War For The Planet Of The Apes (12A)
Following on from the Rise Of and Dawn Of remakes, director Matt Reeves winds up the third in 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 (Devyn Dalton), 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 ruthless Colonel McCullough (Woody Harrelson). They’re the rogue Alpha-Omega platoon, commanded by 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, following an act of betrayal, 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 Caesar’s infant son Cornelius inheriting his father’s mantle (and linking things back to the original Planet of the Apes), given the likely box office figures, further money business should not be ruled out yet. (Cineworld 5 Ways, NEC, Solihull; Electric; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
The Beguiled (15)
Based on Thomas Cullinan’s 1966 novel of the same name, Sofia Coppola’s award winning (Best Director at Cannes) Southern Gothic melodrama is far more restrained, atmospheric and airlessly claustrophobic adaptation, and with, inevitably, a more feminist perspective to the gender dynamics, than the previous 1971 version by Don Siegel and starring Clint Eastwood.
Out collecting mushrooms in the Virginia woods, young Amy (Oona Laurence) comes upon Corporal John McBurney (Colin Farrell), a Irish mercenary who signed up for the Union and now, badly wounded, has deserted. Smooth-tongued, he persuades her to help him to the girls’ boarding school seminary at which she is one of the few remaining pupils. The place is run by headmistress Martha Farnsworth (Nicole Kidman) and her French-teaching assistant Edwina (Kirsten Dunst). Persuaded that it is the Christian thing to take him in and help him heal rather than hand him over to any passing Confederate troops, Martha tends to his injured leg, washes him (with a lingering intensity) and puts him up in the music room.
Shut away from the outside world, from the start, the only male in the place, it’s clear that his presence – not to mention his good looks – is having an effect on all concerned, particularly stirring repressed, frustrated or nascent sexual feelings and desires in Martha, Edwina and somewhat surly precocious 18-year-old Alicia (Elle Fanning). Despite his charming, deferential manner, McBurney’s also wily enough to use his virility and sexual magnetism to play on both the girls and the two women, winning them over to ensure they allow him to remain and heal, looking to make himself useful in the garden in the hope of sitting out the war, and particularly focusing on Edwina who patently has a strong attraction to him. Rather inevitably, such simmering hormones in a hothouse of desires are going to lead to tensions between the womenfolk as they battle for his favours, climaxing in a night time visit that has very dramatic repercussions and finally brings into play the solitary firearm.
Dispensing with the previous film’s flashbacks and sexualised fantasies, Coppola weaves a narcotic, dreamlike spell that perfectly echoes the title, cleverly bringing the arbiter of McBurney’s fate full circle while summoning a palpable air of brooding menace that’s further complemented by the muted lighting, colour palette, score and the moss hung, mist shrouded landscape.
Not without its touches of black humour and a brief moment of sexual violence, it’s a generally sombre and deliberately low-key affair. The cast are impeccable, Farrell keeping you unsure as to whether he’s genuinely attentive and sincere or a very clever conman, Dunst a complex cocktail of inferiority complex, resentment and caged longings nehind her dowdy appearance, Fanning all petulance and sexual curiosity and Kidman letting just enough desire flicker behind her cool, steely manner. The younger girls too, Angourie Rice, Emma Howard, Addison Riecke and especially, Laurence also deliver solid, confidant performances, adding further depth and resonance to this truly beguiling work.
(Cineworld 5 Ways, NEC, Solihull; Electric; Empire Great Park; Everyman; 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 (flashbacks partly featuring the voice of Paul Newman), and the support of loyal buddies like Sally, 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 distaraous VR session, by taking part – anonymously and not entirely successfully – in a demolition derby overseen by drawling schoolbus Miss Fritter.
