MOVIE ROUND-UP: From Fri Sept 3

With cinemas now open this column will review films both screening theatrically and/or on various streaming platforms.

 

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Candyman (15)

Released in 1992, directed by Bernard Rose, the original, involving an urban legend about a spirit with a hook for a hand who, raised by speaking his name five times in front of a mirror, would appear and kill whoever summoned him, was a slasher horror with a loose racial undertone about black marginalisation, the ghostly killer the son of a slave, murdered in the late 19th century for his relationship with the daughter of a wealthy white man. Brushing aside the two crappy cash-in sequels, it will come as little surprise to learn that, co-written and produced by Get Out’s Jordan Peele, that, directed by Nia DaCosta, the undertone bubbles right to the surface in this race and class social satire update.

Again rooted in Chicago’s Cabrini-Green urban housing projects, The Trial of the Chicago 7’s Yahya Abdul-Mateen II stars as Anthony, a promising Chicago painter who, despite being encouraged and funded by his art gallery girlfriend Brianna (Teyonah Parris), has a case of  artist’s block. However, happy to compromise his principles so as to attract white clients who can’t get enough of works about black poverty, he decides to embark on a new work based around the now long since underfunded and abandoned ghetto. During his research he hears about  Helen Lyle, the grad student in the first film, and of the candyman legend from remaining longtime resident  and failed artist William (Colman Domingo), who, as an early flashback reveals, encountered the monster (the role reprised by Tony Todd), who handed out sweets laced with razor blades before the cops beat him to a  pulp, and rashly duly sets in motion events that will summon him back with increasingly blood consequences, kicking off with the  obnoxious gallery owner (Brian King)  who hosts Anthony’s mirrored Say My Name installation.

It’s not overly subtle, Anthony and Brianna live a life of wealthy privilege off the back of  servicing wealthy white clients, oblivious to the surrounding poverty, while he’s more than happy to play up to perceptions of him coming from an impoverished background if it makes his work more valuable and seemingly authentic. Needless to say, he learns a very bitter lesson as the body count mounts and a bee sting (the insect a recurring motif) incurred early one gradually ravages his hand and body in a visual metaphor of his selling-out guilt and inner racial anger.

Along with charting the power inequalities that elevate one group and keep others suppressed, and underscoring how white America sees and teats Black as monsters, the screenplay’s laced with subtexts about policy brutality and art world  pretentiousness (Rebecca Spence’s snotty female white critic gets her comeuppance, shot at a lengthy distance) that thicken the satire and tension.  Keeping the gore to a minimum and largely off camera (as with a somewhat gratuitous scene were a bunch of high school girls learn first-hand not to indulge in urban legends), it’s even more effective, as is the ominous score and shadow puppet scenes that permeate the film.

DaCosta overextends herself somewhat in the final act, over-explaining matters and working too hard to deliver another twist, but, anchored by Abdul-Mateen II’s fierce, complex performance, ending, as he becomes his own fear, with the anguished instruction “Tell everyone”.  Box office success suggests it’s doing just that. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Everyman; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Vue)

Annette (15)

Directed by Leos Carax from a screenplay by Ron and Russell Mael who, as Sparks, also provide the music, this is a frankly barking cod-opera fantasy that, at almost two and a half hours, with pretty much all the dialogue sung, is also wildly overlong. Following the director’s voiceover requesting audiences to not laugh, cheer, boo, fart or breathe during the film, it opens in a recording studio as the producer (Carax) asks “may we start?” which proves to be the first song as, in what seems to be a continuous take, the Maels, the female quartet and young choir boys backing singers stride out of the studio and into the streets of Los Angeles, joined by its stars Adam Driver, Marion Cottillard and Simon Helberg as themselves, all singing along, wardrobe assistants handing them their costumes as they get into character.

Driver plays Henry McHenry, a provocative but fading comedian who, along with backing singers, performs as The Ape of God who comes on stage in a boxer’s dressing gown like some sort of stand-up Jake La Motta, outraging and baiting the audience (who all respond like an opera chorus) with his hostile approach. “Why did I become a comedian”, he gets them to bark back, responding it’s the only way he can tell the truth. After the show, he takes to his motorbike to meet up with and whisk away international opera soprano Ann (Cotillard), the pair duetting on We Love Each Other So Much, a song which (consisting of just the title) resurfaces throughout. Next thing you know, she’s pregnant and gives birth to a baby girl, well wooden puppet (literally and later metaphorically) to be precise, who they call Annette.

Domestic bliss takes a downturn, however, as his star crashes while hers ascends, and, presaged by his onstage meltdown and her dream in which a panel of women accuse him of violent abuse, things take a tragic drunk on a ship turn with Henry suspected but cleared of his wife’s murder. If it’s been surreal so far, it goes off the scale when, now strapped for cash, he contacts the opera house conductor (Helberg), only ever known as The Accompanist, who arranged Ann’s music and was also in love with her. Henry proposes they join forces and take Annette, who can apparently sing in her mother’s voice, on tour. She’s a big hit, but Henry, haunted by his dead wife’s voice spirals further out of control, eventually being banged up for murder when Annette announces to a mass audience at her farewell show that “daddy kills people”, the film ending with a now older Henry being visited in prison by his estranged daughter, briefly played in human form by Devyn McDowell, before the final ambiguous shot.

A fever dream cocktail of A Star is Born, Dead Of Night and Phantom Of The Opera that boils a heady stew of toxic masculinity, professional jealousy, the nature of art, Svengali  father-daughter professional relationships (Britney Spears fans will tap into this), mental and physical cruelty and much more, although Cotillard is relegated to somewhat of a secondary role, Driver is electrifyingly malignant and monstrous in his self-loathing, contempt for his audience and festering ego-driven resentment. As I say, it’s overlong buy you won’t see anything else like it this year. And you probably won’t want to either.  (Cineworld NEC)

Here Today (12A)

Other than his voice work in Monsters Inc, Billy Crystal has enjoyed any sizeable success onscreen since he played opposite De Niro in Analyze That in 1999 and he hasn’t directed a film since 1995. However, while he’s looking increasingly like Christopher Walken’s brother these days, he’s back in sterling form for this bittersweet dramedy about Charlie Burnz, a successful comedy screenwriter and Broadway playwright, now  working for a This Just In, a a TV sketch show a la Saturday Night Live (on which Crystal was an early regular), who has kept secret the fact he’s in the advancing stages of dementia (cue a lovely cameo by Anna Deavere Smith as his doctor), marinating a familiar routine to he can get to work and writing people’s names under photographs.

Into his life comes the exuberant Emma Payge (Tiffany Haddish) who, despite not having the faintest idea who he was, took the lunch date her hero-worshipping ex-boyfriend  won at an auction (for considerably less than Charlie assumed) as revenge. A dramatic sea food allergy that has him accompanying her to the hospital and paying the  bills, is the start of what proves a deep and poignant (and platonic) friendship as, seeing him forget Barry Levinson (who directed him in Analyze That) and Sharon Stone’s names (she tells him she’s Meryl Streep) at a Meet The Filmmakers event for one of his hits  she recognises his illness, something he’s kept from his architect son Rex (Penn Badgley), so named on account of where was born (as an amusing scene reveals)  and resentful daughter Francine (Laura Benanti) as well as his much younger work colleagues.  Her friendship and encouragement with the ‘old man’ (the film never feels the need to note their different races) also prompt him to start resume writing a book dedicated to his late beloved wife Carrie (Louisa Krause), their meet cute and romance detailed in warm, fuzzy flashbacks.

Through the traumatic flashbacks Charlie experiences and his eventual confession to Emma, the family estrangement involves Carrie’s death and the guilt that haunts him, but Crystal never lets the material descend into mawkish disease of the week territory while still ensuring a box of tissues is best kept handy as Emma moves into become his carer as his condition deteriorates.

There’s two terrific set pieces, the first at his adopted granddaughter Lindsay’s (Audrey Hsieh),bat mitzvah, where Francine takes a dislike to Emma, whom he’s taken as a date, believing her another of her father’s flings with younger women, and the other when, Charlie has a Network-like melt down over the TV show presenter’s inability to deliver the lines he wrote with the right intonation and berates him live on air, to mass audience approval who think it’s part of the sketch.

Crystal is quite wonderful, especially in his interaction with Haddish and in the way Charlie mentors a young writer on the show struggling to find his funny bone, while, while initially turning the dial up to 11, as the film unfolds Haddish proves she can play in a lower key to hugely engaging effects, although her party piece rendition of Piece Of My Heart at the bat mitzvah is undoubtedly a showstopper.  It’s unfortunate then that, other than her ex and the fact she’s a singer with a band of jazz buskers who might be about to finally get a break, the screenplay (co-written by Crystal and SNL alumni it too broadly, and Crystal, who co-wrote the script with the former “SNL” writer Alan Zweibel based on the latter’s short story The Prize), affords her no further background.

Very funny (Crystal zapping out the one-liners) and emotionally touching  by turn, it’s probably more suited to a Saturday night at home with a takeaway, its cinema life likely gone tomorrow, but those who yearn for a warm feeling in their heart should seek it out. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Vue)

New Order (18)

Set in Mexico City, dressed in bright red, Marianne (Naian Gonzalez Norvind) is set to marry fiancé Alan (Dario Yazbek Bernal) in the home of her wealthy businessman father designed by her architect brother Daniel (Diego Boneta). The party’s in full flow, although the judge who’s to perform the ceremony has been delayed by civil unrest a few blocks away. At which point along comes Rolando (Eligio Melendez), a former employee who wants to borrow 200,000 pesetas (small change to the family) to pay for private heart treatment for his sick wife, who was turfed out of her hospital bed along with other patients by protestors in the opening sequence. Marianne’s snobby mother (Lisa Owen) gives him a token 35,000 while Diego insinuates he thinks it’s all a con. Marianne, however, who has fond memories of the old man, offers to help and leaves the compound with servant Cristian (Fernando Cuautle), the son of their devoted housekeeper Marta (Mónica Del Carmen) to try and sort things out. While she’s way, protestors clamber over the walls and start shooting the guests, robbing them and killing her mother.

With military factions taking over the revolutionaries and imposing martial law and a curfew and Marianne is taken from Cristian’s home by opportunistic soldiers and banged up in a squalid jail where she’s subjected to sexual abuse and brutality, a ransom demanded for the release of her and the other prisoners, although an offscreen gunshot suggests deals are not abided by.

With bloodshed, violence and chaos mounting as the film continues and a totalitarian  order – or   new order one – is imposed in a coup d’etat,  director Michael Franco loses focus on his class war narrative as he concentrates on Marianne’s fate as opposed to the political upheaval  and discontent initially symbolised by the green water that floods from the family’s tap or is splashed across Marianne’s car as society implodes, but, like a  more intense Michael Haneke (though Gaspar Noé is the most obvious influence), the brutality never ceases, making it an often very difficult watch, not to mention an abrupt violent narrative resolution that puts a bullet in the head of  redemption and an ending that that reinforces the notion that its always the most corrupt, the richest and the most ruthless who survive to continue the fascist power games.  Unsettlingly nihilistic (everyone who shows decency suffers), while it provoked controversy in Mexico given the revolutionaries were largely darker-skinned and the victims white, the film isn’t about  racism but how the festering sore of inequality, whatever your colour, will ultimately  turn into a plague on all your houses. (Until Wed: MAC)

 

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Army of the Dead (18)

Drawing on a formula that ranges from The Magnificent Seven to The Dirty Dozen to The Expendables with a group of mercenaries gradually being whittled down as they seek to carry out their mission, as written and directed by Zack Snyder this  two hour plus video-gamer horror action romp throws the undead into the ultra-violent post-apocalyptic mix when, after a zombie outbreak (caused when  newlyweds, distracted by a blow job,  pile into an army convoy from Area 51, letting their cargo escape). the shambling hordes are contained within Las Vegas, walled off by a circle of shipping containers in a herculean effort headed up by Scott Ward (Dave Bautista). Now, some time later, he’s working in a burger joint when he’s approached by shady Vegas hotel owner Tanaka (Hiroyuki Sanada) who wants him to break into the city and retrieve 200 million dollars from the casino basement high security vault, amusingly named Gotterdamerung.

To which end, he recruits his old crew mechanic Cruz (Ana de la Reguera) and chainsaw wielding Vanderohe (Omari Hardwick), boosting the team with the addition of wisecracking cigar-smoking helicopter pilot Peters (Tig Notaro), YouTube zombie-killer star Guzman (Raúl Castillo) and German safecracker Dieter (Matthias Schweighöfer). Plus, their employer’s right-hand man (Garret Dillahunt) informs them he’ll be coming along to oversee (so you can bet he has a hidden agenda) while Scott’s refugee camp volunteer daughter Kate (Ella Purnell), estranged after dad had to kill her mother to prevent her turning into a zombie, insists on tagging along to rescue a friend who has disappeared from the camp, leaving her two kids behind. Plus, there’s Coyote (Nora Arnezeder), a hard ass French people smuggler who knows her way around the infested Vegas.  There’s just one small problem. The President intends to nuke Vegas on July 4th, complete with fireworks, so the clock is ticking. And then the date’s brought forward.

