The Jungle Book (PG) Although best known for the 1967 animation, this isn’t the first time Disney’s made a live action version of the Rudyard Kipling 1894 classic, that being in 1994 starring Jason Scott Lee, while the very first big screen adaptation of the book was by Zoltan Korda way back in 1942 with Sabu in the lead role of Mowgli, the Indian child raised by animals, However, directed by Jon Favreau, this is undoubtedly the most visually spectacular and ambitious. Featuring impressive and appealing newcomer Neel Sethi as pretty much the only human on screen, it combines Kipling’s original book (the Water Truce appears here) with much-loved elements from the animation (including Baloo – voiced by Bill Murray –singing The Bare Necessities and, splendidly voiced by Christopher Walken, King Louie, here the last surviving Gigantopithecus rather than your everyday orang-utang, bringing a sense of menace to I Wanna Be Like You) in telling the story. Which, should you need reminding, is about how, having been found in the jungle by the wise Bagheera (Ben Kingsley), the panther, and raised by wolves Akela (Giancarlo Esposito) and Raksha (Lupita Nyong’o), the animals have to keep Mowgli safe from the one-eyed human-hating tiger, Shere-Khan (Idris Elba), and python Kaa (a brief but memorable and chilling turn by Scarlett Johannson) and return him to the human world.
Jumping straight in with its mix of tension and action as Mowgli, racing through the jungle canopy, initially appears to be trying to outrun a wolf pack intent on bringing him down, the film combines humour, emotional clout and scares (some of the scenes centred around King Louie may be a bit intense for younger eyes) in equal measure.
Sethi makes for a winning screen presence, brave, mischievous, inquisitive and naïve, rebuked by Bagheera for using ingenious human tricks such as building tools rather than relying on the way of the pack and the jungle that he needs to survive in the wild. But there’s no getting away from the fact that the scene stealers here are a magnificently mellow and laid back Bill Murray as a slacker Baloo and Walken’s raspy-voiced, mafioso-like King Louie who wants the man-cub to give him the secret of man’s red flower. They, like the other talking animals are so incredibly photorealistic you’d swear they were flesh and blood, Shere-Khan being a particular triumph of detail. Likewise the digital creation of the lush jungle, from verdant glades to mudslides, is breathtaking, all the more so when you learn that the whole film was shot inside a building in Los Angeles.
If you’re being picky, then some of the contemporary dialogue (“cool”, says Mowgli) doesn’t gel with the setting, but that’s a very minor niggle in a very terrific film. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza; Reel; Showcase Walsall; Vue Redditch, Star City)
Battle Mountain: Graeme Obree’s Story (12A)
Having already had his story told in the biopic The Flying Scotsman, the Scottish cycling legend and double world record holder is now the subject of a documentary following his quest to challenge for the world land speed record at Battle Mountain in Nevada in 2013, cycling The Beastie, a bike that he built in the kitchen of his one bedroom flat, using mostly recycled materials, against teams equipped with the latest computer technology and aerodynamics experts. Obree will take part in a Q& A following the screening. (Sat: MAC)
Having had his healthy body implanted with the mind of a dying Ben Kingsley in Self/less, a dead Ryan Reynolds now has his memories implanted in the living body of Kevin Costner. Here, Reynolds is Bill Pope, a CIA operative on a mission in London to track down a dangerous hacker known as The Dutchman (Michael Pitt). He’s tortured and left for dead by thugs working for Spanish anarchist industrialist Xavier Heimdahl (Jordi Molla). However, he was in possession of some important data that his bosses, headed up by London bureau chief Quaker Wells (Gary Oldman) need to get their hands on.
So, with the help of a maverick neurosurgeon (Tommy Lee-Jones), Pope’s memories are transplanted into Jerico (Costner), a goateed, straggle-haired murderous psychopathic hillbilly currently on Death Row. Jerico has, thanks to a childhood head injury, no sense of empathy, so, as you would assume, once he inevitably escapes (after he’s earmarked for death when he fails to deliver the information) he starts to find Pope’s presence in his mind causing him to act irrationally, and even speak French, especially when he meets his mental-partner’s widow (Gal Gadot) and finds himself feeling an unexpected sense of protectiveness to her and her daughter.
