Directed by: Edward Berger

Written by: Peter Straughan

After the death of the Pope, Cardinal Lawrence (Ralph Fiennes) finds himself in charge of the conclave and its solemn duty of electing a new Pontiff. There are favourites for the role including Bellini (Stanley Tucci), Tremblay (John Lithgow), Adeyemi (Lucian Msamati) and Tedesco(Sergio Castellitto). But plans are changed when a stranger arrives in the guise of Cardinal Benitez (Carlos Diehz). Lawrence must navigate the ritual, politics and process of the conclave, while trying to discover whether there is truth in the rumours surrounding some of the front runners. All in the hot house of a conclave isolated from the realities of the outside world.

Well who knew that the process for selecting a new Pope could be such a tense and thrilling experience! Well that is certainly the version that Berger gives us, as Conclave serves up an intriguing political thriller that happens to be based on selecting a Pope rather than a politician.

The film is a roller coaster as it twists its way through corruption, ethical dilemma, ambition and stretched friendships. It wor, in no small part, thanks to Fiennes’s excellent central performance as the reluctant leader of the conclave. His understated performance, is quiet and calm, with the stress of his role etched on his face. It’s not only Fiennes as all the main players are pitch perfect. As is Isabella Rossellini’s, Sister Agnes, who has seen it all before, watching, knowing exactly when her input is demanded.

The film great, from emotive close ups to moments capturing the humanity of its subjects, framed beautifully using the grandeur of its setting.

If there’s a criticism, it does run out of steam a little and perhaps goes one twist too far.

Conclave is a tense political thriller, set amongst the pomp and process of the selection of a Pope. Its strong cast are note perfect as it twists through intrigue and mystery. It looks great using its setting perfectly to frame the story. While it loses steam towards the end, it does not detract from a story well told.

Directed by: Jon M. Chu

Screenplay by: Winnie Holzman & Dana Fox

The wicked witch is dead, melted by a young girl with a bucket of water. As Glinda (Ariana Grande-Butera) visits Munchkinland to confirm the news, the Munchkins want to know is it true that Glinda and the Witch were once friends? As we look back we find Elphaba Thropp(Cynthia Erivo), she’s different, she’s green and has a gift. When she chaperones her sister, Nessa (Marissa Bode), to Shiz university, she meets Madame Morrible (Michelle Yeoh) and finds herself enrolled and rooming with Glinda. At first the girls don’t get on, but as their friendship grows they find themselves in Oz and its Wizard (Jeff Goldblum). But soon they learn everything is not what it seems and this sets Elphaba on a road to “wickedness”.

I had great fun with this film adaptation. Yes, at 160 minutes it’s very long, but apart from a few “baggy” moments, it doesn’t really drag and whizzes along to its part one climax, that proves what an absolute banger of a tune Defying Gravity is.

The emotional beats are there, the sadness of a marginalized Elphaba, a lovely scene of redemption and a wonderfully powerful finale.

The film is helped by its deliciously dark undertones, alongside the fun, humour, songs and dance Oz’s dark elements are on show.  Discrimination, persecution, corruption and vilification of parts of society, all give the story depth.

But at its heart are two super performances. Ariana Grande flicks her locks and has fun with Glinda, but it’s Cynthia Erivo who steals the show with a fabulous performance, full of depth and heart and of course both deliver great vocal performances. They’re well supported, Michelle Yeoh, Goldblum and Jonathan Bailey stand out in a great cast.

Wicked part one is a joy. It has two fabulous central performances, a story full of fun and deliciously dark undertones. While it’s long it doesn’t drag as it barrels along to its big finale. It’s colourful, funny and has emotional depth. And of course some banging tunes. A proper treat.

Directed by: Dougal Wilson

Paddington (Ben Wishaw) now fully settled in England with a shiny new passport and the love of the Brown family, is a content bear. But that changes when he receives a letter from the Reverend Mother(Olivia Colman) of Aunt Lucy’s home for retired bears in Peru. It tells him that Lucy is missing him. So Paddington and the Browns head for Peru. But when they get there they find Lucy has gone missing. So now Paddington and the Browns have more adventure than they expected as they head off across Peru to find Aunt Lucy and make sure she’s safe.

Having a third Paddington film, with a new director, hit the heights of its predecessors was always going to be a challenge. And while this doesn’t quite manage it, it has a pretty good go and still delivers a fun, entertaining family adventure.

