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.

Director: Steven Spielberg

The world is on the brink. News channels filled with  global tensions. But these are nothing compared to what Daniel Kellner (Josh O’Connor) has discovered, a trove of 70 years of historic archives proving that we are not alone on Earth. Now Kellner is on the run with his girlfriend Jane (Eve Hewson), trying to keep the information safe from Wardex, a company which has kept the archive under its control, and its CEO Noah Scanlon (Colin Firth). But Kellner is not the only one with a secret. When local TV station weather presenter Margaret Fairchild (Emily Blunt) begins speaking an unknown language live on air, the footage goes viral, making her a target too. Now both on the run, can they come together to disclose their secrets to the world before Wardex ensures they are never seen again?

Disclosure Day is a remarkable film and one that only Spielberg could make. It is a throw back to his 80’s and 90’s Sci-fi work, channelling obvious films like ET and Close Encounters, as well as less obvious, such as AI and even adventures like Indiana Jones. And while it has big set pieces, aliens, and gripping tension, It is also full of heart.

It is that heart, that makes this film special, embodied by Emily Blunt’s excellent performance as Fairchild. As her character develops into an empath, with the ability to emotionally understand everyone she meets, it is here you see the good, that understanding each other can make. It can stand down aggression, help those who need it and can change lives, and that is a wonderful message.

She is well supported. Josh O’Connor, nails his everyman on an extraordinary mission. Colin Firth his evil CEO and Colman Domingo, as Hugo, the man co-ordinating the attempts to disclose. All supported by a classic John Williams score.

On the surface this is a sci-fi adventure, but really it is a film about humanity, how we treat others, and how understanding each other can change the world. A most timely message, delivered as a big bold bit of storytelling in the way only Spielberg can.

Director:Michael Tiddes

Ghost face is back and threatening to kill the youngsters in the life of Cindy (Anna Faris) and her old time bestie Brenda (Regina Hall). Starting out by attacking Cindy’s youngest daughter Tuesday (Savannah Lee Nassif) before going after her eldest Sarah (Olivia Rose Keegan). But not to worry Cindy has spent her life preparing for his return and is ready to go after him, with the help of plenty of old friends.

Now I enjoyed the early Scary Movie films and I love a good parody, I mean I enjoy an average parody film, they just appeal to me. Now, while I enjoyed the early Scary Movies, I also accept that they are no works of comic genius, and was not setting a high bar for what would make an enjoyable 6th instalment, now back in the hands of the Wayans brothers. So it was quite the effort to fail to hit even that low bar!

Scary Movie 6 is a terrible film, it’s not really even a film, it is more a selection of Saturday Night Live style sketches. With the volume of skits thrown at the screen, some of them do land, but it’s such a low hit rate, what it leaves you with is a horribly disjointed, mess of a film, lacking in coherence and most importantly comedy.

There’s some pleasure to be had in seeing the gang back together as Anna Faris and Regina Hall are joined by Marlon and Shawn Wayans, Dave Sheridan, Chris Elliott and Cheri Oteri who all reprise original roles. And the occasional throwback gags to work. But that doesn’t go anywhere near carrying this mess. On the plus side, it is only 96 minutes long, although even that feels too long.

Scary Movie 6 is very little fun at all, Ghostface could have done us all a favour if he’d got there first!

Director: Daniel Roher

Niki (Leo Woodall) is an apprentice piano tuner, working for his father like figure, Harry (Dustin Hoffman). Niki, is a talented pianist in his own right, a child prodigy, whose dreams were taken from him, by Hyperacusis, a hearing impairment that makes Niki hyper-sensitive to noise. Whlle it makes life difficult, it also means he has perfect pitch, a great skill for a piano tuner and also, when Harry has locked himself from his safe, the skill to crack it open. Three moments change Niki’s life, an incident with Harry, meeting talented pianist and music student, Ruthie (Havana Rose Liu) and, when working at a rich clients home, he comes across Uri (Lior Raz) and his team of safe crackers, who when the discover Niki’s skill, are This leads him into a world of high value theft until an incident not only puts Niki at risk, but Ruthie too, which leads to a high stakes gamble to put everything right.