An obvious Bourne knock-off, it’s not especially great, but it does what it says on the tin, offering the requisite amount of action, emoting and overacting with Costner in cracking growly form. (Cineworld NEC, Solihull; Empire Great Park; Everyman; Odeon Birmingham, Broadway Plaza; Showcase Walsall; Vue Star City)
Despite The Falling Snow (12A)
Directed by Shamin Sharif, adapting his own novel, this very limited release is a 50s Cold War thriller set in Moscow where, working for Misha, Katya (Rebecca Ferguson) is a communist spying for the Americans. However, when she’s handed her biggest job to date, stealing secrets from idealistic rising government star Alexander (Sam Reid(, she finds herself falling in love with him, leading to her having to make the ultimate sacrifice. All of which is unfolded as the film shifts back in forth in time, with the elderly Alexander (Charles Dance), who fled Russia, finally discovering what actually happened to his wife all those years back when his niece (Ferguson again) heads to Moscow to meet the now aged Misha (Anthony Head) and do some digging. (Showcase Walsall; Vue Star City)
Eye In The Sky (15)
Directed by Gavin Hood, this is basically a UK answer to Andrew Niccol’s drone debate thriller Good Kill, here with Col. Katherine Powell (Helen Mirren) overseeing an operation to capture a radicalised Englishwoman who’s joined up with Al-Shabaab terrorists. Intelligence says she’s taking part in a meeting at a safe house in a densely populated Nairobi neighbourhood, but, when high-tech surveillance, courtesy of a local Somali undercover agent (Barkhad Abdi), reveals the group to be preparing to carry out suicide-bomb attacks, Col. Powell contacts her superior, Lt. Gen. Frank Benson (Alan Rickman), and requests the mission be changed from capture to kill.
After much discussion among the politicians, the order’s sanctioned, to be carried out using a US military drone operated by Steve Watts (Aaron Paul) . However, when he sees a young girl has wandered into the kill zone to seel bread, he insists that Powell reconsider her decision. And so the film devolves into an argument as to whether the loss of one civilian justifies potentially saving the lives of countless others. Meanwhile, as the politicians dither, the window of opportunity is slowly closing. Taut and claustrophobic, it juxtaposes serious moral issues with dashes of incongruous humour (involving the British Foreign Secretary with IBS problems, the US Secretary of State playing ping-pong with the Chinese and Benson pondering on what doll to buy his daughter) while underlining the use of sanitised evasive language in the discussions about prosecuting the target and collateral damage. With a solid performance from Mirren and an even better one from Rickman in his second to last film, it may adopt familiar clichés, but ultimately subverts these to leave you with more questions than answers. (Cineworld 5 Ways, NEC, Solihull; Electric; Empire Great Park; Everyman; Odeon Birmingham, Broadway Plaza; Reel; Showcase Walsall; Vue Star City)
Fleeing Glasgow and returning to the Scottish island for which she is named and left many years ago, Iona (Ruth Negga), accompanied by her teenage son, Bull (Ben Gallacher), burns their car and makes her way to the home of Daniel (Douglas Henshell), the man who looked after her, alongside his own daughter Elizabeth (Michelle Duncan), when her mother died. Elizabeth, it transpires, has now married Matthew (Tom Brooke) and they live in Iona’s mother’s old home along with their teenage daughter Sarah (Sorcha Groundsell), who was left unable to walk after an accident. That Iona is now occupying Elizabeth’s old room, is an indication of the simmering tensions that percolate Scott Graham’s intense and claustrophobic film.
Slowly, we learn that Iona and her son have fled following a violent incident, likewise we discover that the relationship between her and Daniel, a fierce Calvinist (like the majority of the islanders) is rather more than that of father and surrogate daughter, Meanwhile, Bull, is discovering a sense of faith he’s never experienced and forming a relationship with Sarah are, one that does not sit well with her mother. Although it ultimately gives way to melodrama (and a hint of a miracle), the film’s interwoven narratives mostly rely on small details (a look here, a word there) to convey the air of disquiet that enfolds the central characters,. It’s a slow burn, but it scalds. (Fri-Wed: MAC)
10 Cloverfield Lane (12A) A successor to 2008’s alien invasion found footage disaster blockbuster in name only (the setting is Louisiana not New York), director Dan Trachtenberg’s debut is a far more compelling and human affair. The scale’s different too. This is a three-hander chamber piece with Michelle (Mary Elizabeth Winstead), Howard (John Goodman) and Emmett (John Gallagher Jr) in a breezeblock bunker, sealed off from the outside world, which, according to survivalist Goodman, has been devastated in a mass chemical attack, from which he rescued Winstead after her car crashed (the last thing she remembers before she woke up chained) and brought her here. Outside, the air is, he says, unbreathable and they might be the last of humanity. That there’s no cell phone reception makes it difficult to be sure. Fortunately, he’s got in enough provisions to sit it out until it’s safe to leave.
However, while there seems to be evidence that what Howard claims is true (a couple of blistered dead pigs can be seen through the door’s small window along with a later jump shock) , it’s also possible, as Michelle begins to think, that, given his rants about Russia, North Korea, al-Qaeda, and aliens, he may be a paranoid, delusional conspiracy nut. Which, given his controlling behaviour and simmering rage, is why she feels she needs to escape. Whatever may be outside the door.