It’s a film, that knows the audience it’s aiming at and delivers exactly what it should. Lots of fun and some mild peril as Paddington and the family chase through the jungle. There’s plenty of Bear type humour, marmalade sandwiches, slapstick and cine literate gags.

All the cast return, although not quite as central to the plot. Emily Mortimer steps into the Mrs Brown role seamlessly enough. But it’s the new cast members that bring the additional entertainment. Olivia Colman’s “suspicious” Nun is a joy as you’d expect, including a great opening musical number. Antonio Banderas is a fun addition as tour boat captain and adventurer Hunter Cabot.

It does ask some smart questions about family, friends, where we’re from and where we belong But it does lack a bit of the heart of the first two, at least until its final act, where it tugs the heart strings plenty.

The first two films set such a high bar, it was always going to be tough to do it again. While this falls a little short and misses some of the heart of the others it is still a fun family adventure. It has humour, excitement and guitars, as well as a strong message about family, friendship and belonging. While it may not be the best of the three. It will still put a smile on your face.

Directed by: Ridley Scott

Screenplay by:David Scarpa

It’s 20 since the death of Maximus, his son Lucius (Paul Mescal) lives in anonymity, sent far from Rome by his mother Lucilla (Connie Nielsen) for his own safety. But when his home is invaded by Roman general Marcus Acacius (Pedro Pascal) he finds himself transported back to Rome, under the ownership of Macrinus (Denzel Washington), who promises that if he fights for him, he’ll give him the head of whoever he wants. But Lucius finds himself in the middle of plots that involve Rome’s hated joint emperors. All this reawakens in Lucius the reality of his past and the desire to see the Rome his grandfather, Marcus Aurelius, dreamed of, whatever price he must pay.

I wasn’t a fan of the first Gladiator, so maybe I’m not the audience for a sequel. And if that’s the case, Ridley Scott won’t be disappointed, because I didn’t like this either!

It starts with a wonderful title sequence before jumping almost immediately into a superbly realised visceral battle. But that’s almost where the fun stops.

Yes it’s a sweeping epic as it recreates the Roman empire of 200AD with all its violent and bloody battles. But it also lacks any interesting narrative, character or plot development and for all of its scale, blood and thunder, it’s a bit dull.

The lack of character development is a problem because it leaves you with a film full of faceless characters you’re not interested in. This includes Mescal’s Lucius, who struggles to go beyond a Russel Crowe impersonation. The twin emperors (Joseph Quinn & Fred Hechinger) never convince as ruthless dictators. Its only saving grace is Denzel Washington, who steals every scene and is thoroughly convincing as the scheming power mad and ruthless Macrinus.

I always thought the original Gladiator was overblown nonsense and its sequel made me feel the same. Yes it’s full of blood and thunder. But it’s also long, predictable, lacks any character depth and is a bit dull. Mescal never convinces as an inspiration and while Denzel Washington is a saving grace he can’t save it on his own.

Directed by:Jake Kasdan

Written by: Hiram Garcia & Chris Morgan

It’s two days before Christmas and Santa (J.K Simmons) and his trusted head of security Cal Drift (Dwayne Johnson) are preparing for the big day.  But plans are turned on their heads when security at the Pole is breached and Santa, codename Red One, is kidnapped. Cal has only a few hours to rescue him and with the help of Zoe (Lucy Liu), head of an agency that protects mythological beings, and Jack O’Malley (Chris Evans), a waster with gambling debt, poor at fatherhood, but with a skill for finding people and doing it for the highest bidder. Reluctantly they team up to save Christmas.

This is an odd film and I’m not sure who it is aimed at. Its premise is fine, Santa needs help in the shape of his loyal, but disillusioned right hand, and the wrong guy, a level 4 naughty lister. Which leads to an adventure through Christmas mythology to rescue the big man. But the film really struggles to hold it together.

Johnson does what he does, Evans is fun as the flawed companion. Simmons as a super fit Santa, all offer plenty of promise. But as it goes on the more confusing it becomes. It shifts into a more teen/adult action adventure. It gets quite dark, it has language that borders on “bad”, there’s lots of fighty action. All okay in themselves, but drifts from a film about saving Santa to an action adventure that could be about saving anything. It also lacks heart, with its central emotional relationship between Jack and his son(Wesley Kimmel), never getting time to engage the audience.

It’s not a disaster, Johnson and Evans are watchable and there’s some fun with Christmas myth, especially Kristofer Hivju’s, Krampus. But it’s all a bit long and messy.

