Directed by: Reinaldo Marcus Green

Written by: Terence Winter, Frank E. Flowers, Zach Baylin, Reinaldo Marcus Green.

One Life follows the life of  Bob Marley (Kingsley Ben-Adir) between the attempted shooting of him and his band in Jamaica, through to his return to the One Love concert in 1978 and attempts to reunite his violently divided homeland. In between it follows the band to England and the recording of the Exodus album. The film touches on his life with his wife Rita (Lashana Lynch), the hugely successful Exodus album European tour and his tragic cancer diagnosis, before returning home to attempt to bring peace.

I went into this now knowing much of Marley’s life, beyond his music. And rather disappointingly I left it not knowing much more about him from this disappointing disjointed and flat telling of the life of a man whose music still remains well known and well loved.

On the plus side, Kingsley Ben-Adir delivers in the central role, inhabiting it wonderfully, from his laid back vocal delivery, to his energetic musical performances. Lashana Lynch underused but does the best with what she has. And of course Marley’s music is there to give you a great soundtrack to enjoy.

But beyond that it all feels a bit surface. The first half is a bit of a jumble, from the shooting through to heading to London, none of the story or decisions seem explored and presents seemingly random events. The second half is better, as we see the creation of Exodus, the interaction with the band and the performances. It only occasionally explores his unknown father, the complexity of his relationships and his religion. But it fails to ever fully explore what should be a fascinating story. And its use of Patois does have you working hard to capture the dialogue.

One Love, considering its subject, is a strangely flat affair. Kingsley Ben-Adir is hugely watchable in the lead role, but sadly the film around him never matches his performance. It all feels a little jumbled and never really gets under the skin on the story. But at least there’s the soundtrack.

Written and Directed by Sean Durkin

Based on the true and tragic tale of professional wrestling family the Von Erich’s. Kevin (Zac Efron) is the eldest of four surviving brothers, having lost his eldest brother as a child. He also is one of the hopes of landing a world title for his former wrestler and now trainer father, Fritz (Holt McCannally). Kevin is already established but is soon joined in the ring by brother David (Harris Dickinson) and Kerry (Jeremy Allen White) who joins them having lost his chance to go to the Olympics. For each wrestling is in their blood as is their desire to  please a demanding father. But it’s a desire that brings opportunity and tragedy in equal measure.

The true story of the Von Erich’s is incredibly tragic. And while there are things to admire in this telling I wish it had worked better for me.

This partly comes down to some of the story telling decisions. While clearly care is taken in telling such a tragic story, telling it from Kevin’s point of view only, meant it felt like it lost something in understanding how the tragedies developed, leaving them feeling like distant events rather than gut wrenching tragedy. It also never fully explored the themes it introduced, such as Kevin’s own feelings about what had befell his family, was there guilt or responsibility? Or a look at the impact of the demanding father. It all felt a little bit too surface level.

All of which is a pity, because there are things to like. Efron, is a likeable screen presence and carries the story well. He’s also well supported, Allen White and McCannally of the central cast. But also strong support from Maura Tierney as a mum with so much to handle, Lily James as Kevin’s wife and Stanley Simons as youngest brother Mike.

But ultimately it never felt it had the emotional depth it needed.

The Iron Claw takes care in telling a tragic story and I wish I’d liked it more, especially thanks to some strong performances. But sadly it felt that the story never quite got under the skin of the real life tragedy and all felt a little detached. Which is a pity.

Written and directed by Jonathan Glazer.

Rudolph Höss (Christian Friedel), his Wife Hedwig (Sandra Hüller) and their children live their idyllic life. However it is a life built on the horror of Höss’s job as commandant of Auschwitz. The camp walls act as Hedwig’s garden walls in which she grows flowers and the children play, seemingly immune to the noises of industrial scale murder happening behind those walls. As Rudolph’s career advances and he is promoted, Hedwig demands to stay in her dream home and above all else keep it a home in which to raise her family.

This is not a film to provide a good time. It’s more domestic documentary than “story” as it follows Höss and his families day to day lives. And it is it’s domesticity that makes it work. It’s the normality of how mass nurder is such a normal part of life that is the films horror.

A couple who have done well for themselves, a big house, children running and playing, wife entertaining friends, tending the garden. Proud to show off her work when her mother comes to stay. He deals with his workload as though the head of a factory, handling strategic problems, dealing with his staff.

