, Solihull; Electric; Empire Great Park; Everyman; Odeon Birmingham, Broadway Plaza Luxe; Reel; Showcase Walsall; Vue Star City)
A Dog’s Journey (PG)
The second adaptation of W Bruce Cameron’s two connected novels isn’t so much a sequel to A Dog’s Purpose as a retelling as the dog in question goes through another string of incarnations returning in different breeds and genders. Opening where the first ended, after assorted incarnations, Bailey (voiced by Josh Gad) is now reunited and living with his boy, Ethan (Dennis Quaid), on the farm he shares with wife Hannah (Marg Helgenberger), the childhood sweetheart he reunited him with. The couple are caring for their granddaughter CJ, her wannabe country singer mother, Gloria (Betty Gilpin), Hannah’s daughter-in-law, a heavy-drinking harridan since her husband died prior to their daughter’s birth.
After a particularly nasty outburst, Gloria takes the toddler and heads off out of her in-laws lives and as Bailey prepares to go to that great kennel in the sky, Ethan tells him to come back and look after CJ just as he did him.
And so it is that, some years later, Gloria more distant and obnoxious than ever, that, with the help of Asian best friend Trent (Ian Chen and Henry Lau as the older version) the 11-year-old CJ (Abby Ryder Fortson) comes to adopt stray spaniel Molly who looks after her, providing the love she doesn’t get from mom, chasing off unsuitable boyfriends before eventually ending up with the now grown CJ (Kathryn Prescott with shades of a young Jodie Foster), also following songwriting dreams but lacking self-confidence, as Yorkshire terrier Max with an inherited plot device ability to sniff out cancer, bringing friends and families back together for reconciliations and redemptions and kickstarting another delayed romance.
It took four screenwriters to come up with this saccharine canine corn, shamelessly tugging at the tear ducts every few scenes even if it does touch on a few darker moments like pet death, but you’d have to be a real Cruella cynic to resist its puppy charm and eagerness to give you a big wet lick.
(Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Odeon Birmingham, Broadway Plaza Luxe; Reel; Showcase Walsall; Vue Star City)
The Curse of La Llorona (15)
Yet another off the horror conveyor belt involving some scary female demon who takes it upon themselves to make an unfortunate family’s life hell, this one’s based on the Mexican legend of the Weeping Woman (a sort of Hispanic answer to the Woman in Black) who is the ghost of a woman who drowned her two sons in revenge for her husband taking off with a younger woman, her appearance always heralding misfortune. Here, it’s a bit more specific in that, sporting the obligatory white dress, her spirit (Marisol Ramirez) goes around killing the children of poor mothers.
Set in 1973, her latest target is widowed LA social worker Anna Garcia (Linda Cardellini), called up as a curse by a grief-mad mother (Patricia Velásquez) whose two sons were drowned by La Llorona after Garcia put them into foster care. Now, she has her sights and bony hands set on Garcia’s kids Samantha (Jaynee-Lynne Kinchen) and Chris (Roman Christou). A priest, Tony Amendola in a franchise cross-over as Annabelle’s Father Perez declines to get involved because of his experiences with the possessed doll, leaving the job of seeing her off to priest turned faith healer Rafael (Better Call Saul’s Raymond Cruz).
First time director Michael Chaves dutifully works his way through the genre manual with squeaking doors, shadowy figures, jump scares, shrill score, although only a bathtime scene even remotely works, while the cast have the endure their own horrors of delivering the exposition heavy dialogue while struggling to hold on to characters that have less substance than La Llorona herself. Awful (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza Luxe; Reel; Showcase Walsall; Vue Star City)
The Tolkien estate has disavowed this biopic of JRR Tolkien’s early years prior to writing The Lord of the Rings. Which might lead you to think director Dome Karuskowsi has played fast and loose with the author’s legacy. Not so. Unfolding as a journey of experiences that would inspire his fantasy classics, the film does get the chronology wrong in that, on arriving from South Africa, the young John Ronald Reuel (Harry Kilby), brother Hilary (largely absent from the story) and widowed mother Mabel (Laura Donnelly) actually lived in Kings Heath before relocating to the then Worcestershire village of Sarehole (the film having it the other way round) and eventually Rednal, where Mabel died from diabetes, but otherwise it seems fairly factually accurate. It is, however, largely plodding, going to heavy handed lengths to have you associate people, places and events with Tolkien’s famed books.
The story begins in earnest when, after Mabel’s death, the two brothers move into an Edgbaston boarding house and John, who, home schooled by mom. can recite Chaucer from memory, in the original, and has invented his own language, gets accepted into King Edwards and forms a bond with fellow pupils Christopher Wiseman (Ty Tennant/Tom Glynn-Carney), a sensitive poet, aspirant composer Geoffrey Bache Smith (Adam Bregman/Anthony Boyle) and headmaster’s son Robert Gilson (Albie Marber/Patrick Gibson), the four of them forming the T.C.B.S. literary society, named after their favourite local tearoom. Clearly templates for Frodo’s chums, the fellowship (as the film stresses) continues when Tolkien and Smith go to Oxford and the others to Cambridge.
With Nicholas Hault as the grown Tolkien, the film’s framed between a sick Tolkien searching for an old friend at the battle of the Somme (helped by a soldier tellingly named Sam) and his flashbacks, among these being his growing relationship with future wife Edith Bratt (Lily Collins), a free spirited fellow orphan with a prophetic thing for Wagner’s Ring Cycle, who also lived at the boarding house, working as companion to the prissy Mrs. Faulker (Pam Ferris). They embark on a romance but, when Tolkien fails his first Oxford entrance exam, he’s told by his priest guardian (Colm Meaney) to choose between Edith (who’s a Protestant) and academia.
Cut back to Oxford where, having been sent down after a drunken incident following some bad news, Tolkien gets a second chance when he switches classes to that of Philology Professor Wright (Derek Jacobi) but, no sooner has he done so than war’s declared and all four friends head off to do battle.