Directed by storyboard artist turned first timer Brian Fee, 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)
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. (Cineworld 5 Ways; Odeon Broadway Plaza; 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. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Everyman; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
Beached at the box office, Seth Gordon’s big screen revival of the cheesy 90s TV series that starred David Hasselhoff and Pamela Anderson (both of whom put in cameos) makes the fatal mistake of turning what was a generally kitsch friendly soap opera cops in spandex crime series in the vein of Charlie’s Angels into an excuse for gross out humour complete with a stream of knob jokes. Dwayne Johnson takes on Hasselhoff’s character as Mitch Buchanan, the musclebound chief lifeguard at Emerald Bay, and seemingly the only guy on a crew of amply endowed jiggy-top women in tight fitting swimsuits headed up by Kelly Rohrbach as CY Parker (the Anderson character). However, they’re auditioning for new recruits, among them the equally jiggy Summer Quinn (Alexandra Daddario) and flabby but enthusiastic nerd Ronnie (Jon Bass),who has the hots for CJ and provides the first of the knob gags. Mitch also finds himself landed with pretty boy Matt Bordy (Zac Efron), a disgraced two time Gold Olympic Champ now dubbed the Vomit Comet after the debacle in which he let down the relay team. On probation, he’s been brought onboard by Captain Thorpe (Rob Huebel), the lifeguards’ boss, as a PR opportunity, and, despite Mitch’s protestations, given a free pass to the team. Though that doesn’t stop him being put through the tests in a metaphorical dick measuring contest against Buchanan.
Aside from the usual rescues from drowning, the crew also find themselves faced with a drug smuggling operation involving a new type of crack, bags of which keep washing up on shore, and which Mitch suspects has something to do with cool but ruthless Victoria Leeds (Priyanka Chopra), the new owner of the Honda Club, who’s buying up all the waterfront properties. And, when a couple of dead bodies enter, despite being warned off by both Thorpe and the local beach cop, Mitch decides to investigate.
It’s all very self-aware and knowing, Buchanan constantly referring to Brody not by name but in reference to assorted pretty boy TV shows and boy bands, High School Musical among them, and the cast pointedly don’t take things too seriously, both Johnson and Efron cheerily sending themselves up. As such, it’s often entertaining and funny, even if the obligatory we are family theme is overdone, but what could have been an enjoyable 12A romp is ruined by the apparent need to include something like the morgue scene where Brody has to handle a dead man’s genitals and then hide in the freezer while body fat drips into his mouth. Someone should have thrown it a lifebelt long before it got in front of the cameras. (Showcase Walsall)
Australian director Jonathan Teplitzky delivers a solid character story and meditation on the nature of leadership that goes behind the scenes of the preparations for Operation Overlord aka D-Day, as, haunted by the slaughter at Gallipoli in WWI, for which he carries a sense of guilt, the Prime Minister, Winston Churchill (Brian Cox) is having serious reservations about the plans to invade Normandy drawn up by General Dwight D. Eisenhower (John Slattery) and Field Marshall Montgomery (Julian Wadham). Churchill reckons they are ill-advised and will cost the lives of thousands of young men, if not the war, and, in company with King George VI (James Purefoy, who gets a scene-stealing moment when he has to tell Churchill neither of them can be allowed to go with the troops) and, just a few days before the launch, announces to the allied commanders that he intends to draw up his own alternatives.
What follows is essentially a battle about who’s running the war, Eisenhower, Montgomery and even his close personal advisor, Boer War veteran Jan Smuts (Richard Durden) trying to persuade him that warfare has changed since he last saw action. Indeed, even his loyal wife, Clemmie (Miranda Richardson), their marriage sidelined by his single focus on the conflict, feels he may have lost his way and should step back and play the role of the country’s political leader rather than the warrior.
