Director:Jonatan Etzler

Maria (Saoirse Ronan) is a young teacher who wants to impart her love of education onto her class. Her class wants to learn, but it is made impossible by the disruptive influence of Danny (Eddie Waller), who turns every class into a circus, and puts Maria’s job in jeopardy because of her failure to control him. After a school incident, Maria decides to act, but her actions soon escalate, to the point where Danny ends up locked in her basement. But a school without Danny becomes a joyous place as Maria and her students thrive. But how long can it go on? Has removing the one bad apple made such a huge difference? Or has the damage already been done?

Bad Apples is nuts and it does have its problems, with a ludicrous plot and a final 20 minutes that begins to tie itself in knots. But thanks to the ever-flawless Saoirse Ronan and fabulous newcomer Eddie Waller, it overcomes those flaws to serve up a dark, enjoyably twisted film which is part comedy, part satire, part horror, and, at times, a toe-curlingly tense watch.

It’s a film that borrows across genres, and between its sillier moments it poses questions about education, loneliness, and what people are prepared to do for a good education for their kids at the expense of others.

The film is carried by its lead characters. Saoirse Ronan continually proves that, regardless of the material, she will make it sing. Young newcomer Eddie Waller is brilliantly evil and increasingly vulnerable as the young tearaway. There is also excellent support from another newcomer, Nia Brown, as the increasingly unhinged Pauline. Between them, you’re never sure who the real bad apple, or apples, may be — questions that come to a head in its finale as the whole story takes a wild leap!

As mentioned, it isn’t perfect, as its story stretches credibility and has a last 20 minutes that doesn’t quite hold together.

But that said, its deliciously dark nature and fine central performances give you plenty to enjoy.

Director: Anthony Maras

Pressure is a true story, set in 1944, as the Allies under Eisenhower (Brendan Fraser) make final preparations for D-Day. The operation needs an accurate weather forecast, and on Churchill’s recommendation, Eisenhower calls in James Stagg (Andrew Scott) as Chief Meteorological Officer, with 61 hours to produce one. Stagg, a modern meteorologist driven by real-time data, sees storms coming that could mean disaster and huge casualties. This puts him at odds with Eisenhower’s trusted forecaster, Colonel Irving Krick (Chris Messina), convinced historic patterns mean clear skies  and a power struggle to convince Eisenhower and save the invasion.

History is full of little-known stories that offer fascinating insight into the people behind monumental events. Pressure is one such example. While the film itself is a little “paint by numbers” — well structured if not overly inspiring — that doesn’t take away from the fascinating story at its heart.

Maras deserves credit for taking what is fundamentally a story of men arguing about weather forecasts and making it engaging, tense and fascinating across its 100 minutes.

It’s no surprise Andrew Scott and Brendan Fraser deliver two excellent, engaging performances. Scott is perfect as the slightly awkward but convictions-certain Stagg. Fraser captures an Eisenhower caught between the task’s enormity and the risk to lives in his hands. Messina is solid as Krick, and Kerry Condon’s Kay Summersby provides emotional balance amongst the male egos. While much of the film is people arguing over weather, it also provides opening and closing scenes that are hugely impactful.

It falls a little short in places. The telling feels a touch safe, and some plot points land on the nose. There’s also a subplot with Stagg’s pregnant wife, a fictional addition that feels unnecessary, and it occasionally shows its stage-play roots.

Minor qualms aside, this is a solid telling of a fascinating story, and well worth a watch to learn about a little-known but critical moment in history.

Director: Michael Sarnoski

Set in the 13th century, this is no Robin in green tights with merry men. This Hood (Hugh Jackman) is a long way from the myths of the Sheriff, Maid Marion, and stealing from the rich to give to the poor. Rather, he’s a grizzled, violent outlaw, tired of life and a continual target of revenge-seekers. When old friend Little John (Bill Skarsgård) finds him and needs help, it takes Robin on a journey that leads to violence and death. When this almost becomes his final battle, he ends up in a priory under the care of Sister Brigid (Jodie Comer), where he begins to face up to his past — redemption, or will it catch up with him?

One of my favourite quotes about The Shawshank Redemption is that there’s a lot of Shawshank before you get any redemption. The Death of Robin Hood goes further: this is all Shawshank.

This is a grim, gritty tale, and at times hard work to watch. It presents the familiar legend as a vicious outlaw, and the first half makes that reality clear. The second half changes tack, as we meet Comer’s Brigid and the island priory commune, challenging Hood with his past. In Brigid he meets compassion, no questions asked, driven by her own tragic history. He’s also challenged by a wise leper (Murray Bartlett), as well as a new visitor to the island.