Once the crew enter the city the film shakes up a cocktail of Escape From New York, Planet of the Apes and Aliens stirred with the heist elements of Ocean’s Eleven, as they navigate their way through the streets, avoiding piled up bodies that can reawaken with the rain, tunnels populated by comatose zombies who you really don’t want to touch, not to mention, in an inspired touch, a zombie tiger that was part of Siegfried & Roy’s act. That, and as Coyote reveals, a new evolved breed of thinking Alpha zombies (though they still only say gaaahhhh) headed up by a bejewelled queen (Athena Perample) and her warrior consort (Richard Cetrone) with his impressive abs and zombie horse. To ensure safe passage, Coyote explains they need to offer a sacrifice, which explains why she’s brought along the camp security guard bully who’s duly dragged off to their citadel to be transformed into another member of the zombie army – a fate likely to be facing Kate’s abducted friend.

This might seem like a bit of a tangled plot, but basically once the splatterfest begins that’s really all that matters as double crosses and unexpected demises pile up, culminating in a last act climax as Scott and the remaining survivors head into the citadel to find Kate who’s taken off to rescue her friend (whose fate seems to have been overlooked by the script in the final moments). This is terrific braindead fun with big guns and geysers of blood that also has a knowing sense of humour (Liberace and Elvis impersonators, a soundtrack including Viva Las Vegas and The Cranberries hit Zombie) as well as finding time for some character depth that makes you care about who lives and dies. Although the body count would seem to effectively knock any ongoing franchise on the head, the coda hints at a Mexico City sequel. Bring it on. (Netflix)

Black Widow (12A)

Thirteen years on from the launch of the MCU, director Cate Shortland finally gives the Avengers’  Black Widow a long overdue origin story co-written by WandaVision’s Jac Schaeffer. Echoing The Americans, it opens in 1995 Ohio as with young blue-haired tomboy Natasha (Ever Anderson)   playing with her younger sister Yelena (Violet McGraw),  as part of  Russian sleeper cell with their fake family, mom Melina (Rachel Weisz) and  dad Alexei (David Harbour providing the comic relief), aka The Red Guardian,  the Soviet answer to Captain America. Their cover blown, they’re forced to flee from S.H.I.E.L.D., ending up in Cuba where the two girls are taken away by Dreykov (Ray Winstone with mangled accent) to become part of his army of female assassins. Cut to the immediate aftermath of the events in Captain America: Civil War, with Romanoff (Scarlett Johannson) wanted by the authorities, headed up by Secretary Ross (William Hurt), leading her to follow an ‘invitation’ to track down the estranged Yelena (Florence Pugh proving an action-woman natural), the world’s greatest child assassin apparently, who, as an earlier sequence shows, has, by means of some chemical red mist compound, now broken free of Dreykov’s mind control, and is  holed up in Budapest on the run for her former fellow Widows.

Suffice to say, some thrilling fisticuffs and explosions later, the orphan ‘sisters’  set off to track down Dreykov, whom Romanoff believed she’d killed, along with his young daughter as collateral damage, in his Red Room headquarters, and liberate the other assassins using a stash of the vials and put a  stop to his plans for world domination, a plan that involves rescuing the oafish Alexei from his high security prison  and reuniting with Melina who works for him as a mind control scientist (she’s got a bunch of trained pigs), and facing down Dreykov’s personal costumed and shield-slinging killer, the Taskmaster, who can mimic their opponents’ skills.

As such, it’s a fairly straightforward narrative, but, being Marvel, its invested with some serious emotional heavy lifting between the spectacular action sequences – several borrowed from Moonraker (it even features a clip and snatch of the music) – involving themes of family, sisterhood, identity crisis, sibling rivalry, free will, guilt and regret. Pugh and Johannson have terrific chemistry, with the former giving the film a real soul, as well as an amusing self-referential observation on Romanoff striking her trademark hair-flipping super-hero pose as well as observing how Thor doesn’t need to take ibuprofen after he’s been in a fight, while the latter’s background is further filled in on learning about her true biological mother and how she herself came to be part of the ‘family’ spy network.

Thrilling, action-packed, emotional and witty, it ends with the inevitable post credits scene which brings the timeline up to date with Yelena visiting Natasha’s grave and a meeting that sets up Pugh’s continuing role in the franchise and her next appearance as part of the Hawkeye TV series. Get bitten. (Disney +;  Vue)

Censor (15)

Set back in 1985 in the days of the so-called video nasties like Driller Killer and I Spit On Your Grave, with a backdrop of the Thatcher government’s confrontation with the miners,  first time director Prano Bailey-Bond taps into the debate on whether screen violence influences real-life behaviour to serve an impressive contribution to the growing genre of British pulp-horror melodrama while also musing on the sometimes dysfunctional workings of memory.

Enid (a compelling Niamh Algar) works as a film censor, she and her colleagues sitting through endless  footage of exploitation VHS movies involving lurid violence and sex, deciding what should be cut and what should be banned, consigned to under  the counter pirated versions in dodgy rental stores. She’s dedicated to what she sees as protecting the public, although her smarmy fellow censor Sanderson (Nicholas Burns) is less concerned, citing the Gloucester-blinding scene in King Lear when she declares an eye-gouging sequence has to go.

Things start to fall apart, however, when a film they passed is linked to a brutal domestic murder by someone the press dub The Amnesiac Killer kickstarts a media frenzy (cue a shot of morals campaigner Mary Whitehouse on TV), and she starts getting harassed  by the media and receiving abusive calls. At the same time, viewing a woodland sequence in a  film called Don’t Go Into The Church, by horror director Frederick North (Adrian Schiller) and produced by the sleazy Doug (Michael Smiley), a friend of her boss (Vincent Franklin), she’s persuaded that, the scene chiming with her own flashbacks, one of the actresses (Sophia La Porta) is in fact her sister who vanished when they were out playing together as children, for which she’s always felt guilty, and who her parents  (Clare Holman, Andrew Havill) have finally had declared legally dead. Determining to get at the truth, Enid visits Doug, and, ad her mental state collapses, things just go from bad to bloodily worse.

Shooting low budget with a fuzzy look that evokes the horror movies of the day (amusingly pastiched  in several clips) and an unsettling sound design, Bailey-Bond charts Enid’s descent into madness with a mix of dark comedy and horror , suggesting the accumulation of everything she’s been exposed to at work has, in conjunction with her existing  damaged mangled psyche of grief and self-blame, brought about her collapse. It ends on a disturbingly ambiguous note of self-delusion that conjures thoughts of the Japanese Ringu-styled movies, suggesting Bailey-Bond could have an even more promising horror future ahead of her. (MAC)

The Courier (12A)

Based on real life events, written by Tom O’Connor and directed by Dominic Cooke, Benedict Cumberbatch gives a solid, underplayed performance as  Greville Wynne, a salesman representing various  manufacturing companies, who, at the height of the Cold War, was recruited by MI6 and the CIA (respectively represented by Angus Wright and Rachel Brosnahan) to travel to Moscow and make contact with Oleg Penkovsky (Merab Ninidze), a Soviet colonel who, alarmed by Kruschev’s increasingly volatile nuclear rhetoric, has indicated he’s ready to pass on information to help prevent  mutually assured destruction. The thinking is that, as someone with no obvious political connections, Wynne is unlikely to attract KGB attention.

Unable to tell his wife (Jessie Buckley) the real reason for his regular trips to Russia, she suspects he’s having another affair while Penkovsky’s wife also remains oblivious to her husband’s actions in smuggling photos out by Wynne in the build up to the Cuban Missile Crisis. Unfolding with a cool tension in secret meetings where the fear of discovery or being bugged is ever present, it sits well alongside similar espionage  films like Bridge of Spies and Tinker Tailor Soldier Spy. As history tells, the subterfuge was eventually uncovered, leading to a darker third act when Cumberbatch, shaved headed and looking increasingly emaciated, is banged up in a Russian prison, being interrogated to confess he actually knew what he was carrying for Penkovsky (it’s suggested he didn’t, hence plausible deniability) before the British government negotiated an exchange for his release.

Sharply scripted and with a strong chemistry between Cumberbatch and Ninidze as the two men develop a genuine friendship (Wynne called him Alex), Wynne secretly rather enjoying his adventure, ticking the usual genre conventions without them appearing like clichés, the film revealing the heroic – and costly – role he and Penkovsky (codenamed Ironbark by the CIA) played in ending the Cuban standoff, Oleg remarking over a shared meal “We are just two people, but this is how things change.”

Its low key, period thriller nature might not be a big audience grabber, but as an inspiring story of human decency and sacrifice for the greater good, it’s one that deserves to be told and deserves to be seen.  (Empire Great Park; Everyman)

The Croods : A New Age (PG)

A belated sequel to the 2013 animation about a stone-age family, following a quick reminder,  this picks up  shortly after the original with overprotective dad Grug (Nicolas Cage) still not happy with the idea that teenage daughter Eep (Emma Stone) has struck up a romantic relationship with  more evolved outsider, Guy (Ryan Reynolds). Here, though, we learn more about him in an opening sequence in which  his late parents send him off in search of his tomorrow before they’re drowned in tar. Giving Eep an eternity rock, they  plan to set off on their own path and way from the smelly sleep pile, until, as they, Grug and the rest of the family, wife Ugga (Catherine Keener), numbskull son Thunk (Clark Duke), Gran (Cloris Leachman) and feral five-year-old Sandy  are out foraging with  their giant pet sabretooth, Chunky, in search of a new home after their cave was destroyed,  come across a walled day-glo Eden stuffed with watermelons, berries and all manner of food.

This, it turns out, is the home of The Bettermans, Phil (Peter Dinklage) and Hope (Leslie Mann) and their daughter Dawn (Kelly Marie Trann), an advanced new agey  flip-flops-wearing family who’ve invented  nicer pale blue clothes, agriculture, irrigation, showers, lifts, indoor plumbing (cue toilet gag) and live in set of a luxury tree apartments. They, it transpired, knew Guy as a child and it was here that his parents were sending him. Now, socioeconomic snobs, they want to pair Dawn off with Guy and be red of the Croods as soon as possible, all under the guise of being friendly and doing it for their new guests’ best interests of a bright future beyond the garden.

Meanwhile, Eep and Dawn bond and take off on Chunk on the latter’s first adventure beyond the walls, proudly scoring her first scar, Thunk has become a prehistoric app social media zombie watching the world through his ‘window’ and Phil has a manipulative man to man chat with  Grug in his man cave sauna, persuading him to agree to them taking Guy off his hands.  The climax hinges on Grug defying Phil’s sole rule and eating all the bananas which, turns out to be a bad thing, since they are in fact the only thing keeping the Bettermans’ paradise safe from a tribe of quick to learn punch monkeys and, in turn, a giant mandrill-like answer to King Kong.

Naturally, all this builds up to messages about family, parenting, acceptance, living in harmony and, as, led by Gran, a warrior in her day, the women come to the rescue as the Thunder Sisters,  a  big dose of female empowerment.  There’s some great sight gags, such as Guy poring over a scrapbook of old family cave drawings as well as big action sequences like the Croods battling the predatory kangadillos  as they race through a canyon all set against an often surreal and psychedelic looking landscape inhabited with things like  land sharks and Wolf-Spiders. The voice work is excellent, Cage, Stone and Dinklage taking the honours, the banter witty,  satirical, knowing and peppered with in jokes. If you are of a mind, you can even read into it a political message about a divided America,  but probably best to just be a kid,  ride the prehistoric rollercoaster and enjoy the silliness. And the peanut toe. (Cineworld 5 Ways; Empire Great Park; Odeon Birmingham, Broadway Plaza Luxe; Reel; Vue)

Don’t Breathe 2 (15)

Released in 2016, produced by Sam Raimi and directed by Fede Alvarez, the original film put an ingenious spin on the home invasion genre as a blind ex-Navy Seal took out a bunch of  hapless economically-challenged burglars in a plot that eventually revealed his own secret, a woman held prisoner in his Detroit basement he’d artificially inseminated to replace the daughter lost to a traffic accident.  Well, now directed by original co-writer Rodo Sayagues, it seems lightning strikes twice as, that whole seedy  rapist subplot  seemingly erased, Nordstrom (an imposing Stephen Lang), here more of a heroic   figure, again finds himself battling  intruders , although his time round their intent has nothing to do with robbing him.

Given his original plan to  acquire a surrogate daughter went sour, it seems that he rescued a young girl  when her druggie parents chemicals went up in flames and burned down the house, presumably killing them. The (more a long stretch nameless) 11-year-old  (Madelyn Grace) now calls him father, but he’s overly protective and she longs to be able to play with the other kids from the local children’s home that she sees in the park.