After Room, this is another claustrophobic piece, thick with an air of menace and psychological tension as Trachtenbergh ratchets up the pressure cooker to a point about which it would be unfair to say more. Suffice to say, compellingly filmed and featuring outstanding turns from both Winstead and a multi-layered, complex Goodman, it burns a slow fuse to a last act that is as unsettling as its is brief. (Cineworld 5 Ways, NEC; Empire Great Park; Odeon Birmingham, Broadway Plaza; Showcase Walsall; Vue Star City)
12 Angry Men (U) Sidney Lumet’s 1957 classic as Henry Fonda holds out against his jurors in an attempt to prevent a possible miscarriage of justice. (Sat:Electric)
Batman V Superman: Dawn of Justice (12A)
Despite a somewhat messy plot that has to shoehorn in some backstory and teasers for the Justice League movies (cue cameos by The Flash, Aquaman and Cyborg), this should more than satisfy the fans. Following a prologue detailing Man of Steel’s final battle between Superman (Henry Cavill) and General Zod, with Bruce Wayne (Ben Affleck) racing in from Gotham in time to see one of his buildings collapse, crushing the legs of an employee (Scoot McNairy), things fast forward 18 months and, while a hero many, others, Senator Finch (Holly Hunter) included, regard him as a potential super-powered alien threat. Wayne is one of those who reckons such power should not be allowed to go unchecked, while, over at the Daily Planet, Clark Kent is having concerns over Batman’s increasingly brutal vigilante actions in Gotham.
Someone else who’d like to see an end to Superman (for reasons that probably won’t be clear until; the extended cut DVD) is billionaire industrialist Lex Luther (Jesse Eisenberg) who’s got his hands on a chunk of kryptonite and persuaded the authorities to give him access to Zod’s downed ship. It’s his intention to turn the tide against Superman and to manoeuvre Batman into taking him down.
Directed by Zack Snyder, although sometimes hard to keep up with the narrative tangents, it basically sees a soulful Superman questioning if it’s possible to remain good in the face of evil and an obsessed Batman shedding any scruples about taking lives. Just as it takes a while to see the fully cowled and caped crusader, so the film holds back the appearance of Wonder Woman (Gal Gadot) until the final battle as Luthor unleashes his hybrid monster, Doomsday, on the world
Balancing the action with more intimate moments, including more sage wisdom from Martha Kent (Diane Lane) and a contrived ghostly Jonathan Kent (Kevin Costner), Cavill again does sterling work as Superman while Affleck proves the best Batman this side of Christian Bale, and an even better Bruce Wayne. Gadot makes a suitably dramatic appearance while Jeremy Irons provides a world weary turn as Alfred and Amy Adams serves as the usual woman in peril Lois Lane. The fact that the big showdown fizzles out when both protagonists realise their mothers have the same name (had someone been listening to Rupert Holmes?) may induce more mirth than poignancy, while the already announced JLA roster rather undercuts The Force Awakens style shocker here, but, while it doesn’t scale the same heights as The Avengers: Age Of Ultron it’s definitely on the same playing field. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Redditch, Star City)
The Boy (15) Yet another in a long line of possessed doll horror movies, this sees Greta Evans (Lauren Cohan) bailing on a bad relationship by landing a job as nanny for a wealthy elderly couple at a remote English estate. However, she’s understandably taken aback to discover their 8-year-old ‘son’, Brahms, is actually a life-size porcelain doll. It seems their actual son died 20 years earlier in a fire following a girl’s murder in the woods, and the doll is their way of coping with the grief. Greta’s expected to care for it as if it were a real boy and given a whole list of rules (never cover his face, never go in the attic, etc) she’s told she must, under no circumstances, break. At which point the pair take off, leaving her alone with the doll save for occasional visits from Malcolm (Rupert Evans), who delivers the groceries. Naturally, Greta reckons the rules are ridiculous and quickly dispenses with them. Which is when strange things start to happen. Like the doll inexplicably moving from where she left it.
