FILM: Sully - Miracle On the Hudson (dir: Clint Eastwood, 2016)

"I think it might be a good idea to keep your seatbelts on."

Adapted from the book by pilot Chesley 'Sully' Sullenberger, this is a worthy re-staging of the events of January 2009.  By positing the event and the eponymous 'hero' as ordinary people doing the extraordinary in exceptional circumstances, and by presenting it in a very non-sensational manner, the film comes across as surprisingly unimpactful.  Disaster movie tropes are mostly avoided - occasional gentle music cues are used, a couple of passengers are given pre-flight 'background', the post-landing passengers are remarkably calm - but a commitment to consistent naturalism might have paid more dividends.  Any film that top-lines Hanks, Eckhart and Linney already has a lot going for it, and all three are terrific here, but in dramatic terms the film has oddly little to say.

FILM: Passengers (dir: Morten Tyldum, 2016)

 "I know people."
"Really?"

Passengers never quite catches fire yet is still a decent movie with a number of strengths.  The obvious marquee appeal of pairing Lawrence and Pratt in this long-gestating project is fulfilled on screen, as the charismatic pair manage to wring interest out of some often thin writing and bland dialogue.  There is plenty of impressive CG sci-fi eye candy on offer, Michael Sheen is spot-on as the android bartender and Thomas Newman's soft-synth score is pleasant.  The last-ditch attempt to generate a bit of real threat does not really amount to much in what is essentially a soft and slightly dull sci-fi love story.

FILM: Rogue One - A Star Wars Story IMAX 3D (dir: Gareth Edwards, 2016)

"Rogue One?  There is no Rogue One!"
"Well, there is now!"

Rogue One is a fantastic addition to the Star Wars saga.  Effectively Episode 3.5, this is almost the grown-up Star Wars film that adults crave, pitching itself as a full-on war/heist movie with a very dry streak of humour (mostly provided by the sardonic robot K-2SO).  The terrific set of new characters is delivered by a uniformly strong cast, the movie is very well-written, Giacchino's score is consistently excellent and the VFX are breathtakingly beautiful.  The film balances Star Wars tropes and the story's inevitable destination with creating interesting new situations and especially new variations on established visuals (such as the Death Star and a Star Destroyer).  The action/battle sequences are superbly directed and edited, and the extended third act (the land/space final assault) is simply brilliant.  Rogue One is very impressive and will hold up to further viewings easily.

FILM: Office Christmas Party (dirs: Josh Gordon and Will Speck, 2016)

"What about...THE 3D PRINTER?!!!"

As the functional title suggests, Office Christmas Party is a routine and predictable trudge that basically said it all in the trailer, admittedly with a few smiles raised along the way (mostly in well-delivered throwaway lines).   Writing and plotting are simple, but the performances range from reliable (Jason Bateman, TJ Miller, Olivia Munn) to some nicely-used playing against type (Kate McKinnon as the uptight HR lady, Jennifer Aniston as the unforgiving executive, Courtney B Vance letting it all go).  There is nothing particularly memorable here, but it does have a feel-good ending and some enjoyable out-takes over the end credits.

VOD: A Christmas Horror Story (dirs: Grant Harvey, Steven Hoban and Brett Sullivan, 2015)

"That was very unwise...."

A Christmas Horror Story is a surprisingly fun ride.  The film follows a few very different Christmas tales, which miraculously mostly manage to increasingly intertwine as the movie progresses (and occasionally quite smartly) with nice pay-offs.  It is pleasingly and crisply shot and edited for a movie at this level, made with a clear love of both Christmas and the horror genre (a droll and on-form Shatner provides a linking central DJ figure like Adrienne Barbeau in The Fog), and a game cast is mostly effective.  It is a completely bonkers but entertaining movie, and this is the place to go if you want to see a kick-ass Santa face off against undead elves!

FILM: Moana (dirs: Ron Clements and Don Hall, 2016)

"If you start singing, I am going to throw up!"

