The Hitman’s Bodyguard (15)
Directed by Patrick Hughes, this brings together Ryan Reynolds and Samuel L Jackson for an empty but thoroughly entertaining variation on the mismatched enemies turned buddies road trip that involves the former’s bodyguard, Michael Bryce, and the latter’s hitman, Darius Kincaid, in a race against the clock to travel from Manchester to The Hague. The purpose being that Kincaid has been persuaded to give testimony at the war crimes trial of genocidal Belarus dictator Vladislav Dukhovich (a suitably evil Gary Oldman) in exchange for immunity and freedom for his imprisoned wife (Selma Hayek, marvellously ferocious and foul-mouthed in her few scenes). Since that means that, with the help of the inevitable Interpol traitor (revealed early as Joaquim de Almeid’s Assistant Director), Dukhovich’s thugs are out to ensure he never gets there, Bryce has been brought in to facilitate self-passage.
He’s less than enthusiastic since, as the prologue reveals, formerly Triple A-rated, he’s slipped considerably down the personal security food chain since one of his clients was popped after safely boarding a plane. He’s still good at his job, but he’s gone from top of the range Jags to battered jalopies and from top diplomats and arms dealers to Richard E Grant’s cameoing coke-dealing London businessman. On top of which, Kincaid has tried to kill him 28 times and , following an assault on the convoy transporting him, the Interpol agent whose enlisted him is Amelia Ryder (Elodie Yung), his former girlfriend whom he blames for selling him out on that airport job. The truth about which provides a particularly amusing reveal in a film that balances lethal and laughter in equal measure.
There is, naturally, an Interpol traitor (revealed Essentially, it boils down to a series of hops between cities (Coventry included) en route to the Amsterdam courtroom, including hitching lift with a busload of nuns, punctuated by constant banter between the two, innumerable shoot outs and action sequences and some particularly thrilling high speeds chances, most notably one involving Amsterdam’s canals, vans, a motorbike and speedboat.
Jackson provides the larger than life side of the pairing, Kincaid regarding himself as one of the good guys and proving to be a hopeless romantic at heart (a flashback reveals how he and Sonia met and bonded when she slashed a guy’s carotid in a Cuban bar-fight) as he offers relationship advice to wounded soul Bryce, Reynolds handling the deadpan sarcasm and dry quips (a particular gem being “This guy single-handedly ruined the word ‘motherfucker’”). His plays safe approach constantly undermined by Kincaid’s street-smart bull by the horns attitude.
The whole romance element is, frankly, fairly superfluous to requirements other than as motivation drivers, and, at the end of the day, it all comes down to the spark and interplay between the two stars, who are clearly having a lot of fun, and the frenetic, action-crammed energy with which it unfolds. It’s infectious. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza, West Brom; Showcase Walsall; Vue Star City)
The Dark Tower (12A)
When Robert Browning wrote his epic ballad Childe Roland to the Dark Tower Came he could have no idea that it, along with Arthurian legends, Lord of the Ring and Leone’s The Good, The Bad and the Ugly, would prove the inspiration for Stephen King’s eight part multi-genre series about the struggle between Roland Deschain, the last of the Gunslingers (read knights), whose sworn duty is to protect the Dark Tower, which stands at the middle of the multiverse protecting it from the demons and darkness seeking to enter and destroy it.
Nor could he have imagined what a lumberingly uninvolving and incoherent 95 minute feature director Nikolaj Arcel would make of the first volume which, compressing elements from the entire series, pits Roland (Idris Elba) against evil sorcerer the Man in Black, who he knows by the not entirely scary name of Walter (Mathew McConaughey). For reasons never properly explained, Walter (sniggerly surnamed o’Dim in the novel) is out to destroy the tower, to which end he’s using the Taheen, his rat-featured underlings, known as Skins because of their fake human faces, to abduct children from the other assorted worlds and use their latent psychic powers, termed ‘the shine’, as energy bolts.
On Earth, or keynote Earth, New York adolescent Jake Chambers (Tom Taylor) is having troubling nightmares involving, well, all of the above, which, of course, no-one, especially loving mom (Katheryn Winnick), and not so loving step-dad, believe. Jake, apparently is pure shine, and just what Walter’s been looking for. However, he manages to give his would-be captors the slip and discovers a portal that enables him to cross to Mid-World, a sort of feudal post-apocalyptic version of Earth, only to find his would-be hero in a depressive funk after Walter killed his dad (Dennis Haysbert), resigned to having lost the battle and the inevitable doom of the universe. No longer in the Gunslinger creed that ““He who shoots with his hand has forgotten the face of his father,” he just wants to kill Walter.
Naturally, Jake reignites Roland’s spark, leading to a rambling fantasy western narrative that variously crosses between the two worlds as cosmic good takes on cosmic evil. Despite the deaths of any number of characters, there’s no emotional tug to be felt nor does the developing son and surrogate father bond between the two unlikely allies much convince. Elba looks nifty in his leathers and gun belt, his gun apparently forced from the steel of Excalibur, but his mind never seems to be much engaged with the narrative (given the clunky dialogue. that’s hardly surprising), though, sporting spiky black hair, long coat and smug icy smile, McConaughey is clearly having a gleeful time, nonchalantly offing people by just telling them to stop breathing,. Despite being stuff with shine, Taylor, meanwhile, radiates almost no presence at all.
Indifferently directed and featuring equally indifferent CGI, there’s a couple of zippy shoot’em up sequences, but nothing to get overly excited about and, clearly the result of some desperate cutting room surgery, the film does pretty much nothing with the fleeting appearances of a couple of demons and a red cloud, before finally hobbling to its anti-climax and the overly optimistic suggestion that this is just the start of a series. If you really feel the need to see a King adaptation, wait for It. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
Everything Everything (12A)
Diagnosed with Severe Combined Immunodeficiency Disease as a todder, following the accident that killed her father and brother, African-American Maddy (Amandla Stenberg) has spent most of her 18 years inside her home, cared for by her protective doctor mother, Pauline (Anika Noni Rose) and longtime nurse Carla (Ana de la Reguera), having no contact with the outside world other than Carla’s daughter Rosa (Danube R. Hermosillo), as she’s unable to venture outside less exposure prove fatal.