The film is good at the small details (John and Edith did actually throw sugar lumps into the hats of fellow tearoom diners) and there’s an amusing Peter Jackson in-joke when one character remarks that six hours is a bit long to tell a story about a ring, but the framework on which these are hung is all rather predictable and pedestrian. While Hault does his best with the screenplay, there’s not much meat on its bones to feed off and, while he and Collins have chemistry, the romantic spark never ignites, while the battle scenes take off into Tolkien’s hallucinated CGI monsters and dragons designed to evoke his subsequent literary masterpieces, the film ending on the word Hobbit. Reverential and sympathetic to its subject, it’s a polite addition to the BritLit period canon which could, perhaps, have done with a little more fire to have given the estate grounds for outrage. Still, at least you learn how to actually pronounce Tolkien. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza Luxe; Reel; Showcase Walsall; Vue Star City)
The Aftermath (15)
Following on from WWI in Testament of Youth, director James Kent now immerses himself in post-WWII Hamburg, one of the most bombed German cities in the war, as the occupying British forces oversee the clean-up. However, adapted from Rhidian Brook’s 2013 novel, this has little to do with political or social issues regarding the victors and the defeated, but, rather, is a soapy eternal triangle melodrama with echoes of Brief Encounter.
Rachael Morgan (Kiera Knightley) arrives from England to join her husband, CaptainLewis Morgan (Jason Clarke) who’s in charge of the rebuilding effort, taking up residence in a palatial house requisitioned from architect Stefan Lubert (Skarsgård) and his daughter Freda (Flora Li Thiemann). It’s quickly established that Rachael and Stevan respectively lost a young son and a wife to the war, and, given that there’s tensions in her marriage, its patently obvious that her initial Germanphobic frostiness to Stefan, a confirmed anti-Nazi, will turn into an adulterous passion to fill the emptiness she feels.
Indeed, save for an undeveloped subplot in which emotionally confused Freda gets involved with a young Nazi guerrilla (Jannik Schümann), that’s pretty much the entire narrative, the pair consummating their attraction in tasteful soft focus when Lewis is called away to the Russian sector and she resolving to run away with him once he gets his papers, the film building to an emotional climax of sorts involving the repressed grief both she and her tightly wound husband feel over their son’s death in a bombing raid and its fall out on the marriage.
The destruction of Hamburg is well-reconstructed and there’s a brief moment when two entwined charred bodies are discovered that serves to contrast the lack of empathy by the average British soldier with the liberal compassion shown by Morgan, mocked by his intelligence officer colleague Burnham (Martin Compston), when he allows the Luberts to stay on rather than evicting them to a camp. There’s also some emotional bonding business involving the family’s Steinway.
There is, however, very little by way of emotional layering, the situations are contrived and the characters no more than what you see on the screen, and, while Knightley again sobs to dramatic effect, the performances are all a little stiff upper lip and the whole romantic notion of starting again from scratch never gets beyond the drawing board.
Those nostalgic for 40s sentimental romances might find something to appreciate amid the earnest looks and emotional syrup, ladled on with a glaringly obvious soundtrack, before the weepie trainside finale, but, rather than an impassioned aftermath, this just feels like reheated leftovers. (Until Wed: MAC)
Avengers: Endgame (12A)
Unquestionably the year’s most eagerly anticipated film and on course to smash every box office record ever, given that Marvel had only just launched the Black Panther, Doctor Strange and the rebooted Spider-Man series, while their characters, along with 50% of all human life on Earth, had been killed off by Thanos (Josh Brolin) in Infinity War, they would inevitably be resurrected in the sequel. The question wasn’t if, but how. The answer is a breathtaking three-hour epic that draws together strands from several previous Marvel films, interweaving them into an audacious and emotionally-charged climax that brings the current saga to a fitting close.
Again directed by brothers Anthony and Joe Russo, it opens at the end of the previous film as Clint Barton (Jeremy Renner) aka Hawkeye, who wasn’t featured, is teaching his daughter archery when his entire family turns to cosmic dust, setting him off on a new path we don’t catch up with until much later in the film. It’s no spoiler to reveal that, left stranded in space, the now good Nebula (Karen Gillan) and Tony Stark (Robert Downey Jr) do return to Earth courtesy of Captain Marvel (Brie Larson), her appearances bookending the film, reunited with the surviving Avengers who are trying to move on. Five years later, he and Pepper (Gywneth Paltrow) are married with a daughter. Then, in a freak accident back pops Scott Lang (Paul Rudd), Ant-Man, left trapped in the quantum realm in his last film, with a theory that they may be able to use quantum physics to travel back in time and get the Infinity Stones before Thanos can use them. Stark refusing to get involved lest it just makes matters worse, Bruce Banner (Mark Ruffalo), who has now managed to merge his human and Hulk selves, is recruited to help. Suffice to say, Stark does eventually join the ranks as Hawkeye, Iron Man, Banner and the other the remaining Avengers, Captain America (Chris Evans), Black Widow (Scarlett Johansson), War Machine (Don Cheadle) and Thor (Chris Hemsworth), who’s rather gone to pot in self-recrimination and now sports a beer belly, along with Lang, Nebula and Rocket (Bradley Cooper) are divided into three teams, each sent off on a quantum realm mission into different points in time (which involves them watching – and in one case battling – themselves in scenes from the previous films) to retrieve their assigned stones and then return to the present, destinations involving New York, Asgard, Vormir, Morag and, in 1970, the army base where Rogers was transformed into Captain America, two of which involve poignant moments between three of them and characters from their past.
After assorted run ins, struggles and an act of sacrifice, they do, indeed, return and reverse the process. But there’s still a twist to come that sets up the final epic confrontation between Thanos and his hordes and, well, pretty much every super-hero from the Disney Marvel Universe, as the likes of Strange (Benedict Cumberbatch), Black Panther (Chadwick Boseman), Scarlet Witch (Elizabeth Olsen), Spider-Man (Tom Holland), Peter Quill (Chris Pratt) get to weigh in too. Indeed, it seems anyone who’s ever been in one of the films – or TV spin-offs – puts in appearance, there’s even a (final?) cameo from the late Stan Lee in a 70s hippie incarnation.