Condensing months into just a few days, it’s loosely based on historical fact (though one suspects the admiring new secretary – Ella Purnell – who gets to deliver a wake-up call and whom Churchill personally reassures her that her fiancé, who was in the first wave, is alive and well – may be dramatic licence), but paints a somewhat different picture of the man often referred to as the greatest ever Briton; an irascible, cantankerous figure, prone to depression and doubt, overly fond of the whisky, plagued by uncertainty, fearful of his post-war position and realising he has less power and control than he likes to imagine. As such, Cox delivers a bravura performance, not just physically resembling Churchill but perfectly capturing his voice and delivery, while Richardson is excellent as the exasperated but redoubtable long-suffering Clemmie. The supporting cast are essentially just that, but all serve well, just as Teplitzky does a commendably serviceable job on a limited budget and, while ultimately very much a drama about people talking in rooms, it’s engagingly watchable. (MAC)
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; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
Loosely inspired by the true story of Harry Hallowes, the Irish hermit whose long-term residency on Hampstead Heath resulted in a successful squatters rights claim to a small area of land when property develops sought to evict him, Joel Hopkins’ film plays firmly to the grey pound audience, throwing in an autumn years romance for good measure.
Channelling Annie Hall, both sartorially and in kookiness, Diane Keaton is Emily, a recently widowed American who lives in a mansion block apartment and finds herself with serious financial problems thanks to her late husband, who, she discovered after his death, was also having an affair.
Staring out from loft through a pair of antique binoculars, scanning the heath she lights upon a man swimming in a nearby pond and, from there, the shack in which he lives near an old Victorian hospital. He turns out to be Donald (Brendan Gleason), a self-sufficient, and highly articulate, well-read elective recluse who’s being threatened with eviction by property developers looking to build luxury flats, the boss of which happens to be the husband (Brian Protheroe) of Emily’s bossy, obnoxiously unctuous neighbour, Fiona (Lesley Manville). She wants Emily and the block’s other privileged harpies to write letters of support for the project and is also trying to set her up with James, the touchy-feely, not to say creepy, accountant doing her books in the expectation of ‘something’ in return.
Suffice to say circumstances bring Emily and Donald together and, while initially reluctant to accept help when she starts a Save the Shack campaign, friendship and, ultimately, romance blossoms between them. As such it follows a fairly predictable path en route to the court hearing, presided over by Simon Callow’s judge and featuring a fine cantankerous cameo by Phil Davis providing the obligatory last minute save the day evidence.
If you can overlook the fact that Emily has apparently never seen or heard of Donald, despite having lived just across the road from him for umpteen years, a totally wasted James Norton as Emily’s somewhat neglectful son, the half-hearted nature of the eco-message, Donald’s clunkily vague backstory, and the array of stereotypes, while this may not do for Notting Hill what Richard Curtis did, as genial, whimsical, feelgood and all rather twee fluff with a tacked on happy ending that, like the fictional Emily, bears no relation to the true story, it’s undemanding charm will pass a pleasant enough. (MAC)
The House (15)
Having opened without the press being allowed to see previews should give you the hint that it’s a bit of a stinker. As indeed it is. Delighted when their daughter (Ryan Simpkins) gets accepted to a prestigious university, Scott (Will Ferrell) and Kate (Amy Poehler) are knocked back to be told that, due to budget problems (i.e. funding a new community pool and a little skimming from the top), the weaselling town councilman (Nick Kroll) won’t be giving her the scholarship she needs. Unable to afford her tuition themselves, they hit on an ingenious way to raise money when they and their neighbour, Frank (Jason Mantzoukas), who’s about to be divorced on account of his gambling habits, they come up with the idea of setting up an illegal casino in his house, because, after all, the house always wins.
With the bored locals all piling in to chance their luck, the money soon starts piling up, but with success Scott and Kate change, he becoming less of a wuss and more badass and she developing a weed habit, and there’s also a couple of major hiccups in the form of the creepy town councillor who raids them and confiscates the takings and a ruthless mobster (a cameoing Jeremy Renner) one of whose henchman accidentally had his finger chopped off by Scott (earning him the nickname The Butcher) after being caught cheating.