While we never see the signs and sounds of the industrial murder are ever present. Voices, shots fired, the clanking and banging of the machines of murder. In the background pillars of smoke continuously rise, steam puff’s from trains and at night the orange glow of the furnaces lights the skies. Not everyone escapes the horror, Hedwig’s mother sees it, one of the children overhears his father ordering murder.

The performances of Friedel and Hüller are excellent and chilling. But the soundscape is the true star, as the sounds of murder seep into every scene and are a constant reminder of what is really going on in these seemingly normal lives.

While not a piece of “entertainment” this is a hugely powerful film. The intertwining of industrial scale murder with domestic bliss is truly chilling. A smart piece of cinema that shows the way that seemingly normal people can treat mass murder with such scant disregard.

Director: Matthew Vaughn

Written by: Jason Fuchs

Elly Conway (Bryce Dallas Howard) is a writer of Bondesque spy novels. Struggling to finish her fifth installment, she gets a train to visit her mother (Catherine O’Hara) to try to figure out the ending. On the train her life is changed when she meets Aidan (Sam Rockwell) a real life spy, who has come to protect her. Because it turns out she is not only writing stories, but making predictions that are happening in the real world of espionage. This has made her a target for a shadowy group of bad guys, headed up by Ritter (Bryan Cranston). Aidan, Elly and her cat Alfie, set off on an adventure to get her and the information she knows into safe hands.

Tucked away somewhere in Argylle is a 75 minute, entertaining and funny spy parody. The problem is that idea is stretched into a 139 minutes and it really doesn’t have enough to sustain it.

It’s hard some harsh reviews, and in its defence it’s not a complete disaster. There are bits that work. It has moments where it’s funny and it has some decent set pieces, including an extremely colourful shoot out in the bad guys lair. All with an enjoyable soundtrack.

It also has a likeable cast. Rockwell is enjoyable as his down to earth spy. Bryce Dallas Howard an always enjoyable presence and you can’t go wrong with Bryan Cranston. Henry Cavill rocks up as Elly’s embodiment of Argylle. Alongside a starry set of cameo’s including Ariana De Bose Dua Lipa, John Cena and Richard E.Grant. All with an enjoyable soundtrack.

It’s problem is, the nugget of the idea, is just not strong enough and it’s stretched beyond breaking point far to early. It’s plot is more hole than plot and it didn’t know when to stop as it just kept going, going and going, having long since stopped being interesting.

Argylle had a nugget of a fun idea. But it’s an idea that is stretched about an hour too far, and it’s not smart or funny enough to sustain it. While it has its moments, it doesn’t have enough and will most definitely leave you wanting less.

Written and Directed by: Cord Jefferson

Based on novel by: Percival Everett

Thelonious “Monk” Ellison is a frustrated man. A black writer struggling to get his work published. While visiting a book fair in Boston, his life his changed by a tragic family event and he finds himself dealing with an ailing mother (Leslie Uggams),a strained relationship with his recently divorced and out brother Cliff (Sterling K. Brown) and a new relationship with neighbour Coraline (Erika Alexander). This all adds to his frustrations which drives him to write a nonsense book “Fuck”, under the pseudonym, Stagg R. Leigh, full of the tropes he detests. But to his disgust the book is a massive hit as his the fake author. The crazier he acts, the more his success grows, with sales, critical acclaim and a movie deal. This makes his frustration worse as he tries to grapple with the man he is and the how it impacts his life.

American Fiction is a fabulous bitter sweet comedy balancing comedy and satire perfectly. It is also a really well written, well played, piece about family, love, loss and relationships, often touching and moving.

While the premise of creating something ridiculous, to find it taken seriously, may not be new, it is done brilliantly and hilariously as Monk gets more ridiculous, so the admiration for his book and his frustration grows.

But the heart of the story is the relationships, which are beautifully drawn delivering something that is truly heart warming and engaging.

The performances are great, Wright shows his comic capabilities and is a joy. He’s well supported with Brown and Erika Alexander at the stories heart. Leslie Uggams portrayal as his mother with Alzheimer’s is touching and John Ortiz is fabulously funny as his publisher Arthur.

American Fiction is a wonderfully bitter sweet comedy. Its satire is laugh out loud funny throughout. But its real strength is its touching portrayal of relationships that gives the film a real warmth and heart. Funny and touching in equal measure, well worth a watch.