Then, one day, they get new neighbours, specifically Olly (Nick Robinson), a good-hearted white teenager who dresses in black (she, mostly in white) and has problems with an abusive father. The pair strike up a friendship from their windows and through texts and, without her mother’s knowledge, Maddy persuades Carla to allow him into the house so they can meet in person. The idea is for them to keep their distance, but inevitably attraction leads to to a 4th of July kiss, romance and further secret meetings. However, when an incident sees Maddy running outside to Olly’s aid, realising what’s been going on, her mother puts her foot down and bans further contact. Of course, love and concern for personal safety do not necessarily go hand in hand, determining that there’s no point being alive unless you’re actually living, Maddy embarks on a plan that will have life-changing consequences.
Adapted from Nicola Yoon’s fairy-tale inspired young-adult romantic novel and directed by Stella Meghie, who punctuates proceedings with several excursions into Maddy’s fantasies (based on the architectural models she builds and including a symbolic astronaut figure), this has its target audience firmly delineated. One which, seduces by the likeability of the two leads and the naturalness of the chemistry between them, is unlikely to pick apart the implausibilities or question the credibility of a twist that’s not exactly difficult to see coming. (Cineworld NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza; Reel; Showcase Walsall; Vue Star City)
An Inconvenient Sequel: Truth To Power (PG)
In 2006, An Inconvenient Truth saw former Vic President Al Gore essentially delivering a Powerpoint lecture, albeit a compelling one, about global warming and climate change. Eleven years later, he returns with an equally compelling and statistics-fuelled, but more documentary-like, look at the ongoing environmental crisis, travelling around the globe to meet and talk to those at the sharp end, including trainees in his programmes to combat change, such as those in the Philippines trainees dealing with the devastating 2013 typhoon, post-Katrina New Orleans and Florida where streets were flooded with fish.
The pivotal point is his successful attempt to get India to sign up to the 2016 Paris agreement. although, as it timely manages to include, Donald Trump has, of course, come along and jammed a very big spanner in the works with his advocacy of fossil fuels. Even so, despite the naysayers at home and abroad, the film feels more hopeful than its predecessor in its indication that political leaders can come together and what the results can be. (Cineworld 5 Ways; Empire Great Park, Sutton Coldfield; Vue Star City)
47 Metres Down (15)
Director Johannes Roberts works up a definite sense of tension, but this is ultimately a ho hum contribution to the menaced by sharks genre, one that delivers an audacious but ill-advised (if clearly signalled) twist in the final moments. Having been dumped by her boyfriend for being too boring, Lisa (Mandy Moore) has been taken by her free spirit sister Kate (Claire Holt) on holiday to Mexico. Here they hook up with a couple of local lads who persuade them have don scuba gear and descend into the ocean in a cage to get up close with some great whites.
Given the low rent nature of both their adventure operator (Matthew Modine) and his ramshackle boat, it’s no surprise when the winch fails, sending the two girls plummeting 47 metres to the ocean floor, putting into motion a race against the clock to get rescued before the air in their tanks runs out. Roberts manages to drag this out for a decently tense hour, mining the silent dark of the underwater location and with judicious use of the sharks as an unseen presence and the shock value when they do appear (particularly effective when suddenly illuminated by a red flare). Unfortunately, the girls’ faces and expression largely hidden by the masks, the time’s also filled with long bouts of dialogue along the lines of “it’ll be all right”, “don’t leave me alone”, “the shark almost got me!” and, inevitably “I’m almost out of air” and “I’m so scared we’re going to die down here.” Given the already two-dimensional characterisation, it might have been a much better idea had their radio mics malfunctioned too. It does the job well enough, but this is no Shallow Water. (Vue Star City)
All Eyez On Me (15)
On September 13, 1996, aged 25, Tupac Shakur, actor and a rap superstar, was gunned down in his car while waiting at an intersection. His killers have never been found and his story has already been told in numerous documentaries, most notably Nick Broomfield’s Biggie & Tupac which charted the friend to feud relationship with Biggie Smalls, himself gunned down.
He’s also figured in assorted rapper biopics, among them The Notorious B.I.G and, more recently, Straight Outta Compton, F Gary Gray’s film about N.W.A. He now gets his own, named after his fourth album, directed by Benny Boom and starring convincing lookalike Demetrius Shipp Jr. But, despite a solid lead performance, Boom is no Gray and this is no Compton.
Much is clunkily recounted through flashbacks during a 1995 TV interview while he’s doing time after being convicted of the illegal touching of a woman who claimed he and members of his entourage raped her, essentially serving up a wedge of exposition that begins with his East Harlem childhood, the son of Black Panther activist Afeni Shakur (Danai Gurira), her fellow activist Mutulu Shakur (Jamie Hector) being his stepfather. A series of further flashbacks take us through his growing up, his distancing from his mother as she descends into drug addition, his platonic Baltimore School of friendship with Jada Pinkett (Kat Graham) , his initial exploration of rap poetry, his emergence onto the scene via the Digital Underground and his breakthrough with 2Pacalypse Now.
It’s all rather rote in both the way it unfolds and is told, charting his ascendency to the superstar ranks, his embracing of the hedonistic lifestyle that goes with the territory, his ill-advised signing with Suge Knight (Dominic L. Santana) after his release from prison and the feuds with Biggy (Jamal Woolard, who also played the character in Notorious) and Snoop Dogg (Jarrett Ellis).
But, given the huge amount he packed into a short life, the film ends up feeling just like a series of visual sound bites, checking off assorted incidents and episodes (and missing out a fair few too, like his first prison sentence and marriage), while ensuring to keep the hagiography glowing even while acknowledging Tupac’s more negative traits, not least a somewhat combustible temper. The recreations of the videos and live shows are first rate and a soundtrack that rolls out such hits as Hit Em Up ,Who Shot Ya? and the crossover breakthrough California Love ensures its always pumped, but, while it may be true, it’s a familiar and much told story, but messily, sketchily and uninspiringly delivered here with little of the passion or insight it needs and deserves. (Showcase Walsall; Vue Star City)
Annabelle : Creation (15)
A second attempt to establish a franchise for The Conjuring spin-off, Lights Out director David F. Sandberg scores in relying on old-school horror tactics with half-glimpsed figures, shadows, doors opening of their own accord and teasing the audience with anticipation that’s not always fulfilled. This goes back to the 1950’s origins of the devil doll, as 12 years after their beloved daughter Bee (Samara Lee) is killed in an auto accident, former doll maker Sam Mullins (Anthony LaPaglia) opens up the rural California farmhouse he shares with his mysteriously invalided wife (Miranda Otto) to serve as an orphanage for a group of young Catholic girls and their accompanying nun, Sister Charlotte (Stephanie Sigman).
