Joaquim Dos Santos, Kemp Powers and Justin K. Thompson direct this follow up to the fabulous Spider-Man: Into the Spider-Verse. Much has changed for Miles (Shameik Moore) and Gwen (Hailee Steinfeld) now living in separate Spider-Verses. Gwen finds herself tackling a mysterious creature running rampant, when her battle is interrupted by some new spider-heroes. Miles meanwhile finds himself with a new nemesis, Spot. When Gwen turns back up in Miles life, while she wants to catch up with him, she is there to track Spot, a villian more dangerous than Miles realises. When Miles follows her across the Spider-Verse, the excitement of what he finds soon disappears as he realises that the life of Spider-Man not only comes with great responsibility but great heartache.

It’s predecessor was a breath of fresh air with its stunning animation and sense of fun. This sequel is a very different film. It has a broader scope, darker and more complex and it is long and of course only the first part of the story. This does present some issues with pacing, especially in the first half, where it can move very slowly.

That said, this film is still a fantastic bit of animation and storytelling. It looks incredible, mixing styles, spider-hero creations and worlds effortlessly. Including Mumbattan a mix of Delhi and New York, where the story is at its most colourful and fun. The voice cast, to numerous to mention, are universally flawless.

It shows Marvel animation can successfully be used to tell a complex and grown up story. Areas such as mortality and the price we pay to have the things we want are prominent.

This is not a fun romp full of colour and humour. Much of it has a noir feel with a dark underbelly. But it’s grown up and smart and that’s not a bad thing.

Across the Spider-Verse is not colourful animation fluff. It is long, at times slow moving as it presents a complex story. But it is also massive in its ambition, looks incredible, smart and doesn’t shy away from being grown up and dark. It’s a sequel that aims big and does not disappoint.

Kelly Fremon Craig directs and adapts this first big screen version of Judy Blume’s 1970’s classic. Margaret (Abby Ryder Fortson) is an 11 year old girl living in New York. When she returns home from summer camp her world is turned upside down when Mum (Rachel McAdams) and Dad (Bernie Safdie) reveal they are moving to New Jersey, leaving Margaret’s life and Grandma (Kathy Bates) behind. There Margaret, and her mum, both have to navigate change, new friends, new lives and first loves. Alongside these changes we see Margaret struggle to understand religion, her Mum’s relationship with her parents, new friendships and most importantly starting to learn who she is.

It is fair to say as a man of an age I’m not the target market for this film or Blume’s source material. But that did not stop me been utterly charmed by this touching and humorous look at growing up and navigating change.

While I was never an 11 year old girl, the film captures the awkwardness of that age perfectly as we see Margaret trying to come to terms with understanding how she feels about her new life. We see her struggle with religion and whether it has a point. She tries to understand her mum’s complicated relationship with her parents. She tries to “rush” growing up as her mum welcomes her to womanhood more than once.But most importantly it’s about relationships and how we see and treat others.

The film is beautifully playerd and joyously warm. Abby Ryder Fortson is superb in the central role, capturing the awkwardness of her age perfectly. The supporting cast are excellent too, Rachel McAdams particularly, in portraying the adult version of her daughter’s challenges. But it is her group of friends that steal the show Elle Graham, Amari Alexis Price and Katherine Mallen Kupferer as the secret gang Margaret finds herself in.

While I may not be the target audience for this I found it a beautifully warm hearted and charming film. It humourously and touchingly shows dealing with growing up and change. Brilliantly played by its cast and a real treat.

James Gunn writes and directs the third and final installment of, at least this version, of the Guardians of the Galaxy series. Quill (Chris Pratt) is in a downward spiral, still mourning the loss of his version of Gamora (Zoe Saldana). As Quill lays past out again the Guardians world is turned upside down when an unexpected attack by Adam Warlock (Will Poulter) leaves Rocket (Bradley Cooper) fighting for his life. To save his life it needs the Guardians to tackle Rockets painful past and come face to face with The High Evolutionary (Chukwudi Iwuji) who is bent on “improving” what is broken in the universe. A battle that will take each of the Guardians into battle with their own demons and frailties to save their friend.

For me, Gunn has sent them out in style. While not perfect and probably a little long, it is a well judged farewell which I found hugely enjoyable.

The heart of the story is a surprisingly touching one as we learn of Rockets tragic past, his beginnings at the hands of The Evolutionary and the friends he made and lost on the way.