The fact that the casino allows everyone to unleash their inner repressed self (two sniping neighbours get into a girl fight, with everyone betting on the outcome), is a nice touch, but never really developed and the simple fact is that very little is even remotely funny, while the geysers of blood feel like a forced attempt to up the black comedy ante. Ferrell can be funny given the right script, but he hasn’t had one of those in years and here he’s somewhere between annoying and embarrassing (the running gag about him being awful with numbers is squirm-inducing), taking Poehler down with him. The house may always win,. but it’s the audiences who’ve paid for a ticket who are the biggest losers. (Cineworld NEC; Vue Star City)
It Comes At Night (15)
The second feature from Krishna writer-director Trey Edward Shults is a post-apocalypse chamber thriller of considerable power. Set in the aftermath of some unspecified plague that has devastated humanity, Paul (Joel Edgerton), wife Sarah (Carmen Ejogo) and their teenage son Travis (Kelvin Harrison, Jr.) live in a barricade-up house in the woods, constantly on the alert for any infected who might come their way. One night, someone breaks in, this turning out to be Will (Christopher Abbott), in search of somewhere to stay with his wife Kim (Riley Keough) and their young boy Andrew (Griffin Robert Faulkner). They’re not sick and so Paul invites them to share their home.
Given such a claustrophobic arrangement and the inevitable distrust the situation around them engenders, it’s a given that their arrival will impact on the dynamic within the boarded-up house (Travis especially drawn to Kim’s sexuality), while opening up questions as to what secrets, if any, the newcomers harbour.
Although unfolding within a horror framework, Shults’ film is very much an intense family drama that plays on themes such as suspicion, sexual desire and guilt, the mood and atmosphere of unease finely tuned by the menacing sound design and moody low-light photography. Edgerton delivers a suitably taut turn as a protective husband and father given to doubts about his place in the new domestic set-up, especially given his son’s angst after having to dispose of his grandfather when he started to show symptoms, while Abbott provides a well judged edginess that keeps you guessing as to his motives. Heavy with fear and nightmares, as much internal as in the world outside, it builds to a bloody climax and a devastating open-ending dilemma of self-survival and family bonds. (Cineworld 5 Ways; Empire Great Park; Odeon Broadway Plaza)
The Mummy (15)
Universal’s Dark Universe series (a revival of classic ‘monster’ movie reboots planned to include Frankenstein, Phantom of the Opera, The Wolfman, etc.) gets off to an inauspicious form with this new incarnation of The Mummy that began with Boris Karloff in 1932 and was last seen in 2001 with Brendan Fraser in The Mummy Returns.
This one is brought up to date, opening in ISIS-occupied Iraq as Nick Morton (Tom Cruise), an American mercenary and his partner Chris Vail (Jake Johnson), who serve as advance reconnaissance while helping themselves to ancient artefacts to flog on the black market, come under attack while trying to locate some Egyptian treasure. The air strike that saves them also uncovers a sunken tomb, one which Jenny Halsey (Annabelle Wallis), an archaeologist who works for some secret organisation, is very keen to explore.
This, it turns out, is the ancient prison which, as Russell Crowe’s voiceover explains in a lengthy exposition opener, holds the body of Ahmanet (Sofia Boutella), an Egyptian Princess who murdered her Pharaoh father, his wife and the baby boy that had replaced her as heir, but was captured just as she was about to plunge a knife into her lover’s chest so he could take on the spirit of Set, the Egyptian God of the Dead, and they could rule the world side by side.
Suffice to say, Nick helps them remove the sarcophagus from its sunken pool of mercury and it’s duly loaded on a plane to be returned to London for examination. However, in mid-flight all manner of chaos breaks out. Vail turns into a zombie, kills the officer in charge, is shot dead by Nick, the plane’s hit by a flock of birds and falls apart, and Nick straps Jenny to a parachute and shoves her out before it plunges to the ground killing all on board. Except Nick wakes up in a body bag in the morgue to find he’s not dead at all. Rather he’s been having visions of Ahmanet, whose spirit has literally inexplicably merged with him, and it seems he’s been designated as the new chosen one while she, meanwhile, is freed from her coffin and, sucking the life out of a couple of security guards, who duly become part of her zombie army, starts to regain human form and sets out to complete the interrupted ritual, to which end she needs to recover the dagger of Set and its missing magic ruby.