It’s a well worn premise and plays out the scenario with all the usual bells and whistles, including strange noises, windows that don’t open, vermin infestations and dream sequences. So, is Greta going nuts or is it all for Chucky real? Effective enough as creepy goes, but the last act twist (a touch of Phantom of the Opera perhaps) is less of a surprise than it thinks and makes what’s gone before even more implausible. (Cineworld 5 Ways, NEC; Odeon Birmingham, Broadway Plaza; Showcase Walsall; Vue Star City)
Here’s something different. A serio-comic Ethiopian post-apocalyptic, surrealist science-fiction romance. The diminutive Gagano embarks on an epic journey that takes him across the Ethiopian landscape in search of a way to board the spacecraft that’s been hovering in the sky for years. Armed with Michael Jackson merchandise to help him barter his way, he find himself confronting a wide range of characters, including a witch, Santa Claus and second-generation Nazis. Flatpack Festival. (Thu: Electric)
Deadpool (15) This latest addition to the Marvel movie universe has proven itself the polar opposite of Ryan Reynolds’ last outing as a superhero, Green Lantern, which gets an amusing reference here. Following an experiment to give him superpowers (by triggering his mutant genes) after being diagnosed with terminal cancer, former urban mercenary Wade Wilson (Reynolds) dons the black and red spandex and sets out for revenge on the equally enhanced sadist (Ed Skrein) and his superstrong sidekick (Gina Carano), who left him hideously scarred, determined to have the process reversed so he can get his life and his girl (Morena Baccarin) back. With cameo appearances by a couple of X-Men (Colossus and Negasonic Teenage Warhead) trying to keep him in line, it’s not only viscerally ultra-violent and peppered with inventive sexually explicit dialogue, but knowingly self-aware, Deadpool constantly stepping out of the action to address the audience and acknowledge they’re watching a movie, poking fun at the superhero franchise conventions as he goes. Blackly comic and explosively entertaining, with Reynolds letting rip with razor sharp timing and inspired repartee that references everything from Sinead O’Connor to, well, Ryan Reynolds, it’s like a Grindhouse Guardians of the Galaxy on ecstasy with the dial turned up to 11. (Odeon Broadway Plaza)
The Divergent Series: Allegiant (12A) The first of the two part conclusion to the post-apocalyptic saga has proven a box office washout as it picks up events following the end of Insurgent, wherein Tris (Shailene Woodley) overcame Jeanine, opening the box to reveal that Chicago and the Factions system had been an experiment devised by a group beyond the wall and of which the Divergents were the successful result. So, she, brother Caleb (Ansel Elgort), action man boyfriend Four (Theo James), ever unreliable Peter (Miles Teller) and underused token black buddy Christina (Zoe Kravitz) escape over the wall and head out into the devastated toxic world beyond. Here they’re picked up by forces working for David (Jeff Daniel), who heads The Bureau of Genetic Welfare which originally established the population of Chicago and has been monitoring it, and Tris especially, in an experiment to cure the ‘damaged’ and make them ‘pure’. Naturally, there’s more to this than meets the eye, as the storyline wends its laborious way to inciting a civil war between Four’s rebel leader mother Evelyn (Naomi Watts), and her followers and the Allegiant forces. All of which also involves some sort of memory wiping serum.
Saddled with contrived exposition and long stretches of dialogue, pretty much nothing happens until the final stretch, by which time the uneven CGI, plodding plot and the fact that Tris gets less interesting with each instalment may have you wishing you too could be affected by the serum, so you’d mercifully forget this and the fact there’s still one more to go before it’s all over. (Vue Star City)
Eddie the Eagle (PG)
The British love an underdog makes good story and, in 1988, there was no bigger underdog than Michael Edwards, the first competitor to represent Great Britain in Olympic ski jumping. He came last in both the 70m and 90m events (though he did set a new British record), but became internationally famous as a heroic failure and his perseverance in the face of the hostility of the British Olympic Committee, who saw him as an embarrassment.
Now, directed by Dexter Fletcher and starring Taron Egerton with Hugh Jackman as Eddie’s fictional coach, Bronson Peary, a former ski jump champion with a drink problem and in need of redemption, his story is the feelgood movie of the year.
Charting young Eddie’s early failed Olympian ambitions (much to the irritation of his builder dad, Keith Allen), it follows his rejection as a skier by the establishment (Tim McInnery as snooty British Olympics executive Dustin Target) and his decision to switch to ski jumping, since there were no other British participants for selection. Self-training in Germany, much to the disparagement of pretty much every other skier, he seems destined for further failure until his refusal to give up eventually persuades Peary to become his coach. With all the odds against him, he eventually heads to Calgary and the 1988 Winter Olympics to prove he can truly fly.