Writer/Director: Andrew Haigh

Based on Taichi Yamada’s novel

Adam (Andrew Scott) is a screenwriter, living in an almost deserted tower block. He is writing a new script based on his growing up in the 1980’s and the loss of his parents when he was only 12. His work is interrupted when, it seems the only other tower block resident, Harry (Paul Mescal) knocks on his door. It interrupts his lonely insular existence. It also inspires him to visit his childhood home, it is here life changes as he finds his parents (Jamie Bell & Claire Foy), who are preserved at the age he remembers them. It gives him an opportunity to share with them the life they’ve missed. We follow Adam’s life growing more complex as he deals with his memories, the growing relationship with Harry and all that it means.

It is a complex film, the story is purposely vague. It leaves to your interpretation what you’re watching, who Adam is, the reality of where he lives, the relationship with Harry and his encounters with his parents. It also comes with an ending that certainly leaves you with more questions than answers about even what genre of film this is.

But don’t be put off by this unusual piece of storytelling. Because what this film also has is a beauty and sweetness. The real strength of the film is in Adam’s relationship with his parents. The chance for him to discuss a life he had that his parents never saw, the chance to discuss his sexuality, his life and the reality that he’s turned out okay. These interactions are beautifully done and heartbreaking at times.

The film is built around four wonderful performances, each perfectly judged making it mysterious and moving in equal measure. And helped along by its 80’s soundtrack.

This is an unusual story and its ethereal and unclear nature may not work for all. But, it’s also a beautiful and touching piece of storytelling about love, regret and second chances. Lit up by four superb performances. A film that is touching and will leave you thinking.

Director: Alexander Payne

Writer: David Hemingson

In 1970 New England the boys of Barton school, an elite boarding school, are getting ready for Christmas break. But some boys can’t go home for Christmas and stay at school as the holdovers. This year there are five boys and the teacher tasked to look after them is Mr. Hunham (Paul Giamatti), helped by school head of catering, Mary (Da’Vine Joy Randolph). Hunham is not popular amongst the students, or the students with them, with his resentment towards their entitlement and privilege. But as the holiday passes and numbers dwindle, Hunham and Mary are left with just Angus Tully (Dominic Sessa) and between them they go on a journey of discovery of themselves and each other in ways that will change all of their lives.

The problem with small reviews is you can’t always do wonderful films justice. This is one of those times. So if I can only tell you one thing it is that The Holdovers is a wonderful treat. Effortlessly beautiful from first minute to last. Like a favourite dish the more you have, the more you realise you love it.

It is a perfect balance between grief and happiness, potential and disappointment. Delivered by three excellent central performances. Giamatti’s frustrated and embittered teacher, Joy Randolph’s grief stricken Mary and in debutant Sessa, a portrayal of a youngster at war with the world. Each is wonderfully layered, their depth giving you characters to truly care for and relate to. It is not just the main characters, there is not a performance that is anything other than perfectly judged.

It is also laugh out loud funny. A comedy interspersed with emotional warmth, all perfectly judged. Funny and poignant, no joke missing its mark. And even when it takes its predictable final steps you don’t care as it has earned the sweetness of its ending

The Holdovers is a wonderful film. Fabulously made and performed and doesn’t miss a step. It portrays life, for its humour and grief, frustration and hope. Pitch perfect from start to finish and I can’t recommend it enough.

Director: Mahalia Belo

Writers: Alice Birch, Megan Hunter

A young couple (Jodie Comer, Joel Fry) find themselves new parents in the middle of a developing environmental crisis. As flood waters starts to make London uninhabitable, they head off to high ground and his parents (Nina Sosanya, Mark Strong). But as the disaster continues resources become scarce and a life changing incident send the young parents back out into a very different world. We follow a young mother trying to navigate societal breakdown and an evermore treacherous landscape as she tries to find her way home, the life she’s lost and to give her new child a chance of a normal upbringing.

There is no getting away from this being a bleak look at a future impacted by environmental change. It’s close enough to reality to feel believable, uncomfortable and possible. It spends a lot of time in grey wind swept wilderness and sometimes it does make watching feel windswept, grey and hard work.

