FILM: Star Wars - The Rise Of Skywalker (dir: JJ Abrams, 2019)

"Some things are stronger than blood."

Thank you, JJ - this final ninth chapter in the 42-year-long cinematic saga puts the series firmly back on track after a slight faltering with the erratic The Last Jedi and ably sends off the series.  It delivers fan-service in spades - and let's face it, that is exactly what the fans who have been there from the beginning deserve.  Rounding off the saga independently of Lucas's original vision for the nine films, interestingly this entry returns the strength of  narrative of A New Hope by using classic motifs and structures in the strongest way since perhaps that 1977 first film and probably also feeling most akin to those 1930s serials since then as well.  It hits the ground running, with an opening crawl that clearly sets out this movie's stall and a breathless rush of scenes that demand the viewer's attention, but its length also allows moments to breathe.  It holds a couple of surprises, a couple of breath-intaking moments, truly stunning visuals and one of John Williams' best scores, with plenty of throwbacks to previous films and characters that please, and - a rarity in moden blockbuster cinema - a proper ending.  Although the incorporation of previously-filmed scenes with the great Carrie Fisher to give real closure and emotional impactfulness is nothing short of miraculous, this is the new trilogy characters' last gasp, with Adam Driver and Daisy Ridley giving terrific performances in particular and, by avoiding the penultimate film's mis-step of keeping the core characters apart for the most part, The Rise Of Skywalker is so much more enjoyable with the return to the 'gang on a mission' vibe.  So, as nine films come full circle, we bid a fond farewell to this incarnation of the Star Wars universe after all this time - and what a great way to end.

VOD: Hell Fest (dir: Gregory Plotkin, 2018)

"Seriously, it's not funny!"

Hell Fest does pretty much everything expected and does it reasonably well, as a masked killer stalks and slashes his way through a group of friends visiting a horror-themed park event.  It is an unashamed throwback to the late 70s and early 80s horror movies but in a contemporary setting (where even mobile phones are actually used effectively as part of the narrative), with an ending that holds absolutely no surprises and is completely true to conventions but is handled well.  There are a couple of surprisingly strong on-screen gore gags to be found here, the cast is at best adequate and Idiot Plot runs riot, but if you are in the mood for an old-school horror that generally delivers without cynicism or surprises, Hell Fest will entertain reasonably.

VOD: Boy Erased (dir: Joel Edgerton, 2019)

"You say that you're angry, but, quite frankly, I don't really see it."

Based on a biography about a young man going through gay-conversion therapy, the touchstone for this type of family drama again goes back to Redford's Ordinary People - beautifully shot, very carefully and deliberately directed, terrific performances but with an overall feel of clinical dissection rather than depth of emotion.  Lucas Hedges again knocks it out of the park and proves to be an exceptionally capable young actor in the lead role, Nicole Kidman does great character work with a mother role that does not feel fully written, and Russell Crowe gives a nuanced performance in limited screen time as the initially stereotypical pastor father character whose conflicts play well towards the end of the film.  This is a well-made and well-played film but it is quite unsubtle in its messages and is hard to engage with emotionally.

VOD: John Wick Chapter 3 Parabellum (dir: Chad Stahelski, 2019)

"Consequences."
"Yeah...consequences...."

If you enjoyed the first two John Wick movies and action movies in general, the third entry will delight.  Picking up where Chapter 2 left off, Wick now has a (growing) bounty on his head, creating almost a two-hour-plus chase movie, with only a minor picturesque desert-set detour sag in the middle, but also with plenty of character and story moments that make this a cut well above a standard actioner.  The mythos is simple and effortlessly employed again here, creating its own little almost-believable world.  Of the set pieces themselves, Stahelski continues to push the bar in breathtaking fashion, and particular excels in staging fights in confined settings, my favourite being a museum corridor in which Wick and opponents basically end up flinging knives at each other with reckless abandon.  The film has enough humour, tension and seriousness to give it weight and some levity, Halle Berry makes a welcome addition doing what she does best and more, and just when you think you are in action heaven, along come the legendary Mark Dacascos for a barnstorming final smackdown.  There is a very clear set-up for another instalment, which would be very welcome if it can maintain the high standard of the three films so far.

VOD: The Secret Of Marrowbone (dir: Sergio G. Sanchez, 2018)

"Our story begins here."

Boosted by its retro-rural setting, The Secret Of Marrowbone offers little more than a standard creaky old ghost story, taken very seriously.  The actual 'secret' or twist is painfully easily to work out very early on, especially if you have seen any recent ghost movies that use a similar narrative trope.  George MacKay shines in the lead role as the older brother looking after his siblings in the isolated house and is engaging to watch as his situation unravels, but there is little else of note here.

FILM: Spider-Man Far From Home (dir: Jon Watts, 2019)

CELEBRATING 10 YEARS OF MY BLOG!

REVIEW No. 1,000!

"This is so much fun!"