Warm, funny and inspirational, with Jo Hartley as Eddie’s supportive mom, Christopher Walken as Peary’s grouchy former coach Warren Sharp, and driven by an irresistible open-hearted performance by Egerton and a nicely tuned comedic turn from Jackman, this soars on wings of sheer joy. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; MAC; Odeon Birmingham, Broadway Plaza; Reel; Showcase Walsall; Vue Redditch, Star City)
Fifty Shades of Black (15) A hit and mostly miss parody of Fifty Shades of Grey with Marlon Wayans as super rich Christian Black and Kali Hawk as the impressionable virgin who gets lured into his web and world. Jokes about hairy legs and premature ejaculation pretty much define the level of hilarity in a film that tries to wring humour out of rape gags and that classic chestnut about a bloke getting something stuck up his arse. Naturally, there’s Bill Cosby reference too. Mildly inspired touches like a spoof of Magic Mike are eclipsed by such groan-inducing scenes as Jane Seymour (playing Black’s mother) imitating talking Chinese to her adopted daughter, not realising she’s actually Korean. (Vue Star City)
Grimsby (15) Jaw-droppingly gross and crude, but also, at times, leg-wettingly funny, Sacha Baron Cohen’s spy spoof is stuffed to overload with Viz-like humour involving sex, sperm and jokes about being gay, fat and yobs. He plays Liam Gallagher lookalike Nobby, a Northern layabout father of innumerable kids who’s spent the last 28 years trying to find Sebastian (Mark Strong), the brother from whom he was separated when they were orphaned. He does so just as Sebastian, now a top MI6 agent, is about to foil an assassination attempt. Things go pear-shaped, and, forced to go on the run he’s suspected of having gone rogue, Nobby takes Sebastian back to Grimsby. From here, with a psycho MI6 hitman in pursuit, it’s off to South Africa to track down the real killer and foil a plot involving philanthropist Rhonda George (Penelope Cruz) to dramatically reduce the world’s underclasses, a plot that largely exists to facilitate a scene involving the pair hiding inside one elephant’s vagina and being rammed by another’s penis. A moment that makes an earlier scene of Nobby sucking Sebastian’s testicles seem positively subtle. On the downside, the supporting cast that includes Isla Fisher, Ian McShane, and, as a lovable paedophile, Ricky Tomlinson, have almost nothing to do and, while there’s some satirical one-liners, this is ultimately lazy, juvenile vulgarity and far less scabrously inventive than Borat or Bruno. (Vue Star City)
Hardcore Henry (18)
One for first-person shooter gamers only, the conceit being that the entire film is shown from the perspective of the titular character, a cybernetic super-soldier (reconstructed RoboCop style from his mangled body in an airborne Moscow lab), who sets out to discover who he is, or was, and, under the direction of a multi-guised manic guide (Sharlto Copley) rescue the equally robotically enhanced Estelle (Haley Bennett), who says she’s his wife, from the clutches of albino super-villain Akan (Danila Kozlovsky) who, rather inevitably, has some sort of plan to destroy the world. Unfolding at hyper-kinetic pace and with female characters straight out of extreme macho fantasies, this doesn’t have two brain cells to rub together and create a spark of intellect, but, if all you want is a cyberpunk visual rush with lots of ultra-violence, essentially committed by you, then plug in and prepare for the migraine. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Odeon Broadway Plaza; Vue Star City)
High-Rise (15) Director Ben Wheatley follows up Kill List, Sightseers and A Field in England with an adaptation of J.G. Ballard’s dystopian tale of life in a modern tower block running out of control, a story inspired by the brutalist towerblocks of post-war urban planning as experiments in social engineering. Set in the 70s, Tom Hiddleston is Robert Laing, an ambitious young doctor who moves into a small apartment on the 25th floor and soon discovers the building is something of a class divide.
The lower floors are populated by the likes of Wilder (Luke Evans), a sexual predator documentary filmmaker, and his pregnant wife (Elizabeth Moss) and kids while the upper storeys are home to more privileged residents, like gynaecologist Pangbourne (James Purefoy) and single mother Charlotte (Sienna Miller), with notorious sybaritic parties which Laing is all too happy to attend.
Then, hundreds of feet above them, is the building’s architect, Royal (Jeremy Irons) and his snotty aristocratic wife, Ann (Keeley Hawes) who have not so much a rooftop garden as palatial landscaped grounds, complete with a horse. Rather inevitably, the place seethes with a volatile cocktail of sex, alcohol, resentment and, especially for the lower orders, violent upwards mobility as the laws of the jungle gradually take hold and, sparked by a power outage and swimming pool incident, the social order starts to fall apart along with the building’s amenities and fabric in an orgy of destruction and rubbish.
Opening in the midst of the chaos with a blood-splattered Hiddleston spit-roasting a dog before flashing back to the causes, driven by another terrific atmospheric score from Clint Mansell and featuring Portishead’s deconstruction of ABBA’s S.O.S. it looks terrific, marries dark humour and potent violence and both Hiddleston and Irons are mesmerising. As an allegory of the collapse of society into savagery, there is a rather more style than substance, with a period political reference being somewhat tagged on at the end, but it’s never less than compelling. (Electric)
The Huntsman: Winter’s War (12A)
Both a prequel and a sequel to Snow White and Huntsman, Snow herself has been dismissed from the story as being unwell, but Chris Hemsworth’s back as the hunky if oddly Scottish-accented Eric who, as we learn in the prologue, was abducted from his family, along with other children, by Queen Freya (Emily Blunt), the younger sister of Ravenna (Charlize Theron), the evil queen despatched in the first film. She was once all nice, but turned into a literal ice queen when her baby was apparently burned to death by her lover, leading her to take off and form her own frozen kingdom, raising an army of Huntsmen forbidden to ever fall in love.
