Directed by Wes Ball

Writen by Josh Friedman

Itst many generations after Caesar where we find Noa (Owen Teague) and his friends Soona (Lydia Peckham) & Anaya (Travis Jeffery), young chimpanzee’s of the Eagle clan. Their lives are turned upside down when gorillas invade their village. Noa is the only one to escape and sets off on a journey to find his clan. On his journey he meets a wise orangutan, Raka (Peter Macon) who introduces him to the teaching of Caesar. They also befriend a human they name Nova (Freya Allan). The three are hunted by the armies of Proximus (Kevin Durand) who believes they can help him access a “tomb” that he thinks holds human secrets to help apes and his kingdom evolve. Or does it hold disaster for the apes and what is left of humankind?

I enjoyed this much more than I was expecting. I mean who expected and ape based entertaining roadtrip!? But it’s not a CGI fuelled smash and crash battle. Instead it comes with depth and explores interesting ideas including religion, slavery and collaboration with an enemy, alongside questions of trust and and whether humans can change!

There is a lot to enjoy, it has a freshness and pace and follows some common themes of discovery and growth that roadtrip films bring. Noa’s story is at the heart of it. A young ape, keen for approval, who is forced to grow up quickly when tragedy strikes. Owen Teague’s performance is well supported by Freya Allen as the sharp and smart Nova, Macon brings a light touch as Raka and Durand’s Proxima strikes the right balance between crazed despot or inspirational leader keen to advance all of his kind.

It looks great with stunning visuals from the detailed creation of the apes to the creation of the world they inhabit.

I enjoyed this much more than I expected. It’s surprisingly a coming of age roadtrip that I hadn’t expected. It moves along at a good pace and kept me hooked. While the CGI world looks fantastic, there is also a depth and intelligence to the story telling. An enjoyable adventure and I’m looking forward to its next installment.

Directed by Rose Glass

Written by Rose Glass & Weronika Tofilska

Body builder Jackie (Katy O’Brian) is passing through town as she hitchhikes towards Las Vegas for a competition. Here she meets gym manager Lou Langston (Kristen Stewart) and her family. She moves in with Lou, while getting herself a job with Lou’s estranged father Lou Sr. (Ed Harris). But when Jackie gets wrapped up in Lou’s family problems, started by her sister Beth’s (Jena Malone), domestic problems with abusive boyfriend J.J. (Dave Franco) her life turns upside down and spirals into twisted love, lies, manipulation, drugs and murder. 

Love Lies Bleeding is classed as a romance, but I’m not sure that does this very twisted look at love justice. This was a film I struggled with for about two thirds of it as I never quite settled with the story it was trying to tell. But like many a a well made film, as its final act plays out, it brings together all of what has gone before into a cohesive piece of smart story telling.

This is no standard love story and it presents a lot of questions about each of the characters in the film. Who is using who? Is there love or is it just emotional manipulation for gain? Are any of the characters who they seem?

Set in 1989, it’s gritty and dirty capturing the feel and films of the time. It is tense and as stakes rise so does the violence, moving from a film about realtionships, to one of violence and murder, with an almost humourous increase in body count! Jackie is at the center of it, perhaps the most manipulated of all and at the center of a complex relationship between father and daughter that is not what it seems.

It took a while to draw me in, but the pay off, in the end, was worth it.

Love Lies Bleeding is a dark and very twisted version of a romance. It took a while to draw me in, but what you end up with is an intriguing story of lies, manipulation and violence, where you’re never sure who is using who or for what. A slow burn of a film that pays off in the end.

Directed by David Leitch

Written by Drew Pearce

Colt Seavers (Ryan Gosling) is a leading stuntman, dating camera woman and budding director Jody (Emily Blunt) and stuntman for A-List star Tom Ryder (Aaron Taylor-Johnson). But his life is turned on its head when an on set accident makes him turn his back on the industry. After spending a year working as a valet he’s surprised to receive a call from producer Gail Meyer (Hannah Waddingham) offering him the chance to be the stuntman on Jody’s directorial debut movie. But when he gets there, to Jody’s surprise, he finds Gail needs him to find the missing Ryder. It leads Colt into a world of drugs violence and murder, the ideal place for his stunt skills as he tries to find Ryder and save Jody’s film.

This is a film with a lot of promise, a great cast, a 1980s reboot and a director known for spectacular action. But unfortunately for me it fell short of the fun I was hoping for.