One day, while out with former Army Ranger Hernandez (Stephanie Arcila),  Normandson’s only contact with society, she encounters a guy hanging around the rest room who subsequently follows her home. He turns out to be  Raylan (Brendan Sexton III), who heads up a drugs gang and is also her real dad. And so he send his stooges and  his Rottweiler to abduct her (Normandson lured out of the house to find his missing dog),  for reasons that prove rather less than paternalistic and, in an unpleasant but very silly twist, link to an earlier news item about the search for  an organ trafficker.

While, trained by  Normandson,  the kid proves  resourceful at hiding and his  confrontations with the tugs are gruesomely inventive (at one point he superglues someone’s (Bobby Schofield) mouth and nose shut, prompting his psycho brother (Adam Young) to pierce his cheek with a screwdriver so he can breathe, they also become numbingly repetitive and dull. At least, after the survivors make off with the girl (who goes willingly after  the truth about her ‘father’ is explained), the film expands its location from the claustrophobic house (which itself goes up in flames, though fire services seem to be absent in Detroit) to a final showdown with Raylan and, her yes, the kid’s not dead but wheelchair confined and dying mom, in some abandoned building. But even here it’s again more of the same, our indomitable avenger  dragging himself back up after numerous beating stabbing and shootings to protect the girl.

Lang reprises the role solidly enough, but the screenplay and workmanlike direction do neither him nor the rest of the cast any favours and while, a post credits scene  hints we may not have seen the last of the blind warrior, I wouldn’t hold your breath. (Vue)

Escape Room: Tournament of Champions (12A)

Yet another horror sequel, it picks up from the end of the original where, survivors of the Minos Corporations twisted  fatal escape room scenarios, Zoey (Taylor Russell) and Ben (Logan Miller) agreed to go after those responsible and take them down, So, taking a car due to her fear of flying (and pay attention to the counselling session with her shrink that pays off in the final scene), they head for the New York coordinates where the HQ is supposedly locate and, chasing a thief who snatches her compass, find themselves on a subway train in what turns out to be an elaborate  electrified escape room, their four fellow passengers,  ex-priest Nathan (Thomas Cocquerel), Rachel (Holland Roden), who’s unable to feel physical pain, social media travel blog influencer Brianna (Indya Moore), and swaggery alpha male Theo (Carlito Olivero), also escape room survivors, thus prompting one  of them to conveniently deliver the title phrase.

What follows is inevitably a rerun of the first film, with ever more ingenious (and logically impossible) underground danger rooms that variously involve a bank lobby   filled with codes and deadly lasers,   a beach with quicksand and an urban street lashed by acid rain, as the gradually dwindling team seeks to solve  the clues that will allow them to escape. All of which builds to a climax with  Zoey coming face to face with another, supposedly dead, character from the first film and another twist to the series setting up yet another cliffhanger  for a second sequel.

Taking at a breathless race against the clock pace,  it’s not always clear what’s going on and the new contestants don’t have  any real backstory or character depth, making their fates somewhat hard to engage with, but if the first film worked for you, then this won’t disappoint.  (Vue)

Extinct (U)

Flummels are ring-doughnut shaped creatures with a hole in their middle and who travel like rolling tyres, they live on one of the Galápagos Islands where brother and sister  Op (Rachel Bloom) and Ed (Adam Devine) are the tribe’s misfits,  she always creating a mess and he a grumpy pessimist who longs to fit in. However, vain flummels leader Jepson (Henry Winkler) and bossy assistant  Mali (Alex Borstein) aren’t about to let that happen, Ed being consigned to be friend at the end, a straggler in the upcoming 10th annual flower festival procession. But even that’s denied him when they inadvertently cause a friendly whale to swamp the beach, Op and Ed being consigned to sit the festival out on desolation rock.

Looking to find a way to redeem themselves, Op leads Ed up the far side of the mountain to the forbidden zone in search of some extra special blooms  and, falling into a  glowing flower, find themselves magically transported to present day  Shanghai. Here, lost and confused,  they’re helped by   Clarence (Ken Jeong), a small white mix-breed Pomeranian that belonged to a now missing scientist who discovered seeds that enabled him to travel in time and visit historic events. He reveals the dreadful truth that, shortly after they left, a volcanic explosion wiped out all flummels, but says that, through  Dr Chung’s (Benedict Wong)  time terminal he can help them travel back and save their species.

Unfortunately, another Op and Ed accident throws Clarence into a random portal (where he becomes one of explorer Edward Shackleton’s thuggish sled dogs) along with the 1835 seed, leaving them at a loss at what to do. At which point they meet The Extinctables (an in-joke nod to Stallone’s The Expendables), a group of extinct creatures, dodo Dottie (Zazie Beetz), Tasmanian tiger Burnie (Jim Jefferies), Macrauchenia Alma (Catherine O’Hara) and Hoss (Reggie Watts), a baby Triceratops,  rescued by Chung, who now live in the time terminal library. They offer to help Op and Ed visit various times to try and find Clarence, eventually recovering the seed that will save the flummels. However, an argument sees Op returning on her own and,  at this point, there’s an unexpected twist where Clarence’s motives turn out to be something entirely different to what first appeared.

With a plot that involves time travel loops that Doctor Who might find complicated and the introduction of such characters as a cyclops, the captain of The Beagle (Nick Frost) and his passenger Charles Darwin (Tom Hollander) on its 1917 voyage of discovery, as well as offering snippets of historical information, this is directed by David Silverman who made The Simpsons Movie and written by three of The Simpsons scriptwriters. As such, while  aimed at youngsters and borrowing from films like Ice Age, there’s also plenty of sly – and at times risqué – humour for the adults too (Clarence says his mom was ‘social’, an interspecies romance and, a laugh out loud   cannibal-joke as  Op bites into an actual doughnut and splatters a horrified Ed with jam), plus of course it comes with an upstanding message about courage, being true to yourself and the power of friendship and all the characters have very definite personalities.  An unexpected delight.  (Sky Cinema)

Fast and Furious 9 (12A)

What began as a series about society outsiders racing against each in fast cars, has gradually evolved into a franchise more on the lines of Mission Impossible or The A Team, with the characters embarking on daring missions, often on behalf of some government agency or other, to take down bad guys looking to cause assorted types of havoc. The latest, which sees Justin Lin returning as director as well as co-writer for the first time since FF6 is the most preposterous yet, but at least all concerned have the good sense to acknowledge just how untethered it all is to any form of reality. There’s a hilarious moment when Roman (Tyrese Gibson) remarks on how strange it is that they’ve been through all manner of scrapes, crashes and explosions and emerged without a scratch, that they appear to be invincible. Now, normally, that would be a sign that someone was going to end up dead or seriously maimed, but not here, rather it plays along with the self-mocking note and pushes the envelope even further. Into space, as it happens.

However, to return to the start, Dom Toretto (Vin Diesel) is now living off the grid with Letty (Michelle Rodriguez) are trying to lead a quiet life with his young son Little Brian when their old team, Tej (Chris Bridges), Roman and Ramsey (Nathalie Emmanuel) turn up with a new mission to investigate a plane that’s crashed in foreign territory. Letty gets on her bike and joins them, but Dom demurs, only to turn up just as they’re about to take off, the reason being he’s discovered the involvement of his estranged brother Jakob (Jon Cena), whose existence – and the entire franchise – has kept secret until this very moment. Which sends the film off into a hitherto never told backstory flashback to their teens in 1989 whereby it’s revealed that their racing driver father (JD Pardo) was killed during a race and Dom (Vinnie Bennett) subsequently learnt Jakob (Finn Cole) was involved in tampering with the car, causing the accident, resulting in a race-off show down and Jakob being told to drive out of his life and never come back.  Since which time, determined to escape his brother’s shadows, he’s become a sort of petulant super mercenary and he’s now working for Cipher (Charlize Theron) and being bankrolled by Euro-brat dictator’s son Otto (Thue Ersted Rasmussen) in a plot to steal the two halves of some high-tech device known as Project Aries that will enable them, stop me if you’ve heard this one before, to take control of all of Earth’s computer systems and weaponry.

But this is just for starters, the screenplay taking things ever further with the crew travelling to virtually every country on the planet, Lin putting the car into carnage with ever more over the top sequences, including driving at high speed through Central American jungle full of land mines, racing across a collapsing wooden bridge above  a chasm, slingshotting a car across a mountain pass and a frenetic metal crunching chase through the streets employing a running action-gag involving giant fuck you magnets, culminating in bickering buddies Tej and Roman being launched into space to sabotage the satellite  via a space shuttle carrying a red Pontiac Fiero with rocket boosters strapped to its roof. In-between which there’s more flashbacks to the teenage years as Dom learns more about what actually happened that fateful day,  the usual talk about the importance of family, returning appearances by Jordana Brewster as the brothers’ sister Mia, Lucas Black as Sean, Kurt Russell as mysterious spook Mr Nobody,  a brief London cameo (and accompanying car chase)  by Helen Mirren and, as the coup de grace, the return of Han (Sung Kang), presumed dead since FF6  back in 2013 along with a complex back story explanation and a feisty sword-wielding  ward (Anna Sawei) who turns out to hold the key to the entire world domination scenario. Unashamedly ultrasilly and knowingly preposterous, but a whole tanker full of popcorn fun. (Vue)

The Father (12A)

Co-writer Florian Zeller makes his directorial debut with an adaptation of his own stage play (Christopher Hampton gets a credit for the English adaptation), starring Anthony Hopkins, who, at 83, became the oldest actor to win Best Actor at both the BAFTAs and Oscars for his monumental performance of an irascible elderly man, named Anthony, as it transpires, struggling with dementia.

It opens with him in his London flat where, visited by his daughter, Anne (Olivia Colman), who reprimands him for driving away his latest carer, he accusing her of his stealing his watch (a telling metaphor about chronological confusion), and insisting he doesn’t need looking after, before she informs him that she won’t be able to look after him anymore as, divorced, she’s met a new man and is moving to Paris, the veiled suggestion being he should go into a care home.

But then everything is upended as the scene shifts and Anthony walks into his living room to find a man called Paul (Mark Gates) who, he says, his Anne’s husband and that this is their flat. Anne returns from shopping, except now she’s Olivia Williams not Colman. And so it proceeds, keeping to unsure of what exactly is reality and what are Anthony’s dementia delusions. Who is Laura (Imogen Poots), the new carer Anne has arranged who he tells he used to be a tap dancer (he was an engineer) and says she reminds him of his youngest daughter, Lucy, apparently an artist off travelling the world who we never see but who, from Anne’s facial expressions, we can assume has died. Then there’s Rufus Sewell who is Anne’s actual, not-divorced husband, Paul, resentful (or so it’s played) that his father-in-law is living with them with no sign of ever leaving, while Williams resurfaces as Catherine, a nurse.

While Colman especially deserves plaudits, conjuring echoes of King Lear, following on the heels of two recent films unworthy of his talents, Hopkins magnetises the screen, astounding in the way he modulates and nuances his character’s emotions, slipping in and out of lucidity, at times charming, at others confrontational and petulant, trying to make his daughter think he’s in more control than he is, but equally frightened of what will happen if he’s left on his own. The film’s visual design also keeps the viewer disoriented as to where events are actually playing out along with who is and isn’t part of Anthony’s fractured reality in the same way that he continues to lose his bearings.

Not without dark humour, it’s a mesmerising portrait of dementia that avoids the clichés and melodramatics but deliver a searing and at times terrifying insight as to what it is like to live with the illness, both for the sufferer and those close to them. Uncomfortable viewing but utterly compelling.  (MAC)

The Forever Purge (15)

The fifth in the series, and the most political yet, this gets the set-up out of the way quickly. Despite having been dismantled in the previous film, apparently the New Founding Fathers  of America have been re-elected and have reintroduced the annual 12-hour amnesty for any form of crime, murder included. It’s fairly clear where the film’s coming from and going to with an introductory sequence where Adela (Ana de la Reguera) and her husband  Juan (Tenoch Huerta) journey to a  shack in the Mexican desert and then through tunnels into Los Feliz Valley in Texas along with other illegal immigrants. She gets a job in a restaurant and he as a horse whisperer ranch hand for the wealthy Tucker clan, headed up by liberal patriarch Caleb (Will Patton) and including headstrong smug son Dylan (Josh Lucas), Dylan’s pregnant wife Cassie (Cassidy Freeman) and Dylan’s younger sister Harper (Leven Rambin). While not overtly racist, Dylan harbours resentment against Juan when he tames a horse he cannot and, later says that he thinks each should stick to their own kind.