As one of them, Eric grows up to become her best, alongside deadly archer Sara (Jessica Chastain), helping her conquer all the territories up north, only for the pair to break the rules and secretly get wed. Well, not that secretly, Freya having Sara killed before Eric’s eyes and him tossed into a river.
So, on to the sequel. Seven years later, the magic mirror, containing Ravenna’s essence, has gone missing while being transported to somewhere called Sanctuary and Eric’s enlisted to find it and ensure it gets there. So, off he sets, accompanied by a couple of comic sidekick dwarves, Nion (Nick Frost) and Gryff (Rob Brydon). They’re subsequently joined by two female dwarves, Doreena (Alexandra Roach) and Mrs. Bromwyn (Sheridan Smith), allowing for yet more bickering banter as the four hurls insults at each other. Along the way, Eric’s also reunited with Sara, who turns out not to be dead after all, but who thinks he ran out on her.
Eventually tracking the stolen mirror to a goblin infested forest, they recover it only to have Freya arrive and, in another turnabout of events, make off with it, apparently leaving Eric for dead. This is about halfway in, and the actual thrust of the sequel still hasn’t kicked off. That comes when Freya resurrects her sister, expecting them to work together to conquer the remaining lands, only to find Ravenna isn’t about to take orders from anyone. Meanwhile, Eric (not dead, surprise), Gryff and Mrs. B are sneaking into Freya’s castle to try and put an end to things once and for all.
Padded out, it’s an uneven, at times overly busy affair, the middle-section only there only to justify a battle with the Goblin King. The visual effects are impressive, there’s some fascinating background detail and the action sequences with Hemsworth and Chastain are well handled. However, when a fabulously wicked Theron isn’t devouring things wholesale, it’s the dwarves (Smith especially) who steal the film. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Redditch, Star City)
Invention For Destruction (U) A 1958 film by Czech animator Karel Zeman, weaving together various stories by Jules Verne it involves an evil millionaire who plots world domination from within his volcano lair, the story told through models, puppets, stop-frame work and painted sets in the style of Victorian engravings. Flatpack Festival (Wed: Electric)
Kung Fu Panda 3 (PG) The third outing for the fat and furry martial arts master offers a perfect conclusion to the saga, the culmination of the journey that Po (Jack Black) began in the first film when Master Ooglay proclaimed him the Dragon Warrior of prophecy. Now it’s time to really fulfil that destiny as Kai (J.K. Simmons), a blade-wielding yak, escapes from the Spirit Realm having stolen the life chi of all its kung fu masters, returning to the world of mortals to mop up the rest
Po, meanwhile, has his own problems, having being appointed teacher to replace the retiring Master Shifu (Dustin Hoffman), a task neither Po nor the Furious Five reckon he’s up to. Then, who should reappear but Po’s long lost father, Li (Bryan Cranston). Rejoicing’s cut short, however, when Kai’s jade zombies to attack the village and Po has to return with his father to the secret Panda village and master his own chi if he has any chance of defeating Kai. The plot pretty much follows a similar path to the first film, and again delivers a message about discovering who you truly are and believing in yourself. Terrifically animated, Black, as ever, superbly brings Po to life with all his insecurities and vanities A fitting end to Po’s journey to enlightenment, let’s not, ahem, panda to the box office and set him off on another (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Odeon Birmingham, Broadway Plaza, West Brom; Showcase Walsall; Vue Star City)
London Has Fallen (15) London’s historic landmarks get blown up, a lot of people get killed, quite a few of them by Gerald Butler. That’s pretty much it in a nutshell. In London for the PM’s funeral, pretty much all the world’s heads of state get assassinated by an army of terrorists working for a vengeance-seeking Pakistani arms dealer who plans to execute President Asher (Aaron Eckhart) live on global TV. Well, not if his apparently indestructible personal bodyguard Mike Banning (Butler) has anything to do with it. A follow-up to Olympus Has Fallen, it has little truck with anything resembling three dimensional characters or logic (how come no one in charge notices the entire London police force seems to have been replaced by terrorists) while the likes of Morgan Freeman, Melissa Leo, Robert Forster and Jackie Earle Haley stand around looking shocked and saying things like ‘oh, my God’. To be fair, it cracks along and there’s a particularly good chase scene through the capital, but, while he does give good tough guy, this is no Die Hard and Butler’s no Bruce. (Empire Great Park; Showcase Walsall)
The Man Who Knew Infinity (12A) Writer-director Matthew Brown’s biopic of Srinivasa Ramanujan Iyengar, a name that will mean bugger all to the vast majority, but make the pulses of mathematicians beat faster. Growing up poor in Madras, self-taught he earned a place at Cambridge in 1914 and, under the guidance of his professor, G.H. Hardy, became a pioneer in mathematical theories, something to do with the negative values of the gamma function, apparently, which he said came to him from God. Not as sexy a story as that of fellow troubled mathematicians Alan Turing or John Nash, it’s still an earnest and absorbing maths bromance with Dev Patal as Ramanujan and, on a bit of renaissance at present, Jeremy Irons as the martinet atheist Hardy, alongside a brief Stephen Fry cameo as civil engineer Sir Francis Spring and Toby Jones and Jeremy Northam as Hardy’s fellow Dons, John Littlewood and Bertrand Russell, respectively. (Cineworld 5 Ways)
Midnight Special (12A)
Writer-director Jeff Nichols returns with another enigmatic thriller that plays its cards close to its chest, revealing its hand only in the final moments, Again, like Mud and Shotgun Stories, set in grassroots America, here the bible belt swathe, it echoes a vast array of paranormal-tinged sci fi films, Close Encounters of the Third Kind, E.T., The Man Who Fell To Earth, and, in the final scenes, even a touch of Tomorrowland, among them.
