Jaume Collet-Serra directs this latest DC comic book adaptation. Dwayne Johnson is Thet Adam, who has been enclosed in his tomb in Kahndaq for 5000 years. When he’s released in an act of desperation by Adrianna (Sarah Shahi) he unleashes his own dark powers. However this does not go unnoticed and alerts the justice society Hawkman (Aldis Hodge), Atom Smasher(Noah Centineo), Cyclone(Quintess Swindell) and Dr Fate (Pierce Brosnan), under the leadership of Amanda Waller (Viola Davis), who dispatches them to put an end to Adam’s freedom. However in Kahndaq, the latest in a long line of oppressors the Intergang, are hunting for the crown of Sabbac, which will give the wearer unlimited power. When it is recovered by Adrianna it puts her and her son Amon (Bodhi Sabongui) in danger. This challenges Adam to become the hero, save the crown, the family and fend off the justice society while doing so.

I didn’t have high hopes for Black Adam, with DC’s record of underwhelming films and some sniffy reviews. But I enjoyed it, yes it’s a bit messy, has an unnecessary last 30 minutes and dialogue that is often a little on the nose. But that said it’s a pretty solid effort.

It helped that it avoided the superhero trap of weighing down its story with its own universe. It has very little of that and just serves up a smashy crashy bunch of superhero battles.

But beyond that it also has an interesting idea at its centre, that of whether Black Adam is an anti-hero or hero depending on a point of view.

The cast are solid, Johnson is his usual enjoyable screen presence and there is some fun, especially from Centineo’s Atom Smasher and Sarah Shahi provides the heart. The CGI looks solid enough even if it and the “super slow-mo” are overdone.

Black Adam is not perfect, but for all its sniffy reviews, I enjoyed it. The premise of whether he is a hero been based on a point of view, is an interesting nuance. Johnson is always watchable and If you just want smash and crash superhero fun then you may find this an enjoyable couple of hours.

Available on Amazon Prime Video.

Lena Dunham writes and directs this coming of age tale set in 13th century England and based on Karen Cushman’s book. Lady Catherine, also known as Birdy, (Bella Ramsey) is just 14 and still enjoys playing in the mud with her friends Perkin (Michael Woolfitt), Meg (Rita Bernard-Shaw) and her best friend Aelis (Isis Hainsworth). But life is about to change as she finds herself in the verge of womanhood. Her father Lord Rollo (Andrew Scott) realises Birdy is his family’s best asset and best chance to help alleviate its debt by marrying her off to a wealthy suitor, who can provide a big dowry. But Birdy has no intention of making that easy for her father or mother Lady Aislinn (Billie Piper) as she navigates her changing world with all the challenges it presents to a 13th century teenager.

While I’m not really the audience for a coming of age story but that didn’t stop this been an enjoyable and charming film. Taking the traditional coming of age story, with all the usual loves, friendships and awkward crushes, with the added “fun” of growing up in the 14th century and being paraded before a long line of inappropriate suitors.

It’s a really smart idea that does work well. In Bella Ramsey we have a engaging and humourous lead who is well supported by the always enjoyble Andrew Scott as her troubled father, torn between family finance and the love of his daughter. And Billie Piper juggling the horrific challenge of child birth in the 13th century with trying to be a mother.

It’s funny and well paced not overstretching its idea and perfectly balanced its contemporary tale with some of the horrors faced by young girls and women of the time.

Catherine Called Birdy has a fun premise, taking the coming of age teen comedy and setting it in the 13th century, which really works. It zips along nicely with plenty of charm and humour. If you’ve ever wondered what the iife of a medieval teenager was like then this is for you.

David O. Russell writes and directs his latest star laden film. Christian Bale is Bert Berendsen a doctor who finds himself sent to the first world war frontline, where he is thrust together with Harold Woodman (John David Washington). Injured in the fighting they find themselves in the care of Valerie (Margot Robbie), whom after the war they spend time together in Amsterdam and make a pact to always watch out for each other. 15 years later, back in New York, Bert and Harold find themselves involved in a plot that involves the death of Liz Meekins (Taylor Swift) the daughter of their former commanding officer Bill (Ed Bagley Jr.). Murders that lead them into the middle of coup plot that includes General Dillenbeck (Robert De Niro) and Valerie’s family Tom (Rami Malik) and his wife Libby (Anya Taylor-Joy). Bert and Harold’s challenge, clear their names, stay alive and foil a coup.