Along with the grand-scale action, there’s plenty of the trademark humour, particular highlights between a drunk Thor, a gag about time travel movies and Hulk/Banner posing for a selfie with fans, not to mention several flourishes, one involving Thor’s hammer, that roused cheers from the audience, but there’s also tear-jerking sadness and pathos as the film draws a heroic line under or passes the torch in certain franchises. The culmination to which everything over the past years and twenty-two films has been building, it redefines the term spectacle while having a heart so big it needs an IMAX screen to contain it. Fittingly, there no bonus end credit scenes pointing to the future, but whatever paths it takes and whatever new partnerships are forged there’ll be a legion assembled ready to follow. (Cineworld 5 Ways, NEC, Solihull; Electric; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Showcase Walsall; Vue Star City)
Captain Marvel (12A)
With a new titles sequence that pays homage to Stan Lee, following on from Black Panther, this now flies the feminist flag and introduces the first female superhero to the cinematic Marvel Universe in the form of Vers (Brie Larson), a Kree warrior engaged in her planet’s ongoing war with the shape-changing lizard-like Skrulls and their quest for galactic domination.
When first introduced into the comics, Marvel was a male, Kree soldier Marv-Vell, the character later shifting to become Carol Danvers, a USAF pilot who absorbed his powers. To some extent, this adaptation, co-directed by Anna Boden and Ryan Fleck, both of whom are also involved in the screenplay, hews closely to the comic version, except there’s a significant twist to both the nature of the Skrulls and the Mar-Vell character, along with how Danvers acquired her powers.
All she knows is that she’s Vers (pronounced verse) an elite Kree soldier, mentored by her tetchy superior officer, Yon-Rogg (Jude Law), and that she’s been given photon blast powers which glow red and shoot from her hands. But she’s troubled by memories of her younger self that she can’t place and also a military scientist called Wendy Lawson (Annette Bening) who turns up in dreams of both a plane and a shoot-out and whom, unfathomably, is also the shape taken by her visualisation of the Kree Supreme Intelligence, which manifests as someone important to you. As such, the film pivots around her search to find her true identity, the notion that things and people are not always what or who they appear paramount to the plot mechanics.
The events take place back in 1995, long before the arrival of other super powered beings, as Vers finds herself marooned on Earth after an encounter with the Skrulls and seeking to reconnect with her Starforce squad (which includes Djimon Hounsou’s sword-wielding Korath, previously seen, along with Lee Pace’s Ronan The Accuser, in Guardians of the Galaxy), but not before eliminating the Skrulls who, led by Talos (Ben Mendelsohn), have also infiltrated the planet.
As such there’s several jokes about Earth’s backwards technology (pagers, poor internet, etc.) compared with that of the Kree, while Vers’ explosive arrival (through the roof of a Blockbuster video store) attracts the attention of S.H.I.E.L.D in the form of a younger and still two-eyed Nick Fury (Samuel L. Jackson) as well as rookie recruit Phil Coulson (Clark Gregg). Vividly convinced of the existence of aliens, Fury joins forces with Vers who explains she has to locate Lawson’s secret lab and destroy the plans for a lightspeed engine before the Skrulls can get to it. All of which reconnects her with Danvers’ former fellow test pilot and single mom best friend, Maria (Lashana Lynch), and her smart kid daughter Monica (Akira Akbar), both of whom believed her to have died in the crash that killed Lawson. Monica’s also responsible for the transformation of Vers’ Kree uniform into her iconic red and blue get-up. Oh yes. And there’s also a cat called Goose to which Fury takes a liking and which fits right in with the central theme.
While serving to provide a back story to the Tesseract and the Avengers Initiative, the end credits linking it to the upcoming Avengers: Endgame, this is very much focused on Vers’ search to find out who she is and what lies she’s been fed. As such, in true Marvel fashion, the film balances potent character development and emotional core with the dynamic action sequences (one of which is soundtracked by No Doubt’s Just A Girl to reinforce the female empowerment point) and special effects, misdirecting you as to who may or may not be the villains of the piece.
Cool and composed, Larson, all fire (literally at one point), swagger and snappy repartee, is mesmerising in her character’s arc, even eclipsing Gal Gadot’s Wonder Woman for screen charisma, while Bening, Law, Jackson, Lynch and Mendelsohn (who also gets to play Fury’s boss when Talos takes his shape) all provide robust and commanding support. In the midst of taking on innumerable foes, Marvel’s eyes flash and she breaks out into a big grin and shouts ‘Yeah’. Chances are you’ll feel like doing the same thing. (Cineworld 5 Ways, NEC; Empire Great Park; Showcase Walsall; Vue Star City)
Disney’s short but bittersweet fable of the baby elephant whose oversized ears enable him to fly is the latest to get the live action remake treatment, here under the auspices of director Tim Burton. Unfortunately, it’s as drab as it looks onscreen, ponderous and devoid of anything resembling the vibrant colour of the 1941 animation. In the original, it wasn’t until the final moments that Dumbo actually flew, a moment of wonderment, here it happens early on, rendering the subsequent flying scenes increasingly less magical despite the best attempts to build tension.
Set shortly after the end of WWI, Holt Farrier (Colin Farrell) returns from the front minus an arm, his wife having died in his absence, to rejoin his two children, science-obsessed Milly (Nico Parker, looking exactly like a young version of mother Thandie Newton), who has her own mini mouse circus in a nod to Dumbo’s talking rodent best friend), and the younger Joe ( Finley Hobbins), and the circus where he was the star trick horse riding attraction.
However, the circus, run by Max Medici (Danny De Vito) has hit hard times, several acts having succumbed to influenza, and audiences dwindling. Medici has staked his fortunes on buying a pregnant elephant, looking to make her baby a draw. To Max’s consternation, Baby Jumbo turns out to be a freak with large flappy ears and Holt is consigned to caring for the them and working the new arrival up as a clown act. When a cruel circus hand causes Mrs Jumbo to cause mayhem, and is killed in the process, she’s sold back to her original owner, sending the baby into depression. In attempting to cheer him up, a stray feather reveals to the kids that the ears enable him to fly, and next thing you know, Dumbo earning his name when a stunt misfires, the crowds are pouring in.