It opens in motel room, any source of light covered with cardboard. Inside are Roy Tomlin (Michael Shannon), childhood friend state trooper Lucas (Joel Edgerton) and Alton Meyer (Jaeden Lieberher), an 8-year-old boy whom they’re accused of kidnapping from a Doomsday cult run by Calvin Meyer (Sam Shepard), the boy’s adoptive father. As it turns out, Roy’s his real father, the boy having given up to Meyer when his mother, Sarah (Kirsten Dunst), ran off, unable to cope with the boy’s ‘special’ gifts. This being that he emits bright white light from his eyes and is given to talking on tongues, speaking numbers Meyer which has used as apocalyptic sermons, but which are, in fact, heavily encrypted top secret government transmissions, hence the FBI’s raid on the Ranch and their interest in recovering the boy. To which end, rookie NSA officer Paul Sevier (Adam Driver) is enlisted to try and decipher the messages and track the trio cross-country to wherever they’re heading. Given Alton cannot bear exposure to sunlight, and wears blue goggles to shield his eyes, they can only travel at night, and have only a small window in which to reach the place where Alton needs to be, reuniting with Sarah and causing a satellite to plunge from orbit along the way.
This is pretty much all the information Nichols releases until the big reveal, allowing your imagination to work overtime to piece together whatever clues might litter the journey, the film’s dominant low-light further deepening the sense of mystery. But even when the CGI-heavy climax finally arrives, it remains open as to who or what Alton actually is, underpinning the film’s theme of belief and faith, whatever form that takes. There are flaws, the whole cult sub-plot is, along with Shepard and, to a large extent, the FBI, dismissed once the main thrust is underway, but, bolstering the intrigue with first rate performances, Shannon especially good as the devoted father, its slow burning fuse is compelling viewing. (Cineworld 5 Ways, Solihull; Electric; Empire Great Park; Odeon Birmingham, Broadway Plaza; Reel)
Miles Ahead (15)
Directed by and starring Don Cheadle along with Ewan McGregor as the journalist in search of a story , this is a biopic of jazz trumpet legend Miles Davis, focusing on his late-70s slump and eventual comeback. IT’s followed by a short set from alto-saxophonist Soweto Kinch. Flatpack Festival (Thu: MAC)
My Big Fat Greek Wedding 2 (12A) Fourteen years on, writer/star Nina Vardalos gets the cast back together for a sequel. Now married (albeit with the spark faded) to non-Greek Ian (John Corbett), Toula turned into a clingy mom having to deal with acerbic 17-year-old daughter, Paris (Elena Kampouris), who reckons mom and dad are just as controlling and embarrassing as Toula found her own parents (Michael Constantine, Lainie Kazan). And it’s Gus and Maria who provide the latest titular nuptials after its discovered that their marriage licence was never validated before they left Greece. Gus wants to put matters straight as soon as possible, but Maria reckons this is a good time, after 50 years, to reconsider her options.
