Showing on Sky Cinema and VOD services.

Written and directed by Jon Stewart, Irresistible has Steve Carell as political campaign strategist, Gary Zimmer, who after the chastening defeat of Hilary Clinton at the 2016 election, finds himself in a small Wisconsin town where he and his team want to help local farmer and former marine, Jack Hastings (Chris Cooper), to become the town’s democratic mayor and a new symbol of the democratic party. Jack’s campaign catches the attention of the Republicans who send their own strategic heavyweight Faith Brewster (Rose Byrne), to run the mayors campaign and beat her old adversary Zimmer.

Irresistible is a great example of how the final act can change your view of a film. For two thirds of it what you have is pretty standard political satire, built on the premise of Washington politico’s heading off to small town USA and patronising their “small minded” political views and cares, with the town no more than a means to an end. With the story heading to one of two predictable ends, however the final act twists the story and shines a light at the nonsense of the political system and the objectionable amount of money that pours into it, for no other reason than to support its own existence and lifted Irresistible to something a bit more interesting and smart.

Irresistible was never going to be a bad film for me, I’m a big fan of Steve Carell, who has shown himself to be an equally fine actor in serious and comedic roles and is at home here, supported well in an extended cameo, from the always watchable Rose Byrne, Chris Cooper as the stoic but caring Harrison and McKenzie Davis as his smart and defensive daughter Diane.

The script moves along rapidly and although this leaves the characters a little thin, it stops it becoming too self indulgent and “preachy” leaving its observations as, while not necessarily earth shattering, smart and witty.

If you enjoy a smart political comedy with strong performances, then this while not quite irresistible, is an enjoyable and thanks to the final act an above average piece of political satire.

Showing on Amazon Prime Video.

Directed by Regina King with a screenplay based on his own play by Kemp Powers. One Night in Miami is a fictional account of the night in 1964 that Cassius Clay, soon to be Mohammed Ali, becomes world champion for the first time and celebrates in the company of three friends and prominent black figures Malcolm X, Sam Cooke and Jim Brown. However, rather than the party the men had hoped for, what they get is Malcolm X taking the opportunity to encourage Brown and Cooke, in particular, to do more to support the struggle for civil rights in the way Clay, who the next day will announce joining the Nation of Islam. What starts as a celebratory night soon descends into an evening of recriminations and arguments.

The challenge with bringing a stage play to the screen is to do it while maintaining the benefits of a play but avoiding the stagey feel. One Night in Miami under King’s direction does that well, while at times the stage roots show overall it delivers a cinematic experience. Our four leads all provide compelling versions of their famous characters. Kingsley Ben-Adir carries most of the story as Malcolm X struggling to balance the bigger fight with his own internal battles with the Nation of Islam and their controversial leader Elijah Mohammed, Aldis Hodge brings a calm authority as the older Jim Brown, while Eli Goree’s Clay and Leslie Odom Jr. as Cooke bring a wisdom and energy as young, powerful black men.

I found this a really intriguing story, a fascinating snapshot of 1960’s America and the, what seems on-going, fight for equality and rights in the United States and beyond. The four leads are all compelling and hugely watchable while avoiding slipping into mimicry. Under Regina King’s direction the story takes time to make its points while maintaining a pace that keeps you engaged.

One Night in Miami, while loosely based on “true event” still delivers a fascinating insight into the 1960’s and with hugely enjoyable performances is well worth a watch.

New to Sky Cinema.

Directed by Edward Hall and adapted by Piers Ashworth from Noel Cowards 1940’s play. Blithe Spirit stars Dan Stephens as Charles Condomine, a successful author, tasked with adapting a successful novel into a screenplay. However, he has struggled with “writers block” since the death of his first wife who he still pines for, much to the frustration of his current wife Ruth (Isla Fisher). However, life changes after going to see famous “medium”, Judi Dench’s, Madame Arcati Charles and Ruth find a third wheel in their relationship in the shape of “interference” from Charles’s late wife Elvira (Leslie Mann), what for Charles seems a dream increasingly becomes a nightmare.

I didn’t know this was based on a Coward play which perhaps explains why I spent my time thinking, I’ve seen this story before and, unfortunately, done much, much better.

I found Blithe Spirit hugely disappointing, so poor in fact even the wonderful Judi Dench couldn’t lift it beyond decidedly average. Its main problem was the failure in the story telling, the performances are fine but they have so little to work with we only get paper thin and uninteresting characters. Its main failure though, as a comedy, is it just isn’t funny.

Its final crime was its ending, because for all that had preceded it, it had a twist at the end that was intriguing and a little unexpected (maybe it was obvious and I’d stopped caring) and that was hugely frustrating because, suddenly, you think that there was a story there all along but they chose to hide it amongst a series of uninteresting and unfunny randomly thrown together scenes.