Whereas Avengers Endgame would have ended the MCU's Phase Three on a reflective and sombre note, instead Marvel opted for this Spider-Man sequel, which is a far more optimistic, bright , breezy and fun movie.  Again, Tom Holland's infectious glee and energy leaps out of the screen, together with the occasional emotional moment (mostly tied in to Endgame) that he can handle with ease and sincerity.  The Europe-hopping story is enjoyable and visually entertaining, and Giacchino's knowing score is terrific in combination with a delightful retro-styled blast of continental pop hits. The rest of the cast also delivers - Jackson, Gyllenhaal, Zendaya, Tomei and Favreau are all excellent value here - and Jon Watts directs with even more zip and flair than in  Homecoming.  In spite of the new locations, Far From Home still feels comfortably Marvel, and it shows that there is still life in the movie brand yet.  With Spider-Man out of the MCU and back to Sony for the foreseeable future, it will be interesting to see if - and how - well - Sony runs with the interesting end-point of this absolutely enjoyable blast of entertainment.

DVD: Avengers Endgame (dirs: Joe and Anthony Russo, 2019)

"Let's go get this son of a bitch!"

Not one for casual filmgoers, if you have not seen the last decade's worth of Marvel movies then Endgame will make little sense.  However, it is not by accident that this film has become the biggest box-office champion of all time (at time of writing), with its incredible scale of story and action, superlative effects and closure for the original core Avengers team.  For the fans, the ramifications of the genuinely shocking ending of Infinity War are dealt with maturely and surprisingly sensitively, the emotional beats really have impact throughout the film, and the re-building of the team over the course of the film is skilfully handled, with a huge and apt finale that is both rousing and convincing.   It will be interesting to see how audiences respond to the next wave of characters to be introduced, but for now Marvel is to be applauded for its achievement, ambition and quality over the series of mostly-linked and very entertaining films.

FILM: IT Chapter Two 4DX (dir: Andy Muschietti, 2019)

"I hope it's a puppy…"

Put into production quickly after the huge success of the 2017 adaptation of the first half of Stephen King's novel, this film is very much a Part Two of two, and it complements the first film extremely well.  A lot of what was so right about the first part still applies, in particular Muschietti's impressive control of what is presented on screen.  The adult cast is simply terrific, both as individuals and as an ensemble, and there are some great scenes where the older cast interact with their younger versions.  A marked difference from the very start is the harsher tone and adult themes, with a darker feel, and the lengthy running time allows the adult characters to be established properly and to breathe.  Minor niggles would be that the nightmarish visions look somewhat generic, and deliberately evoke the Elm Street films, and the ending is little more than a bigger budget version of the first film' ending (although it looks considerably better than the TV movie's finale!), but It Chapter Two is still superior horror film-making, it delivers the goods, and King/horror fans can have fun spotting the references (some blatant, some subtle).  With rumours of a 'super cut' of both movies together a possibility, that would offer a great way to see this incarnation of the whole story.

VOD: Can You Ever Forgive Me? (dir: Marielle Heller, 2019)

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"Jack, this was not unpleasant."

The story of literary forger Lee Israel here plays like an anti-Woody Allen in its bitter-sweet portrayal of the New York artistic community, but still set against a filmic backdrop of the city.   The script is intelligent, the direction is carefully controlled and the tone is wonderfully sombre.  It is always a pleasure to see Melissa McCarthy swap broad-strokes comedy for understated finely-detailed dramatic performance, and her pairing with Richard E. Grant as her partner-in-crime here works superbly.  This is not a showy or attention-grabbing film, but it is engaging and pleasingly presented.

VOD: One Cut Of The Dead (dir: Shin'ichirô Ueda, 2019)

"This is a TV show, not art!"

This horror festival favourite is a classic case of patience being rewarded, with the entire third act being a huge pay-off  that is great fun.  The first half-hour is what appears to be a particularly bad one-take micro-budget zombie TV show, but then we veer off into what turns out to be an enthusiastically cheeky take on Truffaut's La Nuit Americaine (Day For Night) filtered through cheap Japanese zombie-horror that not only puts that first act in a whole new context but also serves as a love-letter to film-making.  It is far from perfect, and the seemingly 'bad' bits can be a chore to sit through, but it is clearly a labour of love and all is forgiven for the smart and hugely enjoyable final half-hour.

FILM: The Lion King (2019) (dir: Jon Favreau, 2019)

"This looks familiar..."

It is a given that Disney's live-action remakes of animated features that have human characters are an acceptably valid exercise in bringing them to 'real' life (as well as a cynical cash-grab), but for the non-human animations?  The Lion King is undoubtedly the jewel in Disney's modern animation crown, and twenty-five years on from the original this 'live-action' version may be the next logical step up from director Favreau's almost entirely digitally-created successful version of The Jungle Book.  It is very faithful to the original film, with the main sequences and iconic images lovingly recreated, and indeed the film looks stunning; the level of photo-realism with both the creatures and the landscapes is insane to the point that it is never an issue when watching the film.  In spite of the very high quality of work on display, and an indestructible story and soundtrack (although the sound mix could do with a little more punch), there is still that nagging question: what's the point?

FILM: Aladdin (2019) (dir: Guy Ritchie, 2019)

"You can clap now!"

