VOD: One Way To Denmark (dir: Adrian Shergold, 2020)

"I have to do SOMETHING, OK?"

One Way To Denmark in many ways typifies those very British/BBC low-budget human stories in a very positive way.  Rafe Spall is excellent as the downtrodden and despairing divorced unemployed man trapped in an austerity-riven rain-soaked Welsh town, who dares to enact an unexpected way to improve his lot in Denmark.  The first half paints an overwhelmingly miserable picture of this depressed man's everyday life, which makes his escapades in Denmark feel somewhat slight by comparison, but the film is ultimately warm-hearted, the travelogue aspects are pleasantly realised - Spall's reaction to a public urinal is priceless - and the central performance carries the film effectively.
 

VOD: Enola Holmes (dir: Harry Bradbeer, 2020)

 

"She has no GLOVES??!!"

Enola Holmes surprises and delights from the outset.  It employs some of the tropes employed by Guy Ritchie in his Holmes films, but here a much lighter touch is employed, finding a breezy, refreshing and very engaging style, with even Enola's fourth-wall-breaking moments adding to the fun.  The film does not shy away from the issues of patriarchy and female emancipation of its time, but the over-arching story is a worthy mystery and the whole enterprise is propelled by a glorious Daniel Pemberton score, Henry Cavill delivering a Sherlock with its own identity and that showcases the actor unusually well, and a captivating performance by Millie Bobby Brown that shows real potential for the future.

VOD: The Devil All The Time (dir: Antonio Campos, 2020)

 

"Some people were born just so they could be buried."

Deftly adapted from the hit novel, The Devil All The Time presents a profoundly grim and corrupt portrait of 1950s backwoods America.  The clever intersections of a range of well-defined characters make this long film absorbing, with standout performances from Bill Skarsgard and Tom Holland.  The sense of inevitability and repeating patterns is well-handled, and whilst there is little cheer or light on offer here, the film oozes quality in every aspect.

VOD: The Babysitter - Killer Queen (dir: McG, 2020)

"We ARE dead!  Duh!"

McG delivers another fun entry in this burgeoning deliriously daft horror franchise.  Whilst Killer Queen might not be quite as fresh and tightly-delivered as the original, this sequel certainly delivers on the outrageously squelchy gore gags that were a trademark of the first film - the surfboard really hits the mark here - and again the lively cast absolutely nail the tone and give it their all.  It takes a while to get going, and this film might not change the world, but for horror fans and those who enjoyed the original film it certainly entertains.
 

VOD: Justice League Dark - Apokolips War (dirs: Matt Peters and Christina Sotta, 2020)

"We're not here to fight."
"You've come to the wrong place, then."

It is always slightly strange to see TV-level animation production applied to the more grown-up end of the superhero market with attendant violence and swearing, but this is one of the more successful efforts.  Putting Constantine centre-stage, this DC team-up posits a ransacked Earth and a destroyed superhero team that builds itself back up to avenge the apocalyptic events and rescue some of its team-mates.  Whilst almost unthinkable to see these icons succumb to horrible fates in traditional cinematic superhero movies, here all bets are off, which is intriguing to see.  The production design is adequate for its type, but there is an ambition of scale and story that works quite well here.

 

VOD: True History Of The Kelly Gang (dir: Justin Kurzel, 2020)

"That's the business, mate.  That's what we do."

 The oft-told tale of the Kelly Gang here gets a gritty re-telling that strives to be     grounded and honest, and for the most part succeeds.  The relentlessly grim events of Ned Kelly's upbringing and the episodes in his life that shaped his ultimate destiny are laid bare unsparingly, and George MacKay once again delivers a consistently compelling performance in the lead role.  Undoubtedly, the first half is more successful that the second, but this is a well-realised account that does well to convey its times and sense of the real events.

VOD: Emma. (dir: Autumn de Wilde, 2020)

 

"I could not get my bonnet on for trembling!"

Like the recent take on David Copperfield, this latest adaptation of Emma finds the right balance between respectful costume/period drama and a modern-day sensibility and makes for very enjoyable viewing indeed.  Indeed, the strength is in the writing here, and a game cast delivers it with relish.  Not only is the film strewn with entertaining performances, it is to be applauded that such a female-centric enterprise also does very well by its male characters.  If you never thought you would laugh out loud at a costume drama of this type, think again.

VOD: #Alive (dir: Il Cho, 2020)

 

"I'd rather starve to death than end up getting bitten and turn into one of those monsters!"

An unknown dustfall turns ordinary people into voracious insatiable killers (more like the Rage victims of 28 Days Later than typical zombies) - so far, so generic.  What this neat little movie does is keep the locale tight and focus in on one protagonist (initially) to explore not only what it means to survive but also face the practicalities of an ongoing breakdown of society: what happens when utilities fail, when food and water start running out, when you are faced with isolation and loneliness?  With an intriguing air of melancholy and reflection, punctuated by punchy and well-staged action sequences, the ultimate resolution is never obvious, but this timely tale features an engaging and sympathetic central performance with an ending worth waiting for in a well-crafted and enjoyable film.

VOD: Get Duked! (aka Boyz In The Wood) (dir: Ninian Doff, 2020)

 

 "I've never seen a murder before - I'm home-schooled!"

Taking its cue from the infamous field trip/camping finale episodes of The Inbetweeners, three unlikely DofE participants plus token enthusiastic kid get dumped in the wilds of Scotland and grapple with the murderous locals whilst learning inevitably about getting along, teamwork and embracing differences.  The four lads are reasonably engaging, a lot of the comedy does actually land in spit of the hyper-stereotyped silliness, and it is less successful when it falls into the trap of finding drug-culture hilarious in a way that only an undemanding 12-year-old boy would.  Whilst neither particularly original or ground-breaking, Get Duked! has enough energy to pass the time in a mildly entertaining manner.