Central to the narrative are young best friends Linda (Lulu Wilson) and Janice (Talitha Bateman), the latter in a leg brace after being stricken with polio. Shut out by the older girls, they end up sharing room to themselves, next to a door which, Mulls advises them, is locked and will stay that way. So, naturally, when, one night, Janice is awoken by someone slipping a note under the door bearing the words ‘find me’ (the same game the dead daughter played with her parents) and finds the forbidden room unlocked, she duly enters and discovers a white-frocked wooden doll locked in a cupboard. From which point, things start to get even more creepy with the doll mysteriously shifting locations (though you never actually see it move), scary noises and, eventually, Janice coming face to face with the dead daughter, who, naturally turns out to be a demon in disguise (the back story’s explained towards the end) which wants her soul.
The film makes effective use of the set and lighting design to build the tension, plus, of course, the soundtrack, as Janice draws ever closer to her ultimate fate (as detailed in previous instalments, to which the coda provides a direct link), Curiously, the film does little with its religious elements as regards the possession theme and is, at times, a little too cryptic for logic but, by placing two resourceful but nevertheless still young and vulnerable children (very effectively played Bateman and Wilson, respectively seen in Nine Lives and Ouija: Origin of Evil) at the centre of the gathering horror, it adds to the suspense it seeks to evoke. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
Atomic Blonde (15)
Doctor Who notwithstanding, the chances of there ever being a female 007 seem pretty slim. But now there’s no need, Charlize Theron makes the whole question redundant in this adaptation of Antony Johnston’s graphic novel, The Coldest City. She plays Lorraine Broughton, an MI6 agent who is pretty much the dictionary definition of cool. Not to mention lethal. Set in 1989, in the days prior to the tearing down of the Berlin Wall, events are framed by a debriefing of a bruised and battered (but still ice cool) Broughton by her handler, Eric Gray (Toby Jones) and his CIA counterpart (John Goodman) regarding her recent mission to Berlin. Her ostensible purpose was to retrieve a list of operatives hidden inside a wristwatch stolen from a fellow agent, seen being bumped off by a KGB hitman in the opening sequence, and prevent it falling into the wrong hands and extending the Cold War, but also to unmask a double agent known as Satchel, whose identity could well be on the list.
As such, she’s supposed to work with the head of the Berlin station, David Percival (James McEvoy), except he, as Gray puts it, has gone ‘feral’ and clearly has his own agenda involving the source of the list, a Russian defector, codenamed Spyglass (Eddie Marsan), who has it committed to memory. Advised, rather unnecessarily given her cynicism, by MI6 chief C to trust no one, the mission inevitably becomes both complex and increasingly dangerous, with an inevitable plethora of double crosses and violent repercussions. All of which involves along the way a brutal KBG boss (Roland Møller) and his psychotic henchmen, a young dissident (Bill Skarsgård) who heads up a resistance network, an enigmatic watchmaker (Til Schweiger) and a rookie French agent (Sofia Boutella) with whom Broughton has some hot girl on girl action. On top of which, the people of East Berlin are flooding the streets in the ongoing protest and resistance to Communist control.
Helmed by John Wick co-director David Leitch, it grabs you by the balls and never lets go until the end, the energy and intensity bolstered by a bass throbbing, amped up soundtrack that papers the film with the likes of Blue Monday, Cat People (Putting Out Fire), 99 Luftballons and I Ran, not to mention the atmospheric use of lighting and camera angles. Needless to say, the script has more twists than a double-jointed, contortionist pole dancer
Effortlessly and compellingly flowing through the narrative, building on the casual sociopathic qualities evidenced in Split, McEvoy keeps the audience guessing as to which way he rolls in terms of loyalties. But there’s no doubt as to whom the film belongs. Dressed in predominantly black-and-white, an intense and steely-focused Theron, on a roll after Mad Max revived a somewhat stagnating career, is electrifying as Broughton who, even if her style (like some of the futuristic settings) at times seems rather at odds with the period, plays by her own tightly defined rules that demand no emotional involvement and the ability to dish out gymnastic martial arts moves and bullets with the best, not least in a brilliantly staged apartment to staircase fight with two Stasi goons. Blondes clearly have more fun. (Cineworld 5 Ways, NEC, Solihull; Electric; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
Baby Driver (15)
His first film since polishing off the Three Cornettos trilogy with World’s End in 2013, writer-director Edgar Wright turns his attention to lovingly subverting the car chase/heist movie with what he’s described as “a car film driven by music”, the scenes built around the songs rather than the songs added later. It hinges on a gimmick with a plot that puts a spin on the familiar one last job scenario and stars Ansel Elgort as man of few words Baby who, thanks to an ill-advised car theft, now finds himself in debt to acerbic, smooth criminal mastermind Doc (Kevin Spacey) who’s enlisted his skills behind the wheel to serve as his regular getaway driver for whatever bank job his ever-changing gang are pulling off.
The twist is that, as a result of the car accident that killed his mother when he was a kid, Baby suffers from tinnitus, a ringing in the ears, which he drowns out by constantly listening to music on his headphones, and which he synchronises to the time taken for his manoeuvres. This is, however, really just an excuse for Wright to serve up his answer to the Guardians of the Galaxy’s mix tapes since listening to the music has nothing to actually do with his driving skills and, in the several scenes where he doesn’t have the earphones plugged in, there’s no indication that the tinnitus affects his ability to function in any way. But, really, who cares when you’re watching him tearing up the city streets, avoiding the pursuing cops, to the strains of anything from The Damned’s Neat Neat Neat and Bellbottoms by Jon Spencer Blues Explosion to Golden Earring’s Radar Love and Focus’ Hocus Pocus.