That’s a sentiment taken to extreme by a new breed of American fascists who, when the first of the new purges ends, the Tuckers safe in their shuttered farm and, using a bonus from Caleb, Anna and Juan taking shelter in a refuge for Mexicans protected by armed mercenaries, refuse to call it a  day. Rather, they declare a Forever or Ever After Purge dedicated to purify America by ridding it of all the ‘brownies’.  Meanwhile, along with his right-wing New Patriots sidekicks, one of the disgruntled Tucker ranch hands (Brett Edwards) takes the family prisoner as part of his own class war. Caleb agreeing the system sucks with the rick exploiting the poor, and having pointed out the bitter irony of them serving the NFFA, he’s duly given a bullet in the head before Juan, his buddy TT (Alejandro Edda), rescue them and, gathering Anna (herself rescued from a Purge Purification Force by her Black boss Darius and pretty nifty at handling an automatic rifle), and everyone setting off in a semi-truck with assorted Purgers on their trail.

Directed by Everardo Valerio Gout from a screenplay from series creator James DeMonaco, it takes on the feel of a gritty Western as, El Paso and other cities falling to the PPF, the NFFA, under threat from the monster its created,  sending in and then withdrawing the military, led by Native American activists Chiago (Zahn McClarnon) and Xavier (Gregory Zaragoza), the group has to race against the clock to navigate the El Paso war zone and cross the border into Mexico for sanctuary, Dylan, naturally, reassessing his attitudes along the way. Drawing heavily on films like Mad Max:Fury Road and Damnation  Alley for the frantic chase  and fierce, bloody action sequences, especially out in the desert and mountains, it rattles along and. while the political irony is never subtle (American ‘dreamers’ seeking freedom in Mexico) that doesn’t weaken its potency.  It’s also hard not to think of the Capitol siege by right wingers in the final days of the Trump presidency.

Amid the carnage, fight for survival and Dylan’s moral sensibility awakening to a common humanity, there’s also some grim black humour, such as when Anna and Darius (Sammi Rotibi) find themselves inside a police prison wagon alongside a neo-Nazi who can identify the different makes of guns going off in the streets from the noise they make. Ending with an image of a divided America rising up in a civil war, common-sense pitted against madness, the sixth, and presumably final, entry promises to be dynamite. (Vue)

Free Guy (12A)

Every day, Guy (Ryan Reynolds) wakes up in his Free City apartment to the sound of Mariah Carey’s Fantasy, puts on his regular blue shirt, tie and buff trousers, wishes his goldfish good morning, gets his usual coffee from the diner, sees his friend’s store getting robbed and goes to work as teller in a bank, his mantra “Don’t have a good day, have a great day”, where his best buddy, Buddy (Lil Rel Howery), is a security guard.  Every day someone comes in shooting off a gun and robs the place. They are always wearing sunglasses, because, in Free City, a place characterised by random acts of violence, war machines and the like, the people in sunglasses are a special type, not like ordinary folk, like Guy. But Guy has an emptiness and fantasises of meeting his ideal woman. Then, one day, she passes him by in the street. She’s wearing sunglasses, so, according to Buddy, out of his league. But he goes after her and eventually learns she’s called Molotov Girl (Jodie Comer), a British-accented assassin, and is apparently on a mission.

He also learns that he is, in fact, not real. And nor is Free City. It’s a computer game and, as referred to by two cops (one dressed as pink bunny) who come after him, he’s an NPC, a non-player character, one of those generic figures that populate the game for the actual players to interact with (i.e. generally shoot, maim or the like) on their missions. But somehow, he’s acting counter to his programming. Hence the cops, real-world gamers, looking to shut him down. Molotov Girl too is a player, and, in the real world, she’s Millie who, along with her genius ex-colleague Keys (Joe Keery) created the code on which Free City is based, and which was stolen by gaming corporate  megalomaniac Antwan (a scenery-chomping Taika Waititi), and she needs to enter the game and secure the evidence to prove this.

Now sporting his own glasses, which enable him to see Free City through the eyes of a player, told he needs to level up before he’s of any use to her, Guy sets about becoming Blue Shirt Man, stopping crime and generally being a hero before eventually joining her on her mission. And a romance blossoming over bubblegum ice cream and swings.  However,  readying to launch Free City 2, and in the process consign the original to oblivion, Antwan,  is determined to prevent her and to eliminate Guy, by ordering Keys’ friend Mouser (Utkarsh Ambudkar) to reboot it, or even totally destroy the whole set-up.

An exuberant cocktail of Ready Player One and The Truman Show with a smidgeon of Groundhog Day and Sims for good measure, it’s a colourful high-energy eager to please affair that uses its protagonist’s existential crisis as a springboard rather than a heavyweight issue, with Guy actually an algorithm designed by Millie and Keys that has hyperevolved into a  pixelated AI with free will. Stuffed with background sight gags and the explosions and visual effects going off like firecrackers  on New Year’s Eve, directed by Shawn Levy, it has great fun with the whole gamer’s universe, such as  nerd living in his mum’s basement whose avatar is a tough-guy played by Channing Tatum, and gaming conventions such as boosting your weaponry by accessing bonuses along the way, while other gleeful celeb cameos include a masked player voiced by Hugh Jackman,  and, in very funny nod to the MCU  as Guy takes on a dim-witted He-Man version of himself named Dude, even one of  The Avengers cast themselves.

Switching between the real and the virtual, it’s more in your face than even Disney in trumpeting its self-awareness be who you really are and what you can be message (delivered as such by Guy to his assembled fellow NPCs) while naturally including the staple romcom subplot of the character who doesn’t realise their true love has been staring them in the face all along. As in Killing Eve, Comer deftly switches between her two personas while Reynolds delivers his familiar amiable joker routine with rapid fire quips, albeit dialled down to a gentler level than Deadpool and with a far sweeter demeanour, while the support cast (which include a bank customer whose arms are always in hold up position)  dive in with undisguised glee.   It never aims to be more than it is, hyperactive candy floss and sherbet dip for the digital generation, and, as such, it’s irresistible fun. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Everyman; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Vue)

 

A Good Woman Is Hard To Find (18)

A financially strapped widowed single-mother of two living on a Northern Ireland council estate whose husband (who everyone wrongly thinks was a dealer) was killed in a  drug-related murder that left her son too traumatised to speak, Sarah (Sarah Bolger) is told in no uncertain terms by  her reproving middle class mother (Jane Brennan) that she’s too soft. Opening with a scene of her showering of blood and tissue, the film sets out to disprove that, gradually working up to the reason for the shower and a potent confrontation with a drug boss and his goons.

Initially though, Sarah’s very much the hapless victim (also harassed by the supermarket  security guard) when, having snatched a bag of coke from a dealer’s car, bottom-feeder Tito (Andrew Simpson) breaks into her home and forces her to hide the stash. And he keeps coming back to retrieve it to sell, and, while he does offer her a cut, she refuses. Eventually, her young kids threatened and the cops just another intimidating force in her life, things take a very visceral turn when local Mancunian gangster Leo Miller (Edward Hogg), who had her husband killed,  tracks her down and demands she reveal where Tito is hiding, something which, having dismembered him, isn’t going to be easy. All of which, culminates in her going to their nightclub offices for a decidedly violent climax that proves her anything but soft.

Part exploitation thriller, part kitchen sink drama, and with a very deadly used of a dildo, it rises above the usual girl-power vengeance fantasy largely thanks to a terrific performance from Bolger giving vent to her long suppressed rage in spectacular Grand Guignol style. (Amazon Prime)

I Care A Lot (15)

Rosamund Pike electrifies the screen in this return to thriller form by J Blakeson, the British writer-director of The Disappearance of Alice Creed. Pike plays Marla Grayson, a latter day Gordon Gekko with a severe bob cut and a vaping habit who, by greasing the right palms, from doctors (Alicia Witt) to administrators (Damian Young), has carved a lucrative scam for herself and her business partner cum girlfriend Fran (Eiza Gonzalez) by having vulnerable senior citizens declared incapable and, with the help of an admiring judge, placed into care with herself and her firm appointed as legal guardian. At which point they proceed to plunder their estate and savings under the guide of necessary expenses and administration fees.

Just how smoothly she works her Kafkaesque schemes things is shown in the first courtroom scene where she gets the son of one of her ‘clients’ barred from visitation rights after he caused a scene at the care home. Looking for their next mark, the pair target Jennifer Peterson (Dianne Wiest), a wealthy senior showing early mild signs of dementia and with no apparent family to take responsibility. A ‘cherry’. The next thing Peterson knows is that, without warning or any court appearance, she’s being bundled out of her home by social services and the police and taken off to be placed under the charge of one of Marla’s creepy care home administrator accomplices, stripped of her cell phone, and pumped with tranquilisers. Marla, meanwhile, puts the house up for sale and discovers a fortune in diamonds in a safety deposit box.

It’s at this point that what initially appeared to be a caustic satire on rampant and ruthless capitalism, the treatment of the elderly and the flaws in America’s legally appointed guardianship system suddenly pulls a genre flip into a deadly cat and mouse thriller. Peterson, you see, does have family. A son she sees once a year on a prearranged date. He’s Roman Lunyov (Peter Dinklage), a ruthless businessman who just happens to be a former Russian mafia kingpin. And he doesn’t take kindly to having his mother locked away. As Peterson coldly informs her “”I’m the worst mistake you’ll ever make”.

Marla’s initially unaware of any of this of course, only that a snappily dressed lawyer (Chris Messina) turns up offering $150,000  for Peterson’s release and making hardly veiled threats when she, looking to hold out for a bigger payoff, turns him down.

Things very quickly turn murderously nasty in what develops into a battle of wits and power between Marla and Roman, Peterson as her leverage, as she looks to negotiate a better deal than he’s offering, and he decides to simply eradicate the annoyances.

While it’s hard not be impressed by Marla’s smarts and resilience, while both apparently care for their  respective lover and mother, neither of the film’s despicable protagonists are intended to grab your sympathies, each lacking in the most basic humanity in their ferocious determination to succeed and become obscenely wealthy. Balancing a tightrope between compellingly nasty thriller and jet black satire, Blakeson rattles the action and tension along with barely a pause for breath as the stakes continue to rise before an unexpected resolution that returns to the predatory toxicity of the American Dream and a last minute comeuppance for at least one of those concerned.

Weist, Dinklage and Gonzalez are all terrific, but none can hold a candle to Pike who, making her Gone Girl performance seem like soft-pedalling tears into the screenplay like a wolf, toying with the dialogue before ripping it to shreds yet never once losing her chilly calm composure. In the opening voiceover, remarking how there are two types of people: predators and prey, lions and lambs, she declares “My name is Marla Grayson and I am no lamb. I am a fucking lioness.” Watch her roar.  (Amazon Prime)

Jungle Cruise (12A)

It used to be that the film spawned the theme park ride, but these days it’s more often the other way round.  This, set in 1917,  is the seventh to be based on a Disney theme park attraction, although  cine-literate audiences will recognise it’s also heavily influenced by the Bogart and Hepburn classic The African Queen, the roles here taken by Dwayne Johnson and Emily Blunt. She’s Lily Houghton, a trousers-wearing British botanist who’s determined to find a legendary ancient tree, hidden somewhere in the depths of the Amazon, the petals of which, the Tears Of The Moon, will heal any illness. Wearing the same sort of hat as Bogart, he is Frank Wolff, the cynical skipper of a ramshackle river boat who, in hock to the local Italian businessman (Paul Giamatti), runs cruises up and down the Amazon, given to making dreadful puns and something of an opportunistic con artist staging assorted ‘perils’ for his gullible  Western tourists. Lily having stolen a mystical arrowhead which, along with an old map, she believes will lead her to the tree, heads for Brazil along with her impractical foppish brother MacGregor (Jack Whitehall) where, after assorted antics (including a staged attack by Frank’s tame jaguar), she ends up hiring him to skipper them on their mission. She calls him Skippy, he calls her Pants.  However, she’s not the only one after the petal and, as the travel up the Amazon, they’re pursued by Prince Joachim (an accent mangling Jesse Plemons), apparently one of the Kaiser’s sons, in his  submarine, who wants to use its powers to help the German army win the war.

It should, at this point, be mentioned that there’s also a curse attached to the legend, dating back to the 16th century when, led by Aguirre (Edgar Ramírez), a bunch of Spanish Conquistadors came in search of the petals, massacred the natives who protected the tree and ended up being forever trapped by the jungle, their zombie selves being liberated and teaming up with Joachim.

Shamelessly pilfering from not only The African Queen, but also Romancing The Stone, Raiders of the Lost Ark, The Mummy and Pirates of the Caribbean  (and for art house devotees, Aguirre, Wrath Of God) , it could have profitably have been trimmed by 15 minutes (ditching some baggage as Frank does with MacGregors’), but you can’t say director Jaume Collet-Serra’s doesn’t give value for the price of admission, what with telepathic bees, snakes, rapids,  plunging waterfalls, running over collapsing structures, swinging from ropes, dart-blowing natives, headhunters, explosions  and much more. And along the way there’s  the inevitable burgeoning romance between Lily and Frank (he has a secret, so let’s just say it’s probably good if she prefers older men) as well as a sensitively handled scene where MacGregor (Whitehall rising above his initial comic relief role)  confesses to Frank that his affections are not directed at women.