None of which is played out with anything resembling subtlety (Kazan, as ever, gives a performance even larger than her hair do), or, indeed many big laughs. The Greek gags having been largely exhausted first time round, Vardalos seems to be casting round for inspiration, leading to someone coming out of the closet and the arrival of a long lost family member so the episodic script can throw in some sitcom clichés, none of which is much helped by the flat direction. Vardolos is still an engagingly warm character, but whatever the title may say, this is thin stuff. (Cineworld NEC; Empire Great Park; Odeon Birmingham, Broadway Plaza; Showcase Walsall)
Deniz Gamze Ergüven’s semi-autobiographical debut feature is a lyrical fable that pits adolescent sensuality against a patriarchal society which sees sex in everything. When five sisters are spotted playing on the beach with male classmates, it causes a minor scandal in their Black Sea village, the girls being grounded and kept inside a house, a ‘wife factory’, with barred windows and male contact forbidden until they’re ready for marriage. Flatpack Festival. (Wed: MAC)
The Witch (15) First time director Robert Eggers delivers an art house horror cocktail of religion, superstition, fairy tale and sexual awakening set against the early days of America’s colonisation. Ostracised from their fellow New England settlers over doctrinal differences, Puritan Yorkshireman William (Ralph Ineson) and his family take up residence on the edge of a forest which the children are warned not to enter. One day, eldest daughter Thomasin (Anya-Taylor Joy) takes young baby brother Samuel to the brook, from where he abruptly disappears, abducted, as a subsequent bloody scene suggests by a witch, the mother, Katherine (Kate Dickie), blaming her daughter for the loss. What with the young twins’ unsettling attachment to the family’s black goat and the fate of brother Caleb, it seems there may be the devil’s work afoot. Gradually the family begins to fall apart and, in a move designed to conjure thoughts of the Salem witch trials that would happen some years later, the film poses the question as to whether Thomasin may be a witch, as she is accused of by the not so innocent twins, or a victim of the devil, and whether what we see is a manifestation of real evil or shared hysteria brought on by obsessive faith. Slow and measured, relying on psychological tension and menace rather than the usual jump scares, it’s less effective in the final moments when the supernatural takes over, but even so it’s a strikingly atmospheric work that ably lives up to its Shining influences. (Odeon Broadway Plaza)
Unfolding in Berlin between 4am and 6am, shot on a hand-held camera in real time in 22 locations in a single two-hour take (the last of three is the version here) with mostly improvised dialogue, German director Sebastian Schipper’s debut feature is as impressive technically as it is narratively compelling. Leaving a club, Victoria (Laia Costa), recently moved from Spain, hooks up with a group of young men for a drink, subsequently going on to open up the cafe where she works. The boys leave her and steal a car, but, with one of them too drunk to drive, she’s enlisted and, the youths pressured by a gangster who protected one of them in prison, finds herself caught up in a bank robbery. It doesn’t go smoothly.
Starting off slowly and gradually accelerating to a breakneck finale, it manages to find room to develop character, touch on psychological threads and explore relationships and motives, and, even if you leave feeling exhausted by the sheer concentrated intensity of the experience, this is a screen journey like no other. (Electric)
Already the prime contender for next year’s best animated feature, Disney’s allegorical tale about prejudice, tolerance, stereotyping and following your dreams offers plenty of food for thought for audiences young and old to chew over while being treated to an entertaining feast for the eyes and emotions.
Predators and prey now living together in harmony, regardless of species and classifications, perky Judy Hopps (Ginnifer Goodwin) aspires to become the first bunny cop in Zootropolis, the titular city with its four climate-based hubs, ruled over by preening Mayor Lionheart (J.K.Simmons). However, despite coming all obstacles to pass first of her academy, buffalo Police Chief Bogo (Idris Elba) consigns Judy to parking meter duty and its only through the fortuitous appearance at the station of the Mayor’s sheepish assistant Bellwether (Judy Slate) reminding him of her boss’s mammal-inclusion initiative, that she’s given the job of investigating the disappearance of Mr. Ottetton, one of several predators that have gone missing. With only 48 hours to crack the case of reign, she ‘enlists’ the help of Nick Wilde (Jason Bateman), a laid-back con artist fox with whom she had an earlier run in. Together, and with a little help from Mr. Big, the shrew Godfather of Zootropolis, they uncover a dark conspiracy causing predators to revert to their original savage nature. Brilliantly animated, it marries its noir moods and police procedural narrative with sharp humour, most memorably so in Judy’s visit to the Department of Motor Vehicles staffed by sloths. Perfectly voiced, Judy and Nick make for a classic mismatched buddy cop teaming and their shared further adventures as the Starsky and Rabbit Hutch of the animal world are something to be eagerly anticipated. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Redditch, Star City)
Cineworld 5 Ways – 181 Broad St, 0871 200 2000
Cineworld NEC – NEC 0871 200 2000
Cineworld Solihull – Mill Ln, Solihull 0871 200 2000
The Electric Cinema – 47–49 Station Street, 0121 643 7879
Empire – Great Park, Rubery, 0871 471 4714
Empire Sutton Coldfield – Maney Corner, Sutton Coldfield
0871 471 4714
The Everyman – The Mailbox 0871 906 9060
MAC – Cannon Hill Park
Odeon Birmingham -Birmingham, 0871 224 4007
Odeon Broadway Plaza – 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 Redditch – Kingfisher Centre, Redditch 08712 240 240
Vue Star City – Watson Road, 08712 240 240