To be brutally honest Amsterdam was a disappointment from a filmmaker who’s normally so reliable. However the stellar cast are let down by a convoluted story. The premise has promise an intriguing whodunnit against a backdrop of the rise of fascism. However, it is let down by its pedestrian telling, far too bogged down in its detail until the final act. To its credit the final act works well, thanks to the addition of De Niro’s Dillenbeck, which brings the story together and gives the often painfully slow setup a pay off. But there is a lot of setup before that payoff that ultimately isn’t so good to make the journey worthwhile.

As you’d expect the cast all deliver great performances including the strong support. Matthias Schoenaerts and Allessandro Nivola as detectives investigating Meekins death, Michael Shannon and Mike Myers as US and British “Government agents” are particular standouts.

But, Amsterdam is a classic example of less than the sum of its parts. Its excellent cast, and smart final act, that does give a payoff, doesn’t quite rescue the fact that the film asks you too work too hard to get there and ultimately it’s not quite worth it.

Directed by Gina Prince-Bythewood, with Dana Stevens screenplay of Maria Bello’s story, is this based on true events epic. Viola Davis is General Nanisca the leader of Ghezo’s (John Boyega), the King of Dahomey, elite all woman army, the Agojie. Dahomey is under threat from the Ozu empire, led by General Oba Ade (Jimmy Odukoya), who has a dark history with Nanisca, and slave trader’s from Europe and South America. Nanisca and her lieutenants Izogie (Lashana Lynch) and Amenza (Sheila Atim) are challenged by a young raw recruit Nawi (Thuso Mbedu) who has the drive to be Agojie, but the impotence of youth has her question much. When the Ozu decide that it is time to take Dahomey, the King and Agojie decide it’s time to fight back, defeat the Ozu and send the slave traders back across the sea.

I had really mixed feelings about this. It feels like there is a good and interesting film in here that is occasionally hinted at but never quite breaks through. The idea of a powerful merciless female fighting force, in a country, that many of us have never heard of, who played an active part in the slave trade is intriguing but rarely explored. Instead Prince-Bythewood has chosen a popcorn action flick that skates over them, which is a pity.

The story beats are familiar with a rebellious but talented youngster who questions authority at every turn, but who grows and becomes who they should. And it is this part of the story where it is at its best with fantastic action scenes and a humorous touch to its script.

Performances are excellent Davis of course, but Lynch, Atim and Boyega’s laid back King are equally good. But it is Thuso Mbedu who steals the show.

It is too long and can be ponderous, with a superfluous “love story” between Nawi and Malik (Jordan Bolger) taking time that could have been better spent elsewhere.

The Woman King for me didn’t quite work. It’s a film with some brilliant action and performances. But it is also overly long and skates over its more interesting themes. There’s a fascinating film in here that doesn’t quite breakthrough.

Directed by Olivia Wilde, based on Katie Silberman’s screenplay, Don’t Worry Darling is a thriller with a seemingly rather troubled production. Alice (Florence Pugh) and Jack (Harry Styles) live an idyllic life in Victory, the home of the Victory Project, a small town that looks like the embodiment of a perfect 1950’s American lifestyle. Beautiful homes, smart cars, men working important jobs and wives happily supporting them. When Alice notices neighbour Margaret (Keke Layne) become more agitated, she also starts to see cracks in the seemingly perfect world. Cracks that bring her into confrontation with her friend Bunny (Olivia Wilde) and also the founder and head of the Victory project, Frank (Chris Pine) it raises uncomfortable questions of what’s behind the project and uncomfortable accusations towards Alice.

While it’s had a supposedly troubled production and some mixed reviews, I enjoyed it. Wilde has taken a big swing at an idea and while she doesn’t land it perfectly, I admired the attempt.

The premise isn’t new, a seemingly perfect lifestyle that hides a dark secret. Wilde uses this to explore coercive control, misogyny and dark corners of the internet. But the familiar concept is a problem as you know a reveal is coming and it takes a long time to get there which makes it feel like it drags.

There are plenty of plusses though. It is brilliantly shot and Florence Pugh’s fabulous performance of growing desperation, in a world where all around her are making her feel it is her own paranoia, engages you completely and doesn’t let you go from start to finish. The film is at its best when she is alongside Pine, who is excellent as the dark and overpowering Frank. Other performances from Layne and Wilde also add well to the paranoia and underlying darkness.