While all this is going on, a bemused Nick starts seeing Vail, who, popping up a la An American Werewolf In London, has been given the job of bringing him and Ahmanet together, while also getting to meet Jenny’s boss, one Henry Jekyll (Crowe), who tells Nick he could be mankind’s salvation, but it requires sacrifice, and who, of course, has his own curse to contend with, transforming into cockney bruiser Eddie Hyde.
All of this unfolds in a series of huge over-designed set-pieces punctuated by flashbacks and visions, but without much sense of coherence or, more fatally, scares or fun. Unable to decide whether it wants to play for screams or laughs, it attempts both and fails at each. To be fair, Cruise is entertaining, a rogueish womaniser and thief who gets to find the good man within, but even so, he’s not required to do much more than look confused, engage in a lot of stunts and flash that smile. Wallis serves things well enough, but suffers from the total lack of any back story, or, indeed, sense of humour, while Boutella manages to make rotting bandages, a lacerated cheek and some serious tattoos look quite sexy.
Alex Kurtzman directs competently enough, but has no real vision for the film, layering on the CGI effects to paper over the plot holes, clunky script and threadbare adventure movie clichés, but neither he nor the cast than disguise the fact that this is absolutely no fun at all. (Vue Star City)
Pirates Of The Caribbean: Salazar’s Revenge (12A)
After the last instalment, On Stranger Tides, it would have seemed a good idea to consign the franchise to dry dock, but no, six years on and this time with Norwegian directors Joachim Ronning and Espen Sandberg at the helm, the core cast have been reassembled for a further folly. This one also sees the return of Orlando Bloom and Keira Knightly as Will and Elizabeth, albeit only in book-ending sequences, the latter not putting in an appearance until just before the end credits.
It opens with their young son, Henry, tracking down The Flying Dutchman on which dad’s cursed to sail for eternity and promising to find Poseidon’s Trident, an artefact that can reputedly lift all sea curses. Fast forward five years and the now adult Henry (Brenton Thwaites) is still in pursuit of the trident, a quest that brings him into contact with Carina Smyth (Kaya Scodelario), whose skills in astronomy have seen her condemned as a witch, and who, guided by her unknown father’s diary, is searching for an unseen map to an uncharted island, though she has no time for myths or supernatural mumbo jumbo. Inevitably both their paths also cross with that of Jack Sparrow (Johnny Depp), first seen quite literally stealing a bank (not to mention a Fast and the Furious sequence) and hauling the entire building through the town in an impressive set piece of destruction.
Now, as it happens, Henry was part of a British Navy crew pursuing a pirate ship that sailed into the infamous Devil’s Triangle and was overrun by Armando Salazar (Javier Bardem), a Spanish former pirate hunter who, along with his mutilated crew, are cursed to live as dead men (some of them missing assorted body parts). He spared Henry to deliver a message to Sparrow with whom he has unfinished businesss (you’ve not forgotten anything, their connection is later explained in a backstory about how Jack – a CGI youthful Depp – got his surname and captain’s hat), but is unable to escape his watery prison unless Sparrow parts with his magical compass. Which, of course, he duly does, sending Salazar back to the world to resume his pirate killing spree, which, in turn, leads to him striking a deal with Barbossa (Geoffrey Rush), who’s now the pirate top dog, to get his hands on Jack.