The film has plenty of fun moments, Gosling and Blunt are enjoyable as you’d expect, it’s got some great nods to the original, the Six Million Dollar Man and Miami Vice turn up too. It’s at its best when it is knowingly cheesy. And it’s no surprise Leitch delivers some great set pieces. But it is a film of moments and sadly, for me, those moments aren’t often enough.

It doesn’t quite settle between action and romantic comedy and never quite pulls either version off. And at 126 minutes it’s too long and does feel it at times.

It’s by no means terrible and when it gets it right there is a lot to enjoy and do stay for the end credit sequences.

I wanted to enjoy The Fall Guy more than I did. It’s a film of moments. Gosling and Blunt are hugely watchable. It’s at its funniest when it’s knowingly cheesy and comes with some spectacular action set pieces. But between moments it felt like it dragged and never quite settled as either an action or romantic comedy. Not quite on the money, but still things to enjoy.

Directed by: Luca Guadagnino

Written by: Justin Kuritzkes

Tashi Duncan (Zendaya) a former teenage tennis prodigy, whose career was ended by injury, is now a tennis obsessed coach to her husband Art Donaldson (Mike Faist). Suffering a loss of form, Art has found himself in the final of a low ranking challenger event, his opponent jobbing pro Patrick Zweig (Josh O’Connor). But he’s no normal opponent, not only was he once Art’s best friend, growing up on the tennis circuit together, he was also Tashi’s former lover. As the match unfolds, we look back at how the three met and how Tashi’s obsession with tennis and the men’s obsession with her impacted them all.

This is a classic femme fatale story, brilliantly executed by Luca Guadagnino. It’s one of those “they don’t make them like that anymore” kind of films, full of tension, drive and sdesire.

The film is built around a wonderful performance from Zendaya. She creates a character who is obsessive and driven, her obsession, rather than money or power, is Tennis, as she says “it’s always about the tennis”. She knows her talent and her looks gives her power over others and Art and Patrick are only too happy to fall under her spell. Faist and O’Connell make the perfect foil for Zendaya’s performance. Faist’s Art, like a puppy, keen for her adulation, let’s her live her tennis career through him. Patrick the “bad boy” has talent, thinks he’s her peer, but never is. Both are just tools for her use.

It looks great, often feeling like an ad for beautiful things and quite the advert for tennis. The tennis recreation is breathtaking, capturing the intensity, speed and power of the sport, using CGI to put you in the heart of the action and is a core part of  building tension.

At times it feels a little self indulgent and maybe runs a little long. But that’s a minor quibble.

Challengers is a classic femme fatale story. Built around a towering central Zendaya performance, full of desire and determination. It looks great, the tennis recreation breathtaking and all used to create a taught, tense and intriguing story.

Written and directed by Alex Garland.

In a United States ravaged by civil war photo journalists Lee Miller (Kirsten Dunst), Joel (Wagner Moura) and Sammy (Stephen McKinley Henderson) are placing themselves at the battle front as they look to document and tell the story of war in their own country. They decide the story they need is from The President (Nick Offerman) and head to Washington on an 850 mile road trip. Tagging along is young and raw photographer, Jessie (Cailee Spaeny). We follow the group as they take their dangerous treck through a country at war, documenting what they see to tell the story of the realities of war.

Civil War is a remarkable piece of work. It’s a 109 minute nerve jangling ride through a warzone. While its title suggests it  this is not really a film about U.S. politics it’s about those risking their lives to document war in all of its horror.

It is littered with powerful scenes. The brutality and inhuman actions of combatants, especially in this kind of conflict. The fears of who to trust and when to trust. All documented with bravery and, what seems, a detachment from the horror.

It shines a spotlight on a role only a few would do but most of us would find too terrifying to comprehend. Clearly there is a “thrill” in the chase for them, but we also see the cost, physical, mental and human, as we see a press jacket and vehicle is no guarantee of safety.

A film about war photography, should look great and this one does, from  powerful moving and still images, to immersing you completely in battle in the most visceral, tense and nerve biting ways.

The performances are solid and believable, especially from our four main characters. And there is a treat of a brilliantly chilling cameo from Jesse Plemmons.

Civil War is a fantastic nerve jangling ride through the horrors of a warzone, told through the eyes of those documenting it. It immerses you completely into the lives of people doing a job most of us would find terrifying. Well worth a watch.