The first of the heists teams him with Buddy (Jon Hamm), his sexy wife Darling (Eiza Gonzalez) and the surly Griff (Jon Bernthal), whose sceptism about Baby sets up the scene that lets us know he can lip read too. The second heist introduces a new crew, among them the psychotic Bats (Jamie Foxx) who doesn’t trust anyone, let alone some kid with an iPod, and sets up an hysterically inspired mix up involving confusion between Michael Myers and Mike Myers masks. Between jobs, however, Baby’s met diner waitress Debora (Lily James), naturally prompting burst of Tyrannosaurus Rex, and, while not letting on what he actually does, the pair fall in love in the laundromat and make loose plans to hit the open road together. He is, after all, now free of any debt to Doc. But not, it would appear of Doc who regards him as his lucky charm and insists on him doing the proverbial one last big job, knocking off a post office to steal a fortune in money orders.
For this one, he’s reunited with Buddy and Darling who are also joined by Bats and, as you’ll doubtless have guessed by now, it doesn’t go smoothly, leaving them on the run with Baby burning with rage and his, Debora and his invalided deaf foster father’s lives under threat.
Naturally, the film’s stuffed with movie homages and references (among them Heat, Reservoir Dogs and even Monsters Inc while the courtroom scene features the voice of Walter Hill, director of 1978 classic The Driver) as well as music, but they never get in the way of the storytelling, the burning rubber thrills or the emotional heft. Hamm and Foxx subvert their usual good guy roles (the latter has a particularly inspired exit), Spacey does his familiar dry menace to perfection (but turns out to have a surprising sentimental streak) while James is just perfect as Debora, the chemistry between her and Elgort everything a meet cute could ask. However, it’s Elgort who, whether behind the wheel or dancing through the streets, carries the film, often called on to do little more than give a quizzical, knowing look.
Arguably, the coda feels a touch tacked on, but given the unbridled adrenaline flooding the screen during the many highly choreographed car chases, the bristling tension when the gang gather in the diner, unaware of Baby’s connection to Debora, and such idiosyractic touches as Baby recording conversations between the gang members to make mash up music mixes, you can forgive it anything. Its engines feel just great. (Odeon Broadway Plaza; Showcase Walsall; Vue Star City)
The Big Sick (15)
Taking self-reflexiveness to the extreme, Pakistani-born Chicago Muslim Kumail Nanjiani and his wife, Emily Gordon, not only co-wrote the screenplay of the true story of how he and his wife got together, but he also plays himself opposite Zoe Kazan as Emily (here Gardner). Working as a cabbie while trying to make his name as a stand-up comic, Kumail meets the equally deadpan Emily, a recent graduate, when she heckles him at one of his shows. Although neither is actively seeking a relationship, a tentative romance develops and, charted through evenings watching horror B movies, all is going well until Emily discovers a box of photographs of women in his room. These, it transpires, are the girls his conservative-minded mother (Zenobia Shroff) has been having ‘drop by’ for dinner since like herself and fellow immigrant husband (Anupam Kher) and her other son, Naveed (Adeel Akhtar), and his wife, Fatima (Shenaz Treasury), she expects him to follow tradition with an arranged marriage. Kumail dutifully goes along with her arrangements, but, just as he pretends to pray in the basement, it’s all a charade. When he tells Naveed he’s dating a white girl, he’s reminded that their cousin was disowned by the family for doing the same thing.
However, knowing what he risks losing whatever decision he makes, before he gets a chance to work out what to do or explain things, Emily storms out and the next thing you know he finds she’s in hospital in a medically-induced coma witha rare lung condition. Which is where she remains for the movie’s middle act, during which time it introduces her parents, no-nonsense Beth (Holly Hunter) and the more acquiescent Terry (Ray Romano), the former understandably angry at the way he’s treated her daughter. But, as they all attend on Emily as her condition gradually worsens, the hostility defuses and they and Kumail begin to bond. As it turns out, her parents also have a relationship problem. Given the film’s background, it’s no spoiler to reveal Emily eventually wakes up and the couple get back together, but it’s the fraught journey between those two points and the reactions of Kumail’s family that provide the poignant fuel for the third act.
Alongside all this is the subplot involving Kumail and his fellow stand-ups, CJ (Bo Burnham), Mary (Andy Bryant) and room-mate Chris (Kurt Braunohler) looking to be selected for the upcoming Montreal Showcase and well as Kumail’s awkward one-man show about Pakistani culture.
Reminiscent of 2014 documentary Meet The Patels, which detailed a similar culture clash scenario (without the coma), founded on superb performances throughout, its balance of comedy and drama is confidently directed by Michael Showalter . Both poignant and sharply funny, daringly introducing terrorist and even 9/11 jokes while exploring notions of identity, family, religion, racism and integration alongside its core love story and, if not endorsing Kumail’s parents’ traditional views, at least empathising with them. Veined with an optimism that love actually can conquer everything and the observation that life, like stand-up, is about constant improvisation, it’s easily one of the year’s best. (Vue Star City)
Captain Underpants – The First Epic Movie (U)
Having bonded over hearing the word Uranus as tots, first graders George (Kevin Hart) and Harold (Thomas Middleditch) are firm friends with a mission to enliven school boredom with wild pranks. However, finally caught in the act by joyless principal Mr. Krupp (Ed Helms), they face being put in separate classes to end their friendship. To prevent this, George uses a toy hypno-ring from a cereal box to make Mr. Krupps think he’s really Captain Underpants, the decidedly dumb superhero character in red cape and white pants with a “Tra La Laaaa!” catchphrase in the comics they create together. Naturally chaos follows as he keeps switching between nice and nasty (the change triggered by splashes of water. However, with the arrival of their new Einstein-lookalike mad scientist teacher (Nick Kroll), who, with the help of humour-challenged (“Like a chair, or a supermodel!”) class nerd Melvin, is determined to ride the world of laughter after being ridiculed because of his name, maybe, together, they can save the day and transform Krupps (who’s really just lonely) into a more pleasant person as well.
