Written & Directed by: Nora Fingscheidt

Written by: Amy Liptrot & Daisy Lewis

Rona (Saoirse Ronan) is young and smart, a girl from The Orkney Islands, living in London. She has a boyfriend, Daynin (Paapa Essiedu), but she also has an alcohol addiction. As the addiction gets increasingly out of control, her life unravels. Eventually she returns home to escape the constant temptation that London presents. The film follows her attempts to reconnect with her life, her parents (Stephen Dillane & Saskia Reeves) and to control her addiction in the wild beauty of her home.

Based on Amy Liptrot’s book of the same name. The Outrun is a grown up look at the destructive nature of addiction and mental illness. It mostly focuses on Rona’s current battle, but tells the story of her addiction and unravelling through a series of flashbacks.  While it’s by no means an easy watch, it is the compelling performance by Saoirse Ronan that keeps this a compelling and absorbing watch.

Often the issue with films like this is those suffering with addiction can be difficult to feel for, but here Rona, is a character that you believe in and care about. It’s never melodramatic, it’s always subtle and believable and the performance drags you in, you feel the mania of her life, the desperation of her addiction and the pressure she feels. Alongside the difficulty of her relationship with her parents that she has to navigate.

Equally important to the story is the landscape. The wilds of The Orkney’s are used to mirror Rona’s life and challenges, windswept, turbulent, isolated and lonely. But it’s not relentlessly grim, it has moments of humour, love and hope. And while it’s a hard watch, and runs a touch long it treats its difficult subject matter with care.

The Outrun is not an “enjoyable” watch. It’s a tough look at addiction and mental health. But in Saoirse Ronan’s, Rona, it is anchored around a character you care about and want to see overcome her helplessness and desperation. But it’s not endlessly grim, it gives you hope and humour. It’s not a light film but a worthwhile one.

Written & Directed by: Todd Phillips

Written by: Scott Silver

Having murdered six people, including talk show host Murray Franklin on live television, we find Arthur Fleck/Joker (Joaquin Phoenix) in Arkham hospital facing a trail for his crimes. Here he meets a new patient, Harleen “Lee” Quinzel (Lady Gaga), a fan girl obsessed with Joker and his acts. As their relationship grows and Arthur heads to court, Lee encourages him to be himself, embrace the support of his “fans”, get free and together they can head off to “build a mountain” together. 

Todd Phillips in his follow up to the hugely successful Joker has decided that what we needed was a fantasy musical that explores the relationship between Joker and Harley, through a series of extravagant musical set pieces. And for 45 minutes we did, it was an irreverent, entertaining building of a relationship. It was like La La Land if everyone was a psychopath. But the problem was by 55 minutes you realise that actually we did not need it all.

The problem with Folie à Deux is it doesn’t have a story to tell. It has a promising setup and in Phoenix and Lady Gaga two excellent performers, who take us through a wild musical ride. However, it runs out of steam extremely quickly and rather than giving us, as we had in Joker, Fleck’s descent into delusional, murderous fantasy, we instead get his slow descent into dull procedural court room drama. 

While most characters are paper thin and forgettable a couple are wasted. Brendon Gleeson’s singing, psychotic prison warden for one. But no one more than Lady Gaga who is excellent in every moment on screen and at the heart of the story, until Philips runs out of ideas leaving her literally watching the action.

This is a hugely disappointing sequel. Its madcap fantasy musical approach works for 45 minutes, until you realise it’s a film with no story that descends into a dull courtroom drama that does nowhere at all. A film that wastes both the excellent first film and the fabulous talent on display. A crime deserving of a stint in Arkham.

Written & Directed by Francis Ford Coppola

Decades in the making, Coppola’s passion project, Megalopolis, makes the screen. Set in a crumbling New Rome, Cesar Catilina (Adam Driver) is an idealistic designer who wants to build a utopian new city, using his new wonder material Megalon. But in a city full of corruption and a decadent ruling class Catalina’s plans have many enemies. This includes Mayor Cicero (Giancarlo Esposito), Wow Platinum (Aubrey Plaza) and  Clodio Pulcher (Shia LaBeouf) a spoilt son of a wealthy father. Can Catalina overcome the corruption rife in a crumbling society and build his utopia?

When I first read about Coppola’s bold and ambitious passion project, it did feel there was a  risk of it being an ill disciplined, self indulgent mess. And that concern was not unwarranted as it’s exactly what we have.

