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.