While it has had mixed reviews, I enjoyed it and admired Wilde taking a big swing at telling a dark story, even if she doesn’t quite land it. While the story is laboured at times, in Florence Pugh it has a lead who keeps you hooked and fully engaged until the end. Not perfect, but more than watchable.

Written and directed by Ol Parker is this new romcom starring George Clooney and Julia Roberts. Clooney and Roberts are David and Georgia, once married and parents to Lily (Kaitlyn Deever), which means they still have to maintain a relationship that is, fair to say, less than amicable. When Lily heads off with her friend Wren (Billie Lourd) to Bali to celebrate her graduation, she’s meets, falls for and intends to marry Gede (Maxime Bouttier), much to her parents shock and displeasure. They decide they need to team up, head to Bali and stop the wedding and make Lily realise the terrible mistake she’s making.

Sometimes films surprise you and sometimes they are exactly the unsurprising vanilla genre film you expect and Ticket to Paradise is that romcom and it’s a perfectly serviceable one.

Firstly as the autumn kicks in, it looks wonderful whisking you off to the beaches of Bali (well Queensland, Australia actually) and shows you some wonderful sites, lovely sunsets and sunrises as it winds its way to its inevitable conclusion.

Clooney and Roberts are consumate professionals delivering exactly what you want from them, plenty of charm and plenty of enjoyable bickering. Kaitlyn Deever is less used, but is warm and strong minded, knowing what she wants but never coming across as spolit. But the film really is just a vehicle for Roberts and Clooney to exercise their underused romcom muscles.

The film is all very nice, it looks nice, David and Georgia’s bickering is nice and the ending is nice it’s just not very inspiring or memorable.

It is exactly what it sets out to be. A light and fluffy romcom showcase for two skilled comedic actors. It looks warm and lovely and you’ll enjoy it as it happens and in years to come you’ll find it on TV and watch it. It’s just very average, but nice with it.

New on Netflix.

Based on director’s Eddie Sternberg’s 2015 short film, is this story of a once famous pop star trying to relaunch his career. Ed Skrein is Vince, once front man of a 90’s boy band. Now he is trying to relaunch his career, but is very much a struggling musician, carting his keyboard from pub to pub desperate for a gig. While taking a rest from the rejection in a local market he sets up to practice but finds himself in an impromptu jamming session with a young autistic drummer, Stevie (neuro divergent newcomer, Leo Long). Posted to social media, it gathers great interest and is an opportunity at last for Vince to relaunch his career. But there are challenges to come, as Vince, Stevie and his mum, Amber (Elenaor Matsuura) all have to deal with their past and concerns for the future.

Washed up pop star, finds young prodigy, who go on to inspire and change each others lives is a well worn story and you could plot it out from thirty seconds in and you’d be spot on. But that is okay, because as it moves through ticking off all the bits you expect, it is done with such warmth and heart that you struggle not to enjoy the predictable journey.

It doesn’t particularly do depth and backstory but that’s not really the point. The story is the relationship between the three main characters, all who deliver believable and engaging performances. Skrein’s hard working but occasionally troubled Vince, Elenaor Matsuura’s portrayal of Amber a mum desperate to help her son navigate what will be a tricky road ahead and Long’s engaging performance full of heart and humour. But it’s the development of Stevie and Vince’s friendship that truly keeps you engaged, as it helps Stevie to grow and believe and gives Vince a new purpose.

What I Used to Be Famous, lacks in depth or originality it makes up for in warmth and heart. It won’t change anyone’s world, but as a pleasent 100 minute Netflix diversion it works a treat and will leave you with a smile on your face.

Director Halina Reijn brings this dark comedy horror to the screen. Sophie (Amandla Stenberg) and Bee (Maria Bakalova) are in a new relationship and are heading to Sophie’s childhood best friends David’s (Pete Davidson) palatial parental home for a “hurricane” party. There Bee is introduced to a a group of people from Sophie’s past including their relationships and old grudges. As the hurricane sets in they decide to play a game of Bodies Bodies Bodies. But when the game becomes real, the house guests have a long night ahead of finding a killer, before the killer, their grudges or their own paranoia finds them first.

This wasn’t really the film I was expecting, the trailers painted it more as a satire and genre parady. But in reality it is just an update of a very well trodden horror/thriller story.