Red One is an odd film. I’ve no idea who it’s aimed at, a mix of Christmas film and action adventure. It’s probably a bit dark for the youngest and not adult enough for the grown ups. It’s all a bit long and lacks any real Christmas heart. It’s not terrible, but if you’re spending $250m you expect a bit more.

Written & Directed by: Sean Baker

Anora (Mikey Madison) is a sex worker. She works in a New York lap dance bar, serving all the usual mix of customers. Until one day her boss needs someone who speaks Russian to entertain a group of friends headed up by Vanya (Mark Eydelshteyn). Anora warms to him and agrees to meet him as a private customer. He’s young, rich and loves spending time with her, which leads them on a whirlwind affair, via a trip to Vegas! When Vanya’s family find out they are not amused and send their New York “minders” to take care of their son and his new relationship. But they find Anora is not quite the pushover they hope for, leading to a crazy chase across the city, a run-in with Vanya’s parents and some tough choices for Anora.

Anora fell flat for me. It started well, with great energy, but as it goes on, and it does go on at 139 minutes, it begins to grate, becoming repetitive and its unpleasant characters begin to drag. Vanya becomes childish, his mother just unpleasant and it all sucks the life from Anora and subsequently the story.

Which is a pity because for the first half there was a lot to recommend it. It starts as a dark Pretty Woman, a sex worker Cinderella story. It barrels along and has plenty of fun, leaning on screwball comedy, slapstick, and its comedic chase across New York. But It struggles to maintain that energy as it limps into its final act.

The two central performances are solid but they’re upstaged by Vanya’s Russian minders (Karren Karagulian,Vache Tovmasyan, Yura Borisov) who are great as a dysfunctional gang. But It is Borisov’s Igor that steals the show, a character who never really wants to be there and tries to put it right, and offer Anora some support, it’s a lovely subtle performance that lightens up the second half of the film.

I found Anora rather disappointing. It starts well as a dark take on Pretty Women, it has great energy, some fine screwball comedy, slapstick and a fun chase. But at 139 minutes, it eventually loses steam and begins to grate. Lots of people have enjoyed Anora, but for me it fell flat.

Written & Directed by: Scott Beck and Bryan Woods

Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are young missionaries for the Mormon Church. They are taking their work door to door when they arrive at the home of Mr. Reed (Hugh Grant). With a storm brewing overhead he invites the girls inside to meet his wife as she cooks them pie. What starts as a detailed and intellectual debate around religion and faith soon becomes something else. A test designed, by Reed, of the girls own faith, intellect and will.

I really enjoyed this, it’s a smart smorgasbord of genres packaged together into tense, taught drama. It encompasses thriller, intellectual drama, locked room mystery, detective story and good old fashioned survival thriller.

It’s basically a three hander centered around Grant’s mysterious, unsettling Mr. Reed and Sophie Thatcher and Chloe East’s smart, if initially naive young missionaries. All three turn in fine performances that build tension and keep the story on track as it swings between its genres.

Grant is excellent as Reed, as his character shifts from pleasant host to an increasingly menacing figure. A smart embodiment of a controlling and coercive threat. His two young co-stars are equally strong, as the growing peril of their situation becomes clear and while their characters become more desperate, they portray a cool headed determination to survive.

The story is smart as it initially builds unease and then looks too misdirect. There is a continual element of mystery as it refuses to rely on twists to keep you engaged instead focusing on intrigue as it reveals the true nature of Reed.

And while it may have some plot holes as it heads towards its conclusion, it earned the right to ignore them.

Heretic is an intelligent thriller/horror. Built on three excellent performances, with Hugh Grant slipping effortlessly into a menacing role. Its clever story takes you seamlessly from intellectual discussion to survival thriller and maintains a sense of intrigue throughout. Tense, smart and you’ll never look at Hugh Grant the same again!

Written & Directed by: Kelly Marcel

Last Dance starts where the previous film finished with Eddie and his symbiote alter ego, Venom (Tom Hardy), in a bar in Mexico. Framed for the murder of Detective Mulligan, they decide they need to head to New York to clear their name. However, their plans are interrupted by a Xenophage, a Symbiote killer sent by Venom’s creator, Knull (Andy Serkis), to capture Venom and reclaim the Codex, a device which will free him. This sets Eddie and Venom on a road trip across California, which includes a run in with Martin Moon (Rhys Ifans), a new age alien enthusiast, and his family. And makes him a target for army general, Rex Strickland(Chiwetel Ejiofor). All before ending up in a battle to save Venom and possibly all of humanity.

My expectations for this were pretty low. The other two films, had not done much for me. But to its credit, The Last Dance was better than I’d expected.