Blunt and Johnson play off each other well, though it’s fair to say she scores the most points, and both throw themselves into the film’s physical demands with great gusto, and, at the end of the day, it’s all a good hearted rollercoaster ride through old fashioned Saturday matinee adventure escapism and none the worse for that.  (Disney +; Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Everyman; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Vue)

Ma Rainey’s Black Bottom (15)

 Following on from Fences, directed by George C Wolfe, driven by a score from Branford Marsalis with a  sharp screenplay from Ruben Santiago-Hudson, this is the second adaptation from The Pittsburgh Cycle,  a collection of ten plays by the late August Wilson chronicling the African-American community in the 20th century.  Written in 1984, set in 1927, it was inspired by legendary blues singer Ma Rainey, dubbed the Mother of the Blues, played here in powerhouse form by Viola Davis, who won a Supporting Actress Oscar for the previous film. However, the dramatic focus and, inevitably, the film’s most compelling attraction, is that it co-stars the late Chadwick Boseman (with whom Davis appeared in Get On Up) delivering a volcanic, highly physical live wire performance in his final Golden Globe winning role as her band’s fictional trumpet player, Levee, an ambitious, cocky figure determined to make a name for himself but also troubled by a traumatic past.

First seen on his way to the recording studio, his attention’s caught by a pair of flash, yellow leather shoes which he buys and proudly shows off to his colleagues, and which will prove the catalyst to the film’s sudden, tragic ending. The youngest and a new addition to the ranks, he’s at the Chicago recording studio owned by Sturdyvant (Jonny Coyne), along with bassist Slow Drag (Michael Potts), veteran piano player, Toledo (Glynn Turman) and highly religious  trombonist Cutler (Colman Domingo) the band’s de facto leader, to rehearse in the basement ready to lay down material for Ma’s next records, among them her signature tune Ma Rainey’s Black Bottom, He, however, has his own ideas for the arrangement they should play, a swing intro designed to hook an audience looking for livelier, more danceable music. His swagger is buoyed by the fact Sturdyvant, seeing crossover potential,  has agreed and also expressed interest in his own compositions with a view to recording, a step towards Levee forming his own band and becoming a  star in his own right.

However, as Cutler points out, this is Ma’s music and Ma’s band and what she says goes. It’s clear from her first appearance, sporting gold teeth and overdone makeup, arriving in a swanky car driven by her nephew Sylvester (Dusan Brown) along with her latest flirty young pick-up, Dussie Mae (Taylour Paige),  and immediately involved in an altercation with another driver, that she’s a blowsy, imperious diva used to getting her own way. Under no illusions as to her status in a white America, she also knows that the sales of her records give her the power to call the shots, something she makes very clear by her late arrival and the demands she makes during the session, declaring “they gonna treat me the way I want to be treated no matter how much it hurt ‘em”, much to the exasperation of her long suffering white manager Irvin (Jeremy Shamos).

Inevitably, then, she immediately slaps down Levee’s proposals, insisting that Sylvester will do the song’s spoken introduction (despite the fact he stutters) and they’ll play it the way it’s always been played. It’s not the only time during the session that Levee’s hopes will be taken away from him.

Much of the drama takes place in the rehearsal room where, in a mix of playful banter and more serious concerns, the conversation variously takes in fashion sense, the history of black oppression, Toledo’s views on the futility of trying to change things (“The coloured man, he’s the leftovers”, he declares after his African Stew monologue), Levee’s seemingly sycophant attitude to white folk, and, tellingly, the story of black man who sold his soul to the Devil and became untouchable. It’s here that, driven by  the friction between Levee and Cutler that Boseman’s  most electrifying, blisteringly intense  scenes take place, first in recounting the childhood trauma of seeing his mother violated by a gang of white  ‘crackers’ (who only stopped after scarring his chest with a blade) and what he learnt from  his father’s revenge  and, subsequently a physical knife-bearing confrontation with Cutler and a subsequent ferocious calling out of God for abandoning him (given added resonance since Boseman was by now dying of cancer) and never intervening to save his mother.

The knife, naturally, has, along with the shoes, a further part to play as the anger within Levee boils over in the wake of Rainey’s veto of his arrangement (his revenge is to have sex on the piano with Dussie Mae) and Sturdyvant’s rejection of his songs (and recording sessions) as of no commercial worth, the final intercut scenes, of course, underling white exploitation of black music as we see them being recorded by an all white line-up. The film will be celebrated and remembered as Boseman’s final and finest hour, but it’s also much more than that. (Netflix)

Minari (12A)

A loosely autobiographical drama about Korean immigrants in the rural US  inspired by writer-director Lee Isaac Chung’s childhood, it stars  Steven Yuen as Jacob who, as the film starts, moves his wife Monica   (Yeri Han) and their two young kids, Anne (Noel Cho) and David (the scene-stealingly cute and wise Alan S. Kim), her young brother with a weak heart,  from California to live in a secondhand  mobile home, propped up on cinder blocks in the middle of nowhere Arkansas, using the money saved from years working sexing chickens in the city.

The family’s not best impressed, but while they work in the local chicken hatchery, Jacob’s determined to turn the accompanying land into a  farm, growing Korean vegetables to sell for his fellow ex-pats yearning for a taste of home. The soil, he tells his wife, is perfect. Unfortunately, the water supply isn’t.  But with the help of eccentric Pentecostal field hand Paul (Will Patton), things initially seem to be starting to look up. Until Jacob’s dream starts hoovering up all their savings. And then, to keep his wife sweet, he agrees for her mother (BAFTA  and Oscar Best Actress winner Youn Yuh Jung) to join them, the kids, who have become Americanised, not overly thrilled by the strange foods their mischievous Grandma brings with her. David, who has to share a room, reckons she smells Korean and takes  exception to her embarrassing him about his bedwetting issues (he gets his revenge in wickedly funny way). She does, however, bring with her the water celery seeds of the title that she sows in the nearby creek, a versatile crop that (serving as the film’s metaphor) can grow anywhere.

As Jacob’s American Dream falls apart around him and the promised land increasingly becomes less so, so does it impact on family life and the marriage, the film never overplaying the way the fault lines develop and keeping a strong focus on the interaction of the characters making its emotional impact honestly earned.  (Amazon Prime, Apple TV, Google Play, Vudu, YouTube)

The Mitchells v The Machines (PG)

Produced by Phil Lord and Christopher Miller who directed The Lego Movie and 22 Jump Street and produced Into The Spider-Verse and the other Lego movies with writer-director team Mike Rianda and Jeff Rowe making their feature debut (with characters based on their own family members), this is hugely entertaining fun animation with a solid message about embracing your inner weirdo and a cautionary tale about letting technology control you rather than the other way around.

When Mark Bowman, head of an Apple-like tech company, introduces his latest invention, an upgrade white humanoid robot servant version of his AI smartphone assistant, he’s not prepared for the Siri-like PAL (voiced by Olivia Colman) to take revenge for being consigned to history by taking control of the robots (who resemble Star Wars’ battle droids) and, Terminator-style, setting out to rid the planet of all humans.  She’s not, however, reckoned on the Mitchells.

An oddball family headed up by technophobe Rick (Danny McBride), who wishes everyone would leave their cellphones for at least a few minutes and actually talk to each other round the dinner table, and super-positive wife Linda (Maya Rudolph), they have two kids, young dinosaur-obsessed Aaron (Rianda)  who randomly calls people in the phone book to talk about  them, and teenage Katie (Abbi Jacobson), an aspiring filmmaker who, on the back of her home videos featuring their cross-eyed pug Monchi, has landed a place at film school in California.  However, her relationship with her dad is prickly since he just doesn’t get her and, for reasons explained later, tends to speak of potential failure rather than potential success.

Trying to make up for his comments and behaviour, Rick arranges to take the whole family on a road trip to Katie’s college in their battered orange station wagon and, stopping off at a rundown dinosaur attraction en route, they find themselves at the centre of the worldwide robot attack, rounding up humans and sending them off to their Silicon Valley HQ in flaying green boxes. And so it is the Mitchells end up as the last humans not in captivity and, with the aid of two robots (Fred Armisen,  Beck Bennett) whose programming has been send into a spin by being unable to decide if Monchie is a dog, a pig or a loaf of bread, they set out to save the world.

It’s a silly and as anarchic as it sounds and all concerned revel in the opportunity to go wild, both in the use of the animation, which at times includes real YouTube clips as well as cartoon drawings of the family and their escapades, and in a non-stop barrage of gags, none of which miss the target, along with any number of energetic action sequences, including a show down with the world’s biggest Furby in a shopping mall and Linda letting loose her inner Mulan against PAL’s killer robots.

Never losing sight of its central theme of family bonds,  father-daughter in particular, it rattles along with unflagging energy and a support cast that includes John Legend and Chrissy Teigen as the Mitchells’  supercool neighbours, this is an absolute joy. (Netflix)

The Nest (15)

Opening in mid-80s suburban America, director  Sean Durkin long anticipated follow up to Sundance winner Martha Marcy May Marlene is a slow burn drama about  the disintegration of a marriage and a family that cleverly insinuates horror movie suggestions without ever resorting to manifesting them as such.

While they have a comfortable life, wife Allison (Carrie Coon) runs a horse riding school and their kids, stepdaughter Samantha (Oona Roche) and Benjamin (Charlie Shotwell) are well-adjusted and happy, high flyer commodities broker, Rory O’Hara (Jude Law) is, however, tired of living in the States. As such, their fourth relocation in ten years, he arranges to move the family back home to England and hook back up with his old boss, Arthur Davis (Michal Culkin), to run his own division, where he says lucrative opportunities await.

Though understandably unsettled, the wife and kids go along with things, arriving to join Rory who has gone ahead and rented a huge Surrey countryside mansion where Led Zeppelin once rehearsed and where he’s going to have stables built for Allison so she can have her own riding school. All seems perfect, except, bolstered by Richard Reed Parry’s score and Mátyás Erdély’s cinematography, evoking 80s horror in the home movies,  Durkin’s dispassionate direction slowly and subtly, reveals this to be far from the case. Hints of the domestic rot are shown early as Rory arranges for Benjamin to attend a prestigious private academy, where he’s inevitably bullied, while Samantha is dumped in the local high school, further fuelling her growing resentment and rebelliousness. When cheques for the stables construction bound, it also becomes clear that Rory has over extended himself (he also talks of maintaining a  New York home and getting a London flat), things spiralling ever downwards as his planned Big Merger is dismissed by Davis,  the debts pile up and Allison feels increasingly stifled by her new environment.

Though obviously a manifestation of his insecurities , the film teases that Ben’s fear of the house may have a supernatural basis, compounded by Allison finding the front door inexplicably open one night, but, again, this simply adds to the  psychological terror, as does the sudden death of Allison’s horse, who she had shipped over from America (and which entails a deeply unsettling subsequent scene), all underscoring that, while it may not be haunted, the ‘nest’ serves as a metaphorical horror object that exacerbates and magnifies the growing cracks in the family.

Discovering Rory’s lies prompts a powerful scene involving business dinner with poetical Norwegian clients where she embarrassingly calls out his bullshit, before sweeping out and going to a local bar to get drunk and dance, while, having missed the train and with no cab fare, he’s left to walk home, where Sam has invited a rowdy bunch of local youths to a party.

While clearly a less than admirable figure, Rory is given a scene in which, visiting his estranged mother (Anne Reid) for the first time in a decade (she’s not aware he’s married or she has a grandson), which reveals his own working class background and implies an unhappy childhood that he’s been driven to rise above. As such, Law delivers a suitably nuanced performance that balances smooth-talking ruthlessness with a deep vulnerability, his family sacrificed to his personal ambitions, while Coon quietly magnetises the screen whenever she’s on camera.

Taking its time to unfold and closing with an open ending, it’s a precisely constructed and chilly film that requires patience, but one that offers rewards for the effort you take. (Cineworld 5 Ways)

The Night House (15)

The film opens a few days after Owen (Even Jonigkeit), the architect husband of caustic upstate New York schoolteacher Beth (Rebecca Hall), overwhelmed with depression, took a rowboat out on to the lake by the house he built for them and, naked, blew his brains out with “a gun that I didn’t even know we owned”, leaving behind a cryptic suicide note.  It’s not long before starts sensing a presence, hearing noises at night with bloody footprints appearing on the jetty, being woken with the stereo turning itself on, getting texts and calls from her dead husband and seeing shadowy figures.  Or is it a case that, waking up on the floor, she’s having grief-driven black outs and dreaming? Besides, she too suffered from depression and, as she later reveals, once briefly died, leaving her fully convinced there is no afterlife. Her friend and colleague Claire (Sarah Goldberg) is worried about her, as is her neighbour Mel (Vondie Curtis Hall), but Beth shrugs off their offers of help, pouring support from the brandy bottle instead.