The fact that Kroll’s character is named Professor Poopypants should tell grown-ups not familiar with Dav Pilkey’s best-selling books what to expect from this animated big screen adaptation. The better news is that, although clearly aimed at the immature humour of seven-year-olds with its giant robot toilet with a smattering of subversive adult jokes, it’s also an enjoyably good-natured silly gigglefest about the power of friendship and laughter. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; MAC; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
Cars 3 (U)
After the underevved Cars 2, Pixar shifts back up a gear as past his prime race car champ Lightning McQueen (Owen Wilson) is dethroned by Jackson Storm (Armie Hammer), one of the new generation of faster, more hi-tech models with their number-crunching strategies. Following a nasty crash, it seems his track days are over, but, with the help of Cruz Ramirez (Cristela Alonz), a young female trainer at the revamped state of the art Rust-eze Racing Centre run by his sponsor, Sterling (Nathan Fillion), Smokey Yunick (Chris Cooper), the repair truck of his former mentor, Doc Hudson and the support of loyal buddies like Luigi, Guido and goofball tow truck Mater, the humiliated McQueen trains hard to learn the tricks he needs to beat Storm in the Florida 500, getting back to his roots after a disastrous VR session, by taking part – anonymously and not entirely successfully – in a demolition derby.
Carrying a believe in yourself message, this is very much a passing the torch story (Cruz never had the confidence to be a racer herself) and, while it lacks the emotional edge of the first film, it is sufficiently warm, funny and inspiring enough to make it to the finish line. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
Despicable Me 3 (U)
The third (fourth if you count the Minions spin-off) in the animated series finds itself having to work hard to keep the spark going. Following their failure to capture 80s-obsessed washed-up Hollywood child star turned criminal, Balthazar Bratt (Trey Parker), Gru (Steve Carrell) and wife Lucy (Kristen Wiig) are fired from their jobs as Anti-Villain League agents and, when he refuses to return to his super-villain ways, all but two of the Minions walk out on him too. His depression’s lifted when he learns he has a twin brother, Dru (Carrell), the pair apparently being separated when their parents (Julie Andrews voices their sour mom) divorced. The super cool Dru, who wears white in contrast to Gru’s black (cue a clever Yin/Yang symbol gag) not only has blonde hair but is a fabulously rich pig farm owner, but what he wants most is to follow in his brother’s – and as it turns out – father’s footsteps and become a villain. Seeing this as a chance to recover the world’s biggest diamond, which Bratt has now stolen, and finally capture him, Gru pretends to go along with the idea, he just doesn’t tell Lucy.
The problem is that film’s split into three storylines. Gru and Dru’s assault on Bratt’s HQ, the quest by Agnes, the youngest of Gru’s young foster daughter, to find a unicorn, and the misadventures of the Minions (who wind up in and escaping from prison), as well as Lucy trying to get a handle on this mom thing, the disparate characters finally coming together as Bratt, in his giant size Bratt doll, seeks to send Hollywood into space on giant bubblegum balloons. Switching between them all rather saps the film’s energy.
There’s some inspired touches, Bratt pulls off his heists to 80s tunes by the likes of Michael Jackson and Van Halen, there’s a dose of sentiment in the scenes with the three girls, and it always looks good, but the jokes are fewer and more far between this time round. Once again, the Minions steal the film, most notably with their gibberish performance of Gilbert and Sullivan’s I Am The Very Model of a Modern Major General from The Pirates of Penzance, and, while this will undoubtedly keep the kids amused, it may be time for Gru to retire and let his yellow accomplices take over keeping the franchise alive. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; MAC; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
His shortest feature at a concise 106 mins, Christopher Nolan has executed a technical if not necessarily emotional triumph in his account of the evacuation of British troops from Dunkirk in 1940 with the help of a flotilla of small privately-owned vessels, dubbed Operation Dynamo, following their collapse under the German offensive.
Essentially, this is more about the operation itself, and splitting the narrative into three interconnected stories (and, indeed, time frames), on land, sea and air, means there’s only limited engagement with any of the characters involved. Unfolding over the course of a week, we’re first introduced to one of the soldiers, the generically named teenage Tommy (Fionn Whitehead) as he narrowly escapes German bullets (in a departure from the usual war films, the enemy are never seen other than as aircraft and two blurry figures in the final scene) to make it to the beach where the British Expeditionary Force troops (some 400,000 in all) are awaiting a miracle. Hooking up with another soldier (Aneurin Barnard), they initially manage to get aboard a rescue ship berthed at the jetty by stretchering a wounded soldier, only for the ship to be sunk, leaving them back where they started.
Very much evoking 40s wartime features, the sea section, which takes place over one day, begins back in England with Mr. Dawson (Mark Rylance), a local civilian skipper, his teenage son Peter (Tom Glynn-Carney) and, seeking to prove himself, enthusiastic schoolfriend George (Barry Keoghan) setting sail for Dunkirk to help with the rescue. En route they rescue an unnamed shellshocked sailor (Cillian Murphy) from the wreck of his torpedoed ship, his reluctance to return to Dunkirk setting up a subsequent tragedy.
The air section, which covers just one hour, involves two Spitfire pilots (Tom Hardy, Jack Lowden) as. mostly behind oxygen masks, they take on the Messerschmitts and Heinkels wreaking havoc on the troops and ships, the three time scales coming together for the final moments as Dawson’s boat heads towards a bombed minesweeper while Tommy and a fellow soldier (singer Harry Styles acquitting himself well) flounder in the sea after their appropriated trawler, strafed by the unseen enemy as target practice, sinks. Rounding out the cast, Kenneth Branagh gives a quietly impressive performance as the highest-ranking naval offer at the scene, while James D’Arcy is his opposite number in the Army
As ever, making very effective use of sound design, especially in the opening gunshot moments, and keeping the dialogue sparse and to the point, Nolan delivers massive spectacle (no less than three ships sink, spewing survivors into the waves), but without feeling the need to offer the visceral graphics of a Saving Private Ryan (indeed, there’s almost no blood to be seen), tightly winding up the tension which, even if it circumvents the heart, has a firm grip on the nerves.