Narratively bloated, there’s about three different plots going on at the same time, gradually coming together as yet more backstory is thrown into the mix with, essentially, everyone, including David Wenham’s colonial naval captain, chasing Jack, Henry and Carina. All of which results into a lot of noise, action and some spectacular CGI (Salazar’s crew and zombie sharks among the best), but not a great deal of narrative clarity or cohesion. Thwaites and Scodelario basically take the Bloom and Knightley roles from the first two films, and do so engagingly enough, while, as ever, Rush brings more heart and gravity to proceedings than they warrant. Bardem makes for a driven obsessed villain, but his character and performance are eclipsed by the special effects of his seaweedy hair, squid ink blood and ravaged face. Which brings us to Depp. He does pretty much what he always does with his pirate parody, the drunken slurring, the sexual innuendos, but what was once amusing is now just tediously annoying. There’s times when it captures the spark of the original, but, when a cameoing Paul McCartney as Jack’s Uncle is one of the highlights, perhaps, despite the post credits clip, it’s time to consign this to Davy Jones’ locker once and for all. (Showcase Walsall; Vue Star City)
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; Electric; Empire Great Park, Sutton Coldfield; Everyman; Mockingbird; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
Transformers: The Last Knight (12A)
Loud, incoherent and a garish mess, the fifth box-office bombing instalment of the Hasbro big screen franchise grinds it way through a tsunami of CGI, admittedly often visually spectacular, but in the service of a laboured plot that creaks more than an Autobot in need of a service. The fact that this has dramatically underperformed at the US box office suggests that, while it may set up a sixth movie, the writing is clearly on the wall.
The last one ended with Optimus Prime (Peter Cullen) heading into space to return to Cyberworld and the Creators, leaving the others behind to protect the Yeagers, although Nicola Peltz has wisely opted not to return as Tessa, daughter of inventor Cade (Mark Whalberg), requiring the screenplay to explain her absence as being off at university. He can listen to her on the phone, but can’t talk to her as that would allow the paramilitary Transformer Reaction Force (headed up by Josh Duhamel) to track him down. Given he’s hiding out at a huge junkyard populated by, among others, gung ho Autobot, Hound (John Goodman), Bumblebee and a car-crunching robot dinosaur and its cute offspring, it’s not like he’s exactly a needle in a haystack. Indeed, when the plot requires, it turns out the army know where he is anyway, but for screenplay reasons, haven’t come after him.
Anyway, back to Prime. Arriving back on his home planet, he finds it in ruins and is swiftly overpowered by the Creator, Quintessa (Gemma Chan), a Cybertronian sorceress who looks like a pendant with a head, who brings him under her control in a plan to destroy Earth, or Unicron as it was once known, in order to rebuild Cybertron.
All of which is then put on hold until the final stretch, as director Michael Bay focuses on bringing together Cade, Oxford history professor Viviane Wembley (Laura Haddock), single, naturally, and Sir Edmund Burton (Anthony Hopkins, who spouts the exposition and delivers his lines with sly mockery), an astronomer-historian, the last of the order of the Witwiccans and keeper of the centuries-old Transformers secret. Their task is to track down the staff of power given to a booze-addled Merlin (Stanley Tucci) so that King Arthur – with the help of a dozen Transformer Knights who crash-landed on Earth and join together to form a huge dragon – defeat the Anglo Saxons. The staff is the crux to Quintessa’s plans, to which end Megatron and his Decepticons, who have struck deal with the TRF, are also after it, but only a descendent of Merlin can actually wield its power and only a true Knight can lead the Twelve. That’ll be Wembley and Yeager, then.
Given the fact it involved five writers, it’s no wonder it feels like a script conference mash up, throwing feisty street-rat Izabella (Isabela Monar) and her pet ‘bot into the mix along with Cade’s pointless junkyard sidekick Jimmy and, in an acknowledged nod to C3PO Burton’s wiseass robot butler Cogman (Jim Carter), not to mention a literally inexplicable cameo by John Tuturro. Decepticons and Autobats get written off left right and centre, which, if nothing else, might trim the sequel down a bit, but, even as Cybertron starts leeching the life from Earth, there never feels like anything’s at stake and, hey, what’s the chance of Optimus snapping out of his brainwashed state just in time!
There’s a nice line in banter between Haddock and Whalberg and, as I say, there’s lashings of action, but, already the worst reviewed of the whole series, there’s about as much sense, fun and wit as you might expect from a film that features dialogue like “Oh, my God, a giant alien ship!” (Cineworld NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Broadway Plaza; Showcase Walsall; Vue Star City)
Wonder Woman (12A)
Having made her debut in Batman v. Superman and as a prelude to the upcoming Justice League movie, Amazonian princess Diana returns with her own origin movie, one which, at times recalling the first Captain America, might not be up there with Guardians, but is easily the best of the recent run of DC adaptations.