Things take a sinister turn when she discovers photos on Owen’s phone of another woman who looks like her, an assistant at a local bookstore, as well as that he was secretly building another house just like their own and was likely dabbling in occult beliefs. Despite being married for 14 years, there’s clearly a lot she didn’t know about her other half. Mel admits he knew about the construction as well as Owen’s confession of an obsession and dalliance with Beth lookalikes, but says he kept quiet as it all seemed to blow over (though apparently wasn’t concerned that Owen turned up with blood on his hands, as the narrative becomes increasingly complicated and convoluted.
Director David Bruckner delivers a mounting sense of dread as, under a blood-red moon, it builds to a not entirely lucid poltergeist assault climax and over explanatory third act involving parallel worlds, doppelgangers and demons that seems to suggest death as something of a jealous lover who wants the bride taken from him. Atmospheric enough to keep you engaged despite the muddled storyline, largely down to a persuasive performance from Hall carrying the film as the bold, scared and not always entirely likeable Beth who lifts it beyond its ultimately shaky foundations. (Cineworld 5 Ways; Empire Great Park; Odeon Broadway Plaza Luxe; Vue)

Nomadland (12A)

The triumphant winner of Best Film, Director and Actress at the Oscars, adapted from Jessica Bruder’s non-fiction Nomadland: Surviving America in the Twenty-First Century, this ever bit a slow burn, spare, quasi-documentary style work as Chloé Zhao’s previous film The Rider.  Echoing the title, it kind of drifts and meanders without a clear destination in sight, but it’s the journey not the arriving that makes it so extraordinary.

Frances McDormand is Fern, recently widowed, a former substitute teacher and a victim of the economic downturn in Empire, Nevada, the local gypsum works being forced the close and the town even having its post code discontinued.  As such, she’s made houseless, but not homeless, taking to the road with a few possessions, including the china plates her father collected, in her camper van, which she names Vanguard, living an itinerant life along with a nomadic, largely, elderly community of likeminded and similarly affected souls, working zero hours contracts in Amazon warehouses or burgers bars to make money for food and gas, moving on – in Fern’s case to Arizona – when the demand or the weather changes.

In her early sixties, she’s a flinty and determined oddball, never given to self-pity, kindly and compassionate to those she meets in need of comfort or whatever help she can offer, receiving their kindness in return. Most notably among them are David (David Strathairn), a kindly senior citizen with a strained relationship with his son back home and who offers the possibly of something more than friendship, and, Linda May who first brings her into the nomadic community by inviting her to the regular Rubber Tramp Rendezvous meetup and has found escape from despair through life on the road. She, like pretty much everyone else in the film including, the group’s   leader, Bob Wells (who has a heartbreaking backstory), all featured as part of Bruder’s book, are playing themselves.

There’s very little by way of a drama (a flat tyre, an accident with a cardboard box), the film essentially a collection of small, naturalistic scenes punctuated here and there by monologues of wisdom (memorably one of ineffable beauty by a character named Swankie), some moving confessionals, a reunion and, for Fern, a slow emerging from the grief that, while she’s physically on the move, has held her in emotional stasis.

The political commentary on contemporary America is never in your face, but you always feel its subtle presence as Zhao crafts an almost dreamlike experience that, capturing a little seen American  landscape with visual poetry,  never forces or manipulates your response to of  feelings for the characters or their  broken dreams, who are defined by joy rather than sadness, although it’s fair to say the third act, which has her returning home to ask her sister for a loan  and visiting David now back with his family feels more narratively hands on. But even so, this is an exquisite snapshot of an unseen America that will seep into your soul and linger for months. (Disney + Star)

The Old Guard (15)

Following on from Mad Max and Atomic Blonde, Charlize Theron further underscores her cool action movie persona as Ancient Greece warrior Andromache of Scythia aka Andy, the head of a small group of immortal mercenaries that also comprises Booker (Matthias Schoenaerts), who gained immortality after dying in the Napoleonic Wars and Joe (Marwan Kenzari) and Nicky (Luca Marinelli) who became gay lovers while fighting on opposing sides in the Crusades.  Keeping a low profile so as not to attract attention to themselves, they’ve fought on the side of right through the centuries, to which end, brought back together after a year apart, although, disillusioned by humanity’s continued inability to redeem itself, she declares “The world can burn for all I care”, she’s persuaded by former CIA operative Copley (Chiwetel Ejiofor) to rescue 17 schoolchildren abducted in South Sudan.

However, this turns out to be a set up aimed at capturing them and harvesting their DNA engineered by pharmaceuticals CEO Merrick (Harry Melling, unrecognisable from his role as Harry Potter’s Dudley Dursley) who claims he wants to end cognitive decline, but whose actual motives are rather less altruistic.

The corporate villain has become something of a cliché and the film, self-adapted by Greg Ruckahich from his graphic novels and which sees director Gina Prince-Bythewood spreading her wings after romantic dramas, never seems as assured in the basic plot framework as it does in handling the character interplay and the action sequences.

The quartet are soon joined by a fifth member, American Marine Nile Freeman (KiKi Layne) who, much to her confusion and the unease of her fellow soldiers, recovers from a fatal neck-wound in Afghanistan without so much as a scar. A psychic bond between fellow immortals leads to Andy rescuing her from the military base and, after a mano a mano fight aboard a transport plane, recruiting her to the cause, though she remains understandably freaked out about the whole set-up.

Not that, with Merrick’s paramilitary squad on their tail, anyone has a great deal of time to sit around reflecting on the cost of immortality and rapid healing, and never knowing when your time will be up.  The character depth is thickened by the revelation that Andy is haunted by guilt over the fate of her first fellow immortal, Quynh (Van Veronica Ngo) following their capture during the witchcraft trials.

As such, the film jumps around from Africa and Southern Asia to rural Paris as the group elude pursuit and seek to track down Copley before, after a betrayal and two abductions for experimentation,  it all climaxes in an extended shoot-out at Mannix’s London HQ.

Dressed in black (though flashbacks have her in Amazonian armour) with a bob-cut, Theron strides confidently through the film, delivering action and conflicted character complexity and psychological baggage with equal skill, and she’s well-supported by her four peers, Layne especially strong while Schoenaerts provides soulful melancholia and Kenzari and Marinelli introduce a degree of humour and tenderness.

With one of the group apparently losing their immortality and a six months later end credits scene that sets up further mystery and intrigue, this is clearly envisioned as an ongoing narrative, both as  high octane action and exploring what it means to be human; it most certainly deserves a sequel. (Netflix)

Our Ladies (15)

It’s 1996 and, under the supervision of  choirmaster Sister Condron (Kate Dickie), who they’ve dubbed Sister Condom, a choir of Catholic schoolgirls are, led by doctor’s daughter head girl Kay (Eve Austin), inevitably ostracised on account of her wealthier status,  off from their Our Ladies of Perpetual Succour convent school in the dead-end, desolate west-coast Highlands town of Fort William, where working in Woolworths is the height of ambition, to compete in a competition in Edinburgh.

However, rather than dreaming off coming home with first prize, close housing estate friends Kayla (Marli Siu), who fronts a crappy garage band, cynical ostensible gang leader Finoula (Abigail Lawrie), the sassy,  bullish Manda (Sally Messham), the impoverished but sexually experienced Chell (Rona Morison) still grieving her drowned father, and, a local celebrity having being apparently cured of leukaemia at Lourdes, Orla (Tallulah Greive), are a rebellious shag happy bunch who  are more interested in , changing into more ‘grown up’ provocative clothes, letting their hair – and hopefully knickers – down in their free time and getting home in time to hook up with the submarine sailors who are in town for the night.

In the course of the day there will be much drinking, smooth-talking of bouncers, two will come out as lesbians, one will be revealed pregnant, one will arrange to meet a local boy off the night train to lose her virginity and indulge her bondage fantasies, one will have drunken sex with an older self-assumed Don Juan, school uniforms will be stolen, a tragic secret will be confessed and there will be several fallings out among the girls.

A sort of swearier Scottish take on Derry Girls set to a soundtrack of 90s hits (with Kayla delivering a crowd-rousing karaoke version of Tainted Love), it’s an emotionally compelling, very funny coming of age film about friendship and being true to who you are. Adapted from Alan Warner’s novel Sopranos and directed by Michael Caton-Jones (who nurtured the project for 20 years), it’s hard not to feel a whiff of middle aged male schoolgirl fantasies, but, the chemistry between the leads and their assured, powerful performances, the screenplay giving each their turn in the spotlight, give it a gritty and ultimately moving authenticity that pulls you into their lives, disappointments,  desperation and dreams, the what happened next end credits delivering one final kick.  (Cineworld 5 Ways)

Paw Patrol: The Movie (U)

Launched in 2013, PAW Patrol is a long-running animated TV series about a search and rescue team  made up of talking dogs, German Shepherd   police pooch Chase (Iain Armitage),  Dalmatian firefighter Marshall (Kingsley Marshall), helicopter pilot cockapoo Skye (Lilly Bartlam), mixed-breed handyman pup Rocky (Callum Shoniker), aquatic rescue Labrador Zuma (Shayle Simons) and bulldozer driving construction bulldog Rubble (Keegan Hedley), all headed up by 10-year-old boy Ryder (Will Brisbin) who finances operations selling official PP merchandise.

Now comes their big screen debut, as, called into help from their Adventure Bay seaside base when a truck winds up dangling from a bridge after avoiding a baby turtle, they find themselves up against Adventure City’s newly elected (as the only candidate) self-serving nemesis Mayor Humdinger (Ron Pardo) who hates dogs, is surrounded by cats, and whose promises of major infrastructure reforms consistently wind up as disasters, prompting the PAW patrol to come to the rescue.

In one such, passengers trapped on loop-de-loop subway system, Chase freezes as he attempts a rescue from atop a high building, leading to him being put on temporary leave and a confidence crisis (recalling his time as a stray pup in Adventure City) in which he casts aside his police uniform and ends up in a dog pound, captured by the mayor’s bumbling hirelings (Randall Park and Dax Shepard).  To the rescue comes Liberty (Marsai Martin), an excitable Adventure City daschund who dreams of being part of the patrol and who, along with Ryder, tells Chase that being a hero doesn’t mean not being afraid, it means overcoming the fear and being the best you can be.  Reunited, the patrol expose Humdinger’s ego-driven corrupt practises, put a stop to an out of control cloud sucking weather machine and, naturally, save the day.

Along with the main voice cast, there’s celebrity cameos too, notably Jimmy Kimmel as a bewigged news reporter,  Yara Shahidi as a verbose scientist, Tyler Perry as the imperilled trucker  and Kim Kardashian as a snooty poodle. Aimed at the pre-schoolers it may be, but, colourfully and energetically animated, the writers never patronsise their young audience and ensure there’s more than enough emotional heft, amusing sight gags, character driven plot  and witty dialogue to ensure watching is fun for the grown-ups too.  (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Everyman; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Vue)

 

Peter Rabbit 2: The Runaway (PG)

There’s a curious case of having your cake and eating it to this sequel based around the Beatrix Potter characters in that, now married to McGregor (Domhnall Gleeson wildly overacting), Bea (Rose Byrne) is approached by a smooth-talking major publisher, Nigel Basil-Jones (David Oyelowo), who wants to bring her stories to a wider audience, but to do so would mean departing from their simple innocence, such as having them wear t-shirts, going surfing or even into outer space. Bea is seduced by the idea, especially after he gives her a snazzy car, but McGregor feels this is betraying her principles and the characters, which, of course, are based on the animals on and around the farm where they live.

And yet the film itself seeks to do the very same thing for the same reasons, exaggerating it all into a frantic caper movie based, rather obviously, on Oliver Twist (in case you miss it, Rose starts reading Charles Dickens).  In  his game plan, the publisher wants to give the various characters defined personalities, with Peter (James Corden) being cast as the Bad Seed (with, self-referential joke, an annoying voice), reinforcing his feeling that, despite a tentative peace between him and McGregor, he’s always getting blamed for everything by McGregor, even when he’s not bene up to mischief. So, when everyone troops off to Gloucester (and if you think this means introducing Potter’s The Tailor of Gloucester into the plot, pat yourself on the back), he takes off my himself and runs into Barnabas (Lennie James), an old friend of his father’s who’s stealing fruit from the market and invites him to become part of his gang. So, deciding that if he’s always going to be seen as the villain of the piece, then he might as well be, Peter joins up with Barnabas’s crew, including masterplanner Samuel Whiskers and rough and ready felines Tom Kitten and Mittens (Hayley Attwell).

After showing Peter the ropes in how to get yourself adopted by humans so you can raid their food cupboard, Barnabas announces his big plan is to steal the dried fruit from Gloucester’s weekly market, persuading Peter to rope in all his friends, Flopsy (Margot Robbie) and Mopsy (Elizabeth Debicki), Cottontail (Aimee Horne), Mrs Tiggy-Winkle (Sia), Jemima Puddle-Duck (Byrne), Pigling Bland (Ewen Leslie), Mr. Jeremy Fisher (Gleeson), Tommy Brock (Sam Neill) and even Felix D’eer (Christian Gazel), to help pull it off.