The film is largely shot in 70mm which, should you be fortunate to have a cinema capable of screening it as such, gives it an extra sense of immersion and depth, but whatever the format, this is the work of a master, if perhaps slightly clinical, filmmaker and stunning stuff. (Cineworld 5 Ways, NEC, Solihull; Electric; Empire Great Park, Sutton Coldfield; Everyman; MAC; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
The Emoji Movie: Express Yourself (U)
Basically, Inside Out in a Smartphone with a dash of Divergence, without the poignancy or existential philosophising. The son of the morose Mel (Steven Wright) and Mary (Jennifer Coolidge) Meh, young Gene (T.J. Miller) is about to make his debut in the Cube as the new indifferent emoji. However, unable to control the fact that he’s actually happily upbeat and not limited to one expression when selcted, everything in Textopolis goes into meltdown, with Cube controller Smiler (Maya Rudolph) declaring him a malfunction and ordering his deletion. To which end, he and out of fashion emoji Hi-5 (James Cordon) recruit hacker Jailbreak (Anna Faris), who, it turns out has her own secret, to help him navigate the apps (Spotify, YouTube, etc), avoid the Internet Trolls and getting lost in the Trash, escape into the Cloud and get reprogrammed so he can fit in. All the while trying to avoid the illegal upgrade malware Smiler’s sent to eradicate them. Meanwhile, the phone’s owner, high schooler freshman Alex, whose texts to his crush, Addie, keep going awry, decides to have it wiped and reset, prompting the obligatory race against the clock.
Retreading the message about being who you are, individuality and not being defined by one trait, as well as the usual stuff about friendship, it’s a colourful affair populated with dozens of familiar emojis, among them Poop (Patrick Stewart) and Akiko Glitter (Christina Aguilera), allowing for any number of groan-inducing puns, although the comments about how emojis and texting limit real communication seem at odds with the film’s concept per se. It may not be deep, but it’s undeniably fun. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
England Is Mine (15)
This is director Mark Gill and co-writer William Thacker’s biopic of the pre-Smiths life of one Stephen Morrissey (Jack Lowden) and his getting together with Johnny Marr (Laurie Kynaston). However, given the fact they couldn’t get the rights to any of the band’s music, it essentially stops just when the story gets interesting and there’s very few scenes of the two together. It’s a bit like recalling how Lennon and McCartney met, but stopping before they started writing together or formed The Beatles. And, let’s be honest, Morrissey and Marr aren’t really as interesting as Paul and John.
So, what you get is a lot of Morrissey angst and bouts of depression growing up in 70s Manchester with his supportive mom Betty (Simone Kirby), even if it ignores the fact that, a librarian, she encouraged his literary interests along with artist friend Linder Sterling (Jessica Brown Findlay) and bandmate Billy Duffy (Adam Lawrence) , whose moves to London he saw as a betrayal and abandonment. Given Morrissey’s fame has faded considerably over recent years and his dubious pro-Brexist political views and contentious Islamic statements, quite how many will be beating a daffodil to the cinema door is open to question. (Electric)
Girls Trip (15)
At times feeling like an exercise to prove that African-American women getting together for a riotous weekend can be every bit as filthy – yet also poignant – as Bridesmaids or the Hangovers series, this brings together Queen Latifah, Jada Pinkett Smith, Regina Hall and newcomer Tiffany Haddish as four college friends back in the 90s (somewhat stretching credibility given the age differences), the infamous Flossy Posse, who’ve not seen each other for five years, having lost touch as they’ve followed their separate lives and careers. Ryan Pierce (Hall) has become a best-selling self-help author in partnership with her retired NFL hero husband Stewart (Mike Colter); former top Times journalist Sasha (Latifah) now runs a failing scandal blog after a business partnership with Ryan fell through when she got into bed with Stewart instead; Dina (Haddish), a libido-rampant hot-head with no filters, is recently unemployed after assaulting a co-worker for using her cup; and, once a wild child, Lisa (Pinkett Smith) is now a divorced romance-challenged mother of two nurse who lives with her mother.
The four are reunited when Ryan invited them to join her at the upcoming Essence Festival in New Orleans where she’ll be the keynote speaker on female empowerment and where her agent, Liz (Kate Walsh), is looking to close a deal that will set up her and Stewart with a lucrative product line and talk show. This is being sold on her You Can Have It All ethos and her perfect marriage. Except Sasha has a paparazzi shot of Stewart cheating with Instagram model Simone (Deborah Ayorinde), an affair Dina can’t stop herself revealing to Ryan. As it turns out, she’s aware of it and argues that the pair of them are working things out, so why let it spoil their weekend, although Dina’s haranguing of Stewart has got them thrown out of their five star hotel and shacked up in a cheap flea pit where some leary old bloke in search of his regular hooker flashes himself at the window. That’s just the first of many many moments involving male genitalia, either in reference, in the flesh or through Dina’s simulation of the, ahem, grapefruit technique (if you don’t know, don’t ask).
Essentially a vulgarity-enhanced black riff on Sex and the City, although intermittently taking time out to address friendship bonds, relationship cracks and lost self-belief, the bulk of this wildly overlong largely entails moving from one crude or rowdy sequence to the next. Some of these, such as the girls tripping on absinthe at a nightclub, are hilarious, others, such as Pinkett Smith urinating on a crowd while hanging from a trip wire between a New Orleans street are decidedly not.
The plot is as formulaic as the characters are generic (Haddish is basically the female equivalent to Zach Galifianakis’ overbearingly irresponsible character in The Hangover), but the four leads give a cocktail of ebullient and nuanced performances above and beyond such tired clichés (there’s even a dance off), Pinkett Smith especially good.
En route to its sentimental happy ending, it’s symptomatic of the film’s ‘noise’ that director Malcolm Lee feels the need to stuff it to overflowing with cameos from the likes of Common, Sean Combs, Mike Epps, Ne-Yo, Morris Chestnut and, clearly with more tolerance than The House filmmakers, even a brief glimpse of Mariah Carey.