The Disney live-action remake machine rolls on, and the most surprising thing about the 2019 take on Aladdin is just how ridiculously entertaining it is.  A back-on-form Guy Ritchie (after his inexplicable King Arthur) relentlessly fills the screen with vibrant colour and exuberance almost the point of breathlessness, and the world-building is done beautifully.  It is perhaps inevitably mostly done in a theatrical style, with the Broadway-style musical numbers slotted in with ease and attacked with vocal vigour, including a rather obvious Let It Go/Defying Gravity new song for the princess.  Mena Massoud plays the title character with little edge but sufficient charm, but Naomi Scott gives Jasmine real strength.  It is not perfect - Will Smith's Genie veers from great to a little Fresh Prince in delivery and looks CGI-odd, and it sometimes feels like a rag-bag of genres (but all done very well) - but my goodness the film rockets along and always aims to please, mostly successfully.

VOD: The Banana Splits Movie (dir: Danishka Esterhazy, 2019)

"What the hell is this?"

This bizarre high-concept idea had so much promise - the mashing together of the psychedelic 60s children's favourite with the slasher genre - so it is a shame that the actual film disappoints.  The concept does still come across on screen to an extent, but the film overall is hampered by two real weaknesses: a general thinness of the material, and an extremely lethargic pace.  The behind-the-scenes reveals are suitable for its low budget, and the (physical) gore gags rely on classic set-ups and are suitably squelchy if low-rent.  One fun element is the framing and reveals of the Splits as if they were Michael Myers, but even this becomes repetitive.  A definite curiosity, The Banana Splits Movie sadly does not really deliver on its promise.

VOD: Snowpiercer (dir: Joon Ho Bong, 2013)

"Know your place.  Keep your place."

With a TV series in development, UK viewers finally get to see Joon Bo Hong's well-regarded movie via Netflix, and it is certainly well worth seeing.  The classic sci-fi/fantasy trope of strict class/status separation and the inevitable revolution to follow is used cleverly here, and the built-in momentum for the lower-class passengers to keep moving forward through the train carrying mankind's survivors perpetually circling the Earth (like a horizontal version of J.G.Ballard's High Rise) makes the film engrossing and engaging.  The action sequences are cleverly delivered and deployed, the emotional beats really hit, and Marco Beltrami's excellent score feels like classic Pino Donaggio, especially in its quieter moments.  The eclectic international cast does a great job, with particular standout performances from Jamie Bell, Octavia Spencer, John Hurt and a terrific lead performance by Chris Evans.  The socio-political allegory is hardly subtle, but Snowpiercer has a great story that is very well-told and expertly mounted in all respects,

VOD: Murder Mystery (dir: Kyle Newacheck, 2019)

"At some point you have to realise you have hit your ceiling and just give up."

Netflix's smash hit does what it says on the tin and nothing more, delivering a breezy, frothy and good-looking piece of solid genre fare.  There is a fair lightness of touch and a workable balance of silliness and proper narrative, all ably supported by a whistle-stop tour of gorgeous European expensive tourist locations.  Sandler works here, having learned in recent years that less is more, Aniston charms effortlessly and drives every scene, and of the great  supporting cast Luke Evans in particular is clearly having a blast and delivers his character well.  It is hardly neither the greatest nor most complex example of the genre, but it is well-made, looks great and provides enjoyable light if forgettable entertainment.

FILM: Scary Stories To Tell In The Dark (dir: Andre Ovredal, 2019)

"Let's go scare some kiddies tonight...."

In terms of 2019 cinema release, Shazam! gave us Christmas in April, and now Scary Stories... gives us Halloween at the end of a sweltering August!  Playing like a more serious-minded Goosebumps and serving as a horror genre primer for younger viewers, this movie offers some well-mounted takes on urban legends in the mini-stories told in the film, there is a large amount of story in its running time that hangs together well, and the pleasant young cast works well on screen.  It was rated PG-13 in America, and there is very little here that pushes it into the UK 15 category - it is not remotely scary and there is very little actual gore.  Destined to become a young-teen Halloween favourite no doubt, this movie version of Scary Stories... looks good on screen, it is well put together but it is very firmly targeting its younger audience.

FILM: Crawl 4DX (dir: Alexandre Aja, 2019)

"I gotta go down there, don't I?"

Don't go looking for anything original or surprising in this reasonably standard disaster movie/creature-feature, but what you do get is a slick, energetic and well-mounted slice of pure popcorn entertainment.  The film benefits enormously from its almost unwavering focus on the fractured father-daughter relationship, ably and committedly played by the reliable Kaya Scodelario and veteran Barry Pepper, as they try to survive the dual threat of a major hurricane and invading alligators.  Director Aja uses the screen and the relatively low budget well and keeps the momentum going right to the end, and the attack sequences are enjoyably and surprisingly brutal.  The film also has a deliciously cruel streak, which makes Crawl a cut above the usual fodder of this type.  If you see it in 4DX, prepare to be thrown about and sprayed at regular intervals!

VOD: Cabin Fever (2016) (dir: Travis Z, 2016)

"I gave up two weeks in Belize for this?"