Throwing in assorted amusing moments along the way (Cottontail having his first sugar high on  jelly beans  – or the hard stuff a Whiskers calls them), McGregor rolling down the hill, the old gag about standing on each other’s shoulders in a raincoat to pass off as one person, D’eer on a parachute) as well as a car chase, it naturally spins a message about family, friendship, being true to yourself and judging others by your preconceptions of them as it heads towards its rather rushed big finish (Bea, Peter and McGregor having to rescue the others from their assorted fates after being sold on by the local pet shop).  McGregor even discovers Peter can talk.

While doing an equally good job of integrating the CGI animals alongside the actors, it lacks the charm and sweetness of Paddington and, like the books Basil-Jones wants to publish has very little in common with Potter’s stories, but the slapstick should keep the youngsters happy enough and, it has to be said, it does have a very clever spin on the obligatory lavatory gag. (Vue)

Pig (15)

After a stream of over the top performances in barking, bonzo B-movies, Nicolas Cage returns to something like his Oscar-winning Leaving Las Vegas form for this slow burning, understated feature debut by writer/director Michael Sarnoski. He plays Rob, a grizzled, straggly-bearded aged truffle hunter who lives a hermit’s life in the Oregon wilds with his prized truffle pig, his only contact with the outside world being regular Thursday visits by flashy young buyer Amir (Alex Wolff).

One night, however, he’s attacked and his pig stolen. Now, in his previous films this might have entailed Cage going off on a  berserk violent bender to retrieve the porker and kill those responsible. This is not that film. Instead, having discovered the big was stolen by two junkies at the best of some mystery buyer, he persuades a reluctant Amir to drive him into Portland where he knows someone who might know something where Sarnoski reveals that Rob was once Robin Feld, a former celebrity Portland chef before tragedy changed his life. To say more would spoil the carefully crafted narrative that involves Amir’s powerful widowed father Darius (Adam Arkin) who runs a truffle supply business of his own and features a mesmerising scene in which Robin confronts Derek(David Knell), a pretentious chef who runs the equally pretentious Eurydice restaurant who he once fired for overcooking the pasta, with the gulf between his original passionate gastropub dreams and the cold haute cuisine falsity of what he now does.

Building to a confrontation that involves Robin recreating  dish he once serves (he professes to remember every customer her served and every dish he cook) which harks back to a story Amir tells at the start about a meal that made his father happy, and closing with an understated redemption and reconciliation with the past, it’s a melancholic, existential affair about family, love, food, hurt, grief, obligations and being honest about yourself, a film where a whisper proves far more effective than a scream. (BT Store, Sky Store, Virgin; Fri/Sun:Mockingbird)

Pixie (15)

Cheerfully sporting its Tarantino and John Michael McDonagh influences, directed by Barnaby Thompson and written by Preston Thompson, this comedy thriller set in Co. Sligo, is great fun. The step-daughter of   local drugs baron gangster Dermot O’Brien (Colm Meany), the spunkily ruthless but irresistible Pixie (Olivia Cooke) sets out to avenge her dead mother and score the money she needs to go to San Francisco, setting in motion a plot that involves her new lover Fergus  recruiting her ex, Colin (Rory Fleck Byrne), to steal  a consignment of MDMA from a syndicate of drug dealing Catholic priests, headed up by her step-father’s old rival, Father McGrath (Alec Baldwin). This leaves the priests dead and, subsequently, the jealous Colin putting a bullet in Fergus’s head, heading off with the bagful of drugs to have words with Pixie and himself ending up in the boot of a car driven by the naïve Harland (newcomer Daryl McCormack) who’s sitting outside her house waiting for his directionless best mate, Frank (Ben Hardy, Roger Taylor in Bohemian Rhapsody) who’s inside supposedly getting shagged. And that’s just the start.

Now they and Pixie find themselves thrown together with Colin’s body in the boot, first trying to offload the drugs to a local dealer’s Dingle-based uncle (Dylan Moran) and then on the run across the county, Pixie’s step-brother, who reckons dad’s lost his grip, looking to bring her down using the family’s pet hitman (Ned Dennehy), before setting up a deal with McGrath that culminates in a rival gangs shoot-out in an abandoned church.

Taking its cue from Westerns, it romps along with a copious supply of blood, violence and knowingly spark dialogue as the various characters seek to outmanoeuvre on another, before you get to the revelation about Pixie’s mother’s death and how it ties everything together. It makes a couple of unnecessary plot detours, such as snogging threeway between Pixie, Frank and  in which the latter realise the extent of their bromance, but, putting a  fresh spin on some old clichés, it otherwise proves a welcome escapist delight, not least for the sight of  a gun toting nun. Father Ted was never like this. It had me at gangster priests.  (Amazon Prime)

 Promising Young Woman (15)

Named Best British Film and both BAFTA and Oscar winner for Original Screenplay, the feature debut by writer-director Emerald Fennell (a scripter for Killing Eve and who played Camilla Parker-Bowles in The Crown) is also nominated for a raft of Oscars, among them Best Picture, Director and Actress, a deserving nod for Carey Mulligan. She gives a mesmerising performance as Cassie, an emotionally closed-off 30-year-old who once had a bright future as a doctor and now lives with her parents (Jennifer Coolidge, Clancy Brown), who give her a suitcase for her birthday,  and works as a barista in a coffee shop manage by her friend (Laverne Cox). By night, however, she hangs out in bars, pretending to be drunk and gets picked up by supposed nice guys who offer to take her home and then try to take advantage of her, at which point she turns on them.

A toxic masculinity rape revenge thriller (though the circumstances are deliberately not made clear until the end as she targets the prime object of her vengeance), told in chapters,  it variously has her turning the tables on an opportunistic young professional (Adam Brody),  taking a  crowbar to an asshole’s pick up truck  and electrifying confrontations with the dean of her former med school (Connie Britton( and another lawyer academic (Alfred Molina), both of whom were involved in the aftermath of  a group sexual assault on her childhood friend Nina.

She’s also involved with two other characters, a former friend and classmate Madison (Alison Brie) and Ryan (Bo Burnham), a former medical school colleague who’s now a successful paediatrician, with whom she embarks on a romantic relationship. However, both are closely linked to the driving trauma and, as things get progressively darker, her involvement with them is clearly part of her agenda, one that sees her turning up in stripper nurse costume for a stag do.

Lacing the unsettling narrative with dashes of romcom, it keeps you unsure of where it’s heading, making the shockingly unexpected  climax all the more jawdropping in its horror and audacity, but also brilliantly laying out Cassie’s careful planning ahead, as the credits play out to track called Last Laugh.

Both consumed with rage, clearly unhinged and wracked with pain, self-loathing  and vulnerability, Mulligan  is sensational,   the film compellingly gathering power and ferocity like some #MeToo  Death Wish or Angel of Vengeance that leaves you equally stunned and gratified. (Sky)

Raya and the Last Dragon (PG)

Disney’s first Southeast Asian heroine makes her  debut in this stirring animated adventure set in a mythical land in the ancient time of dragons and which serves up an inspirational message about the need for and power of trust.

Taking the shape of a dragon the map, Kumundra was once a united land, but, drawn perhaps by growing discontent among the peoples from its different regions, there came the monstrous Druun, a plague of tornado-like creatures that turned people to stone.  In one last valiant effort, the remaining dragons who protected the land combined their power in a gemstone which, before they too were petrified, they entrusted to Sisu who used it to destroy the Druun but who, apparently perished herself in doing so. Leap forward 500 years and the land has become fragmented, the regions, representing their position on the map, now divided into Heart, the densely forested Spine, market-town Talon, the desert wasteland Tail and, isolated and protected from the Druun by surrounding waters, Fang, with the dragon stone and its remaining magic safely protected by Benja (Daniel Dae Kim), leader of the Heart and father to young Raya (Kelly Marie Tran) who, in the opening scenes, earns her right to become one of its guardians. Beja’s dream is to reunite Kumandra, to which end he invites the different tribes to a feast and calls upon them to join together once again. However, duped into trusting Namaari (Gemma Chan), the princess daughter of the Fang leader,  Raya innocently leads her to the stone, only to be double-crossed, the gem broken into five pieces and stolen by the other tribes and, in turn, seeing the return of the Druun.

Saved by her father before he’s turned to stone, the story moved on six years as the now grown Raya, dressed in flowing cape,  carrying a pretty impressive sword and accompanied by her now equally giant pillbug Tuk Tuk (a sort of armadillo that can curl into  a ball which she rides like a spherical horse), is searching the land, seeking to find Sisu who, legend has it, still lives at the end of one of the many rivers, and recover the other gem fragments to destroy the Druun, restore her father to life and, possibly fulfil his dream.

Finally, she does indeed reawaken Sisu (an exuberant Awkafina), who turns out be a somewhat ditzy glowing blue teen dragon (“I gotcha girl. WHO’S your dragon?”) proud of her swimming skills. Unfortunately, Raya’s been followed by Namaari who has her own quest to recover all the gem shards to keep Fang safe and so the film unfolds into a sort of Tomb Raider road movie as Raya and Sisu, who can take on human form, joining forces with representatives from the different tribes, first young shrimp seller Boun (Izaac Wang) aboard his floating restaurant followed, after accompanying battles and escapades, a con  baby and her three thieving monkeys and   one-eyed warrior Tong (Benedict Wong), all of whom have lost family to the Druun, gathering the shards until only the one in Fang remains to be recovered. Not that Namaari is going to let her get her hands on that.

Deftly mixing action, emotion and humour, the film rattles along, addressing such themes as greed, environmental crises, family and friendship before, prompted by the optimistic Sisu, finally returning to the central message that if you’re going to overcome shared problems, then you need to get past your differences and have trust to work together for a common cause. All that and some farting beetles for the kids. (Disney +)

Saint Maude (15)

Somewhat overly in thrall to Dario Argento perhaps,  but this inventive religious fervour gothic horror debut from writer-director Rose Glass with its taught 84 minute running time, undeniably gets under the skin.  Delivering an awards-worthy performance of intense complexity in her first lead role, Morfydd Clark is Maud, or at least that’s what she’s currently calling herself, a mousy born again palliative nurse with a Christ complex now working on an agency basis following an incident with a hospital patient. Based in an unnamed seedy British seaside town (it was filmed in Scarborough), her new client is Amanda Kohl (an outstanding Jennifer Ehle), a former celebrity dancer and choreographer now consigned to bed and wheelchair a la Norma Desmond with terminal spinal lymphoma and clearly not long for this world, although, hedonist to the end, she’s not about to forsake drink, cigarettes or lesbian sex (Lily Frazer). Patently unreligious, Maud sees it as God’s mission for her to save this lost soul and bring her to God in the same way she found salvation; however, while Kohl briefly plays long, pretending to feel the Holy Spirit orgasmically within her, it’s clear she’s just cruelly humouring Maud, something she makes abundantly clear at a party that ends in her dismissal. Maud, however, is not done with her yet.

An early indication of Maud’s mental state comes when she give money to a  beggar and walks away advising him not to waste his pain, advice she takes to heart as, echoing ascetics who would self-harm as a form of devout suffering, she inserts  a pad with drawing pins into her shoes in an excruciating scene to watch.  When the embittered Kohl calls her “the loneliest girl I’ve ever seen”, it’s not just mockery.

Along with the Argento flourishes, Glass’s impressionistic film also draws inspirations from Carrie, The Exorcist (a levitation scene is ambiguously misleading), Repulsion, Morvern Callar and Under The Skin , the brooding lighting and camera work and emphatic score  further accentuating the intensity as, varying its perspective from Maud’s internal psychological turmoil and (part driven by images from the Blake illustrations given her by Kohl) delusional out of body experiences (at one point the voice of a subtitled Christ talks to her in ancient Hebrew), it builds to a brace of horrific climaxes after a doubt-fuelled night of carnality on the town  as Maud’s sanity finally collapses. It could, perhaps, have done without the digital angel wings Maud imagines herself sporting, a sly halo allusion earlier is more effective, but this undeniably buries its way into your mind with a shudder. (Amazon Prime)

Snake Eyes: GI Joe Origins (12A)

As the title says, this sets out to offer up a backstory to the masked and mute black leather-garbed member of the G.I. Joe team of  secret agents featured in the two previous films inspired by the Hasbro toy figures. Set in Tokyo, it transpires that, as a boy, he saw his father murdered by someone sporting set of dice he makes his victims roll, if they throw snake eyes (two ones), they die. Cut to the present and, now calling himself Snake Eyes (Henry Golding), he’s a cage fighter drifter  recruited by Yakuza boss Kenta (Takehiro Hira) to work smuggling guns in gutted fish and who promises to reveal his father’s killer for him. However, when, to test his loyalty, he’s ordered to skill a gang member  he says has betrayed him, he instead helps him escape, Tommy (Andrew Koji) turning out to be heir apparent to the Arashikage clan, a 600-year-old ninja dynasty, who, despite protests by his head of security, Akiko (Haruka Abe), invites him to become part of  their family as his right hand man. He just has to accomplish three tasks under the supervision of Hard Master (Iko Uwais) and the all-seeing Blind Master (Peter Mensah), and, if he fails the third (which involves a pit containing giant anacondas who can sense the pure at heart), then he dies.  Which doesn’t seem  the greatest invitation.