The biggest challenge for me is that so much of it feels a slog — dark and visceral in its opening, but slow and ponderous towards its conclusion. Is it worth it? If the aim is redemption for Hood, that’s questionable. If it’s whether his actions help others find their own way through, then maybe.

Even at its hardest, there’s things to enjoy — Jackman and Comer are good value as ever, Bartlett and Skarsgård strong in support, and Faith Delaney impressive as Little John’s daughter.

It’s well shot, with impressive landscapes doing a lot of the storytelling. For all its slog, it’s strangely compelling, leaving me wanting to see where it headed rather than wanting it to end.

It’s not light-hearted popcorn fare, but there’s something there if you’re prepared to look for it.

Director: Ridley Scott

Based on Peter Heller’s novel, it is set in a near future, where much of humanity has been wiped out by a virus. But there are pockets of survivors. Hig (Jacob Elordi) and Bangley (Josh Brolin) live in an isolated valley near Denver, peaceful but for the threat of occasional scavengers. Hig, a pilot, flies into the abandoned city for supplies. On these journeys he occasionally picks up broadcasts from “Grand Junction,” a possible sign of normal life elsewhere. Deciding to follow the signal, he’s led to a rancher (Guy Pearce) and his daughter (Margaret Qualley); when the three are forced together, they head off to find it. A new utopia? Or something else altogether?

Ridley Scott can make a film, and that shows here: sweeping vistas, tension, action and solid performances. The problem is it’s all rather pedestrian and a little predictable — bar one enjoyably bonkers plot turn. It also struggles to find balance between thriller and romance.

The story, while set in a dystopian future, with its fair share of threat and risk, is much more a story of today’s humanity. Exploring our mistrust of “others,” our willingness to isolate and self-centre, our cultish devotion to those promising a future that never really exists. That is balanced with the hope that humanity is better when it comes together. While those elements are intriguing, the film feels like it never really takes the characters anywhere, all feeling a little underwhelming.

The performances are what you’d expect from such a strong cast, Brolin and Pearce deliver plenty of grizzled and weary, while Margaret Qualley and Elordi counterbalance with optimism and hope. Allison Janney turns in a wonderfully deranged cameo, though Benedict Wong is woefully underused.

While it has its moments of action and tension, it’s let down by pedestrian storytelling that never quite draws you in. Not a film to dislike, but one that never fully engages.

Director: Dave Green

After another failed Acme gadget scuppers his attempt to catch The Road Runner, Wile E. Coyote decides it’s time to sue Acme Corporation over decades of failed products. He finds himself a cartoon specialist lawyer, Kevin Avery (Will Forte), to help him. Avery is a lawyer who likes a quick settlement, and when Wile lands him with a huge case and a battle against Acme’s superstar lawyer Buddy Crane (John Cena), it’s one he doesn’t really want. But encouraged by Wile’s determination, and his idealistic intern and niece, Paige (Lana Condor), he decides to take it on. It’s a case that opens some dark Acme secrets, but is it one they can win?

This could easily have been called Coyote vs. Warner Bros. given the complicated battle to bring it to screen, but it was a battle worth winning, as Coyote vs. Acme is a joyous, fun-filled 103 minutes. Based on a 1990s New Yorker article, and owing more than a small debt to Who Framed Roger Rabbit, with its downtrodden human helping misunderstood, mistreated “toons.” It leans brilliantly into bringing cartoons into the “real world,” from the characters’ cartoonish durability to comedically over complex gadgets, including classics like foldaway holes, tunnel paint, high explosives, and absurdly elaborate traps!

All your favourite Looney Tunes characters make an appearance and are well supported by the human cast. Forte is the downtrodden, unambitious Avery, gradually won over by those around him. Condor’s idealistic niece and Cena’s cartoonish nemesis are also solid, along with Tone Bell, Martha Kelly and Luis Guzmán.

The story has things to say, especially about the power of overly influential corporations, but it doesn’t push that too hard, sticking instead with its main premise. The gags flow thick and fast, from obvious cartoonish bangs and crashes to subtler sight gags, and the pace never drops from start to finish.

It was a battle getting this to the screen, but a battle worth winning, delivering a good time for all… Beep beep.