Tuner is a slick thriller, with tense set pieces, high stakes risks and a surprisingly dark edged final act. Even if it’s not totally believable, with a few contrivances and decisions that stretch credibility a touch too far, it never stops you enjoying this fast moving adventure.

But this is not just a slick thriller, it comes with some heart and flair. The use of sound to try to put you into Niki’s world, is smart. There is also heart in Niki’s relationships with Harry, Harry’s wife Maria (Tovah Feldshuh). Niki’s relationship with Ruthie, who has the life that could have been Niki’s, forces it to explore how to deal with life changes that shatter your plans.

The film is helped by rock solid performances, Woodall brings a cheeky charm as he tries to balance the choices he makes. Lior Raz’s, Uri, is well pitched as a crime boss, who balances his seemingly friendly demeanour, with a believable edge, that can and does turn. They are well supported by the always excellent Hoffman and Havana Rose Liu and it all zips along in a pacey 107 minutes.

A well done, slick and entertaining thriller, that hits plenty of right notes.

Director: John Carney

Rick Power (Paul Rudd) leads a wedding cover band, The Bride and Groove. When performing at one particualry grand wedding one of the guests is former boy band singer Danny Wilson (Nick Jonas), currently with a stuttering solo career. Asked to perform alongside Power’s band, the two hit it off which leads to a meet up in Wilson’s room for an impromptu drinks and jam session. Six months later Rick here’s the song that has launched Danny back onto the road to stardom, the problem, he’s taken one of Rick’s unfinished songs, and turned it into a global hit. Rick frustrated, angry, and with no proof he ever wrote the song, sets off on a revenge mission, to confront Danny, to get credit for his song and the rewards he deserves from it. It’s a mission that drags him across the world, but also puts at risk his relationship with his wife (Marcella Plunkett) and daughter (Beth Fallon).

Power Ballad is a bit of an odd film, sold as a comedy, it’s actually rather sweet and melancholic. You get and exploration in Rick and Danny, of men who have to come to terms with their limitations, the “what might have beens” and ultimately what is important in life. None of these are criticisms, but they leave you with the impression that the film never quite is 100% sure of what it is trying to be.

There is a lot to like. The two leads are believable. Rudd as the downtrodden artist who never quite reached his dream, and Jonas, maybe not surprisingly, as the former boy band star. The supporting cast is good, especially Beth Fallon as Power’s daughter, who manages to love and be embarrassed by her father equally. There’s a nice turn from Jack Reynor as Wilson’s “slimy” manager and Peter McDonald as Rick’s slightly unstable bandmate, Sandy.

But it also feels a little forgettable, even if it does come with some depth, exploring what’s important and the fine line between music stardom and music anonymity,

Power Ballad even if it will not sit long in the memory is enjoyable while it’s there and Rick and Danny’s song, may well stick with you longer than you want!

Director: Jon Favreau

The Mandalorian (Pedro Pascal) and his young ward, Grogu, are now working for Colonel Ward (Sigourney Weaver) of the New Republic, contracted to hunt down the remnants of the now defeated Galactic Empire. Ward’s next mission for them is to hunt down the kidnapped, only living heir of Jabba the Hutt, Rotta (Jeremy Allen White), on behalf of the Hutt twins,  now running Jabba’s crime syndicate. In return the Hutts have information on an Imperial warlord, Coin, a chief target of the republic. But when they find Rotta, things are not as clear as they seem, which leads the Mandalorian and Grogu into conflict with the Hutts, an adventure that takes them across the galaxy and a fight for survival and freedom.

I had a lot of fun with Mando and Grogu’s latest and probably last outing together. But I get people’s mileage may vary with this. If you’re looking for the dark side of the Star Wars universe, it’s not here. This is a popcorn adventure, action filled, and fast paced.

It’s not perfect, but more of it worked than didn’t. It’s tonally uneven, starting in classic Mandalorian style, an homage to westerns as the Mando with no name moves from high octane opening through a Blade Runner like dismal cityscape. It ends with an equally high octane battle. But in the middle, it works less well, as roles are reversed and we see Grogu as the protector.

