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.

Director: David Frankel

It’s been 20 years since Andy (Anne Hathaway) and Emily (Emily Blunt) were assistants to the fashion publishing titan that is Runway’s Miranda Priestly (Meryl Streep). Since then much has changed for them all, with new opportunities and challenges presented by a changing world. But when an issue at Runway thrusts them all back together, old tensions and old friendships come to the fore as the future of Runway and the careers of Miranda, Andy and Emily are all under threat.

I’d only recently rewatched the first film, which, while fun, I didn’t leave it feeling we were desperate for a sequel. But here we are and what a surprising treat this sequel was. Fun, occasionally touching and had something to say and I really enjoyed it.

While it’s easy to level at a film like this, that it is a cynical cash grab, for me it is much better than that. It’s been 20 years since the original and the world of printed media, journalism and attitudes has changed greatly in that time, and that gave the film a worthwhile story to tell. Alongside that, it kept much of what people enjoyed about the first film. Miranda remains enjoyably acerbic, Andy endlessly hopeful, Emily eternally ambitious and holding it all together Stanley Tucci’s, Nigel, who remains the heart of Runway and steals the show every time he’s on screen.

The main cast are all enjoyable to watch, and there is lots of fun support. Lucy Liu, Kenneth Branagh, Justin Theroux, B. J. Novak and Simone Ashley among them. All of which comes with a story that zips along nicely, is funny and  touching, before shifting into an entertaining “heist” movie in its final act.

It’s not a film that will change the world, but it is one that is much better than it could have been and for me, I enjoyed it much more than its predecessor, as it delivers a fun, touching, entertaining and heartfelt sequel, to its much loved original.

Director: Antoine Fuqua

Michael tells the story of the first 20 years or so of the career and life of Michael Jackson. From child prodigy (Juliano Krue Valdi) as the Jackson 5 embark on their early career, under the strict control of their father Joseph (Colman Domingo). Before moving to a Jackson (Jaafar Jackson) in his early 20’s. A Jackson that wants set out on his own, with his own music, look and life, which will lead to some of the biggest selling albums of all time. All while dealing with the oddity of his life, a love for his family and a relationship with an abusive and manipulative father.

If you are expecting a documentary or film that explores controversy, then look elsewhere.. what this is. Is a Hallmark style warm memory of Jackson’s early career produced by his family.

On the plus side Jafar Jackson, Michael’s nephew, delivers a good performance as his late uncle. Colman Domingo, is solid as Jackson’s controlling father, although his role is edged into pantomime villain at times. Nia Long and Miles Teller offer decent support and there is an entertaining Mike Myers cameo. And Jackson’s iconic music, ground breaking videos, unique style and performances are recreated well.

While those elements are entertaining, the rest of the film is far from strong. It’s at its best exploring the early life of the family, but as it goes on, it feels like an overlong promo, of Jackson’s music. It is weighed down by an awful script that is so on the nose no wonder we end up with nose surgery scenes. It ticks the boxes of what you expect, the Peter Pan complex, a menagerie of pets, including a rather off putting chimpanzee, and montage scenes of putting together famous albums. But little of it is convincing and is delivered with the sincerity of the “puff piece” that it is and often feels slow and at times a little dull.

While I don’t think this film is as bad as some have suggested, it’s certainly no thriller. But if you want to see a recreation of some Jackson highlights, you’ll find moments to enjoy.

Director: Kristoffer Borgli

Young couple Emma (Zendaya) and Charlie (Robert Pattinson) are getting ready to get married, with their wedding just a few days away. Ahead of the wedding, they find themselves discussing, with  friends Rachel (Alana Haim) and Mike (Mamoudou Athie), the worst things they have ever done. But when one of them reveals a secret that no one expected, it threatens to not only derail the wedding, but to damage friendships and relationships along the way.

This is a darkly comic story that looks at the way we judge the actions of others, what we feel is right and wrong and whether any mitigation can justify actions and thoughts in the eyes of others. There is also explorations of the impact of loneliness and gun violence. A smart premise, packaged up in a sometimes funny, sometimes farcical, sometimes sad story, which while not wholly successful, is still interesting and engaging enough.

At the heart of what works with The Drama is its two likeable leads in Zendaya and Robert Pattinson, both believable and layered in the portrayals of two people coming to terms with uncomfortable truths. They are well supported by Alana Haim,  and Mamoudou Athie.

The story is for the most part entertainingly told although it does feel a little stodgy in its middle act, ahead of a final act that dips into entertaining farce.

It’s a film that does ask some interesting questions of its audience, especially in its central premise of what we feel is acceptable as a “terrible act” and how we, as individuals , judge the “terrible” scale. And what happens when we don’t deal honestly with the past at how it impacts our today.

Director: Phil Lord & Christopher Miller

Dr Ryland Grace (Ryan Gosling) is in deep space, the only surviving member of the crew of The Hail Mary, part of a project to save the Sun, which is being slowly dimmed by the mysterious Petrova Line. His memory impacted by being placed in a coma he starts to piece together his part in the project under the command of Eva Stratt (Sandra Hüller). Alone, with a task to save the earth, Grace’s life is changed when he encounters another ship, a ship with a similar mission, to save its own Sun and planet from the same fate as the Earth. Can these two worlds come together to save them both?

This is a fabulous, warm hearted, big hug of a film, in a world that often seems far from fun, this is an unapologetic good time. A wonderful balance between science and humanity.

It’s a film about loneliness, friendship, about finding a purpose and about finding something so important you’ll sacrifice everything. A reminder of regardless of where we are from, we want the same thing, to keep safe those we love.