Some it works, a lot of it doesn’t and you have to ask whether a comedy with a white director and cast could ever have gotten away with the liberal use of the N word like this does and, a mark of its uneven nature, it undermines its feminist principles when it seems to say that all women need to get them out of a funk is big dick. Still, cheaper than a pair of Manolo Blahniks I guess. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza; Showcase Walsall; Vue Star City)
A Ghost Story (15)
It’s a fickle world. One minute you’re winning Oscars, BAFTAs and whatever else for a slow moving meditation on grief and the next your latest film, a slow moving meditation on grief, is being dumped with a limited release and almost no publicity. There again, this was never intended as a mainstream feature. Reteaming Ain’t The Bodies Saints stars Casey Affleck and Rooney Mara, director David Lowery explores grief and loss in the story of a nameless married couple who have moved home for a new start. But then he’s killed in a car crash only to return in the traditional Halloween representation of a ghost as a white sheet with two black cut-out eyes, turning up in the corner of the living room and elsewhere, even when Mara moves out and a new family take over the house. An experimental work that features a lengthy single take of Mara eating pie left by a friend, it’s a compelling study in how life – and sadness – goes on, for the dead as well as the living as they attempt to come to terms with their new situations. (Electric; Vue Star City)
Director Aisling Walsh’s biopic of Canadian Folk Artist Maud Lewis, unfolds in 1930’s rural Nova Scotia to tell the story of her overcoming crippling arthritis, small town malice, her position as housekeeper for grouchy fisherman Everett (Ethan Hawke), and subsequent unconventional marriage, living in a run down one-room shack without running water or electricity, and through the friendship of Sandra (Kari Matchett), her blossoming as a painter of kittens, tulips and the like that brought her acceptance and minor celebrity status. Very much a vehicle for Sally Hawkins who gives one of those disability-led performances (physical, facial and verbal tics) the Academy loves. (MAC)
The Nut Job 2: Nutty By Nature (U)
The original 2014 animation about a bunch of critters living in a park and their search for food was amiable enough, but surely didn’t warrant a second trip. Which no doubt explains why it’s proven a box office disaster. Perhaps most notable for the fact that the fart gag in the trailer isn’t actually in the film itself, this is a largely joyless and laugh free affair in which everyone dashes maniacally about when, the Nut Store having exploded, and the lifetime of nuts along with it, the animals are forced to return to the park, only to see it torn down and dug up by the corrupt city mayor and a ramshackle amusement park erected in place of the trees and grass. The film basically entails the fight by the animals, led by Surly the squirrel (Will Arnett) and his mute rat buddy, to regain their home while romantic interest squirrel Andie (Katherine Heigl) keeps admonishing him about how they should get back to their natural instincts and forage for food rather than taking the easy option.
There’s very little inspiration or flair in evidence, the best bits being a subplot in which slobbering pooch Precious (Maya Rudolph) is abducted by the mayor’s brattish daughter and forms a bond with her put-upon bull dog Frankie (Bobby Canavale) and the spirited contribution of Jackie Chan as Mr. Feng, a martial arts city mouse who leads an army of similarly garbed rodents who come to the aid of Surly and co. Among the laboured gags and repetitive plot there may be just enough to satisfy undemanding six-year-olds, but otherwise these nuts are decidedly stale. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
Basically a lower budget Fast and the Furious knockoff (the writers also penned 2 Fast, 2 Furious) about two luxury car thief half-brothers (Scott Eastwood and Freddie Thorp) who, hired to steal a Bugatti 1937, head to the the south of France and fall foul of its owner, who happens to be the local crime boss (Simon Abkarian). In exchange for sparing their lives, he wants them to steal a 1962 Ferrari 250 GTO, from his arch rival, to which end they need to assemble a team, their respective girlfriends (Ana de Armas, Gaia Weiss) among them. Excited? No, thought not. (Cineworld NEC; Empire Great Park)
Spider-Man: Homecoming (12A)
The third actor to play the webslinger on the big screen, Tom Holland made his debut cameoing in Captain America: Civil War, and this latest reboot is set a few months after those events. It opens, however, in the wake of the first Avengers movie as, mid-way through salvage work, New York contractor Adrian Toomes (Michael Keaton) is told all such operations involving alien material now comes under Damage Control. Still, he and his crew have stowed away enough to go into the super-weapons business, which is where we pick up events eight years later (no Spidey origin stories here). On a high after helping out The Avengers, making his own web diary footage of events to revel in on playback, gawky 15-year-old Queens high schooler Peter Parker (Holland) is keen to see more action in his Stark ‘internship’, but, with Happy Hogan (Jon Favreau) as his babysitter, is advised by Tony (a typically snarky Robert Downey Jr) to keep his super-heroing on a neighbourhood level, although he does get a new hi-tech suit (with its very own Jarvis in the vocal form of Jennifer Connelly) to go with the job, even if he has no idea what all its powers are or how to use them.
As such, things toddle along with his handling petty crime and helping out old ladies until he stumbles on a heist with a gang using alien-technology weapons. This, in turn, leads him to track down the suppliers and run foul of Toomes who now sports a pair of armoured flying wings (he’s essentially The Vulture, but is never really referred to as such until the end), and, although warned off from getting involved by Stark, climaxes in a near disaster aboard the Staten Island Ferry (in a sequence that mirrors Tobey Maguire saving the elevated train in the original movie) that requires Iron Man to come to the rescue and take back the suit.
On top of all this, Peter’s having to deal with the usual high school problems, such as the class bully, Flash Thompson (Tony Revolori), and the senior on whom he has a crush, Liz (Laura Harrier), but is too shy to say anything. Plus the fact that he’s accidentally revealed his secret identity to science partner and equally geeky best buddy Ned Leeds (Jacob Batalon) and that his webslinging heroics force him to both duck out on the Academic Decathlon (he’s busy saving the other students in the Washington Tower) and, finally going places with Liz, the homecoming ball. And now he’s stuck with his old homemade suit too.
It’s a little ADD in the early going, reflecting Peter’s uber-enthusiasm and desire to impress Stark, but it soon settles down into a solid and, importantly, hugely entertaining fanboy addition to the Marvel Universe. Although things have been tweaked, there’s still plenty of familiar notes from the comics, including a new spin on MJ (a dry, scene stealing Zendaya), a much younger Aunt May (Marisa Tomei), nods to the many variations the costume’s been through and even the theme from the animated 60s TV series, not to mention a tease of Maguire’s famous upside down kiss.