The story, for what it’s worth, is an absolute mess. It introduces characters who seem to have no real point. Juno Temple’s Dr. Teddy Payne a prime example. But what the franchise does have is the Eddie/Venom “buddy” dynamic. Hardy gets this absolutely right, nobody does bedraggled as well, as he wearily drags himself across California and Nevada. But Venom offers him a cheerleading alter ego, providing plenty of life advice. This provides lots of laugh out loud fun, whether it’s Venom’s appetite, or some fun that includes a slot machine, a tuxedo and a dance! Ryhs Ifans’s Moon family (Alanna Ubach, Hala Finlay, Dash McCloud) are also a fun distraction. But it is Eddie’s and Venom’s relationship that allows the film to paper over its many cracks.

I had low expectations for The Last Dance and it met them. Its paper thin plot and characters that serve no purpose make it a bit rubbish. But what it has is Tom Hardy. And it’s his “buddy” relationship with his own alter ego that lets this film get away with a lot. He has so much fun with the role you can’t help but enjoy it. It’s rubbish, but entertaining rubbish.

Director: Ali Abbasi

Writer: Gabriel Sherman

Set in 1970s and 80s New York City, we follow the development of Donald J Trump (Sebastian Stan), from ambitious son of a powerful father (Martin Donovan) to the beginnings of the man who would become the President of the United States. It focuses on Trump’s relationships, with notorious lawyer Roy Cohn (Jeremy Strong), his family and his first wife, Ivana (Maria Bakalova). And we see how those relationships, particularly the one with Cohn, develops the principles that make him the Trump of today.

This was always going to be tricky to get right and while it is not the best docudrama I’ve seen, it does a good job of providing some insight into the creation of Trump.

This is not a flattering portrayal of its subject, but it’s also no “hatchet job” either. What the film does is pose some questions, perhaps the most interesting is how much of Trump is nurture over nature.

It’s a classic origin story. We see a relatively innocent Trump, who is shaped by Cohn and his principles, always attack, the truth is what you say it is and always claim you won. It is this transformation and relationship with Cohn that is the heart of the film as apprentice outgrows tutor.

It’s built on three fine performances in Stan, Strong and Maria Bakalova. Stan does a good job avoiding a Trump impression, but rather inhabits him enough with the mannerisms and attitudes that you recognise. Strong’s character goes on an opposite journey from a man who’ll do anything to win, to one ravaged by personal events.

It uses the 80’s period well, weaving TV style documentary and drama effectively. It recreates a grim and desperate looking New York and uses the styles and music of the 80’s all to give a feeling of time and place.

The Apprentice is a nuanced view of a divisive character. It is driven by three good central performances and uses the sights and sounds of the period well. It’s neither a puff piece nor a hatchet job, but rather it poses some interesting questions about the Trump we see today. An origins story with a difference.

Directed & Screenplay by: Chris Sanders

Based on the book by Peter Brown, The Wild Robot tells the story of Roz(Lupita Nyong’o), a ROZZUM droid designed to help its owner to complete any task they need. But, she finds herself stranded out of place, in the wild. Here Roz finds herself amongst the animals of the forest, trying to understand her surroundings and importantly find a task to complete. Once she finds her task, in the shape of a baby goose (Kit Connor).With the help of a fox (Pedro Pascal), she learns new skills, the importance of working together, friendship and love that helps her realise what helping really means.

While I don’t think this is going to be a classic, it is a gorgeous film that deals with a range of themes, threats to the planet, family, friendship, love and growing up.

As you’d expect from DreamWorks the animation is flawless, with a beautifully rendered wilderness. The action is often fast and furious with a range of endearing characters from across the animal kingdom.

On the negative side the story did feel a little disjointed. It has a nice clear story about parenting, growing up and dealing with difference. But It then seems to take a strange turn with a story about Roz’s makers, that all felt a little tacked on and unnecessary. But overall the story is fun and does have some fine bits of dark humour that take advantage of the, sometimes, harsh realities of nature.

The voice cast are good, with the central trio well supported especially by Catherine O’Hara’s Possum, Bill Nighy’s elder Goose and Matt Berry’s determined tree chewing beaver. And all help to deliver an overall uplifting and engaging story, that covers a broad array of topics.

I’m not sure The Wild Robot is destined to be a classic, with a story that seems to lose its way. But It is a colourful fast paced adventure. It looks great, has a sense of humour and  has a point to make. Not a classic, but an enjoyable robot meets nature adventure.