This is a film that works because of Ryan Gosling, for the vast majority of its 156 minute run time. His Grace is smart, full of heart and humour all delivered with Gosling’s warmth, charm and screen presence. Alongside him James Ortiz brings to life Rocky, a character equally warm, funny and charming. Sandra Hüller supports well,  the perfect project head, a stoic figure, who while having heart and humour is prepared to do anything to save humanity.

Its huge sets and practical effects, gives both scale and intimacy. Its script delivers humour and warmth in equal measure. And while much of this is a study of humanity rather than a sci-fi adventure, when it needs to crank up the tension and thrills it does so equally well, with some heart racing action set pieces.

If there is a criticism, it is that it runs just a little long, but that’s a minor gripe, in a film that is a wonderfully heart warming, joyful piece of story telling that will leave you smiling from start to finish.

Director: John Patton Ford

Becket Redfellow (Glen Powell), is an heir to the Redfellow fortune. However, his life has not been that of an heir. His mother was banished from the family home when she became pregnant, but she ensured young Becket still got the education and upbringing he should, including reminding him, that one day, he would inherit a fortune, the only problem, he is the youngest in a long line of heirs. When an old school friend, and childhood crush, Julia (Margaret Qualley) reappears In his life she plants a suggestion. A suggestion that, if all those heirs ahead of him were no longer there, then the fortune would be his. Could he really murder his way to a fortune?

This is a film with a nice premise, a dark comedy, long game “heist”, it has likeable leads and a line of starry cameos, all packed into a tight 105 minutes. But it’s also a film that falls a little flat, not a poor film, not an unenjoyable film, but just one that lacked a spark.

On the plus side, Powell, who in Becket, even with his complete lack of moral compass, is a likeable lead and character. Margaret Qualley is dependable, even here, where she doesn’t have much to work with. There is also a range of entertaining cameos from Bill Camp, Zach Woods and especially Ed Harris.

On the down side though, it’s also a film that misses opportunities, as a dark comedy, it’s never quite funny enough, the darkness never quite delicious enough, there could have been so much more fun with Becket’s plan. And its big “twist” feels like it is never really earned.

You can also add to that, that the story itself becomes increasingly unbelievable, a character even alluding to it at one point, suggesting it’s unbelievable that the FBI don’t have a case against you!

A fun premise, that’s an enjoyable enough watch, but lacks a little something, leaving  it all a bit “meh”.

Director: Maggie Gyllenhaal

When Frank “The Monster” (Christian Bale) visits Dr. Euphronious (Annette Bening)  to discuss his loneliness and implore her to find him a companion, that companion comes in the shape of Ida (Jesse Buckley), a young woman mixed up in the world of the mob, corrupt policemen, and also haunted by visions of Mary Shelley. But when these visions lead to her demise, she finds herself “reinvigorated” into a new world, with only a patchy memory of her past. A world which leads her on a journey of violence, love and revolution, as Frank and The Bride become an inspiration to those silenced. But is it a relationship that can survive?

The Bride! May not be the best film you’ll see this year, but it is likely the most bonkers. To be honest, I’m not sure if it’s genius or madness, but was fun either way!

It’s a film that takes inspiration from love stories to horror, gangster film to comedy, as well as a rather surprising reference to Young Frankenstein and certainly owes a debt to Joker.

It starts as a story about loneliness, but also a commentary on toxic masculinity, victim silencing and the Me Too movement, some of it subtle, some very on the nose, which is perhaps the point.

For the second time this year we are treated to a towering Jessie Buckley performance. She plays three roles, in Ida, the tortured ghost of Mary Shelley and, of course, The Bride herself, often all 3 in the same scene, capturing the frenzy of the story perfectly. Christian Bale, is a strong foil, a monster with a heart, equally capable of monstrous acts. Support is strong, especially Peter Sarsgaard and Penelope Cruz as the detective duo chasing our Bonnie and Clyde’esque pair. Annette Benning’s “mad” scientist as well as Jake Gyllenhaal’s cameo as a movie star, also add colour.

It looks great, capturing 1930’s America as well as the classic Frankenstein lab, and Buckely’s Bride will inspire many a costume for years to come. 

It’s an unhinged bit of cinematic madness, and a heck of a memorable ride.

Director:Baz Luhrmann

EPiC is part concert film, part back stage footage and part documentary. It provides a very quick round up of Elvis’s life so it can focus on, primarily, his residency in Las Vegas. Put together from footage Lurhmann’s gathered for his 2022 film, Elvis. It includes reels found in Warner’s archives, previously unseen concert films and performances as well as relaxed backstage footage and rehearsals. There’s some previously unheard audio of Elvis describing his own career as well as some clips from press interviews. All brought together with Lurhmann’s visual flair and style, as sparkly as Elvis’s outfits!

This is a film for anyone who wants to see a consummate performer, doing the thing they love. And will work whether you’re an Elvis aficionado or not. It’s no hard hitting documentary and is not looking at its subject with any level of criticism. Instead Lurhmann delivers a celebration of a performer doing the thing he clearly not only loves to do, but is  incredibly gifted in doing it.

This is a fascinating and enjoyable look at Elvis in an environment he enjoys. As someone who’s not an Elvis “fan” what stands out hugely is just how good he was. A wonderfully flexible voice that seamlessly switches between genres. His stage presence and craft is a joy to watch, with audiences of all ages under his spell as he sings and moves, as they swoon and scream.

But we also get intriguing glimpses behind stage, as we get to see a man at ease in his surroundings, having fun, who loves music and oozes charm and charisma.

There are some moments of melancholy, mainly in conversation with journalists when asked about his thoughts on the draft, travelling, performing outside of the US and the possibility of waning fame. There are also nods to other parts of the Elvis story, with glimpses of Tom Parker and Priscilla, but they are brief.

This is a joyful and entertaining celebration of a musical icon and incredible performer. Providing a glimpse into Elvis doing what he loved.