Director: George Jaques

Ivy (Bella Ramsey) is a 17-year-old cancer survivor. Now in remission she is struggling to maintain friendships and is increasingly closed off. Her concerned parents (James Norton and Jessica Gunning) decide to sign her up for a 4 week summer camp for kids who’ve had cancer. Reluctantly she goes and will spend the summer under the perky leadership of Patrick (Neil Patrick Harris). But will it be a miserable summer at a camp where kids go to kid? Or will spending time with people who’ve had the same journey, be just what she needs?

Sunny Dancer is a warm, funny celebration of young life being grasped and enjoyed, in ways that they felt may not be possible. As a story about teenage cancer survival it could easily be over sentimental, but it never strays into that; it’s a joyous coming-of-age story about a group of youngsters who have survived trauma, but that doesn’t define them. It does throw the occasional emotional gut punch, but without ever feeling manipulative.

The film comes with a great cast. Bella Ramsey, as always, does not disappoint, taking Ivy from standoffish firebrand to someone finding friendship and love. There’s excellent support across the young cast, Ruby Stokes, Daniel Quinn-Toye, Earl Cave, Jasmine Elcock and Conrad Khan, all being realism and heart. They’re not let down by the adults, with Harris moving seamlessly between “embarrassing” camp lead and caring devastated parent. Norton and Gunning as Ivy’s parents are solid, Gunning particularly nailing overly embarrassing mum. Shalom Brune-Franklin adds plenty as the camp counsellor.

Its script balances humour and heart, as Ivy and her newfound friends build relationships that change lives, alongside real emotional heft. Supported by a well-used soundtrack that captures the energy perfectly.

Sunny Dancer is a cracking film, a joyous celebration balanced with heart and heartbreak. You’ll laugh, you’ll cry, and you may even dance!

Director: Destin Daniel Cretton

After the end of No Way Home the world has forgotten Spider-Man (Tom Holland) who now lives alone, where even those closest to him, have forgotten him. Peter focusses on fighting NYC’s bad guys while watching best friend Ned (Jacob Batalon) and his true love MJ (Zendaya) live the life the three had hoped to share. That changes when a mysterious force behind a series of robberies pulls Spider-Man back into their orbit, triggering changes in more ways than one!

Spider-Man is a rare superhero one allowed storylines that are hard for some of his contemporaries and Brand New Day proves that point. much more a story about change and friendship than a superhero film. And that leaves it a bit uneven, almost two films which only one works well.

What works less well is the superhero story which treads familiar ground. Spidey chases a foe for the good guys, before realising they may not be that good. While it has some good set pieces, and for the first time Spidey not looking like a computer game as he swings through New York. It is a little plodding, focussing on future film setup than a strong story in itself.

But what does work, works really well. Once past the adventure, you get a heart filled film about friendship, growing up, loneliness, and coming to terms with choices made. It gives us a film full of warmth and humour as Peter, MJ and Ned’s paths cross and having then deal with changes both mental and physical, and the impact those changes have on them all.

Holland is excellent, balancing superhero and lonely kid, and his scenes with Zendaya are full of humour and heartbreak. Jacob Batalon, John Bernthal and Florence Pugh bring fun, alongside enjoyable turns from Mark Ruffalo and Tramell Tillman. Sadie Sink also offers a solid MCU introduction.

At 2hr25, it’s too long, but the script is still fun, balancing quips with heart and hurt.

It’s not perfect, but as a story about relationships, change, love and loss, it’s a watchable, heartfelt tale that leaves a smile on your face.

Director: Christopher Nolan

Based on Homer’s ancient Greek poem, it follows Odysseus (Matt Damon), king of Ithaca, on his perilous journey home after the Trojan War to reunite with wife Penelope (Anne Hathaway) and son Telemachus (Tom Holland) — a 20-year odyssey facing challenges from the Gods, and, should he get home, dozens of suitors wishing to be his successor. It’s a journey that tests all involved to their limits as they fight for what they love and who they are.

Nolan has taken quite the swing adapting an ancient Greek poem into a 172-minute spectacle, and it pays off with a layered film that, amongst the myth and legend, explores humanity. In Odysseus, it is a portrait of post-traumatic stress, a man reckoning with the consequences of his actions. Alongside it, we see Telemachus’s battle to be his father’s son and Penelope’s unyielding devotion.

Once its rather glacial first 30 minutes are past, it is a film painted on the widest of canvases, shunning CGI for a practical, visceral world where every battle, decision and emotion weighs heavy. In almost every frame you feel Odysseus’s anguish as he tries to make amends for all he has destroyed. At its heart, it’s a film about how we treat others, and how, by shunning the core of humanity in the most brutal ways, everything else collapses with it.