It’s only saving graces are, at 95 minutes its thankfully short (felt longer) and of course there’s Judi Dench. So if you want 20 minutes of Dame Judi and happy to ignore 74 of the other 75 minutes this could work, but really, beyond that, I’d suggest watching something else.

Now on Netflix as well as VOD services.

Written by Rita Kalnejais, directed by Shannon Murphy and starring Eliza Scanlen, Babyteeth is a gritty Aussie drama centered around Milla (Scanlen) a seriously ill teenager, who via a random run-in at a railway station finds a new love in twenty-something drug dealer Moses (Toby Wallace), much to the horror of her parents Anna (Essie Davis) and Henry (Ben Mendelson). The story follows a short period in Milla’s life, her frustrations with and her fight to live it and the impact this has on those around her, all of whom have their own troubles.

Babyteeth was an odd experience, it felt a little unbalanced at times, introducing characters and storylines at random that then either disappeared or didn’t make sense, yet at other times it took time to explore its subject. It showed me characters that didn’t seem that likeable, yet I found myself liking them very much and at times a storyline that seemed difficult to engage with, yet I became very engaged, especially at the films heart-breaking conclusion which made me realise I had invested hugely in all of the characters.

The performances all capture the films quirky nature Scanlen anchors it brilliantly in the central role, bringing to screen the frustrations and pains Milla is going through, Mendelson and Davis excellent as her quirky and troubled parents and Toby Wallace captures the troubled, lost and lonely life of Moses.

This is the type of drama the Aussies do really well, quirky, shining a light into dark corners and not afraid to get dirt under its fingernails. While watching it I wasn’t sure how much I was enjoying it, but looking back it tells a heart wrenching story but is never voyeuristic or sentimental as it captures life at both its most difficult and beautiful.

It is certainly quirky and takes some watching but its heart-breaking end makes you realise how much you have enjoyed spending time in its presence.

Available on VOD.

Written by Flora Greeson and directed by Nisha Ganatra The High Note stars Dakota Johnson as overworked PA to superstar singer Grace Davis (Tracee Ellis Ross), Maggie. Both have dreams and are frustrated by restraints on them, Maggie wants to he a producer, Grace wants to record new music rather than endless replaying of her greatest hits. Maggie then gets an opportunity when she meets singer/songwriter David (Kelvin Harrison jr.) and he gives her the chance to produce.

If the synopsis sounds familiar it will be no surprise that the film feels pretty familiar, following a handful of well trodden romcom paths. But, for me, that isn’t a criticism, those tropes are familiar because, when done well, people enjoy them and I thought The High Note made a decent effort at it.

The comedy was quite melancholic and the story telling never reduced it to farce or melodrama and was patient enough to let it develop and remain interesting. Occasionally, particularly with Grace’s story, it asks some interesting questions about career progression, opportunity limitation and the difficulties of overcoming it.

While it is a pretty standard romcom, it does it well and I found it rather enjoyable. Although it eventually wraps the story up in a pretty neat bow, it didn’t detract, performances are solid enough from Johnson, Ross and Harrison jr. With good support, especially from Ice Cube as Grace’s long time manager.

If you’re looking for a light, not overly “mushy”, subtle comedy, which asks some interesting questions, This may just hit the right (high) note.

On Netflix and VOD services.

Written and directed by William Nicholson, starring Annette Bening and Bill Nighy, Hope Gap focuses on the difficulties that come with marriage breakdown. Eddie and Grace are an older couple, married for 29 years, but as we join them it is clear things are not right. When Eddie invites their son Jamie (Josh O’Connor) home for the weeknd, he does it with an ulterior motive, so he can support his mum when Eddie makes a life changing decision.

Hope Gap is basically a three hander between Bening, Nighy and O’Connor and focuses on the emotional impact of Eddie’s decision on him, his wife and their son. What we get is a well performed piece Bening and Nighy are particularly good, Bening balancing anger and heartbreak really well, Nighy is full Nighy, as the quietly spoken, seemingly bullied but determined husband. With O’Connor allowing the two main characters to bounce off him as the caught in the middle son.

However, the crux of the problem with Hope Gap, is there just isn’t enough there to justify it’s 100 minute run time, as 60 minute TV drama this could really of worked, but beyond that it feels stretched with the story plodding along and taking the occasional unnecessary detour to fill the time. Which is a pity, as it is nicely shot, well played and tries to deal with a difficult story with appropriate care and attention.

However, it is a story we have seen done before and unfortunately done much better, but that said it is not a total dud and if you are looking for a well played delve into the world of relationship breakdown and you don’t mind a flaw or two, it may fit the bill.

