Director: Phil Lord & Christopher Miller

Dr Ryland Grace (Ryan Gosling) is in deep space, the only surviving member of the crew of The Hail Mary, part of a project to save the Sun, which is being slowly dimmed by the mysterious Petrova Line. His memory impacted by being placed in a coma he starts to piece together his part in the project under the command of Eva Stratt (Sandra Hüller). Alone, with a task to save the earth, Grace’s life is changed when he encounters another ship, a ship with a similar mission, to save its own Sun and planet from the same fate as the Earth. Can these two worlds come together to save them both?

This is a fabulous, warm hearted, big hug of a film, in a world that often seems far from fun, this is an unapologetic good time. A wonderful balance between science and humanity.

It’s a film about loneliness, friendship, about finding a purpose and about finding something so important you’ll sacrifice everything. A reminder of regardless of where we are from, we want the same thing, to keep safe those we love.

This is a film that works because of Ryan Gosling, for the vast majority of its 156 minute run time. His Grace is smart, full of heart and humour all delivered with Gosling’s warmth, charm and screen presence. Alongside him James Ortiz brings to life Rocky, a character equally warm, funny and charming. Sandra Hüller supports well,  the perfect project head, a stoic figure, who while having heart and humour is prepared to do anything to save humanity.

Its huge sets and practical effects, gives both scale and intimacy. Its script delivers humour and warmth in equal measure. And while much of this is a study of humanity rather than a sci-fi adventure, when it needs to crank up the tension and thrills it does so equally well, with some heart racing action set pieces.

If there is a criticism, it is that it runs just a little long, but that’s a minor gripe, in a film that is a wonderfully heart warming, joyful piece of story telling that will leave you smiling from start to finish.

Director: John Patton Ford

Becket Redfellow (Glen Powell), is an heir to the Redfellow fortune. However, his life has not been that of an heir. His mother was banished from the family home when she became pregnant, but she ensured young Becket still got the education and upbringing he should, including reminding him, that one day, he would inherit a fortune, the only problem, he is the youngest in a long line of heirs. When an old school friend, and childhood crush, Julia (Margaret Qualley) reappears In his life she plants a suggestion. A suggestion that, if all those heirs ahead of him were no longer there, then the fortune would be his. Could he really murder his way to a fortune?

This is a film with a nice premise, a dark comedy, long game “heist”, it has likeable leads and a line of starry cameos, all packed into a tight 105 minutes. But it’s also a film that falls a little flat, not a poor film, not an unenjoyable film, but just one that lacked a spark.

On the plus side, Powell, who in Becket, even with his complete lack of moral compass, is a likeable lead and character. Margaret Qualley is dependable, even here, where she doesn’t have much to work with. There is also a range of entertaining cameos from Bill Camp, Zach Woods and especially Ed Harris.

On the down side though, it’s also a film that misses opportunities, as a dark comedy, it’s never quite funny enough, the darkness never quite delicious enough, there could have been so much more fun with Becket’s plan. And its big “twist” feels like it is never really earned.

You can also add to that, that the story itself becomes increasingly unbelievable, a character even alluding to it at one point, suggesting it’s unbelievable that the FBI don’t have a case against you!

A fun premise, that’s an enjoyable enough watch, but lacks a little something, leaving  it all a bit “meh”.

Director: Maggie Gyllenhaal

When Frank “The Monster” (Christian Bale) visits Dr. Euphronious (Annette Bening)  to discuss his loneliness and implore her to find him a companion, that companion comes in the shape of Ida (Jesse Buckley), a young woman mixed up in the world of the mob, corrupt policemen, and also haunted by visions of Mary Shelley. But when these visions lead to her demise, she finds herself “reinvigorated” into a new world, with only a patchy memory of her past. A world which leads her on a journey of violence, love and revolution, as Frank and The Bride become an inspiration to those silenced. But is it a relationship that can survive?

The Bride! May not be the best film you’ll see this year, but it is likely the most bonkers. To be honest, I’m not sure if it’s genius or madness, but was fun either way!

It’s a film that takes inspiration from love stories to horror, gangster film to comedy, as well as a rather surprising reference to Young Frankenstein and certainly owes a debt to Joker.

It starts as a story about loneliness, but also a commentary on toxic masculinity, victim silencing and the Me Too movement, some of it subtle, some very on the nose, which is perhaps the point.