Don’t get me wrong, I didn’t hate this and bizarrely the more it went on, the more tolerant I became of it, maybe, even enjoyed it! And there’s a certain admiration for attempting this huge sprawling, Shakespearian style tragedy. But that does not change that it needed someone to reign the whole thing in and stop this bonkers mess.

The film is all over the place. It has strange injections of Shakespearian dialogue, dreamlike fantasy sequences, weird shouty line delivery and far too many moments of “what am I watching”.

But like I said, I didn’t hate it. It looks great, there’s some good performances making the most of the nonsense they have to deal with and it does come with both a sense of humour and some social commentary. But in the end, while it’s big and bold, it is a messy nonsense!

Megalopolis is bold and ambitious. But, like many passion projects, it is also an ill disciplined mess. I didn’t hate it, there were enjoyable performances, a great look, a sense of humour and some social commentary, with moments to enjoy. While bizarrely the longer it went on, the more I tolerated it, it’s hard to recommend this bizarre craziness!

Directed by: Anand Tucker

Written by: Patrick Marber based on book by Anthony Quinn.

Haggard and vicious lead drama critic of The Chronicle, Jimmy Erskine (Ian McKellen) finds his lifestyle and livelihood under threat, when new head of the paper David Brooke (Mark Strong) needs to cut waste and take the paper back to its former successes. After a particularly savage review of actress Nina Land (Gemma Arterton), and a public “indiscretion”, Erskine finds himself on borrowed time. When he discovers that Brookes sensitivity to harsh reviews of Ms. Land may be a little more personal he sees a way, with the help of Nina, to protect his career and get control. But when the plan goes badly wrong. Erskine’s own plan takes a very dark turn.

There’s a bit of irony that a film about a savage drama critic, may well find itself on the wrong end of one or two less than flattering reviews, well one at least! Because this was a rather disappointing, melodramatic piece of nonsense.

And that’s a pity, because, the first half of it was interesting, funny and full of charm. McKellan’s curmudgeon drama critic particularly as he showed witt, a disregard for societal norms, a dislike for those whose views threatened society and, importantly, a touching side when challenged by one on the end of his most withering critiques.

But it’s the second half that undoes the good work. The characters becoming increasingly unlikable through their own selfishness and self pity. None of the characters, who make increasingly unrealistic decisions, have any redeeming qualities to the point where I no longer cared about them. This is not helped by a storyline that gets increasingly silly and performances more melodramatic. Ultimately all feeling a bit tiresome.

The Critic is half a good film. Its first half is intriguing, humorous and charming. But loses its way in a second that becomes increasingly unbelievable, with increasingly unlikeable characters that you stop caring about.. I imagine Erskine’s review would be less than flattering!

Directed by: Tim Burton

Written by: Alfred Gough & Miles Millar

Lydia Deetz (Winona Ryder) now hosting her own “psychic” TV show,  finds herself returning home, with her boyfriend Rory (Justin Theroux), to Winter River for a family funeral. This returns Lydia, stepmother Delia (Catherine O’Hara) and Lydia’s daughter Astrid (Jenna Ortega), with who she has a strained relationship, to the family home and all of its memories. No memory stronger than Beetlegeuse (Michael Keaton). It’s tough for Astrid, but when she meets a local boy, Jeremy (Arthur Conti), things look up. But when Astrid’s relationship takes a turn, Lydia’s only hope is to once more call on Beetlegeuse. A call that brings mayhem, led my Beetlegeuse’s wife, Delores (Monica Bellucci), who is seeking revenge. Can Lydia use Beetlegeuse to save the day? Or will she live to regret it?

Beetlejuice is another in a growing list of films that, for me, didn’t need a sequel. But her we are and The Juice is back. And, while it’s nothing great, it was enjoyable fun over its 104 minutes run time.

Tim Burton is at the helm and this is very Burton, dark, funny and a little off the rails. The story is all over the place, with random plot points disappearing as quickly as they appear. But that said it rattles along, hardly takes a breath and is fun and funny as it goes.

The underworld is well imagined, the Soul Train is a particul favourite. But plenty of other fun in scenes of endless bureaucracy, characters with “humourous deaths” and its own underworld investigator in Willem Dafoe’s, Wolf Jackson. And to top it all a big song and dance finale!

Was the world crying out for a Beetlejuice sequel? I’m not sure. But, while the story is a bit of a mess, Tim Burton injects it with plenty of comically dark fun that never takes a breath. Keaton is clearly having a blast back in the black and white suite. And no film has ever suffered from having a big song and dance ending! A classic it isn’t, but I enjoyed it nonetheless.