But it’s also interesting and in the, as always, excellent Jodie Comer, you have a lead who you engage with and care for as you feel every bit of her struggle as she tries to navigate a new world and new motherhood.

It’s a though story, but alongside Comer’s excellent performance full of strength and vulnerability, there is a host of solid performances that keep you involved and intrigued. This is especially true of Katherine Waterston who provides a companion for much of the journey. But it is Comer that does all the heavy lifting from start to finish.

It doesn’t work perfectly, it does feel it drags a little, but maybe that’s just the work involved navigating its endless bleakness.

This is an interesting, tense, bleak and well told story that looks at humanity and society, good, bad and the bits inbetween. It’s tension filled and, thanks to Jodie Comer, it does enough to keep you interested throughout. A dark look at an apocalyptic future that feels a little to close for comfort.

Director: Yorgos Lanthimos

Writer: Tony McNamara based on Alasdair Gray’s book.

Bella Baxter (Emma Stone) is, in Frankenstein style, the reanimated creation of the experimental Dr. Godwin Baxter (Willem Dafoe). Having found Bella’s body in the Thames he brings her back too life with a child’s brain. Studied by Baxter’s student Max McCandles (Ramy Youssef) Bella matures quickly, becoming increasingly curious of the world around her and of her sexuality. Her world changes when she meets Duncan Wedderburn (Mark Ruffalo) who seduces her with the chance to see the world. As Bella experiences more, her views change as she learns about its wonders and harsh realities. She outgrows Wedderburn as she strives to improve herself and her world, which brings her back to London, where she tackles mortality and her past.

This is a wild, often dark, often funny bit of storytelling. It is likely to be divisive and won’t work for some but it did for me.

It is carried by Stone’s fabulous performance which takes Bella from blank canvas to independent and driven. The character quirks remain, although less obvious as she grows. She portrays Bella’s quizzical distance as she continues to learn and remain confused by society but not one to accept the norms of others. It’s full of humour, heart and a strange charm.

There’s excellent support from Dafoe particularly, who’s misguided mad scientist, is built on its own dark story. Ruffalo is fun as he channels his 1950’s cinema cad through to is broken by a failure to find a way to control Bella. Both standout but it’s full of fine performances.

It looks gorgeous, part fantasy horror, part colourful stylised artwork. Accompanied by a score that matches its weirdness.

It’s not perfect. It outstays its welcome at times and has a final act that feels a little tacked, not really adding to Bella’s journey.

Poor Things is a weird and wonderful journey. Its oddness is made to work by Emma Stone’s wonderful, oddly charming performance, that shows the world through inquisitive and different eyes. It won’t be for everyone, but it certainly was for me.

Director: James Hawes

Writers: Lucinda Coxon, Nick Drake

One Life tells the incredible story of Nicolas Winton, who finds in 1938 Prague the shocking reality of, mainly Jewish, families, displaced by the Nazi annexing of the Sudetenland. He finds them living in poverty and fear of their lives and is compelled to act. He does so by arranging the passage of over 600 children to England and safety. The story is told in two parts, young Winton (Jonny Flynn) in Prague, battling to arrange the transportation of 100’s of children to the UK. We also see an older Winton (Anthony Hopkins) looking back on his life, burdened by whether he could have done more, helped more, saved more lives. The film tells an important story of a remarkable man who never fully appreciates the lives he’s touched, until he finds it laid before him.

With stories as remarkable as this, sometimes they only need putting on screen to be engaging and interesting and One Life is an example of that. An unremarkable telling of a truly remarkable story.

The films unremarkable nature doesn’t really matter as the subject matter ensures the film always keeps your attention. However, it’s a bit formulaic and a lot of surface rather than depth. The story is full of characters who did incredible things, took huge risks, tackled bureaucracy and impacted thousands of lives, but it never really feels that it fully explores that. It is more successful looking at Winton’s later life, Anthony Hopkins portraying a humble man, carrying memories and guilt for those who couldn’t save. And the films touching climax is emotionally well delivered.

Flynn and Hopkins potray the two parts of Winton’s life well, they are well supported, particularly Helena Bonham Carter’s portrayal of Winton’s strong and driven mother. However, she is almost the only supporting character who gets much to do.

One Life is an unremarkable telling of a remarkable story and life. But the remarkable story makes this film absorbing and engaging and while it’s a predictable telling, it is still a story that deserved telling and is worth seeing.