For the second time this year we are treated to a towering Jessie Buckley performance. She plays three roles, in Ida, the tortured ghost of Mary Shelley and, of course, The Bride herself, often all 3 in the same scene, capturing the frenzy of the story perfectly. Christian Bale, is a strong foil, a monster with a heart, equally capable of monstrous acts. Support is strong, especially Peter Sarsgaard and Penelope Cruz as the detective duo chasing our Bonnie and Clyde’esque pair. Annette Benning’s “mad” scientist as well as Jake Gyllenhaal’s cameo as a movie star, also add colour.

It looks great, capturing 1930’s America as well as the classic Frankenstein lab, and Buckely’s Bride will inspire many a costume for years to come. 

It’s an unhinged bit of cinematic madness, and a heck of a memorable ride.

Director:Baz Luhrmann

EPiC is part concert film, part back stage footage and part documentary. It provides a very quick round up of Elvis’s life so it can focus on, primarily, his residency in Las Vegas. Put together from footage Lurhmann’s gathered for his 2022 film, Elvis. It includes reels found in Warner’s archives, previously unseen concert films and performances as well as relaxed backstage footage and rehearsals. There’s some previously unheard audio of Elvis describing his own career as well as some clips from press interviews. All brought together with Lurhmann’s visual flair and style, as sparkly as Elvis’s outfits!

This is a film for anyone who wants to see a consummate performer, doing the thing they love. And will work whether you’re an Elvis aficionado or not. It’s no hard hitting documentary and is not looking at its subject with any level of criticism. Instead Lurhmann delivers a celebration of a performer doing the thing he clearly not only loves to do, but is  incredibly gifted in doing it.

This is a fascinating and enjoyable look at Elvis in an environment he enjoys. As someone who’s not an Elvis “fan” what stands out hugely is just how good he was. A wonderfully flexible voice that seamlessly switches between genres. His stage presence and craft is a joy to watch, with audiences of all ages under his spell as he sings and moves, as they swoon and scream.

But we also get intriguing glimpses behind stage, as we get to see a man at ease in his surroundings, having fun, who loves music and oozes charm and charisma.

There are some moments of melancholy, mainly in conversation with journalists when asked about his thoughts on the draft, travelling, performing outside of the US and the possibility of waning fame. There are also nods to other parts of the Elvis story, with glimpses of Tom Parker and Priscilla, but they are brief.

This is a joyful and entertaining celebration of a musical icon and incredible performer. Providing a glimpse into Elvis doing what he loved.

Director: Gore Verbinski

What seems like a normal evening for the patrons in an L.A. diner, is anything but, when a stranger (Sam Rockwell) dressed in, seemingly, a plastic mac with random items glued to it, storms in claiming to be from the future. Not only the future, but a dark future which is leading to the destruction of humanity. But there is a group of people in this diner who are the secret to changing the future and saving mankind. In this, his 117th attempt, will he pick the right mix of people to save humanity, or will his latest mission be doomed again.

Good Luck, Have Fun, Don’t Die is quite the mix, a sci-fi-comedy-horror that borrows from Groundhog Day to Ghostbusters. It comes with plenty of action set pieces and  works for most of its 134 minutes, before it runs out of steam towards the end.

In its first two thirds it’s full of intrigue, funny, and shifts along as you try to understand where it’s heading and why its quirky set of characters are chosen. The film delivers some reflections on society touching on school shootings, social media, AI, the risk to the fabric of society, as well as comments on the selling of alternative realities and mobile phone obsession. None particularly subtly, although its take on  school shootings is very well done.

Performances are good. With Sam Rockwell, perfectly cast as the mysterious time traveller, with a mission which may or may not be real. Others offer some strong support, especially Haley Lu Richardson, Juno Temple, Michael Peña and Zazie Beetz, who provide the most intriguing back stories.

But the film, as it goes on, feels like it loses its way, with an urge to throw in one more set piece, one more twist, before it throws everything it has left, onto the screen in its wild finale.

The film looks good and it’s fun nods to other films and genres are enjoyable.

While it outstays its welcome a little and is a tad overcooked at the end, overall it’s an enjoyable and fun ride.