Sadly the dreadful Patient Zero was not the last of this franchise, and this perhaps inevitable remake of the 2002 low-budget cult horror hit proves to be unnecessary and pointless.   Sticking close to the original, this version oddly throws back to 80s horror classics in its referencing and score, and whilst the reasonable cast does their best, a lot of the film is tedious and dialogue is generally weak.  At least the scenery is pretty.

VOD: Benjamin (dir: Simon Amstell, 2019)

"You just like people who are well-lit and weak, don't you?"

Benjamin is in many ways a traditional rom-com filtered through self-doubt and misery, and it is therefore an interesting subversion of tropes and expectations.  Writer/director Amstell deploys his trademark wry wit and fatalism in an engaging script, married to a mix of everyday-realistic and melancholic images.  Colin Morgan as the insecure indie film-maker captures both the artistic and romantic anguish well, and whilst this is very much Amstell 'writing what he knows', Benjamin is a slightly slow but interesting film to watch,

FILM: Good Boys (dir: Gene Stupnitsky, 2019)

"Is this what happens when you get a stepmom?"

The high concept here is taking the typical coming-of-age American comedy but playing it with three rather young Sixth Graders, and their sweary misunderstandings or complete ignorance of sex, drugs and their perceptions of adulthood fuel the film.  A lot of the gags - and there are many - do land effectively, from their outrageous ignorance of sex toys to a simple running gag about their inability to open childproof pots, and the three young leads have an earnestness and chemistry that engages the viewer.   Many reviews refer to Good Boys as a Junior Superbad - which is largely apt - but it also channels other comedies, and the spirit of American Pie and Project X is felt here; even the freeway-crossing sequence from Bowfinger is shamelessly replicated with a good pay-off.   Ultimately, Good Boys is rather sweet, silly and forgettable, but a few laughs are to be had along the way.

FILM: Angel Has Fallen (dir: Ric Roman Waugh, 2019)

"Really?!"
"You're welcome."

Although this third movie in the franchise follows the formula to a large extent, it also has a sombre, wintry mood that mirrors the ageing and physical/mental weariness of our hero and follows through with the change in tone from popcorn actioner to the more serious second film.  In some ways this is also a problem for Angel... which takes itself very seriously and feels somewhat outdated in its machismo posturing and video-game kills.  The body count and head-shots are again ridiculously high - Banning can shoot a gun out of an enemy's hand, but a whole army of sharp shooters consistently miss their only target.  Of the three main set pieces, the drone attack from the trailer is sharper and extremely effective in the film, a night-time woodland car chase has a couple of spectacular moments, and the overblown finale keeps on going and entertains. Butler delivers his lines, Nick Nolte scene-steals as Banning's reclusive absent father, Morgan Freeman remains one of the best on-screen Presidents so far, but particularly impressive are the two female leads, with Piper Perabo making a lot out of her limited screentime as Banning's wife, and Jada Pinkett Smith engages as a steely FBI agent.  Given its predictability and often uninspired dialogue, overall Angel Has Fallen is a fairly standard mid-range actioner rather than the deeper thriller to which it seems to aspire.

FILM: Once Upon A Time... In Hollywood (dir: Quentin Tarantino, 2019)

"What's the IDEA of the story....?"

One of the simple pleasures of a Tarantino film is that you are watching a grown-up film-maker making films for grown-ups, and his ninth film here is no exception.  All of the trademarks are present - the cool soundtrack, playing with ratios and film quality, an overwhelming array of nostalgia buttons pressed - but what is interesting about Hollywood is that character takes precedence to fantastic effect, meaning that the narrative sleight of hand played at the end is extraordinarily effective.  Tarantino uses camera in beautifully creative ways, and the recreation of the late 1960s feels seamless.
DiCaprio is at his best in a gift of a script and role for an actor, Pitt's character is an excellent fit for him, and Margot Robbie is again excellent if a little underserved in screen time (although this is deliberate for the character/story).  Tarantino truly delivers once again...can he really only be considering one more movie?

FILM: Dora And The Lost City Of Gold (dir: James Bobin, 2019)

"If you just believe in yourself, anything is possible."

The Dora live-action film makes an unexpectedly successful transition from TV animation to the big screen and is also one of those rare family adventure films that entertains both children and adults.  It retains a number of the TV show's signature motifs but is also subtly self-aware.  The film has a bright, breezy upbeat energy that is sustained well, the young cast is unusually strong and enjoyable to watch (with solid adult support from the likes of Michael Pena and Eva Longoria), and its positivity and charm is infectious.

FILM: Blinded By The Light (dir: Gurinder Chadha, 2019)

"Is that Billy Joel?"

The latest music-legend-driven film in the current popular cycle, Blinded By The Light proves to be an occasionally confusing and frustrating viewing experience, but it certainly is very entertaining and warm-hearted indeed.  The first act sets about establishing the film's 1980s Luton setting with the predictably loud hair and fashion, accompanied by a killer soundtrack of everyone's 7" vinyl pop collection from that era, before introducing antagonist Javed (a wonderful performance by Viveik Kalra) to the music of Bruce Springsteen, and from then on it is The Boss's music that provides the background and impetus of the story.  There are lots of supporting performances to enjoy, Springsteen's golden era tracks are unquestionably a joy to hear loud in a cinema, and the coming-of-age story staples used here actually mean something when placed in the context of destructive Thatcherism, racism and cultural loyalty.  When the film embraces wholeheartedly the quasi-jukebox-musical style silliness, it works beautifully, and when the film takes a step back to breathe and allow the actors to engage with real drama, it shows real depth, but there are a few times when the film falls between the two styles and displays a stilted artificiality that lacks conviction in both writing and performance.  Overall, however, Blinded By The Light is an entertaining and engaging film that has ideas and uses the Springsteen music and ideas to very good effect.