It also attracts the attention of V.A. Vandevere (Michael Keaton), a circus cum theme park entrepreneur with big ambitions who turns up along with his trophy French (though wouldn’t know it) girlfriend aerial act Collette (Eva Green,), makes Max a partner and ships the entire caboodle off to his Dreamland in New York where he envisions making a fortune by teaming pachyderm and girlfriend as a flying double act.
Needless to say, a calculating heartless exploiter, his promises to Max about his own troupe prove worthless and, discovering Mrs Jumbo is part of his wild beast attraction, Holt and the kids plot to free her and reunite mother and son, resulting in a moderately exciting climax as chaos erupts in the park.
Stuffed with familiar Disney tropes about family, faith in yourself and how being different doesn’t made you a freak, it plays the emotional scales by rote without ever striking and resonant notes, although the scene of Dumbo looking scared in his clown makeup on a circus platform might prompt a slight twinge in the heart while, laudably chiming with animal rights, the coda has Medici declaring how the circus should never have animal acts kept in cages, the message reinforced by a final sequence of Dumbo and his mom rejoining the herd in the wilds of Asia. With big sad blue eyes, the digital Dumbo is impressively rendered, the human cast less so. Keaton hams it up like a pantomime villain, DeVito hobbles the gamut from bluster to befuddled, Green lacks any spark (as does the lacklustre blossoming romance) and Farrell simply walks through the role of the dad who doesn’t know how to respond to his kids (they being at least a breath of fresh air to proceedings), while the circus motley crew support cast is populated by amiable but one-dimensional characters like a kindly snake charmer (Roshan Seth) and the fat lady mermaid (Sharon Rooney),who gets to strum her ukulele and sing the original film’s memorable, tender song Baby Mine. Burton also slips in a reference to When I See An Elephant Fly and does a good job of recreating the surreal Pink Elephants on Parade using shape-shifting soap bubbles, but they never feel more than knowing nods.
Although Dreamland’s science exhibit has some amusing visions of the future of technology, not to mention transgendering, while there are some individual moments of spectacle, such as the parade into Dreamland, given Burton’s past work, imagination is generally as thin on the ground here as is unforced emotion. You might believe an elephant can fly, but the film never does. (Cineworld 5 Ways, NEC; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Showcase Walsall; Vue Star City)
Eighth Grade (15)
In the American education system (about which a drill in the event of a possible shooter says much), eighth grade is the final year before moving on to high school, an awkward period of transition that mirrors the step from adolescence to teenager. It can be cruel, especially for those who don’t fit into the accepted cliques. Apporoaching the end of middle-school, Kayla (Elsie Fisher, the voice of Agnes in Despicable Me), is one such; a pimply, acne-prone, awkwardly inarticulate outcast who lives with her widowed supportive but at times overbearingly supportive father (Josh Hamilton) and embarrassingly wins the school award for ‘most quietest’. At home, she shuts herself away in her room and ironically uploads motivational ‘be yourself’ videos (“The hard part of being yourself is that it’s not easy”) to her YouTube channel, signing off with her “Gucci!” catchphrase and a somewhat fruitless request for likes.
Ignored rather than bullied at school, she’s badgered into accepting a reluctantly given invitation to eighth grade queen bitch Kennedy’s (Catherine Oliviere) birthday pool party, another occasion of huge embarrassment where she stares longingly at Aiden (Luke Prael), the class jock who always seem to move in slow motion, but does at least find the confidence to sing karaoke. She also has a brief interchange with the birthday girl’s geeky but genuine cousin Gabe (Jake Ryan), a relationship that gives rise to an amusing but squirmingly uncomfortable condiment-laden dinner date.
As an introduction to high school life, she also assigned a buddy, Olivia, (Emily Robinson) who, for Kayla is the epitome of cool and who takes her under her wing, showing that her future life may be a vast improvement on her current one, although there’s also a life lesson as, in a game of truth or dare, Riley, one of Olivia’s friendship group attempt to make out with her.
Written and directed by comedian Bo Burnham, making his feature debut, it’s a painfully true adolescent girl’s coming of age story that will inevitably draw comparisons to the likes of Thirteen, Lady Bird and, most especially, Todd Solondz’s Welcome to the Dollhouse, but, even though it does touch some raw nerves, it’s a far gentler and more compassionately comic work. There are some lovely individual moments, not least Kayla practising giving blow jobs with a banana when her dad walks in, the feeling when she opens her sixth grade time capsule box addressed to ‘The Coolest Girl in the World’ and a tenderly moving confessional moment between her and her father, but, cumulatively, it’s a testament to Fisher’s guileless, unaffected, vulnerable and vanity-free performance that carries the emotional heart that this is such a moving, uplifting and unforgettable experience. (Sat: Electric)
It’s been 14 years since director Neil Jordan made anything halfway resembling a decent film. This plodding, overwrought Single White Female-styled stalker psychothriller doesn’t see him turn the corner. Initially, it promises well. Finding an expensive handbag on a New York subway train, upmarket restaurant waitress (Chloë Grace Moretz) doesn’t, as her sensible flatmate Erica (Maika Monroe) berates her, call the bomb squad, but takes it home so she can return it to the owner the next day. This turns out to be Greta (Isabelle Huppert), a French widow whose daughter has gone off to Paris to study. They chat and Frances offers to go dog shopping with her to get a canine companion. Despite Erica’s caution that it’s all a bit weird, they become friends, Frances, having recently lost her mother, in need of a surrogate, Greta wanting a replacement daughter. But then Frances finds something in Greta’s closet that suggests she’s not the first to be lured into her spider’s web. Understandably, she makes her excuses and leaves. But Greta won’t let go and a bombardment of texts is soon followed by her standing outside the restaurant and staring in. All the police can do is advise Frances to ignore her. Naturally, that’s not going to work.