Holland brings a likeable wide-eyed boyish glee as well as a disarming vulnerability to Parker, regularly screwing up but always getting back on his feet, while Keaton, who, like Doctor Octopus, is a human-scaled villain with mechanical appendages and a moral ambiguity, is menacingly compelling and, essentially a victim of the Avengers fall-out himself, comes with a truly unexpected kick of a twist. Downey Jr and Favreau reprise their familiar shtick and the film also finds room for cameos by Gwyneth Paltrow’s Pepper Potts and, albeit by way of school training videos, the now disgraced Captain America. Filling out the supporting cast, Martin Starr makes the most of his scenes as the Decathlon coach and Bokeem Woodbine does duty as one of Toomes’ crew aka the Shocker. Climaxing in a mid-air battle atop an Avengers jet, it may ultimately resort to the usual super-hero tropes, but getting there is a whole web of fun. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza; Reel; Showcase Walsall; Vue Star City)
Valerian And The City Of A Thousand Planets (12A)
Billed as the year’s biggest and best 3D spectacular, Luc Besson’s space opera adaptation of the classic French sci fi comics that influenced Blade Runner, Star Wars and Avatar is bigger on style than substance.
The international space station having grown far beyond its original intentions to become a vast sprawling megopolis populated with hundreds of different human and alien species has been set adrift to wander the universe. Some 400 years later, things are amiss and there’s some sort of red zone at its heart that would seem to threatening its existence. To which end, government operatives Valerian (Dane DeHaan) and his lower ranked partner Laureline (Cara Delevingne) are charged with recovering some mysterious stolen property which, it transpires, is a cute armadillo-like creature, the last of its kind, previously seen crapping pearls in the opening sequence in which an intergalactic war winds up destroying the planet Müll, populated by the Pearls, a race of peaceful bald aliens with iridescent blue skin. All of which Valerian experiences in a ‘dream’.
Recovering the ‘Mül Converter ’ from Igon Sirussa (John Goodman), a Jabba the Hutt like black marketer, who’s about to sell it to one of the surviving Pearls, Valerian and Laureline find themselves plunged into an overloaded and dizzying plot involving an attempt by the Commander (Clive Owen) to cover up a past genocide and the proposed elimination of the other surviving Pearls. All of which variously involves an undercover incursion into the virtual reality Big Market, Laureline almost becoming some alien’s lunch, Valerian’s encounter with a shapeshifting burlesque glampod dancer called Bubble (Rihanna) and yet another digital countdown to destruction. Oh, and, in-between battles, Valerian’s trying to persuade Laureline to marry him.
Rarely pausing to take a breath as its jumps between one dimension and set-up to the next, it’s wildly incoherent (even more so than The Fifth Element), one top of which the boyish-looking DeHann simply fails to convince as a seasoned combat veteran Major, let alone the cocky Han Solo character he’s intended to be. Nor is theresign of much sexual chemistry between him and Delevigne, although their banter has spark and the latter does give the film a definite cool cachet as the snarky, sassy, sexy and far more self-possessed Laureline.
Besson does, of course, know enough not to take things too seriously and there’s a strong vein of humour running throughout, especially in the form of the three long nosed alien stool pigeons ready to sell information for a price, while throwaway cameos include Rutger Haeur (in a nod to Blade Runner), Herbie Hancock and Ethan Hawke. Excessive and overlong it may be, but unquestionably the most visually awesome cinema experience of the year, it’s never dull. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Mockingbird; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
War For The Planet Of The Apes (12A)
Following on from the Rise Of and Dawn Of remakes, director Matt Reeves winds up the trilogy in triumphant, epic form. Picking things up after the end of Dawn, that saw Caesar (Andy Serkis) kill the human-hating Koba, he and his fellow apes, among them sidekick orangutan Maurice (Karin Konoval), wife Cornelia (Judy Greer) and youngest son Cornelius, are now hiding out while being hunted down by Alpha-Omega, a rogue army of surviving humans and renegade apes (referred to as Donkey – as in Kong) headed up by the psychotic Colonel McCullough (Woody Harrelson), who, shaven-headed and obsessed, patently echoes Brando’s Kurtz with, following Kong: Skull Island, the second ape-themed nod to Apocalypse Now this year, indeed at one point the word Ape-pocalypse Now is seen scrawled on a tunnel wall.
After having his men driven back in an assault on the hideaway, the Colonel himself leads a second incursion, this time leaving Cornelia and Caesar’s eldest son, Blue Eyes, dead, prompting Caesar to send the others to find the sanctuary Rocket (Terry Notary) and Blue Eyes discovered while setting off on a personal mission of vengeance. To which end, Maurice, Rocket and Luca (Michael Adamthwaite) insist on accompanying him. Along the way, the small band is augmented by the addition of a young girl (Amiah Miller), the victim of a plague mutation that renders its victims mute (which itself sets up a powerful scene explaining the Colonel’s driven crusade), and, providing some comic relief, Bad Ape (Steve Zahn), a small, hermit zoo ape survivor of the Simian Flu outbreak who’s learned to talk and who is persuaded to guide them to the Colonel’s base in the frozen wastelands.
The third act shifts homages to take on Biblical echoes as, discovering the clan have been captured and imprisoned as slave workers by the Colonel, Caesar now becomes a sort of Moses, delivering his people from bondage as the film builds to a full on battle spectacular as (nodding to The Great Escape) the apes sees to escape the gulag with Maurice and Bad Ape exploiting the tunnels beneath the compound.
Combining western and war movie influences and motifs, the central performances deeply weighted in character with Serkis in particular bringing huge expression and emotional intensity to his CGI-rendered Caesar, it’s an often dark and sombre narrative, the prison camp sequences particularly so, and, while action scenes are visceral, these are also balanced by lengthy philosophical moments addressing such themes as loyalty, family, freedom and, especially for Caesar, mindful of his own legacy, the blinding nature of vengeance. While ostensibly the final film of the series, the remainder of humanity seemingly eliminated in a final avalanche, with Cornelius inheriting his father’s mantle (and linking things back to the original Planet of the Apes), given the likely box office figures, further monkey business should not be ruled out yet. (Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza; Reel; Showcase Walsall; Vue Star City)
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