FILM: The Sun Is Also A Star (dir: Ry Russo-Young, 2019)

"No one ever does that."
"What?"
"Look up."

This love letter to the city of New York and to romantics everywhere plays like a younger-targeted and very contemporary version of Linklater's Before... trilogy   Yara Shahidi and Charles Melton are both charming and easily likable leads, and even though we are firmly in romantic fantasy territory here, they play their individual roles and the couple with very watchable appeal.  The lack of of reality in the storylining is a given for the genre, but the eclectic mix of songs and music on the soundtrack adds freshness, and the cinematography brings a real vibrancy and beauty to its depiction of a romanticised New York.  The Sun... is a cut above the standard young romance movies of late and very watchable indeed, and it will be interesting to see its two talented young stars in future roles.

FILM: Horrible Histories The Movie - Rotten Romans (dir: Dominic Brigstocke, 2019)

"High V!"

Hardly lavishly cinematic, the TV show's transition to the big screen does make an effort to appear a bit more expansive but essentially plays like a TV special.  The movie will work well with the younger fans of the series, but to adults the very hit-and-miss jokes and lulls in advancement may be trying, and the signature music numbers will induce eye-rolling.  The young cast members are pleasant, and the numerous veteran Brit-com actors clearly enjoy themselves.  There are some nicely-used running gags, Craig Roberts is always watchable as the petulant childish young Nero, and the whole enterprise is harmless but hardly essential.

FILM: The Angry Birds Movie 2 (dir: Thorup van Orman, 2019)

"DUCK!"

The sequel to the surprisingly entertaining 2015 movie sticks to the formula and provides more silly, colourful fun.   A lot of mileage is derived from the typical set-up of the birds and their pig enemies having to work together, uniting against attacks from an Ice Island led by a deliriously deranged eagle.  There is a nicely-developed sub-plot involving the hatchlings, and hero Red has an effective arc, but mostly this film is all about the quick-fire barrage of visual, verbal and physical gags that mostly play well.

FILM: Fast and Furious - Hobbs & Shaw IMAX (dir: David Leitch, 2019)

"Do you think I'm stupid?"
"Of course I think you're stupid!"

The first spin-off from the Fast and Furious franchise pretty much delivers everything you would expect: the one-liners, the banter, uber-macho posturing, physics-bending (and spectacular) set pieces...everything you could want from a big dumb Friday-night popcorn movie.  Director Leitch as expected does a great job of marshalling the whipcrack-fast, high-end action, with one truly jaw-dropping moment in the final extended smackdown, which all meets the franchise fans' expectations.  There is surprisingly less humour than might be expected, as it is mostly delivered with great seriousness for two cartoon-like characters.  Johnson does what he does effortlessly, with no room for nuance or characterisation; Statham is again great value in this renaissance of his career; Idris Elba makes for a powerful and convincing nemesis; and, as Shaw's sister, Vanessa Kirby is a strong and engaging  addition.  With the sequel-baiting ending clearly signposting more to come, Hobbs & Shaw is not up there with the best of the parent franchise, but it is pacy and well-crafted action entertainment in its own right.

VOD: Papillon (dir: Michael Noer, 2019)

"Do you think a person knows when he is going mad?  Or do you think it is blissful ignorance?"

This somewhat unnecessary remake is very much on current trend, eschewing the more lurid and pulpy qualities of the 1973 original to present a relentlessly grim, dour and at times dull version of the classic prison tale.  Charlie Hunnam is in his very-serious-acting mode which for the most part plays well, but Rami Malek would not expect an Oscar nomination for this one.  The film has an interesting melancholic score, it is well shot, but it is also an unnecessarily very long slog.

VOD: Escape Room (dir: Adam Robitel, 2019)

"Survival is a choice."

This glossy and slick Saw/Final Destination/Cube/Hostel-lite holds very few surprises but is executed well.  The six predictably mis-matched players drawn into an immersive escape-room set-up are played solidly by the game cast, set and technical design are good and effective for this scale of film, and whilst the attempt to tie in the characters' back stories does not quite convince, the story moves along apace and interest is maintained, with some appropriate nuances to the well-worn path -especially towards the end - to be enjoyed along the way.

FILM: Toy Story 4 (dir: Josh Cooley, 2019)

"OK, I get it - it's been a while."