Available on Netflix and video on demand.

Directed by Alex Thompson, written by and starring Kelly O’Sullivan who plays Bridget, a 34 year old who realises she is unfilled with aspects of her life, who gets the opportunity to be a nanny for a 6 year old, Francis (Ramona Edith-Williams).

Francis can be challenging, so when her Mum’s Maya (Charin Alvarez) and Annie (Lily Mojekwu) have another child and their previous Nanny leaves they relise they need a replacement. As much as Bridget needs this opportunity, the family need Bridget, as they all come to terms with change,  emotional and physical, mental health and the emotional impact of their life decisions.

I really liked this, it’s a warm, funny and heartfelt slice of normal life, there’s no grandstanding moments, it’s life unfolding in front of you as each of the characters come to terms with change, frustration, ambition and growing up. The performances are subtle and engaging, all revolving around the positive spirit and energy of Frances. There are moments of fun and gentle humour alongside some emotional heart string tugging, all nicely balanced by a smart script.

Saint Frances is uncomplicated story telling, with lovely natural performances that create characters who all brought something to a story that charmed me throughout its 100 minutes.

Treat yourself and give it a watch.

Available on Disney +.

Written and directed by Pete Docter, Kemp Powers and Mike Jones we have Pixar’s latest, Soul. Jamie Foxx plays Joe, a frustrated musician, who has settled on been a middle school music teacher to make ends meet as he chases his big chance. When his big chance comes he finds it taken from him in an untimely accident, but Joe isn’t ready to give up, so rather than his soul heading to the great beyond, he finds himself in the great before as a mentor to new souls. It’s here he is paired with troublesome soul 22 (Tina Fey) to help her find her spark, the thing that will make this soul ready to live, the problem is 22 doesn’t want to and is happy with the life in the great before. All of this while Joe tries to find a way of getting his soul back into his body.

What Pixar do, at their best, is take on complex topics and package them in engaging stories that hit home for children and adults alike and Soul joins that fine history of original and touching animation.

Soul sets out to answer perhaps the biggest of questions “why are we here?” as Joe tries to help 22 find a purpose, a reason to live. It tackles that in a way only animation can, immersing us in the strangest of worlds, the real world is brilliantly created and as you’d expect from Pixar, a natural recreation of New York City the people and place, is of the highest quality. Alongside this we get the strange existential great before, with its brilliantly crazy Picasso inspired bosses guiding the small amorphous blobs that are the undeveloped souls, with just enough features to provide a personality and warmth.

Soul is a beautiful piece of work, it looks incredible, it is full of warmth and humour and as the very best animations do, especially Pixar, it treats its audience as intelligent enough to understand the complexities of its topic, as it reminds us of the wonder to be found in the smallest of things and how we often will miss them in pursuit of a great purpose, losing sight of the joy of life itself.

A strong voice cast that sees Foxx and Fey well supported by an eclectic group including the likes of Richard Ayeode, Graham Norton and Rachel House, gorgeous animation and a fine Jazz inspired soundtrack, all come together to take on its complex question with the warmth, wit and heart that Pixar do so well and show us the only way to know if life is worth living, is to live it.

New to Netflix.

George Clooney directs and stars in this adaptation of Lily Brooks-Dalton’s book. Set in 2049 we find Clooney’s Augustine, alone on an abandoned science base in the Arctic, a survivor of a seemingly extinction event that has impacted the planet. Clooney has to set off on a treacherous journey across the Arctic to a more poweful broadcast station to get a warning to the crew of Ether, a space craft returning to earth from K23 a moon of Jupiter successfully explored as a planet capable of sustaining life, and get them to turn back.

Clooney has already described The Midnight Sky as Gravity meets The Revenant and there’s the challenge, they are two quite different stories can you mix them together to provide a cohesive narrative?

The film does have issues and you can see why questions over plot holes and pacing exist, but, much of that didn’t bother me. The story telling is certainly patient, but for me it worked well in building tension and bringing the two narratives together. We have Augustine’s journey across the frozen lands a slow burning adventure in which he is joined by Iris (Caoilinn Springall) a young girl abandoned at the station. Alongside it we have the journey on Ether, heading back to earth with no contact and no idea why, captained by Adewoe (David Oyelowo) with communications officer Sully (Felicity Jones) soon to be a mother to their child and crew trying to understand the silence from Earth.

The story is one of loss, regret and hope and personally I enjoyed it, Clooney’s grizzled world weary scientist inspired to continue by Iris, plays well against the hope and optimism of Ethers crew.

While it’s not perfect, its good performances and patient storytelling helped to build tension while its solid emotional core gave me characters to care about and keep me engaged to the end.