Directed by: Curtis Vowell

Written by: Andy Riley

Medieval Queen, Dagan (Aimee Lou Wood), is not the most popular Queen. When she is overthrown by the leader of the people’s revolution, Humble Joan (Nicola Coughlan), she goes on the run with one of her maids Shulmay (Lolly Adefope). Shulmay has a plan to get the Queen to the east coast and safety. On the way they pick up shit shoveler, Bobik (Nick Frost), and make their way through towns and forests chased by Leofwine (Jessica Hynes), the Queens former aid. The three have lots to overcome, including their growing friendship, as they try to get Dagan to safety.

This follows a template of recent films from the likes of Horrible Histories and Catherine Called Birdy. While it’s not the quality of the latter, it is still an amusing adventure.

Ultimately this is a medieval road trip, that follows the road trip tropes of a quirky group brought together by circumstance, whose friendship develops. And that’s where it is at its best, as the three’s relationship goes through ups and downs and is tested to breaking point. It’s maybe a pity that the story of Humble Joan is no more than a bit of a distraction and perhaps a stronger storyline could have made a better film. But that said while it’s not rip-roaringly funny, it packs plenty of charm and comes with enough chuckles to keep you on-side.

Performances are enjoyable, especially Lolly Adefope who steals the show. Aimee Lou Wood is engagingly annoying and Nick Frost as reliable as ever. And the three of them take you along on a pleasant ride.

Its not perfect. It can drag occasionally and isn’t consistently funny. It also has a strange 15 rating which feels like it takes it out of reach of what would be an ideal audience.

Seize Them! Won’t live long in the memory or become a classic. But in its two leads and short running time there is enough humour and charm to keep you on-side. Amusing rather than hilarious but enjoyable enough.

Written and Directed: Dev Patel

Co-writers: John Collee, Paul Angunawela

Dev Patel is down on his luck, scrapping for a living, including as the fall guy in a fight club run by Tiger (Sharlto Copley) where he fights as Monkey Man. Looking to take a step up he cons his way into a job at a rich man’s club run by Queenie (Ashwini Kalsekar). A club where the rich and powerful congregate including the Chief of Police (Sikandar Kher) who is linked to influential religious leader Baba Shakti (Makarand Deshpande). When Patel’s character befriends hotel fixer Alphonso (Pitobash) it becomes clear this is less about work and more about vengeance for a childhood trauma and his vengeance will be bloody!

This is Patel’s directorial debut and perhaps unexpected that it’s a Mumbai based, very violent, revenge thriller. While it is not hugely original it is stylish and well done and would not look out of place in the John Wick cannon.

Set in India (although filmed in Indonesia) it uses its location well to tell the story. It shows poverty alongside riches and corruption. It shows religion, mysticism, persecution and violence. It looks great, using the chaos of India for fantastic set pieces, including the worlds fastest tut tut.

Action is well choreographed and Patel slips seamlessly into an action role, channeling more than a touch of Keanu Reeves. It’s a film that won’t escape the John Wick comparisons but those comparisons are a compliment.

It’s not prefect and is a little baggy in the middle third as Monkey Man finds his purpose. This includes a Rocky montage as he readies himself for the final showdown with the help of a transgender group living in a temple under the guidance of Alpha (Vipin Sharma). But this aside, this is an entertaining well done genre film.

Monkey Man is an entertaining, although extremely violent, revenge thriller. Dev Patel delivers a strong directorial debut as well as slipping comfortably into an action lead role. It looks great with some excellent action set pieces. While it’s not perfect it is a stylish and fun revenge thriller.

Written and directed by: Gil Kenan

Written by: Jason Reitman

Back in New York the Spengler’s (Carrie Coon, Fin Wolfhard and Mckenna Grace) along with Gary Grooberson (Paul Rudd) are now full time Ghostbusters, living in the firehouse, driving the car, busting Ghosts. But when Nadeem Razmaadi (Kumail Nanijani) turns up at Ray’s (Dan Akroyd) store with a mysterious orb, the team find themselves with a new threat in the shape of Garraka, an ancient and powerful spirit who is keen to free himself from the orb and unleash the ghosts held in Ghostbuster containment, to freeze the world and destroy humanity. The Spengler’s join forces with the original Ghostbuster team to tackle this new foe and save the day.

This film has taken a bit of a critical pounding. But to be honest, I had a good time with it. There’s still a warm fun feeling to be had from the familiar sites and sounds, including that music, of Ghostbusters. This film leans heavily on that, with Bill Murray, Ernie Hudson and Annie Potts joining Akroyd to bring the team back together alongside the newbies.