Elephant in the room: given the perfect trilogy-closer that preceded it, there is no reason for this film to exist other than commercial needs.  Mercifully, Pixar have delivered and not disappointed; Toy Story 4 is funny, sweet and very entertaining, if not quite at the level of the first three films.  As expected, the film looks fantastic, storytelling and the little details are very good, and apart from one extended sequence towards the end that goes on just a bit too long, the characters we all love are used to great effect, including the retooled 2019-savvy update of Bo Peep and the delightful new character Forky, who seemed to be an instant hit with the young children in the cinema audience.  Interestingly, Toy Story 3 provided very emotional closure for the audience, whilst here Toy Story 4 provides closure for the characters.  If occasionally more in tune with the half-hour made-for-TV specials, it is good to see the characters back on the big screen in this generally befitting movie.

VOD: Rim Of The World (dir: McG, 2019)

"If I see a clown on a tricycle, I'm out!"

This Netflix teen movie is one of those oddities whereby the film's rating (15) is higher than the age of its protagonists (13), and thus seems slightly gory and aggressive for its presumably intended young teenage audience.  The opening scenes are groan-inducing, awash with embarrassing stereotyping and poor dialogue, as we meet four mis-matched summer campers who are forced together when alien invasion ruins their vacation.  However, once the action starts the film has many lively moments, well presented as expected by director McG.  The tick-the-box PC casting is obvious, but the young actors handle themselves well and come across with a vibe of the Stranger Things cast, and whilst the very genre-aware references are fun, large chunks of storyline are Independence Day genre staples.   No doubt this film will play well with teenagers with little experience of the sci-fi/action genre, who will enjoy the banter and the battle scenes.

VOD: The Wandering Earth (dir: Frant Gwo, 2019)

"Best of luck to Earth!"

If nothing else, it is an interesting exercise to watch this Chinese mega-blockbuster that is showing on Netflix.  This is Chinese film meeting Hollywood sci-fi-disaster movie head on and then some, with the daftest high concept premise imaginable that bears no scrutiny whatsoever: faced with a dying Sun, move the entire Earth to a new solar system!  The main influence here seems to be the Roland Emmerich movies such as 2012, Independence Day and The Day After Tomorrow, but written and presented on an incredibly huge scale, and - most surprisingly - the effects work mostly holds up and delivers.  As expected of the Far east style, the acting is suitably unrestrained to Western viewers, but the (preposterous) storytelling hangs together, spectacle is the order of the day and The Wandering Earth is unexpectedly and absurdly entertaining.

VOD: Overlord (dir: Julius Avery, 2018)

"That's weird."
"Add it to the list."

What starts off as a fairly gripping World War II thriller, with an impressively mounted opening airborne sequence, slowly unfolds its narrative clues and draws in the viewer before going utterly and enjoyably mad in the second half.  Conventions of the target genres are deployed very well, it tells its bizarre story with conviction and real energy, and it certainly does not stint on the violence and gore.  Told through the unfolding experience of a young soldier, Jovan Adepo is clearly an actor to watch for the future judging by this committed performance, but the main reason for watching Overlord is to go along for a bonkers but very well presented thrill ride.

FILM: Wild Rose (dir: Tom Harper, 2019)

"Why Country?"
"Because it's three chords and the truth."

Wild Rose is one of those small-scale domestic Brit dramas that absolutely nails it characters and delivers true heart.  At its centre is a electric performance from Jessie Buckley, a mesmerising raw ball of joy and anger as the young ex-jailbird mother trying to get by, reconnect with her children and follow her dream of being a Country music singer.  As her mother, Julie Walters delivers another finely-observed and well-controlled character piece that juxtaposes well with her more freewheeling daughter.  Treading a very fine line between realism and wish-fulfilment fantasy, Wild Rose is both very entertaining and extremely accomplished in all respects.

FILM: Little (dir: Tina Gordon, 2019)

"What was that?"

The title (it's like BIG! only it's an adult that turns...LITTLE!) suggests the lack of imagination on display here, and the strapline ('from the producers of Girls Trip and Night School) pretty much tells you the rest.  The latest in the mini-trend for age/gender/body-change comedies is a wafer-thin confection that has very little impact or purpose.  Saddled with an internal time-scale that makes little sense and a very talky but empty script, even the enthusiastic and at times well-played lead performances cannot always lift the tedium and lack of material.  It is also questionable that a film that seemingly targets young teenage girls should objectify its male characters so crassly sexually, even if the film thinks it is making a point by doing so.  By the time Little reaches its predictable punch-the-air feel-good ending, the viewer will probably feel like punching something else instead.

FILM: Hellboy (dir: Neil Marshall, 2019)

"You call this refurbished?"

It was always a real shame that we were denied Guillermo del Toro's trilogy- closer, but this 2019 reboot does not make up for it.  This is a noisy, messy and unbalanced film that disappointingly substitutes character dialogue and development with way too much (often repetitive) exposition at every opportunity, narrative is unwieldy at best, and the apocalyptic finale has flashes of Clive Barker-style insanity but is over before you know it.  David Harbour actually makes for a decent Hellboy but is no Ron Perlman, and Marshall is certainly no del Toro here, but there are occasional moments where the cinematography and visual effects are strong.  Overall, though, this latest Hellboy proves to be disappointing, frustrating and underwhelming.

FILM: Missing Link (dir: Chris Butler, 2019)

"Cookie?"