It delivers all you expect from the Guardians, whit, action and a great soundtrack. It also looks good with none of the effects “shonkyness” that has plagued recent Marvel output. The real strength of these films has always been the camaraderie and that’s again here in abundance. Drax (David Bautista) and Mantis (Pom Klementieff), Gamora and Nebula (Karen Gillan) and everyone with Rocket (Vin Diesel). But it’s not just the usual quick witted exchanges there is also some well judged and touching moments on display as the relationships mature.

The story itself is fine, but it’s not really about that, it’s about providing a fond farewell to a well loved Marvel set of characters and that Gunn delivers.

If this is to be farewell to this version of Guardians of the Galaxy then it is was one I thoroughly enjoyed. Even if it’s a little long the pay off is worth it. It is a fun adventure balanced well with touching storytelling. All with the usual enjoyable soundtrack. A final installment that was a lot of fun.

Directed by Hettie MacDonald and adapted for screen by Rachel Joyce based on her own 2012 novel. Harold (Jim Broadbent) is retired and living in Devon with his wife Maureen (Penelope Wilton), when he receives a letter from an old work friend Queenie (Linda Bassett). In it she shares that she is in a hospice and is writing to say goodbye. Rather than write back, inspired by a chance conversation in a petrol station, Harold decided to walk the 500 plus miles to the Scottish borders to see her instead. What starts out as a lonely journey becomes a pilgrimage as he inspires others with his faith that the visit will give Queenie something to cling onto. But it also forces Harold to think about his own life with its own tragedies and how failing to deal with them has left sadness and hurt in its wake.

This is a film while formulaic and unsurprising has its heart in the right place. But even with its predictability and its unlikely premise it remains watchable and believable and that is mainly because of Jim Broadbents lovely subtle performance. His character never seeks attention and is bemused when he gets it. We feel his enthusiasm and confidence alongside his darkness and doubt. And when we get the, predictable, reveal Broadbent has built a character to care for and you feel his heartbreak as much as you feel his earlier foot ache.

Penelope Wilton offers solid support as his wife feeling abandoned and lost. A couple of small roles Daniel Frogson as Wilf and Monika Gossman as Marina in particular add some additional colour.

It does run a little long and towards the end pushes its faith message a little strongly. But this is not a religious film more one about humanity with its flaws and our need to put things right.

This isn’t a film that will change the world, but it is a well told story whose heart Is in the right place. Even if the story is a little unbelievable what makes it work is Jim Broadbent’s very believable central performance. While it’s a little long and predictable, it is still a watchable good hearted film.

On Sky Cinema in the UK.

Zach Braff writes and directs this often dark look at loss, addiction and forgiveness. Florence Pugh is Allie a pharmaceutical rep, happy and engaged to Nathan (Chinaza Uche). However when driving with Nathan’s sister, Molly, and Husband a momentary mistake leads to the most tragic consequences, that sees the death of her passengers and rips apart the lives of Nathan, his Father Daniel (Morgan Freeman) and his granddaughter, Ryan (Celeste O’Connor). 12 months later we find Allie split from Nathan, living at home, addicted to painkillers and spiralling downwards. When she seeks help with a support group, she finds Daniel, struggling to control his own addictions which brings Allie back in contact with the family whose lives were ripped a part, especially Molly’s daughter. The films follows the struggles of all of them as they try to handle grief, addiction and find forgiveness.

Braff has delivered a well told and often moving story. It looks at how one incident tears apart lives in ways that are impossible to recover from and at best you can hope to live with. Exploring the different ways people cope and don’t.

While heartfelt it does occasionally drift into the melodramatic, especially in a party scene in its final third, which feels a little out of place. It is much better in its quiet moments, some intense, some moving and some humourous.

What really makes this film work though is Florence Pugh. She is, almost as expected, outstanding as Allie. She is compelling and demands your attention every moment she is onscreen. With a performance full of subtle intensity, heart and humour. She creates a character whose pain you feel and who you grow to care for. She is also well supported by both Morgan Freeman and Celeste O’Connor especially.

A Good Person is not perfect. It is a dark, heartfelt and occasionally light look at grief and addiction. But what elevates this above the average is a fabulous Florence Pugh performance. She is compelling and takes you along every difficult step with her to produce a more than watchable film.