It’s a film of weighty themes, carried by powerhouse performances. Damon is always believable; Holland’s coming-of-age is well pitched, as is Hathaway’s strong, committed Penelope. The support is equally strong: Pattinson’s sleazy suitor, Leguizamo as Odysseus’ loyal servant, Charlize Theron, Zendaya as Athena, guiding him home. As well as a wonderfully disturbing turn by Samantha Morton as Circe. Not a misstep anywhere.

It’s visually stunning, from the belly of the Trojan Horse, through the Cyclops’ cave, to the physical and mental battles with the Gods. For all its wide canvas, Nolan makes it feel intimate and consuming, from start to its blood-drenched finish.

This is not a bright, breezy 90-minute romp; it’s 172 minutes that demands your attention and rewards it.

Director: Olivia Wilde

Joe (Seth Rogen) and Angela (Olivia Wilde) are a married couple, whose relationship is less than perfect. They are both frustrated and unfulfilled, leaving them constantly annoyed and bickering with each other. Things take a turn when Joe returns home to find they are hosting a dinner party for their upstairs neighbours Hawk (Ed Norton) and Pina (Penelope Cruz). It’s a dinner party that comes with a few surprises, including Pina and Hawks “passions” that leads to a night of uncomfortable conversations, revelations and tests that Joe and Angela’s relationship may not survive.

Olivia Wilde has delivered a smart, inciteful, funny, often excruciatingly uncomfortable film. It’s 107 minutes of the most painful dinner party you could imagine playing out in front of you.

It explores the challenges of commutation in relationships and how that impacts all of that relationship, the choices we make, what we “settle for” and what we don’t share and how eventually that can all unravel spectacularly.

Its small ensemble cast are pitch perfect. Wilde’s repressed housewife, Seth Rogen as her neurotic husband. Ed Norton’s former fireman, trying hard to be some kind of life guru and Cruz’s exotic, mysterious straight talking therapist, all come together in a watchable mix.

It is the film’s watchability, even at its most toe curlingly awkward, that is it’s highest praise. You’re forever on edge, not sure where it will head next, as it twists and turns from one awkward situation to another. But it also has the ability, to turn on a sixpence, flipping between comedy and pathos seamlessly.

Its smart direction and 1970’s feel give it a real time and place and the single location within the four walls of the apartment, makes it feel enclosed, giving you nowhere to run, even as the awkward level goes off the scale.

It’s a fine watch that never stops being funny, awkward and engaging and manages to wrap all of it on a hopeful note.

Director: Andrew Stanton

The toys are back. Now with Jessie (Joan Cusack) as Sheriff, Buzz (Tim Allen) her deputy, together with the gang they are Bonnie’s (Scarlett Spears) toys. Woody (Tom Hanks) meantime leads a team who rescue toys, discarded because of the ever growing impact of “screens”. Bonnie is a girl that plays, that’s until tech arrives in the shape of Lily (Greta Lee), introducing Bonnie to the ups and downs of the online world. But, when Jessie realises her online friends are not right for her, with Bullseye, Buzz and Woody in tow, she sets off on an adventure to find her the right friend, that shares Bonnie’s special qualities.

While Toy Story 5 doesn’t quite hit the heady heights of the first films, this is still a solid addition to the Toy Story catalogue.

While it follows many of the beats of the first film, it tweaks the formula neatly, with a more female centric telling, that works well. It does what Pixar does well, taking the complex issue of children and technology with a nuanced look at it’s plusses and minuses, as well as how it can bring community accepting that technology is not all evil, and has its part to play, an inevitable part, in the lives of children.

In typical Pixar style it is full of heart, charm and humour. Whether through Bonnie’s loneliness, Jessie’s realisation of the part she plays in children’s lives, the toys playing the surrogate for the parents in the audience once again, or Woody’s balding head. Of course it wouldn’t be Toy Story without a wild chase, and this one includes unicorns as well as Buzz finally flying with style!

The voice cast quality is as high as ever, with the regulars and new voices, all engaging and it almost goes without saying that the animation looks great.

The only criticism is it feels it is retreading old Toy Story ground. Much of the story arc is familiar and it does beg the question, is there any other Toy Stories to tell.

That said, it’s still great fun and should work for those new to Toy Story and those back amongst old friends.