Whilst Missing Link is nowhere near Laika's best, it is still another very entertaining film from the stop-motion specialists.  In the vein of Tad The Explorer and Small Foot, we are presented with a lightweight adventure romp that still manages to pull off enough wry and  subversive moments to appeal to adult viewers, but it lacks the depth of impact of other films by the same studio.  Nevertheless, the voice cast does sterling work and clearly has fun, the animation is beautiful and there is a lot of simple good-natured fun to be found here.

FILM: Wonder Park (dirs: Dylan Brown, Robert Iscove, Clare Kilner, David Feiss, 2019)

"Don't need to do that again."

Wonder Park could never be described as subtle, and its rather conventional themes - separation anxiety, loss of innocence, death of childhood imagination - are all too obvious.  Children will be captivated by the hyper-coloured design, feisty female protagonist and frantic pace, adults may enjoy the voice cast and the high level of detail and lighting in the animation, but overall Wonder Park is pleasant but leaves little lasting impression.

FILM: Pet Sematary (dirs: Kevin Kolsch and Dennis Widmyer, 2019)

"It's a good thing you're not a f***ing vet!"

This 2019 version of the well-known Stephen King novel and its 1989 movie counterpart is somewhat slow but adequate, and its effectiveness will clearly depend upon the extent to which the viewer is familiar with those earlier incarnations.  Apart from a couple of scenes with mobile phones, this film could indeed have been from those earlier times, and the emphasis wisely remains on the simple and small-scale storytelling that King mined to good original effect.  There is some atmospheric cinematography and a typically hauntingly lovely Christopher Young score, but overall Pet Sematary 2019 is rarely more than a low-key but acceptable re-telling of a familiar story.

FILM: Shazam! (dir: David F Sandberg, 2019)

"It's fun!"

An April release for a December/Christmas-set movie feels a little incongruous, but it helps to imbue this sweet, funny, dynamic superhero movie with a sense of real warmth. Emotionally, the film feels very contemporary, with a wintry Philadelphia providing an apt backdrop for themes of isolation, bullying and the foster-care system, yet the film also has a genuine Spielberg/Columbus sense of wonder and adventure.    In some ways, yes, it is (knowingly self-aware) BIG with superheroes, but the film balances the comedic and the serious very effectively indeed.  Asher Angel and Zach Dylan Grazer are very engaging as the best friends leads, and Zachary Levi puts his Chuck skills to good purpose here.  Until a surprise at the very end, Shazam! follows Wonder Woman and Aquaman in showing that DC needs to establish characters (and can do so successfully) before trying shared universe ventures.  In this film. storytelling, is careful, deliberate and thus engages throughout, the relationships on-screen feel sincere and thus Shazam! is a charming, very enjoyable and effortless piece of entertainment.

FILM: Dumbo (dir: Tim Burton, 2019)

"You made a child again."

The original animated Dumbo was the first film I saw at the cinema as a young boy (not, I hasten to add, when it was originally released), and this Disney classic is well-loved but remains one of the company's more insubstantial films.  This latest release in Disney's series of live-action remakes proves to be charming, as would be expected of Tim Burton in fable/whimsy mode, yet feels the need to go modern blockbuster in the finale.  It is very well cast, with Colin Farrell rediscovering some of his earlier sincere twinkly charm and sincerity, Danny De Vito perfect as the old-fashioned circus owner, and Michael Keaton giving his usual villainous schtick to good effect.  The visual effects are great, and moments when Dumbo takes flight in the big top arenas are glorious, wonderfully supported by Danny Elfman's thrillingly soaring score.  Like the original film, this is still a lightweight confection, but it is a good re-telling of a fondly-remembered Disney classic.

FILM: Fighting With My Family (dir: Stephen Merchant, 2019)

"Don't worry about being the new 'me' - be the first 'you'."

Based on a true story of a Norwich wrestling family whose teenage daughter gets picked up the WWE circus with great success, Fighting With My Family follows a very well-trodden path but does it very well.  Storywise it does little to subvert expectations, but Stephen Merchant directs with an upbeat energy that imbues both the performers and the film with a very watchable and likeable quality.  It is good to see Lena Headey in a softer than usual role as the mother, Florence Pugh is quite engaging as the daughter, but there is truly powerhouse performance to look for here from Jack Lowden as the brother who stays at home, and Dwayne Johnson's involvement and appearances are also well judged on familiar home territory.  This is a spritely, good-humoured and well-played British film that delivers sound entertainment overall.

FILM: Fisherman's Friends (dir: Chris Foggin, 2019)

"Retro's back....again...."

Fisherman's Friends is another 'based on a true story' British underdog story that tends to play well with UK cinemagoers, here telling the story of a group of singing Cornish fishermen/lifeboatmen from picturesque Port Isaac who unexpectedly land a record deal and have minor success. The basic premise proves to be rather thin for a nearly two-hours runtime, so we are mostly saddled with an improbable romance story.  The lacklustre script is saved by strong performers (including James Purefoy, Daniel Mays and a really nicely-judged unshowy performance by Sam Swainsbury as a younger member of the ten-strong group).  The singing is an inevitable strength of the film, and it is pleasant enough, but it does feel rather stretched.  