An attempt to make a break winds up with Frances imprisoned in the inevitable hidden room in Greta’s apartment, a grisly discovery in the cellar and the swift despatch of Stephen Rea’s cameoing private investigator.
By this point, after not one but two sleight of hand gotcha scenes, the film and its almost total lack of characterisation has lumbered into ever more ludicrous, logic-challenged B-movie territory with Greta giving Bette Davis’ Baby Jane a run for her money in the demented crazy old woman stakes. There’s even a throwaway moment suggesting she may be a disgraced nurse with a drug habit. It’s almost impossible not to collapse into laughter at the sight of her hysterically pirouetting round her room waving a gun about or reappearing after being knocked out for one more jump moment. And let’s not even mention the yawning chasm of plausibility as she texts Frances photos of Erica as she follows her from a bar, apparently right behind her but nowhere to be seen when Erica turns round. And what self-respecting New Yorker still uses a landline!
Moretz does a reasonable job of the grieving doe-eyed girl looking for maternal comfort and sinking into submission under Greta’s cruelty, but, while this camp nonsense may all be what Jordan intended. But even if it’s a nudge and a wink, the end result is such that, after picking up an Oscar nod and a Golden Globe for 2017’s Elle, Huppert could find herself getting a Golden Raspberry nomination next year. Jordan may well keep her company. (Cineworld 5 Ways; Vue Star City)
Happy As Lazarro (15)
The third feature from Italian writer-director Alice Rohrwacher, the setting is summer in rural Italy as, on Inviolata, an isolated rural estate, an extended family of tobacco famers work for the domineering Marchesa Alfonsina de Luna, blissfully unaware that sharecropping was made illegal in the 80s,a fact she happily exploits. Among the workers is Lazarro (Adriano Tardiolo) a moon-faced otherwordly innocent whose good nature everyone takes advantage of, seding him off to guard the chickens from wolves or pick giant cabbages. When the Marchesa’s spoiled self-absorbed son, Tancredi (Luca Chikovani), pays a visit with his pet dog in the company of his mother, Lazarro befriends him only to find himself embroiled in a fake kidnapping scam. Tancredi hiding out in the mountains waiting for mom to pay the ransom. Not that, well aware of her son’s nature, she has any intention. At one point, Lazarro has an accident and the film transforms into a magic realism fable as, many years later, Lazarus-like, he reappears from the supposed dead, still as young as he was when he disappeared, reconnecting with Tancredi, who’s fallen on hard times and old now grown friends who operate a series of scams, introducing them to the benefits of wild growing herbs.
Not a great deal of the second half makes much sense as it wanders through the rambling social drama narrative of economic exploitation and social hierarchy in a dreamlike reverie in which organ music quite literally exits the church follows the group after they’ve been ejected from for crashing a private function. Overlong, it requires a certain patience, but those with time to spare and think will find rewards. (Electric)
A gender and race spin on the Tom Hanks film Big directed and co-written by Tina Gordon, here, bullied by the mean girl (Eva Carlton) at eighth grade in the 90s, nerdy Jordan Sanders (Marsai Martin) grows up to become the high-flying boss (Regina Hall) of her own tech company and, in a form of twisted revenge for the abuse she suffered , because as her dad told her “no one bullies the boss, a workplace bully in her own right, demandingly making life hell for her employees and especially loyal P.A. April (Issar Rae) who, we’re quickly shown, has her own under-appreciated tech talents and who, although she gives the A for available come on to the studs she meets, also has a secret attraction to fellow worker Preston (Tone Bell) even if that strand never really goes anywhere.
However, when Preston’s rude to Stevie, the daughter (Marley Taylor) of a mobile donut van salesman, who does ‘magic’ tricks outside the office, the weird kid waves her magic wand and wishes Jordan was little. And, indeed, the next day, she wakes up to find herself back in the body of her big hair 13-year-old self, having to delegate running the company to April, just when their obnoxious biggest client (Mikey Day) has given them 48 hours to impress him or he walks, and forced by social services to go to her old school where she’s inevitably once more picked on by the class mean girl (Carlton again), hanging out with the other social rejects and, naturally, learning some life lessons about humility, being who you are, being nice to people, not thinking you have to be a bitch and emotionally aloof to protect yourself from being hurt and generally not becoming the same as those who try to hold you back. Meanwhile, April, who now has to pose as her boss’s aunt, has the chance to vent some hidden feelings about Jordan as well as find courage to let her own light shine.
Along the way, there’s also some amusing/touching moments as the miniaturised Jordan befriends class misfits Riana (Thalia Tran), Isaac (JD McCrary) and Devon (Tucker Meek) and gets to hear her grown up occasional lover, Trevor (Luke James ), who thinks she’s Jordan’s daughter, confess how he feels about her ‘mom’.
The adult/child body transformation genre has been well-worked over the years, but while this is the first black take it never addresses the race or gender aspects as any sort of issue, preferring to follow more of a Devil Wears Prada tack. It repeatedly lays repeats its message right up to the closing line just so you don’t miss the point and it has to be said that the scenes between schoolgirl Jordan making eyes or coming on to both her dreamboat teacher (Justin Hartley), and Trevor are somewhat uncomfortable viewing. It also totally glosses over explaining, especially to the wanna-be step-dad, the disappearance of her ‘daughter’ once Jordan reverts to her grown-up self.