Director: Emerald Fennell

Young Cathy’s life is changed when her father brings home a young nameless boy, a pet, who she names Heathcliff. Their relationship grows through childhood but when we meet their adult versions of (Margot Robbie & Jacob Elordi), life is different. Cathy’s father has gambled away his money, leaving them poor and the house dilapidated. When “The Heights” gets new neighbours, Edgar Linton(Shazad Latif) and his young ward, Isabella (Alison Oliver), Cathy has a chance of a new life. When she agrees to marry Edgar, it starts a chain of events that takes everyone’s life through happiness, darkness, revenge and tragedy.

It’s a film that has raised controversy, but having never read the novel, I came to this with no preconceptions.

The film is big and gothic, melodramatic, often dark, sometimes ridiculous, blancmange of a film and I enjoyed pretty much every minute of it.

It’s a film about intensity and relationships, unhealthy relationships. Whether that is the one between Cathy and Heathcliff. Isabella’s obsessions or the one between Cathy and Nellie (Hong Chau), Cathy’s childhood “companion”. It is these relationships, for both their good, but often toxic nature, that gives the film its darkness.

Performances are strong. Elordi and Robbie are its core. But they are supported well. Charlotte Mellington and Owen Cooper’s young Cathy and Heathcliff. Alison Oliver takes Isabella from a naive youngster, to a dangerous willing participant. Hong Chau’s capture Nellie’s endless exasperation with Cathy’s childish entitled behaviour. But it’s Martin Clunes that steals the show, flipping from bumbling but good hearted to increasingly bitter, violent and cynical.

Alongside all this. The film looks fabulous, beautifully bold and gothic, reds, greens, raging skies, opulence and poverty. Charlie XCX’s score also works a treat.

While it can often be overblown, there is enough in its darkness and obsessions that keeps you engrossed.

It won’t work for everyone, if you don’t go with Fennell’s version, you just won’t, but if you do it’s an enjoyable ride.

Director: Bradley Cooper

Inspired by the real life experience of Liverpool stand up comedian, John Bishop, Is This Thing On? Explores the life and relationship of Alex (Will Arnett) and Tess (Laura Dern) Novak. We meet them with a marriage that has slowly died. They choose to “call it” which leaves Alex alone wandering the street of New York. Where he comes across a comedy club and finds himself on stage and the first steps into a new life. Tess also starts to rebuild and rediscover her own passions. But when Tess discovers Alex’s new life it reawakens old feelings between the two and gives them a chance to revisit their marriage and see if their new perspectives can help rekindle it.

This is an enjoyable warm and touching film, that while built around Alex’s move into comedy, isn’t really what it’s about.

It’s about life and how relationships can be hard as people can get lost in the day to day and lose sight of who they and their partners are. There is little in the way of melodrama, or histrionics, with the marriage breakdown shown as a sad inevitably rather than a fiery fall out. And as they reignite the relationship, it moves slowly and naturally and encounters problems on the way.

The film works, in no small part, because of the natural and believable performances from Arnett and Laura Dern. Believable as a couple and as lost individuals. There’s great support from Blake Kane and Calvin Knegten as the couple’s two sons, as well Christine Ebersole and Ciaran Hinds as Alex’s parents.

The film is shot hidden camera style, following the characters through their trials and tribulations, leaving you as an intrigued observer. It has you on stage with Arnett as you see him at close quarters as he fumbles his way into a standup career.

The script moves along well and as you’d expect, and is thoughtful, sad, funny and hopeful.

And it is the film’s heart that makes it work. A film about losing yourself and your love, but showing how, for those who love each other, there is a way back.

Director: Oliver Hermanus

After meeting at a Boston college in the early 1900’s, musical scholars Lionel (Paul Mescal) and David (Josh O’Connor) set off on a journey across the United States, recording voices and songs from small communities to catalogue musical moments in history. During the journey the men’s relationship develops as they become closer emotionally and sexually. Once the journey is over, the men drift apart; But even after Lionel moves to Europe, their feelings and memories don’t fade.When he returns to the US, to see his sick mother, he yearns to see David again and begins to understand how, failing to act on your passions and avoiding commitment, maybe something you can never change.

The History of Sound is an exploration of love, longing and regret and the strong part music plays in many lives, whether that is in its ability to tell stories, bring communities together or the way it takes you back to a place, a time and memories. But, while it has two warm and thoughtful central performances, for a film that is built around emotion, it felt strangely cold and distant, never fully engaging me.