Disney Animation makes another successful bid to reclaim the animation crown with a superb slice of entertainment. Moana has bucketloads of energy, relentlessly vibrant visuals, another immensely strong score and powerful storytelling.  It is very funny, from the self-aware banter to silly visual gags (mostly courtesy of a cute pig and a very unintelligent chicken) and even the occasional cheeky referencing (such as The Life Of Pi and The Return Of the King), yet it also succeeds in servicing the story's emotional core effectively.  As a 'princess', it is notable that Moana herself is more recognisably proportioned and uses both her physical and mental skills to grow and to succeed.  Dwayne Johnson is of course irresistibly infectious in his delivery of demigod Maui, but he is equally matched by the strong performance of Auli'i Cravalho as Moana.  Moana is a genuinely impressive and enjoyable full-length animated feature, and the accompanying excellent short is an added treat.

FILM: Bad Santa 2 (dir: Mark Waters, 2016)

"Aw, we still got it, kid!"
"I guess so."

Thirteen years on from the original, Bad Santa 2 works best when it delivers more of the same (and there is plenty of that), with the bonus of added Kathy Bates.  It takes a surprising while for the script to engage and to hit the right tone, but once that arrives the film starts to lift.  What does work well is the grown-up Brett Kelly returning as Thurman Merman, who is by turn heartbreaking and hilarious, otherwise Bad Santa 2 is a somewhat routine sequel slog.  It does feature the most unpleasant but funny use of Chekhov's Gun in the final photo montage.  Bad Santa 2 will still make you feel festive, but it is not strong enough to become a Christmas classic.

FILM: A United Kingdom (dir: Amma Asante, 2016)

"Not every fight has to be about violence."

Although based on real events, this movie's success depends the ability of Rosamund Pike and David Oyelowo to sell the central romance, which they manage admirably, and watching these two excellent actors deliver nuanced and warm performances is very enjoyable, with Jack Davenport and Tom Felton suitably slimy as the odious pen-pushing politickers.  Post-WWII London is simply and effectively realised on screen, juxtaposed with well-shot sweeping African landscapes.  When racism, both institutional and personal, rears its ugly head it is powerful and shocking, yet the central couple's colour-blind bubble does tend to soften the film to a degree, relying on their emotional attachment to drive the film.  Nevertheless, A United Kingdom is a handsomely shot, well-played and well-meaning film that is both enjoyable and impactful.

FILM: Fantastic Beasts And Where To Find Them IMAX 3D (dir: David Yates, 2016)

"I ain't got the brains to make this up!"

Fantastic Beasts lulls you in with the Harry Potter music motif and a few nods to existing lore, and then pretty much goes its own way.  It is handsomely mounted, with a lot of very good special effects work, some spirited set pieces and an ambitious finale.  Considering the number of disparate narrative threads in play, Rowling does more or less manage to pull them together (and spring a couple of surprises), but as this also serves as an origin story, many characters are somewhat underdeveloped but have potential for the other episodes to follow.  Redmayne makes for an oddly insipid hero, but Colin Farrell is on-form, Ezra Miller gives another strong performance and Dan Fogler gives a great comedic turn. As a series opener, this is a good, enjoyable movie that may lack a little in character and emotion, but the money is all there up on the screen.

FILM: Arrival (dir: Denis Villeneuve, 2016)

"Am I fired?"

Being uttered in the same breath as 2001 in many quarters, Arrival does indeed share its same majesterial pacing and slow unfolding of events around this mysterious first contact scenario, yet Villeneuve creates a surprisingly intimate tale with the excellent Amy Adams hugely effective as the everyman/audience experience viewpoint.  The demanding and steady pacing of the narrative and enigma reveals are utterly mesmerising, leading to an immensely satisfying resolution that completely justifies all that led up to that point.  With intelligent ideas and writing and as another example of wonderfully-controlled direction from Villeneuve, Arrival is a strong and impressively-realised story.