Nonetheless, for all the haphazard plotting and misfiring moments (the gag about the late Diff’rent Strokes child star Gary Coleman gag feels tasteless), there’s breezy laughs to be had about child/adult world clashes (mostly involving booze and Jordan’s BMW) along with the inspirational moments and, inevitable makeover (clothes as confidence statements) and gratuitous song sequences (as April and young Jordan mime to Mary J. Blige’s “I’m Going Down in a restaurant). Even so, it’s the central performances rather than the story or the moral that elevates this, Hall making the most of her bookending appearances, Rae, impressive as the awkward, insecure April, and Martin who, swaggering into school in a hot pink pantsuit, is an absolute dynamo. Having pitched the film’s concept when she was 10 and, at 13, Hollywood’s youngest ever exec producer, it’s clear she’s already a power player in the industry on an Opra Winfrey trajectory. Here’s hoping she takes the film’s lessons to heart on her journey. (Cineworld NEC; Odeon Broadway Plaza Luxe; Showcase Walsall; Vue Star City)
Jonah Hill makes his writer-director debut with this (mostly) unsentimental, period-detailed and likely autobiographical but ultimately somewhat underwhelming coming of age story set amid the teenage skater community in a low rent Los Angeles neighbourhood.
Sharing his home with his volatile and messed up elder brother Ian (Lucas Hedges), who beats him up but whose ‘grown up’ cool he quietly worships, and their young out of her parenting depth single mom Dabney (Katherine Waterson, pretty much the film’s only adult), dorky 13-year-old Stevie (Sunny Suljic looking spookily like the young Corey Feldman) steals money from her to get an old skateboard and, desperate for friends, starts loitering around Motor Avenue, the local skate shop, looking to get noticed by the emotionally inarticulate slacker misfits who hang there. That’ll be close-cropped incipient sociopath Ruben (Gio Galacia), the youngest and most out of it, who genuinely thinks saying ‘thank you’ is a gay thing; a blissed-out surfer-dude bi-racial stoner with a halo of ringlets who goes by the name of Fuckshit (Olan Prenatt) because of his usual mode of expression; the acne-riddled introverted Fourth Grade (Ryder McLaughlin), so named on account of his assumed level of intelligence, who spends all his time filming everything on his camcorder on account of; and the ostensible leader Ray (Na-kel Smith), a laid-back, kindly African-American who dreams of becoming a professional skateboarder.
Cocky, enthusiastic and eager to please, Stevie’s taken under their wing (although there’s a subsequent falling out with Ruben), is given a better board, learns to improve his skate moves, give proper conversation, gets drunk and generally tries to join in with their meaningless banter. His impulsive reckless earns him the nickname Sunburn and a reputation of being “crazy as fuck!”
It’s empty braggadocio seeking to impress, but at a house party, while he’s led into a bedroom by a slightly older girl and gets to briefly make out, he’s too scared to go all the way. And that’s pretty much the extent of the narrative. There’s fallings out, moments of reconciliation, emotional catharsis, skating down the L.A. streets, a near tragedy and a soundtrack that includes Dedicated To The One I Love and little known Morrissey track We’ll Let You Know as Hill follows Stevie on the painful path to growing up and perhaps learning a few things about the world.
Shot on 16mm and curiously framed in the middle of the screen and with an almost documentary, improvisational style, you can feel Hill’s empathy for the often annoying but engaging characters (for which full marks to the cast’s naturalism), never judging or condescending to them nor dressing them up in wistful nostalgia. It’s an impressive behind the camera debut for Hill, but it never quite finds its emotional beat in the way that Larry Clark’s similarly themed but more nihilistic Kids, the recent Skate Kitchen or indeed Shane Meadows’s Made In Britain did. (Mockingbird; Mon, Wed/Thu: Electric;)
Out of Blue (15)
British director Carol Morley’s police procedural follow up to the no less enigmatic The Falling may be overambitious not to say often baffling in its pursuit of existentialism and cosmic significance (references to quantum physics thought experiment Schrodinger’s Cat abound) and flirting with magic realism but it’s never boring.
Adapted from Martin Amis novel Night Train and influenced by Nic Roeg (whose son produces), set in New Orleans it stars Patricia Clarkson as Mike Hoolihan, an on the wagon alcoholic looking to solve the death of retro-obsessive Jennifer Rockwell (Mamie Gummer), an astronomy professor and black holes expert at the local observatory who’s been found dead beside the telescope, the front of her face blown off. Suspects involve her science lecturer boyfriend Duncan Reynolds (Jonathan Majors), whose sock is found at the scene, and fellow astrophysicist and observer manager Ian Strammi (Toby Jones) who has a swollen jaw.
However, when Hoolihan realises this was suicide not murder, it switches from whodunit to whydunit, a mystery that pokes around dark family secrets involving her sinister Vietnam war hero father (James Caan) who walks with a cane, her oddball mother (Jackie Weaver) and obstructive brothers Walt and Bray, who run the family electronics company, neither of whom seem especially torn up about her death. Has this all got something to with the unsolved case of the .38 calibre killer to which it has many similarities, not least the appearance of the victim?
With Gummer spouting lines like “We are all stardust” to her students on the eve of her death, constant verbal and visual references to masks, Devyn A. Tyler as a fellow alcoholic TV reporter, Stella Honey, who seems to be constantly popping up and is responsible for giving Mike a crucial file and Hoolihan’s assorted visions/hallucinations, it essentially deals with repressed memory all of which falls into place in the final moments as the clues dotted around the flashbacks and flashforwards finally cohere, albeit in a melodramatic collision. At the end of the day, it’s somewhat messy and abstract, but, atmospheric to a fault, it holds your attention and interest and Clarkson, who at one point drunkenly joins the dancers onstage at a strip club, is mesmerising. It may test your patience, but it also rewards it. (Sat-Thu: MAC)
Pet Sematary (15)
Given the success of It, it was inevitable that there would follow further big screen resurrections of Stephen King stories; however, as John Lithgow remarks here, “sometimes they don’t come back the same.” Published in 1983 and first adapted for the screen by King himself in 1989, directed by Mary Lambert, the book is generally regarded as one of King’s scariest, though the same can’t be said for the film. Co-directed by Dennis Widmyer and Kevin Kölsch and paring the book to the bare bones, this is an improvement, but not a whole lot.