It is a very well-made film. Mescal and O’Connor are two convincing leads as friends and lovers. They capture the feeling of longing and distance as the two, Mescals Lionel particularly, run from their feelings and commitments. The collection of the music in the first half of the film, is beautifully done, with each vignette capturing the meaning of the music and the community it represents, as they commit their songs to wax disks.

Which is why, its lack of emotional engagement is a bit of a surprise. For all of its heart, I did find it difficult to fully commit to. It feels like it never more than scratches the surface of the story, never fully exploring the why, the changing lives of its musical contributors, or why they make the choices they do.

In the end, for its promise and solid performances the film is one that washes over you, rather than fully pulling you in.

Director: Nia DaCosta

Picking up from the previous film, Spike (Alfie Williams) finds himself in the lair of the Jimmy’s, a rag tag group, in velour tracksuits and taking on the infected lands without fear, under the cult like leadership of Sir Lord Jimmy Crystal (Jack O’Connell). While the Jimmy’s give Spike safety from the infected, it comes at a price, as the Jimmy’s follow the vicious and vile instructions of their leader. Elsewhere Dr Ian Kelson (Ralph Fiennes) continues his work giving remembrance to victims of the contagion. He also finds a new friend in infected Alpha “Samson” (Chi Lewis-Parry), which gives him hope for the future. But when these two worlds collide, it changes everything.

Following on from 28 Years later was always going to be tough,especially in the hands of a new director and without the certainty of a third film. But Nia DaCosta absolutely nails it in this second part of the now confirmed trilogy.

Without the certainty of a third part, the story is self contained. It focuses on the Jimmy’s fantastically led by O’Connell’s satanic Crystal. Alongside the story of Fiennes’s Dr Kelson and his attempts to find humanity behind the infection in his relationship with Samson.

It takes inspiration from films such as A Clockwork Orange and Frankenstein, using them well, with DaCosta giving a master class in hint rather than show horror gore and gives an engrossing and tense addition to the series.

Performances are great. Fiennes’s Kelson is the heart of the film, believing there is hope for humanity and for the infected. O’Connell’s Crystal is the polar opposite, personifying evil as he acolytes deliver their charity. But it is delivered with subtlety as we see how is twisted belief system has dictated who he is. Alfie Williams while less prominent supports well, as does Erin Kellyman as a Jimmy who Spike sees as a way out from the horrors of Crystals twisted view.

The script balances the darkness with a light touch of humour. Balancing hope with desperation as it leads to its wild ride finale.

Bone Temple is an outstanding addition to the “28” world.

Director: Hikari

Phillip (Brendan Fraser) is an American actor living in Tokyo. Struggling for work he is hired by Rental Family, a company which provides actors to play stand-in family members and friends for strangers. While reluctant he takes the job and is soon put to work as a pretend Groom. He then moves on to longer term projects, including acting as an father to a young girl and as a journalist profiling a retired actor worried that he his work is been forgotten. As Philip becomes emotionally attached to his clients the line between acting and reality blurs. And when lines are crossed, there are real life consequences that puts the business and Philip’s life in Japan at risk

Rental Family, is a gentle and warm look at life. The premise is based on real Japanese Rental Family companies. It explores loneliness and the idea of what is and isn’t true about any relationships. It does all this as it meanders through its 110 minutes.

It’s a film that doesn’t ask too many hard questions, but it does poke at some interesting ones. Hikari looks at a culture where people would rather hire an actor than tackle a problem. But it also looks sympathetically at those who are alone, or need help and how a stranger, even one getting paid, can make a huge difference to someone’s life.

That’s where the film works for me, it is those little explorations of life and the memories we build. Shown beautifully In the relationship between Philip and the actor Kikuo Hasegawa (Akira Emoto), who is not only worried about being forgotten but worries he will forget those whose memory he keeps alive.

Brendan Fraser, is perfect in the central role. A tall ungainly American who never quite fits in, but wants to. He’s well supported, Shannon Mahina Gorman as the young girl Mia is convincing, as is Emoto, who is the film’s emotional heart.

Providing a thoughtful look at the pain of loneliness and the  difference a friendship can make.