The film is at its best when the action is focussed on Mando’s skills, coupled with Pascal’s (alongside Brendan Wayne and Lateef Crowder) enigmatic performance, provides an intriguing lead. It
plays less well when its focus is Grogu and his cute friends. A bit too cutesy, even if we do see Grogu at his most Yoda! But maybe it is caught trying to please everyone, cute characters for the younger kids, action hero for the older, but doesn’t quite nail either.

That aside, it is a fun space adventure, action packed and never drags over its 132 minute runtime. And even it lacks depth, that doesn’t stop this being a solid and enjoyable addition to the Star Wars universe.

Director: Steven Soderbergh

Lori Butler (Michaela Coel) is a disillusioned artist and critic. When she’s approached by an old art school friend, Sallie  (Jessica Gunning) and her brother Barnaby (James Corden), with an offer. Sallie and Barnaby are the somewhat estranged children of famous painter Julian Sklar (Ian McKellen). Their plan is to have Lori finish a series of his most famous paintings, The Christophers, a new series of which will be worth millions to them when their father passes away. Lori, who has her own history with Julian, takes the job, but she soon realises that everything is not as it seems, will she go through with it? or change her mind as her relationship with the once famous painter evolves?

While the premise sounds like a Steven Soderbegh, clever heist type film, it is far from it. Instead this is a thoughtful and touching look at two lives, both impacted by decisions of others that, in both cases, stole their love of art. It’s warm, touching, funny and sad in equal measure.

It’s basically a two hander, with McKellen and Michaela Coel, both outstanding, as they pick at each other’s hurt and life choices. It spends most of its time following the pair around Julian’s rambling London terrace, with Soderbegh’s camera weaving between the ramshackle decorations of a house that looks like its given up on life as much as its owner, it makes sure you are intimately involved as the relationship ebbs and flows.

Jessica Gunning and Corden are very much supporting, but also tell an important story, of a father that has allowed such a breakdown in their relationship.

But this really is Coel and McKellen’s film, the two turn in wonderful performances that absorb you and engage you from the very beginning, and as an odder couple as they are, they are a compelling one, that bizarrely you enjoy spending time with.

This is no action adventure, it is a glorious look at life and how it can be changed by heartbreak. It’s thoughtful, funny and dark all at the same time, and a real joy.

Director: Kyle Balda

George Hardy (Hugh Jackman) is a shepherd, who loves his sheep, he cares for them, names them and even reads them murder mystery stories every night. But when he dies, initially local policeman Tim (Nicholas Braun) believes it’s a heart attack, but not everyone is convinced, including a visiting reporter, Elliot (Nicholas Galitzine), and, most importantly, George’s Sheep! With the local police stumped, George’s crime novel loving sheep decide to tackle the investigation themselves. Led by the smart Lily (Julia Louis-Dreyfus), wise Mopple (Chris O’Dowd) and loner leader of the flock, Sebastian (Bryan Cranston), the sheep head into town, to find the clues and hunt down George’s killer.

If like me, you love the quirky murder mystery format, but felt what was missing was four legged woolly sleuths, then this is the film for you, a new genre, a Ewe done it, if you will.

While it is as silly as they come, it is delivered with such heart and charm that you can’t fail to be carried along with its wool based storyline. The story itself, follows a literal text book murder mystery approach, but the mystery is fun enough to keep you engaged and the reveal stands up well.

Performances both human and ovine are well done. Hugh Jackman alongside Nicholas Braun’s seemingly happless policeman and Molly Gordon as George’s estranged daughter are the human heart. They are well supported by Galitzine, Emma Thompson and Tosin Cole, amongst others who make up the rogues gallery of suspects. The voice actors are well cast with Julia Louis-dreyfuss, O’Dowd and Cranston backed by the lines of Brett Goldstein, Regina Hall and Patrick Stewart among the sleuthing flock. Everyone building a “cosy crime” world that you enjoy being part of.

In the end, this may not be doing anything earth shattering, but it takes its silly premise and delivers a wonderfully fun 110 minutes, full of heart and humour. Here’s to more sheep-led detective stories.