Arriving at their new country home in rural Maine (where a doctor’s salary apparently also buys you a sprawling forest backlot), Louis (Jason Clarke), wife Rachel (Amy Seimetz) and their two kids, eight-year-old Ellie (Jeté Laurence) and toddler Gage (Hugo and Lucas Lavoie) are looking for a less stressful life with more family time. Even if that does entail daddy discussing death and its finality with Ellie over bedtime.
Such hopes are soon dispelled. First Ellie and Rachel stumble upon an animal graveyard in the woods where kids in scary masks go to bury their furry friends, Rachel starts again having visions of her dead sister Zelda who suffered from a severe spinal deformity, and, having failed to save a black student from a traffic accident is shocked when the kid apparently comes back to life on the gurney and delivers him a warning that “the ground is sour”. And reappears on several other occasions.
The horror firmly sets in when, after being killed by one of the speeding trucks that regularly flash by the house, kindly widowed neighbour Jud (Lithgow) takes Louis to bury Church, the family cat, in land beyond the pet semetary, giving him one of those wait and see explanations, And sure enough, the next day Church’s back as large as life, just not as friendly (cue some guff about the wendigo and cursed land). Louis resolves to dump the malicious moggy. But again it finds its way back, turning up on Ellie’s birthday and prompting her to rush out into the path of an articulated tanker. Needless to say, while Rachel takes Gage to her mother’s, drugging Jud, the hitherto rational Louis digs up Ellie’s body and takes it to the ancient tribal ground from where she too returns. And, like the cat, has developed a decidedly darker side, as Jud and mom soon discover to their cost. As Jud belatedly offers, “sometimes dead is better.”
While trading on well-worn boo moments not to mention a blood oozing nod to The Shining, the film does inject a novel twist in an ending that’s radical departure from the book, although, unfortunately, it comes across as more silly than scary, a sort of Walking Dead joke in which the family that dies together stays together. It’s atmospheric and it’s often very bloody, it’s just that it’s also a touch dull with an ending that feels indecently rushed, capped off by a terrible cover of the Ramones original title song. Impressive cat though. (Showcase Walsall;Vue Star City)
Red Joan (12A)
Her name may head up the cast list, but, while Judi Dench does her usual solid work, her role is very much a framing device with Sophie Cookson carrying the bulk of the film as the younger version of her character, Joan Standing, who, at the start of the film, now a widowed octogenarian, is arrested by Special Branch and accused of being a Russian spy.
Directed by Trevor Nunn from his adaptation of Jennie Rooney’s factional novel based on the true story of Melita Norwood who, in 1999, aged 87 and dubbed the ‘granny spy’ confessed to having passed state secrets to the Russians for some 40 years, most notably about the British atomic bomb project codenamed Tube Alloys where she worked as secretary to the project director, but was never prosecuted on account of her age.
That much remains in the film. However, here young Joan is a mousy First Class Physics graduate from Cambridge (as opposed to the University of Southampton) who gets involved with a campus communist group headed up by firebrand Leo (Tom Hughes, a sort of lightweight Benedict Cumberbatch), a Russian emigré German Jew whose manipulative Mata Hari sister, Sonya (Tereza Srbova), brings them together. She’s smitten and they become lovers, even though he remains emotionally unavailable and then disappears off to Russia. When she lands a job as assistant to unhappy married (yes, you can see what’s coming) Prof. Max Davis (Stephen Campbell Moore), the only man not to patronise her, Leo resurfaces looking to get her to pass secrets to the Russians, arguing that, while Allies, they have been shut out of the research. She refuses, but, when Project Manhattan comes to fruition, horrified by the loss of life at Hiroshima and Nagasaki, the idealistic if naïve Joan changes her mind and is soon using a standard issue spy camera to snap documents and blueprints and pass then to Sonya.
Meanwhile, back in the present, Joan’s being questioned and denying everything, her high flyer son Nick (Ben Miles looking like the young Terence Stamp) acting as her lawyer until he discovers mom’s been lying all these years and accuses her of betraying her country. Joan, remains unrepentant, her argument being that she did what she did to create a level playing field and in doing so prevent mutually assured destruction, citing the fact of there being no war between the superpowers as evidence of her success.
A cerebral spy story – with somewhat lukewarm romantic interludes – it plays like a cosily polite John Le Carre, glossing over her radicalisation (she’s taken to see Battleship Potemkin) and the script seemingly never quite sure of its stance on Joan’s actions and settling for a fuzzy ‘I did what I did for the living” statement in Dench’s powerful showcase moment front garden press conference. That said, while it may run slow in places, throws in a somewhat pointless and undeveloped revelation about the siblings and the fact that old Cambridge chum William, a high ranker in the Foreign Office, is batting for both sides (both politically and sexually) serves only as clunky final act plot device, it nevertheless holds your interest as it moves back and forth between its authentic period detail timelines, Dench’s consummately underplayed performance impressively complemented by Cookson. (Cineworld Solihull; Electric; Empire Great Park; Showcase Walsall; Vue Star City; Tue-Thu:Everyman)
The original Captain Marvel when he first appeared in Whiz Comics 1940, adopting the Shazam name when relaunched by DC in 1972, by which time Marvel had their own Captain. The name comes from the magic word orphaned misfit Billy Batson speaks to transform into his adult super-hero alter ego, taking on the powers transferred to him by the ancient wizard Shazam.
Here, Billy (Asher Angel) isn’t an orphan but, having lost his mother at a fairground when he was much younger, he is a troubled 14-year-old who’s been through an array of foster homes, ending up becoming part of Victor (Cooper Andrews) and Maria (Marta Milans) Vasquez’s extended multi-ethnic Philadelphia foster family which includes gaming nerd Eugene (Ian Chen), college student den mother Mary (Grace Fulton), shy Pedro (Jovan Armand), young but extrovert Darla (a winning Faithe Herman) and disabled sarcastic super-hero nut Freddy (scene-stealing Jack Dylan Granger).