Directed by Patty Jenkins, who shows girls can have just as much fun with super-heroes as the boys, it opens in the present day with Diana Prince (Gal Godot) getting sent an old photo from Wayne Enterprises of her and four men standing in a Belgium town during WWI (as opposed to the comics’ WWII setting), from which we spin off into an extended, two hour plus flashback that starts on Themyscira, the hidden island of the Amazons, where 8-year-old Diana (Lilly Aspell) is keen to join in with the training. In this she’s aided by her warrior aunt (Robin Wright), although her mother, Queen Hippolyta (Connie Nielsen), has forbidden it, fearful that signd of her undisclosed power will attract the attention of Ares, the God of War who may or may not have been mortally wounded by his father Zeus in a battle of annihilation between the gods after the former, jealous of dad’s work, corrupted his creation, mankind. She also tells Diana that she was actually moulded out of clay, so you can safely assume there’s more to it than that.
Anyways, one day, now grown, she’s surprised to see a German fighter plane emerge through the cloak around the island and plunge into the sea, from whence she rescues Steve Trevor (Chris Pine), an American working as a British spy. Next thing you know, the Germans are piling ashore, pitting their guns against Amazonian swords, arrow and spears. They’re defeated, but at a tragic cost and Diana learns that Trevor has stolen a notebook belonging to Doctor Poison (Elena Anaya), a facially disfigured chemist working for Ludendorff (Danny Huston), a German general who wants her to develop a new lethal gas so he can scupper the impending armistice and win the war.
Again disregarding mom, armed with indestructible shield, the lasso of truth, the god-killer sword and that rather fetching red, blue and gold outfit, Diana insists it’s her mission to go back with Trevor and fight to save the world from what she believes is Ares’ work, assuming he’s actually Ludendorff.
Following a time-filling section in London which she’s kitted out in civvies by Trevor’s secretary (Lucy Davis) and, after being snubbed by the War Cabinet, their mission to destroy the gas is given the secret go-ahead by top bureaucrat Sir Patrick (David Thewlis) , after recruiting a trio of mercenaries, tormented marksman Charlie (Ewen Bremner), Moroccan spy Sameer (Said Taghmaoui) and The Chief (Eugene Brave Rock), a Native American black marketer, they head off to the front line. Unable to keep her head down while innocents are dying, it’s not long before Diana’ (who’s never referred to as Wonder Woman is storming the German lines and liberating the nearby town (from whence that photo derives), but now they have to somehow get to Ludendorff and prevent him from launching his deadly gas.
Even if it seems a touch implausible she could waltz into a gala Nazi ball with a sword stuck down the back of her dress without anyone thinking it might be a tad suspicious, the final stretch is pretty much action all the way, cranking up the CGI when Ares finally puts in an appearance, bringing with it, of course, an inevitable sacrifice for the cause. But, clocking in at 141 minutes, along the way the script finds plenty of room for humour in Diana’s unfamiliarity with the outside world and, indeed men, as well some romance before she learns the true secret her mother kept from her. It’s also a nice touch in the scenes back in Blighty to show the mixed races and religions that fought as part of the British army.
It’s often broadly drawn, but Pine does solid understated work as the rogueish but noble Trevor, Davis makes the most of her few moments, Huston is a suitably brutal villain (although the strength-enhancing gas he sniffs is a touch too much) and, of course, the athletic and gorgeous Godot strides through all this like a charismatic, idealistic (if, at times, a touch naive) torch bearer for female empowerment in a universe mostly awash with testosterone. Here’s hoping she’s not drowned in it in the upcoming Justice League. (Empire Great Park; Odeon Broadway Plaza; Vue 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 0121 446 3232
Mockingbird, Custard Factory 0121 224 7456.
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 Star City – Watson Road, 08712 240 240