On Apple TV+

Directed by Dexter Fletcher and starring Chris Evans and Ana de Armas is this romcom action adventure. Cole Turner (Evans) is a farmer helping out on his parents (Tate Donovan and Amy Sedaris) farm and market stall. Having just “mutually” ended a relationship, he finds himself swept up in a new one after a chance meeting with Sadie (De Armas). However when he doesn’t get a response to his texts his family suggest he’s been “ghosted”. So when he discovers she’s in London, he decides to make a big romantic gesture and fly there to surprise her. The surprise is on him when he discovers Sadie, rather than working in Art, is a CIA operative, landing Cole in the middle of an international arms deal, fronted by a former French intelligence officer Leveque (Adrien Brody). This leads to a chase for Cole and Sadie across the world trying to retrieve a dangerous weapon and keep Cole alive while doing it!

Ghosted is no more than passable fare. It starts off with a fun premise, a romcom that takes a turn into action adventure territory, but rather than working on playing with the genre it instead ends up a pretty nuts and bolts comedy action film.

It’s not terrible and Evans and Ana de Armas are always watchable. While their relationship doesn’t quite crackle, it is fun, with some nice exchanges, humour and some fun action set pieces.

The cast are all equally passable with Brody supporting the leads with his “Austin Powersesque” bad guy and a list of entertaining cameos, particularly in one five minute bounty hunter scene.

But that said, it is pretty predictable and rather forgettable and to be honest runs out of steam long before it reaches the end of its 116 minutes.

Ghosted is a predictable and slightly overlong action romcom, that doesn’t quite deliver on its entertaining premise. Evans and Ana de Armas ensure it’s never terrible, but it’s nothing special failing to get beyond felling like a disposable straight to streaming offering.

Created by Robert Kirkman, written by Ryan Ridley and directed by Chris Mckay is this horror inspired action comedy. Nicholas Hoult plays Renfield a former property developer, until he met Count Dracula (Nicholas Cage) and becomes his “Familiar”, the Counts servant, responsible for finding him his victims, as well as keeping the house clean! Due to a previous incident, the Count and Renfield are now in an abandoned hospital in New Orleans as The Count recuperates. But Renfield is now having second thoughts about the health of his relationship with The Count. He starts attending a co-dependency support group, which he uses to both help him in his relationship as well as to find fresh food for The Count. After one meeting and a particularly messy bit of food hunting he meets a police officer, Rebecca Quincy (Awkafina) and finds himself dragged into a world with local crime family the Lobo’s and their son  Teddy (Ben Schwartz). Which puts Renfield In a battle to escape The Count and help Rebecca rescue her sister.

With the director of the Lego movies behind this it should be no surprise that Renfield is an irreverent take on the  Dracula and vampire film genre and has real fun in this part horror, part action, part comedy romp.

While it has received some mixed reviews I really enjoyed this. It knows what it is trying to do and had plenty of fun doing it. The cast are well judged, Hoult is perfect in the Renfield role getting the balance right between the under the thumb servant and the bug eating “fighting machine”. It will come as no surprise that Cage is clearly having a great time chewing any scenery, and necks, that he can find. Awkafina brings her Awkafina shtick to the role, but not only that she also makes a good fist of being an action hero.

Renfield is a lot of enjoyable fun. Its cast is well judged with Hoult and Cage having a blast with their roles. It moves at a pace, with plenty of humour, action and a long supply of entertainingly gory endings for numerous “henchman”. It’s as fun a 90 minutes as you can spend with the “Dark Lord”.

Ben Affleck with his writer Alex Convery bring to the screen the story of Nike’s battle to sign a young Michael Jordan to their brand. Matt Damon is Sonny Vaccaro Nike’s basketball talent scout, tasked with bringing the best talent to the brand in an attempt to drive sales in its failing basketball division. Frustrated by Nike’s previous attempts Vaccaro suggests to marketing head Richard Strasser (Jason Bateman) and CEO Phil Knight (Affleck) that they change strategy and rather than spread their small budget they go “all in” on one future star, Michael Jordan. Up against the giants of Converse and Adidas, Vaccaro uses his belief, desire and contacts to win over Jordan’s mother Delores (Viola Davis) to get a chance with Jordan himself and setup what would be a new type of deal that would change sports licensing.