FILM: Us (dir: Jordan Peele, 2019)

"It's all just craziness!"

With the heavy weight of expectation following the success of Get Out, Jordan Peele's follow-up almost delivers.  Pushing the horror aspect perhaps even further than in his first offering, Peele employs a dizzying and disorientating set of references, from Hitchcock to Haneke to Carpenter, from fairy-tale to J-horror to 80s slashers, making Us a real joy for horror fans, notwithstanding the callous and gleeful use of violence throughout.  The game cast absolutely plays it to the hilt, the score is always interesting, the narrative again pulls real surprises with only a part of the story revealed by the trailer (although the 'big twist' is evident very early on) and there is a real energy to the piece that never lets up.  The bigger issues are nowhere near as sharply focused as in Get Out and come across as either blunt or diffuse in their handling, but make no mistake: this film is Jordan Peele cutting loose and having fun, and audiences who buy into it will have great fun too.

FILM: Captain Marvel IMAX 3D (dirs: Anna Boden and Ryan Fleck, 2019)

"She can do a lot more than make tea with those hands..."

The long-time-coming female superhero-fronted Marvel movie turns out to be not one of the studio's very best, but once it gets going, is very entertaining to watch.  The first act does some good world-building but feels uncertain, as do the early scenes on 1990s Earth, but as the titular character starts to find her identity, her powers and her purpose, the film picks up rapidly and has great pace and story in the final hour. The cast plays well, with Larson proving to be confident and commanding of attention in the title role, and the effects work is dazzling, with a real sense of scale being created to impressive purpose.  The tie-in to the final Avengers movies comes in the mid-credits scene, with a throwaway joke scene at the very end of the credits.

VOD: Dave Made A Maze (dir: Bill Watterson, 2017)

"I want to go inside!  Can I go inside?"

If you bought into the quirky madness of a film such as A Town Called Panic, you will absolutely love this hilariously bonkers little film that barely got a release.  Frustrated artist Dave's girlfriend Annie arrives back at their apartment after a weekend away to find that not only has he built a fort/maze out of cardboard boxes in the middle of their living room but that he is also lost inside his unfinished creation (as Doctor Who is prone to saying, it's bigger on the inside), so Annie and a bunch of Dave's mates go in to rescue their friend.  You can take it seriously, as it takes inspiration from sources as diverse as Greek myth and Alice In Wonderland, with the big central metaphors about life conveyed in all manner of interesting ways, or you can just revel in the absolutely unpredictable and wonderfully creative madness of it all.  Above all, however, it is a film brimming with ideas, it has a whole bunch of characters who are a delight to watch and with whom to go on the journey, and it provides loads of entertainment from start to finish.

VOD: Paranormal Investigation (dir: Franck Phelizon, 2018)

"I don't feel anything."

This belated French entry into the found-footage supernatural genre turns up on Netflix taking the very familiar Paranormal Activity template (intertitles announcing which night is playing, ominous soundtrack rumble, open doors with darkness beyond) and using it to little effect.  With its evidently low budget, it makes an effort to employ the multi-camera set-up device to purposeful effect, but it is undone by very weak performances, although Anderi Indreies just about holds things together in the titular role,  investigating the apparent possession of a young man following an opening Ouija board session that unsurprisingly goes wrong.  Even references to other films, such as the arrival of the priest to the family home in a weak low-budget (presumed) homage to The Exorcist are hard to take seriously.  It is hard to imagine why this film was attempted with nothing new to offer when even the original American film franchise has given up and gone away.

FILM: The Kid Who Would Be King (dir: Joe Cornish, 2019)

"It's really good when it works..."

...and The Kid Who Would Be King works consistently well.  As with Attack The Block, Joe Cornish delivers a deft mix of the mundane and the fantastic,  here mixing Arthurian legend and the life of a twelve-year-old schoolboy who (oddly) stumbles across Excalibur and pulls it from the stone on a local building site, thus setting him and three young allies on a journey to save Britain from the imminent resurrection of Morgana (a beautifully psychotic Rebecca Ferguson) from her underworld banishment.  Dialogue is well-written, the four child leads are very strong, effects work is good, and the rousing score adds much to the film.  Perfectly pitched for its young audience, this film is a thoughtful, lively and very well-delivered movie that is unusually ambitious and effective for a British children's film.

FILM: Instant Family (dir: Sean Anders, 2019)

"You're not terrible..."

Instant Family pretty much does what you expect from the trailer and the genre.  The in-your-face browbeating about adoption (especially in the first act) does often sit uncomfortably alongside the broad family-comedy tropes on display, but there are plenty of funny moments which land well.  Mark Wahlberg's easy charm and sincerity is tailor-made for this type of role (and his comic timing is very good here), Rose Byrne is unusually genuine here, and the three children - especially Isabela Moner as the older teen - work very well.  Also of note are performances from Octavia Spencer and Tig Notaro as the duelling adoption counsellors, and the joy that is Julie Hagerty and a powerhouse performance by Margo Martindale as the two adoptive grandmothers.  Overall, this is a well-meaning film that offers little that is unexpected (there is even a Christmas morning scene in which the children prefer the cardboard boxes to the toys) but is well-made and entertains.