Shortly after Billy intervenes as Freddy’s being set on by the school bullies, he takes the subway train only to suddenly find himself stepping out into a mysterious underground cavern occupied by the aforementioned ancient wizard (Djimon Hounsou) who’s been waiting years to find someone pure of heart to whom he can cede his powers. Indeed, the film opens with him testing another youngster, Thaddeus Sivana, only for the kid to be tempted by the power offered by the stone figures embodying the seven deadly sins. Billy, however, for all his attitude, is the real deal and, commanded in a knowing double entendre to place his hands on the old man’s staff, lighting flares and he finds himself transformed into the buffed adult Shazam (Zachary Levi) sporting the famous red costume with its white cape and yellow lightning bolt insignia.
Revealing himself to Freddy, the latter’s first concern is what super powers he possesses, while Billy tests out his new grown-up self by buying beer, the film having great fun with the concept of an innocent young kid revelling at being inside an adult body, in much the same way as did Tom Hanks in Big. Or Tom Holland’s undisguised glee at being Spider-Man.
The fun, however, comes to an abrupt end when, having spent a lifetime researching stories about those who had a similar experience to himself, now a grown and wealthy scientist estranged from his contemptuous father and brother Sivana (Mark Strong making the most of a so so bad guy) sets out to first become host body to the seven deadly sins, which materialise from him to his biddings, and then wrest Shazam’s power from Billy for himself.
Being honest, it’s not much of a plot and what there is touches familiar bases involving friendship, loyalty, the importance of family alongside the staple slugfests between hero and villain. What makes it such a delight, however, is the sheer exuberant fizz a constantly beaming Levi and director David F. Sandberg bring to proceedings and the knowing self-awareness of its cheesy, corny nature, the film both an irreverent Deadpoolish superhero satire and an unabashed affectionate love letter to the genre complete with plentiful mentions of both Batman and Superman, including a hilarious ‘leap tall buildings at a single bound’ gag.
It’s a little less successful when it plays the emotional cards, such as Billy tracking down the mom who abandoned him and the sentimental family bondings, but, unlike recent DC Universe offerings and the current interwoven Marvel saga, this plays light rather than dark, from a montage of Freddy testing out Billy’s new powers to a last act introduction to the whole Shazam! Family (with cameos that include Adam Brody and Meagan Good) that, along with obligatory end credits scene, sets things up for a welcome sequel. The word is good. (Cineworld 5 Ways; Empire Great Park; Odeon Birmingham, Broadway Plaza Luxe; Showcase Walsall; Vue Star City)
Wild Rose (15)
Named one of the BAFTA Breakthrough Brits in 2017 and a nominee for BAFTA’s 2019 Rising Star award on the back of her performance in Beast, Jessie Buckley consolidates her growing reputation with a knockout performance as a Glaswegian single mother dreaming of making it in country music. Unfortunately, Tom Cooper’s film never matches the fire of its star.
Just out of prison for supplying heroin to the inmates, ankle-tag under her white cowboy boots, bolshie Rose-Lynn Harlan returns home to her two young kids and tough-love mother Marion (Julie Walters), looking to reclaim her job singing at Glasgow’s Grand Ole Opry and still nurturing an ambition to seek fame and fortune in Nashville, despite her mother forever pouring cold water on such ambitions. She gets a cleaning job in an upmarket part of Glasgow, singing as she hoovers away for the wealthy Susannah (Sophie Okonedo) who, having been introduced by Rose to the joys of Dolly Parton and the like improbably becomes her fairy godmother, seeking to further her dreams. This includes sending a demo off to Bob Harris and facilitating meeting at the BBC with him and his producer, Mark Hagen, in quite possibly the most excruciatingly embarrassing five minutes you’ll see on screen this year. In another cloud of wish-fulfilment, a lawyer also manages to convince a judge to have her ankle tag removed so she can further he singing career and provide for her kids.
Despite blowing a fundraising opportunity thrown by Susannah, Rose, thanks to mom, gets to go to Nashville after all (cue a blink and you’ll miss it appearance by Kasey Musgraves) and even sing on the Opry stage before she has yet another epiphany about her parental responsibilities. But, even then, the film still gets to sprinkle fairy dust over things as, Whispering Bob in the audience, she gets to have her cake and eat it by playing one of Scotland’s biggest Americana-based music festivals.
Uncynical and unabashedly feelgood to the point of parody, it almost drowns in clichés about discovering who you are and what truly matters, Walters (clearly there were no actual Scottish actresses available) lays on the Glasgow accent so thickly she’s often impossible to understand and Okenado, a gifted actress, is forced to be so gushy as to make Mary Poppins seem like Nurse Ratched. The saving grace in all this is Buckley, fiercely playing a character who can be blinkered and self-deluded in the selfish single-minded pursuit of her dream but still has you rooting for her. On top of which, doing her own vocal work (a theatrical background, she first came to notice in the TV auditions for Oliver!), while no Lady GaGa, she also turns out to be a pretty good country singer too, the film’s soundtrack album serving as her own musical debut, including the excellent Cigarette Street (Five O’Clock Freedom) written and sung in the film by The Southern Companion. A star is indeed born. (Tue: Everyman)
Screenings courtesy of Odeon and Cineworld
Cineworld 5 Ways – 181 Broad St, 0871 200 2000
Cineworld NEC – NEC 0871 200 2000
Cineworld – Mill Ln, Solihull 071 200 2000
The Electric Cinema – 47–49 Station Street, 0121 643 7879
Empire – Great Park, Rubery, 0871 471 4714
Empire Coldfield – Maney Corner, Sutton Coldfield
0871 471 4714
The Everyman – The Mailbox 0871 906 9060
MAC – Cannon Hill Park 0121 446 3232
Mockingbird, Custard Factory 0121 224 7456.
Odeon Birmingham -Birmingham, 0871 224 4007
Odeon Broadway Plaza Luxe – Ladywood Middleway, 0333 006 7777
Odeon West Bromwich – Cronehills Linkway, West Bromwich 0333 006 7777
Reel – Hagley Rd, Quinton, Halesowen 0121 421 5316
Showcase Walsall – Bentley Mill Way, Walsall 0871 220 1000
Vue Star City – Watson Road, 08712 240 240