Nonetheless, Snake Eyes accepts, though, as it transpires, there’s some subterfuge and undercover double-agent agenda going down with everything culminating in a clan battle (Kenta is Tommy’s banished cousin) for the Jewel of the Sun, a gem that can  blow anything up, that reveals the Arashikage head, Tommy’s grandmother Sen (Eri Ishida) is pretty lethal with a fan.

Directed by Robert Schwentke it confusingly wades through themes of loyalty and vengeance, inevitably introducing members of G.I.Joe (Samara Weaving’s Scarlett) and  Cobra (Úrsula Corberó’s Baroness), the Hydra knock-off of which Kenda is also a member, but is mainly interested in serving up a constant series of frantically edited scenes in which Golding (in black) and Hira (aka Storm Shadow in white) take on an apparently endless army of sword-wielding ninjas before ending up confronting each other atop a fast moving train. Paying little heed to characterisation, it never gets round to explaining why Snake Eyes never speaks in the G.I.Joe movies and, while he’s undeniably charismatic, good looking and physically adept, Golding never really  convinces as the  lethal brooding master ninja of the franchise waiting in the wings for its reboot. Ninja movie fans and action junkies might enjoy, but otherwise this is no dice. (Cineworld 5 Ways, NEC; Vue)

Space Jam: A New Legacy (PG)

To mark the 25th anniversary of the original movie in which basketball star Michael Jordan teamed up with Looney Tunes animated characters, among them Daffy Duck, Bugs Bunny, Porky Pig, Tweety Pie and Elmer Fudd to free them from an evil corporate overlord, the hoop has been passed to LeBron James. Opening in 1998 with the young LeBron playing his Game Boy on his Ohio high school basketball court, this time round, an Amazonian warrior Lola Bunny now voiced by Zendaya, the cartoon crew’s joined by Fred Flintstone and Yogi Bear when, having refused to have his animated self be part of LeBron of Thrones, LeBron and his younger son Dom (Cedric Joe) are zapped into Warner Bros’ 3000 Server-Verse, a super computer containing an archive of the studio’s former movies. Here, in a virtual space ruled by ruthlessly ambitious  attention-seeking  corporate Al-G Rhythm (Don Cheadle),  an A.I. algorithm, in order to rescue his son (who actually seems to be enjoying himself) and escape, the now cartoon LeBron and his now 3D CGI Tunes mates have to win a basketball game, devised by Dom, against the Goon Squad, a team of virtual super-powered monster-like  avatars of professional NBA and  WBNA champions based on and variously voiced by Klay Thompson (the self-explanatory Wet-Fire), Anthony Davis (Cro-Magnum vulture The Brow), Damian Lillard (robotic Chronos),Diana Taurasi (serpent-like White Mamba) and Nneka Ogwumike (the spidery Arachnneka). Plus Dom as part of the father-son subplot with him complaining his dad never lets him be himself.

Peppered with nods to or clips from Superman, Batman, Mad Max (into which Roadrunner and Wile E Coyote are inserted) , Austin Powers, Harry Potter, King Kong, Wonder Woman and even Casablanca  (with play it again pianist Yosemite Sam)  with a  rap and R&B heavy soundtrack (Porky Pig is now a rapper – the Notorious PIG), it’s a madcap brightly coloured frantic frenzy that cheerfully send itself up, Bugs Bunny, who’s  been left all alone in Tune World,  quipping how it all “Sounds awfully familiar” while LeBron remarks “Athletes acting? That never goes well.”

Actually, fast-paced, visually impressive and big on dunking spectacles, while overlong it goes better than expected and movie buffs will have fun spotting background figures from the likes of  It, A Clockwork Orange and The Mask among the crowd watching the hyper-stylised basketball showdowns while young kids can discover a whole bunch of cartoon celebrities they might not know. Now, how about David Beckham meets The Minions? (Cineworld NEC; Empire Great Park;  Odeon  Broadway Plaza Luxe, West Brom; Reel; Vue)

Spirit Untamed (PG)

Nineteen years after DreamWorks animated adventure Spirit: Stallion of the Cimarron proved a critical and  commercial success, based around ongoing TV spin-off  Spirit: riding Free, the titular free-spirited mustang returns to the big screen to delight a new generation of young fillies.

As with the Netflix TV version, unlike the original film (which featured Matt Damon providing equine vocal duties), the stallion, the offspring of the original Spirit, doesn’t speak and the plot’s  essentially a computer animated origin retread of the series wherein 12-year-old  Fortuna “Lucky” Esperanza Navarro Prescott relocates from the city  to the small frontier town of Miradero where, aboard the train, she first sees Spirit  racing alongside with the others from the herd and later tames and bonds with the horse, freeing him from the  wranglers that had captured him and tried to ‘break’ him, becoming pals with fellow horsey girls Pru and Abigail in the process.

It is, however, considerably fleshed out, with a backstory that reveals Lucky (Isabela Merced aka Isabela Moner from Dora and the Lost City of Gold ) as the daughter of a trick rider circus performer who dies after an accident in the ring, sent back East  as a 2-year-old to live with her aunt Cora (Julianne Moore) and railway magnate grandfather (Joe Hart) after, unable to cope with his loss, her widowed father, Jim (Jake Gyllenhaal), took off. However, when an incident with a  squirrel wrecks her grandfather’s campaign launch to run for governor, accompanied by Cora, she’s packed off to be reunited with dad in Miradero, where she meets young riders Pru (Marsai Martin) and Abigail (Mckenna Grace) and discovers the stallion  and the other horses she saw have been captured by Hendricks (Walton Goggins), a  wanted outlaw who, with his gang, is working as a horse wrangler for her father’s friend (and Pru’s dad) Al, and secretly intends to steal the herd and ship them off for auction to the highest bidder.

Although, because of what happened to his wife, Jim doesn’t want Lucky involved with horses, as in the TV show, advised by her new chums on how to approach things, Lucky bonds with the stallion by feeding him apples and names him Spirit, but, in trying to ride him, he escapes from the corral and takes off into the mountains, Pru and Abigail only just saving Lucky from falling from a cliff. At which point, the plot sort of repeats itself with Lucky and her new friends embarking on a mission to rescue the horses from Hendricks culminating in an action-packed showdown aboard the boat.

While fans of the girl-power TV series might feel they’ve seen it all before, there’s enough kiddie-friendly humour, action, sweetness, songs and liberal   messages about friendship, nature, finding who you are and being free for them to enjoy the ride alongside newcomers saddling up for the first time.(Odeon Broadway Plaza Luxe; Reel; Vue)

The Suicide Squad (15)

With its opening credits spelled out from the blood of one of many corpses that litter the film, it’s clear that Guardians of the Galaxy director and writer James Gunn’s take on the DC  supervillains team, is going to be everything David Ayers’ underwhelming original was not. Neither reboot nor sequel, just another mission and  a clutch of new characters joining those returning, it positively explodes from the screen as, sent on a mission to infiltrate the South American island nation of Corto Maltese,  all bar two of the squad meet a bloody end,  the pre-credits opening sequence despatching Captain Boomerang (Jai Courtney), Savant (Michael Rooker), Blackguard (Pete Davidson), TDK (Nathan Fillion), Javelin (Flula Borg), Mongal (Mayling Ng) and Weasel (Sean Gunn), leaving just Rick Flag (Joel Kinnaman) and Harley Quinn (Margot Robbie, subsequently getting her own princess subplot) alive.

It is, however, just a diversion to the real mission, ruthless black-ops head Amanda Waller (Viola Davis) having sent another squad to destroy a heavily fortified  laboratory called Jotunheim, where dastardly Nazi-like experiments are being carried out as part of something called Project Starfish (involving a giant, telepathic, pink alien echinoderm called Starro) under the supervision of the Thinker (Peter Capaldi sporting diodes sprouting from his skull) now that a coup d’etat has replaced the America-friendly dictator and his family with a military junta. Needless to say, there’s a hidden agenda).

This newly recruited dysfunctional team is headed up by Bloodsport (Idris Elba),  a killing machine mercenary sharpshooter who hospitalised Superman, who’s  been pressured into taking part to keep his estranged wayward daughter (Storm Reid) out of jail, the rest of the motley crew being pathologically patriotic Peacemaker (John Cena)  another can kill  with anything merc (cue one-upmanship gags with Elba),  Ratcatcher 2 (a delightful Daniela Melchior), a petty Portuguese criminal with technology that controls rats (about which Bloodsport has a phobia), introvert Polka-Dot Man (scene stealer David Dastmalchian), the toxin-infected product of an experiment gone wrong who projects lethal, er, polka-dots (imaging the enemy is his mother) and, basically, the film’s answer to Groot, Nanaue aka  Killer-Shark, an intelligence-challenged, mumbling  shark on legs voiced in gleeful self-spoofing  style by Sylvester Stallone. Naturally, subsequently joined by Flag and Quinn, not everyone makes it to the end.

Along the way, however, going utterly insane Gunn delivers an often brutal smorgasbord of  visceral bloody action with bodies decapitated, sliced in half and blown to mush punctuated by a steady stream of the sort of banter and quips that made Guardians such a joyride, while also investing time to bring the characters alive rather than simply comic book figures, giving each their turn to shine as the film gathers to its spectacularly unhinged climax which can only be described as a Godzilla-like city trashing mass destruction, but with a giant starfish rather than a gorilla, one that sends out starfish drones to take over the population’s minds. Ablaze with directorial genius, awesome visuals (including truly inventive scene titles and burst of psychedelic flowers when Harley goes on a bullets-spraying bender), bruising action and dynamite performances, laced with a suitably cynical view of American geopolitics (“I cherish peace with all my heart — I don’t care how many men, women, and children I need to kill to get it” says Peacemaker, stone-faced).

Featuring a cameo from Alice Braga as a revolutionary leader, a cute friendly rat (in fact the much maligned rats turn out to be the eventual saviours) and, typically Gunn, an inspired soundtrack that kicks off with Jim Carroll’s People Who Died, it’s unashamedly silly and never really takes itself too seriously (the Squad’s uniforms conveniently keep reappearing when they need to go into battle and there’s a fabulous visual gag about Bloodsport’s ever expanding gun. A sequel with a new team of misfits joining the survivors from this go round is a must. (Cineworld 5 Ways, NEC; Empire Great Park; Odeon Birmingham, Broadway Plaza Luxe; Vue)

Sweet Girl(15)

When his wife dies from cancer because a pharmaceutical company withdrew the potentially cheap life-saving drug, Ray Cooper (Jason Momoa), whose background is never detailed, sets out  to fulfil his television chat show phone in vow of holding company CEO Simon Keeley (Justin Bartha) responsible and killing him with his bare hands. Approached by a journalist who says he has evidence of a conspiracy involving Keeley’s crooked partner (Raza Jaffrey), they meet on a train, Cooper, unknowingly followed by his teen daughter Rachel (Isabela Merced), where the journo is killed and he himself injured by the knife-wielding hitman (Manuel Garcia-Rulfo).

What follows, Rachel insistently accompanying him despite his protestations, charts Cooper’s determined quest to expose the conspiracy and get revenge on those responsible, the film opening with a scene of him atop Pittsburgh’s PNC Park pursued by FBI agent Sarah Meeker (Lex Scott Davis), before plunging into the waters, flashing back to events leading up to this moment before, bringing into focus  anti-Big Pharma congresswoman Diana Morgan (Amy Brenneman), the last act throws in a wholly unexpected role reversal twist as the real figure behind the conspiracy is exposed.

Twist aside, it’s a predictable and fairly generic affair with Momoa largely going through the man on the run action  motions punctuated by some rote emotional angst, but first time director Brian Andrew Mendoza never lets things flag, Merced proves solid casting and, while disbelief needs to be suspended from a very high pole, it does what it sets out to do with commendable efficiency. (Netflix)

CINEMAS

Cineworld 5 Ways – 181 Broad St, 0871 200 2000

Cineworld NEC – NEC  0871 200 2000

Cineworld  – Mill Ln, Solihull 071 200 2000

The Electric Cinema  – 47–49 Station Street,  0121 643 7879

Empire – Great Park, Rubery, 0871 471 4714

Empire  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 Luxe – Ladywood Middleway, 0333 006 7777

Odeon West Bromwich – Cronehills Linkway, West Bromwich  0333 006 7777

Reel – Hagley Rd, Quinton, Halesowen 0121 421 5316

Vue Star City – Watson Road, 08712 240 240

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