While it is not particularly original, I did quite enjoy it. The story is relatively light hearted and the ending has a fun “twist”. It’s well shot and makes good use of mobile phone torches as a way of lighting with the small circle of light helps building tension as people move cautiously around the house avoiding what may be in the shadows.

The films occasional satire was best highlighted in the conversations between the group. With use of current vernacular such as triggered, toxic, silencing me amongst other “popular” phrases that are over used or misunderstood. One scene particularly, where four of the protagonists have a particularly angry confrontation which includes the reckless use of a gun. But rather than done in a way to “attack” a new generation the film instead shows that the generations behave the same. Even if the language is different.

The cast are all very watchable and Amandla Stenberg continues to show her talent in an ever widening variety of roles.

While it wasn’t particularly original it was a solid example of its type and nicely updated to reflect a modern generation. The story whizzes along at a pace and the humour that is there is delivered well by its cast. While it won’t last long in the memory, while it was there I enjoyed it.

Written by Mark Chapel and directed by Tom George is this pastiche of 1950’s whoduunits. It’s a party for the 100th performance of Agatha Christie’s The Mousetrap, but there is tension in the air. The shows producer Petula Spencer (Ruth Wilson) has sold the film rights of the play to John Woolf (Reece Shearsmith), which has created tension between director Leo Kopernick (Adrien Brody) and both screenwriter Mervyn Cocker-Norris (David Oyelowo) and the plays star Richard Attenborough (Harris Dickinson). After Kopernick and Attenborough come to blows, Kopernick heads off alone and meets an untimely end. The metropolitan police arrive in the shape of constable Stalker (Saoirse Ronan) and inspector Stoppard (Sam Rockwell) to investigate the crime and find the killer in the murky world of theatre!

I found this great fun from Kopernicks opening monologue that basically tells you the film your about to see through to the ending you’re promised! It looks great with George borrowing heavily from Wes Anderson with its smart framing, colour palette and quirky characters.

What really makes it work though is the always fabulous Saoirse Ronan’s Constable Stalker, new to the job, bright eyed and eager, but it’s her fabulous comic delivery that makes it work. Her relationship with Rockwell’s world weary inspector is the warm heart of the film.

George and the cast have a great time poking fun at the concept of a Christie whoduunit and their theatrical depictions, from its caricaturing of its cast to the story tropes they rely on. But it’s only poking warm hearted fun at them.

The ensemble cast alongside it’s two excellent leads all deliver the quality you’d expect, even if their characters are a little light on detail.

See How They Run is tonnes of fun, a light hearted pastiche, it uses its 50’s whodunnit story to great effect. It’s warm, funny and never too serious. At its heart is the fabulous Saoirse Ronan and Sam Rockwell who take you along on a wonderfully silly adventure. If you’re after a smile then run down to the cinema and give it a whirl.

New on Netflix is a British crime thriller, written and directed by Babak Anvari. Toby (George McKay) and Jay (Percelle Ascott) are disaffected young men and graffiti writers. They have decided to “attack” the establishment by breaking into homes of influential people and tagging them with their signature graffiti “I came by”. However when Jay finds out his girlfriend (Veranda Sethu) is pregnant he tells Toby he’s out. Toby decides to carry on alone and targets a well known judge, Sir Hector Blake (Hugh Bonneville). However, when he breaks into his home he makes a shocking discovery. When nobody hears from him, his mum Lizzie (Kelly McDonald), not satisfied with police efforts, decides that she is going to investigate and discovers the shocking background of Blake and the institutional connections that are seemingly covering it up.

This is an intriguing if rather nuts and bolts crime thriller which is elevated by a wonderfully sinister central performance from Hugh Bonneville. As with all the best movie baddies, less is more, his restrained menace and casual approach to his acts are chilling. As is his arrogance and privilege, that seemingly protect him from justice.

He is well supported by other strong performances from McKay, Prescott and Kelly McDonald who all bring differing levels of desperation with their situation.

While it is intriguing and has surprising turns It’s not perfect. It has a bit of an odd time jumping narrative that takes you a while to catch on to, so can confuse. But most importantly it is hampered by the classic thriller issue of people making stupid, unbelievable decisions, decisions that I found distracting as I tried not to shout at the screen “why would you do that?”.

While not destined to be a classic, it is a solid thriller. What makes it worth watching is Bonneville’s fantastic performance which is full of restraint and sinister motive. It’s hard to tell whether his actions or the way his privilege seemingly protects him from the law is the most chilling! Because that feels a little to close to reality for comfort.