But it’s in that need to hang on to much of the original films, including it’s cast, the problem lies. Because there isn’t really much new here. The story treads familiar ground and ultimately is all about underwhelming. There are attempts at new bits especially Mckenna Grace’s, Phoebe, trying to find her place in the world through her friendship with the ghostly Melody (Emily Alyn Lind).

The films biggest issue is it tries to do too much, it has a huge cast but without much of a plan for it, with lots of characters struggling for a plot. The story is also never quite sure where to focus, flirting between promising storylines but never really carrying any of them through.

Frozen Empire has had some tough reviews. It does have its problems, such as a big cast with little to do and lack of originality. But personally I enjoyed it. There’s still fun in revisiting the familiar world of Ghostbusting. But as a franchise it needs something new. Maybe time for the Ghostbusters to hang up their photon packs.

Directed by: Johan Renck

Screenplay by: Colby Day

Czech Astronaut Jakub Procházka (Adam Sandler) is 6 months into a mission to investigate a strange purple cloud that has sat in the night skies for the last four years. However, he is now at a point where the tiredness and loneliness are taking there toll, not only on Jakub but on his relationship with his wife Lenka (Carey Mulligan).  However, when he discovers a strange presence onboard his ship, it becomes a companion with who he evaluates his life, his loves, losses, regrets and, as they head into the purple cloud, maybe a chance for redemption.

This is an odd slow burner of a film. It’s far from perfect it’s uneven at times, often  meandering, sometimes odd, but also sometimes touching and thought provoking. It’s a story of loss, regret, love and self discovery for Jakub and his strange companion, Hanuš (Paul Dano).

There are certainly things that do work, this includes Sandler’s performance, he carries much of this on his own and in one of his most restrained appearances, he captures well the feeling of isolation and helplessness so far from home. Carey Mulligan is a little under utilized as Lenka, but delivers it with the quality you expect. Paul Dano is just the right level of weird for Hanuish.

The set design is an interesting late 80’s early 90’s display of Czech technology and adds to the feeling of out of time and place.

There are problems, its pacing can be very slow, it story sometimes a little confused and dialogue a bit on the nose. But for all of that it also does have a quirky charm to it and at times is touching.

This is by no means perfect. It often moves too slowly and is a bit disjointed. But there is also enough intrigue, tension, occasional humour and touching moments to make it feel worthwhile. Probably not for everyone but I enjoyed it enough.

Available on Netflix.

Directed and Co-Written by: Denis Villeneuve

Co-Written by: Jon Spaihts

Part two picks up the epic tale from where the first part ended. Paul Atreides (Timothée Chalamet) and his mother (Rebecca Ferguson) are under the protection of the Fremen, after the slaughter of House Atreides by the Harkonnen’s. Increasingly the Fremen are convinced that Atreides is a Messiah come to Arrakis to lead it to prosperity. As the Freman become convinced so does Paul, that while not the Messiah, is there to lead the Freman to reclaim their planet from the Harkonnen’s and in turn avenge his father. At the same time balancing his feelings and relationship with Chani (Zendaya). In the background the force’s of the Bene Gesserit in the shape of his mother and Gaius Helen Mohiam (Charlotte Rampling) are looking to shape theirs and Atreides future.

After the success of Part One, Villeneuve has not disappointed with this incredible sweeping epic of a science fiction film. Part Two has a lot more story to fill in than its predecessor, with politics, faith, belief, mysticism and betrayal. And while occasionally it creaks under the weight of the story Villeneuve keeps it on track with effortless style, telling it patiently, giving it time to breath.

Epic is the only way to describe Dune. It’s a film of scale in the best way of the epics through cinema history. It storytelling, visuals,  soundscape and ambition are totally absorbing as it meanders and weaves effortlessly as a Sandworm,

The cast is great,  Zendaya, Javier Bardem and Austin Butler’s, psychotic Feyd-Rautha Harkonnen all add to the story telling. But it is built on Chalamet and Rebecca Ferguson. Broth brilliantly building character arcs on growing from freedom fighter to leader,  the other in the shadows, manipulating those around them.

Dune: Part Two is breathtaking storytelling on a scale  you rarely see. While the story sometimes creaks it is never anything other than absorbing. This is a wonderful 166 minute epic from start to finish. Cinema at its best and if you can see it, see it on the big screen