Written & directed by: Zoë Kravitz

Written by: E.T. Feigenbaum

Frida (Naomi Ackie) and her flat mate Jess (Alia Shawkat) are working as waitresses at a charity event, hosted by Spencer King(Channing Tatum), a disgraced former CEO. When the women slip there way into the party, they find their way into Spencer’s group. The group includes his therapist, Rich (Kyle MacLachlan), who’s helping him deal with his mistakes, a selection of attractive women, including Sarah (Adria Arjona), and a group of Spencer’s friends and associates. As the night ends, the women are invited with the group to Spencer’s island. It’s idyllic and beautiful, food and champagne on tap. But Jess’s unease grows and she feels something is not right. When Frida discovers the reality of what is happening, it turns from idyllic Island into a fight for survival.

I enjoyed this tense, intriguing, thriller. It’s a strong directorial debut from Zoë Kravitzbthat feels very Jordan Peele in a good way. The plot is intriguing, keeping you guessing and ratcheting up the unease from the first minute. The reveal is slow and concealed well enough that the reality of what is happening is surprising and disturbing.

The film is nicely layered as it asks questions about abuse, abuse of power, control and forgiveness. As well as what  people are prepared to forgive for the right reward.

There’s solid performances throughout, Tatum believable in a more sinister role. Naomi Ackie is excellent and well supported by Alia Shawkat and Adria Arjonaz.  There’s also nice performances from Geena Davis, Christian Slater. Haley Joel Osment and Simon Rex.

The story, at 102 minutes, zips along and has a nice Jordan Peele, David Lynch, disturbing reality under the shiny surface feel. It also injects some laugh out loud moments along the way.

Blink Twice is a strong directorial debut from Zoë Kravitz. A smart, intriguing and layered thriller. It builds a sense of unease from the start helped by a good set of subtle performances. And its reveal of its dark secret is well done. An entertaining thriller, don’t blink and miss it.

Written & Directed by: Fede Álvarez

Written by: Rodo Sayagues

When Rain(Cailee Spaeny), who works on a mining planet with her brother Andy (David Jonsson), a synthetic human, are denied a visa to leave the planet, she’s encouraged by her friends led by Tyler(Archie Renaux), to join them to visit a deserted space station orbiting above the planet. On it, cryo chambers, that will give them what they need, to escape the planet and start a new life far away. But when they reach the station, cryo pods are not the only thing onboard. And rather than escape, they find themselves battling for their lives when the true reason for the desertion of the station becomes clear

The latest in the Alien franchise goes back to basics, with a grungy, retro futurist, space horror. It also goes back to the 80’s with not only its look, feel, practical effects and long dark tunnels. But also its story telling, an action thriller, short on dialogue, big on action set pieces and  jump scares.

The small and relatively unknown cast are perfect for the story. Especially the central pair of Cailee Spaeny and David Jonsson. Spaeny is an excellent action hero, nicely picking up the mantel from Sigourney Weavers, Ripley. Jonsson’s loyal humanoid works well alongside her in both his loyal and reprogrammed forms.

It’s not perfect, all of its leaning into the original means it relies perhaps a little to much on the story and beats of the original film. And it does suffer the classic problem of not quite knowing when to stop, with just yet one more hurdle to jump for our heroine. But ita stretched ending gets away with it because of what has gone before But these are small gripes in what is otherwise, an entertaining, riveting space horror adventure.

Alien: Romulus is a very entertaining addition to the franchise. Its 80’s inspiration works great, with a grungy broken sci-fi look alongside its stripped back storytelling which gives a heart pumping horror adventure. And while it may not be hugely original, it is an entertaining, tense, watchable sci-fi adventure.

Written and directed by: M. Night Shyamalan

Riley (Ariel Donoghue) is excited because her dad, Cooper (Josh Hartnett), has got her tickets to a special gig by Lady Raven (Saleka Night Shyamalan). As they take there seats it becomes clear to Cooper that all is not what it seems and he’s right. The show is a front for an F.B.I sting operation, headed by profiler Dr Grant (Hayley Mills), to capture a serial killer, The Butcher. That’s a problem for Cooper, and he needs to find a way for them both to get out while avoiding any questions by the law enforcement that’s blocked every exit.

In a recent interview M. Night Shyamalan discussed the premise of Trap. Taking the well trodden killer manhunt film and telling it from the view of the hunted, rather than the hunter.

What this premise gives us is half a good film. Taking the view of the killer, hunted, trapped and desperately searching for an out. But as the story progresses it becomes a problem, as increasingly contrived escape options become open to him and the story becomes more predictable and clunky. The concert itself is really well created, from Riley’s ecstatic reaction, to the convincing nature of Lady Raven’s performance. Although she does seem to have a fan base more interested in the concourse than the concert!