What seems like a dry idea, under Affleck’s direction and Convery’s script, is an enjoyable telling of a fascinating story that would change sports sponsorship. It stays accessible by avoiding focussing on the technicalities of the contract or Jordan’s prowess as an athlete, in fact Jordan (played by Damian Delano Young) only appears in profile, rather it focusses on the individuals and the fight to change attitudes and take risks to win against the odds.

It is helped by a smart script that not only does a great job at developing its main characters, in its surprisingly short runtime of 112 minutes, but does so with a well judged sense of humour. It also looks great recapturing 1984 with its colour pallete and evocation of 80’s nostalgia including its excellent soundtrack.

The supporting performances are excellent with the main players well supported by the likes of Matthew Mayer, Chris Tucker, Marlon Waynas and Chris Messina.

Air, under Affleck’s direction and Convery’s storytelling, is an engaging telling of a fascinating story. With a high quality cast that deliver what you’d expect. It looks and sounds great with a script that zips along. Who knew one of the best films I would have seen this year would be about contract negotiations for a pair of shoes!

Written by Matthew Fogel, directed by Aaron Horvath and Micheal Jelenic is this latest attempt to bring the world’s best selling video game series to the big screen. This time it is an animated adventure, Chris Pratt is Mario with Charlie Day as Luigi, who we find in Brooklyn just about to launch their new plumbing business. But when their first job does not go to plan Mario sees a chance to redeem them when there is a major leak in the middle of Brooklyn. However rather then fixing the leak they find themselves jettisoned into a strange world, but separated, Luigi in the Dark Lands. Mario in the Mushroom Kingdom where he meets Princess Peach (Anya Taylor-Joy) who has her own problems with the inevitable invasion of Bowser (Jack Black) and his forces. The Princess teams up with Mario to tackle
Bowser and rescue Luigi all before Bowser takes over all of the lands.

This film has had some mixed reviews but personally, I had plenty of fun with this. It’s a bright, fun, non-stop animated action. There’s plenty of humour and while I’m no great player of Mario games, there are plenty of nods to the Mario universe that even I recognised. All squeezed into a 91 minute run-time.

The voice cast is entertaining with leads finding lots of good support with Seth Rogan (Donkey Kong), Keegan-Michael Key(Toad) and Frank Armisen(Cranky Long) amongst them.

The animation captures the feel of many of the games from the earliest to the latest. There is also a fun play on previous Mario “suspect” Italian accents when Mario and Luigi make an ad for their plumbing business.

There’s also a great soundtrack that helps keep the action bombing along at a fair pace.

Mario Bros. Is unlikely to go down as an animation classic. But it is an entertaining 91 minute bundle of fun and energy. It’s lively and colourful, catching the essence of the games. The voice cast are fun and deliver an enjoyable romp through the world of Super Mario.

John Francis Dailey and Jonathan Goldstein bring to the screen this latest adaptation of Dungeons and Dragons. Edgin (Chris Pine) is in prison with his friend Holga (Michelle Rodriguez) after an attempted robbery alongside conman Forge (Hugh Grant) goes wrong. Edgin not only has lost his freedom but also his daughter Kira (Chloe Coleman). After two years in prison they engineer their escape so they can reunite with Kira and reclaim what is theirs from the their former friend Forge. But Forge has a strong allie with a red wizard Sofina (Daisy Head), which means they will need help, so they bring together a team Simon (Justice Smith), Doric (Sophia Lillis) and occasional help from Xenk (Rege-Jean Page). The band comes together and go on a quest full of magic, monsters and adventure.

I’ve not ever been a Dungeons and Dragons player, although I do remember the animated series. I also concede that this film has reviewed well with both critics and viewers alike. However, it just didn’t work for me.

While it had its moments it felt more dull and drudgery at times. It had some real pacing problems in its first half particularly, seemingly taking an age to get to what would always be an inevitable story line. Visually it looked okay although some of the CGI did look clunky and unconvincing.

The script is more than understandable for someone like me who is not invested in the D&D world, but it also slow and lacks humour. This impacts the main characters who, while likeable, never feel there is any real camaraderie between them. It is probably at its best when Page’s Xenk is onscreen, bringing some some fun, especially in his interactions with Pine.

Lots of people seem to be enjoying Dungeons and Dragons, but for me it didn’t really work. The pacing is terribly slow in the first half and the script lacks humour and zip. It’s all a bit predictable. I’d hoped to have more fun than I did, but I may be in the minority.