There are some fine performances. Hartnett does a great job in the central role as a caring father, with a very dark side. Ariel Donoghue is thoroughly convincing as an excited girl at a dream concert. Saleka Night Shyamalan works as Lady Raven and a final act turn from Alison Pill is the best part of an overly stretched finale. Although Hayley Mills feels out of place and providing the occasional exposition heavy, clunky, Walkie Talkie voice over.

Trap is an interesting twist on the manhunt film, told from the view of the hunted. It has a couple of convincing central performances. But, as it goes on it falters and the story becomes more unbelievable, with a finale that never seems to end! A promising premise that becomes clunky, predictable and doesn’t deliver on early promise.

Directed by: Justin Baldoni

Written by: Christy Hall based on Colleen Hoover novel

Lily Bloom (Blake Lively) is trying to process the death of her father, who she loved, but also witnessed his violence towards her mother (Amy Morton). When she meets Ryle (Justin Baldoni) a doctor, smart and caring. Soon they fall into a relationship, but when she bumps into a childhood friend, Atlas (Brandon Sklenar), she finds that the cycle of violence she witnessed growing up, may now be a part of her life again.

To be upfront I found this and intriguing watch. But I also appreciate it’s walking a tightrope in dealing with a disturbing issue, in the rather glossy way it chooses too.

On the plus side,  It felt a layered and nuanced look at the disturbing complexity of this vile crime. For a long time, it tries to leave you unbalanced and unsure of what is going on, even if the signs are always there, with a forboding and threatening current never far from the surface. Lively carries much of the film and gives a strong performance, with subtlety, never seemingly the victim until it’s too late. But ehile Baldoni becomes increasingly menacing, he and Sklenar, as the men in Lily’s life, are perhaps too obvious and predictable.

And that is were the films main criticism lies, that, for the complexity of its difficult theme, the story is too predictable, the characters story arcs too obvious. The feeling I had leaving the cinema was that perhaps it was all too neat and tidy, its glossy glamour jarring against the darkness of its main storyline, that’s not to say money is a protection from domestic violence, but in this setting it runs the risk of making the characters too glossy to be real. And the story line wrapped in a too convenient bow.

I found this intriguing and compelling with Blake Lively giving a strong performance. But it was also too clean, tidy and a bit predictable, in a way that perhaps fails to do justice to its tough themes. Now while that didn’t stop me being engaged and fully bought into Lily’s story. I do get why it hasn’t worked for everyone.

Written & Directed by: Shawn Levy

Written by: Rhett Reese, Paul Wernick, Zeb Wells & Ryan Reynolds

Deadpool (Ryan Reynolds) has been told, by the TVAs Mr Paradox (Matthew Macfadyen) his world is going to be destroyed after the death of its anchor being, Wolverine (Hugh Jackman), via Paradox’s Time Ripper machine. But this being a world of multiverses Deadpool figures he can find himself a Wolverine to step in and save his timeline. However, the only one he can find is the worst version. The job is made harder when Paradox casts them into the void, a Mad Max looking, cameo heavy  world full of the lost “Fox” universe, which is under the control of Cassandra Nova(Emma Corrin). The boys need to escape the void, destroy the Time Ripper and save Deadpool’s world.

The first Deadpool outing under Marvel is a bit of a mixed bag. Overall it’s fun, it retains the things you want. Self referential humour, comedically bloody fight scenes with entertaining ways to kill and maim and its “adult” language and great soundtrack. But it also suffers in a way its predecessors hadn’t with the weight of the MCU dropped on it. It has to juggle not only its own story history, but also has to add other MCU properties. For someone like me, who knows the MCU  but not in detail, I sometimes get taken out of the story by the feeling of there are links I should know but don’t. Because of it the storytelling then feels a bit slow.

But there is still plenty to enjoy. Reynolds and Jackman have fun, with plenty of humour and occasional bits of heart. There are gratuitous cameos. Chris Evans, Channing Tatum, Jennifer Garner, Wesley Snipes to name a few. McFadyen hams it up as Paradox and Emma Corrin enjoys it as Cassandra.

Overall as a bit of Marvel entertainment, even with the reservations, it is what it should be, fun.

It’s probably the Deadpool I enjoyed the least and can feel slow. But that said, there is plenty to enjoy. Reynolds and Jackman are great together. The humour and gratuitous comic book action is there as is a great soundtrack. It’s not perfect, but still fun.