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.

Director: Josh Cooley

Writers: Eric Pearson, Andrew Barrer
Gabriel Ferrari.

Set as a prequel to the other cinematic Transformers adventures, this film is set on a desperate Cybertron. After a surface battle that claimed not only the lives of the Primes but also the Matrix of Leadership, a device that ensures the planet’s life source, Energon, flows freely. Without it the Transformers live under the planet’s surface. Here Sentinel Prime (Jon Hamm) needs to mine the planet for Energon. A team of miner bots, Transformers who cannot transform,  dig endlessly to support Sentinel Prime as he scours the surface looking for the Matrix. But when two bots Orion Pax (Chris Hemsworth) and D-16 (Brian Tyree Henry) want to prove their worth to Sentinel Prime, they head to the surface. However, it’s here they make a discovery that will change the future of Cybertron forever.

This is the first animated Transformers film since 1986 and what a lot of fun it is. As a prequel the film gives us the background story of characters that are a staple of the franchise. And importantly it, unlike the increasingly dull live action films, does so with a sense of fun and adventure.

Its voice cast is spot on, alongside Hemsworth, Henry and Hamm there’s also Scarlet Johansson, Keegan-Michael Key, Steve Buscemi and Laurence Fishburne all turning in enjoyable performances. The script barrels along well and has a light touch with plenty of moments of humour.

The action is fast and furious and the animation is colourful and, while computer generated, it reflects its 80’s film and TV adaptations. And delivers a really enjoyable animated adventure.

Transformers One is an entertaining origins film. The script bounds along nicely with a good mix of action set pieces and humour. The animation is eye catching and the voice performances spot on. It’s an enjoyable animated adventure, that’s more fun than many of its live action predecessors. A strong addition to The Transformers film series.

On Netflix.

Director: Josh Greenbaum

When will Ferrell receives an email from his old friend and collaborator Andrew Steele, he is greeted with surprising news. He has transitioned to the person, she has always known she is, Harper. Harper has always loved travelling the US, but is now unsure about whether the country she loves will still love her back. Not only that, but how will old friends react to this big change. Will & Harper takes us on a roadtrip as they assess attitudes to trans people and their new friendship.

Will & Harper is a thoughtful, and touching documentary about dealing with change, sexuality, navigating a challenging world and of course friendship.

It is in its exploration of friendship where it is at its strongest. There is clearly a real love between the two old friends. Of the two Ferrell, who has the better known public persona, offers a very different view of him. While there is occasional clowning, predominantly we see a clearly thoughtful and caring person, who wants to support and understand his friend. There is no question of Ferrell’s total acceptance of Harper and, on occasion, this puts Harper more on show and open to hostility than he appreciates. In Harper we get a very transparent, touching and often difficult discussion of a life that has taken her on this journey. The hard times from the past and the fears and insecurities of the present and future.

The subject is always intriguing,  but also sad and often funny, with a plethora of SNL alumni cameos.

On the negative side, it perhaps runs a little long and eventually the town visits become a touch repetitive, but these are minor qualms over what is a thoughtful, touching documentary.

Will & Harper is a warm and heartfelt documentary. It is at its best exploring the relationship between two friends as they navigate change. Harper is always open and vulnerable, Ferrell warm, thoughtful and supportive. While it may run a little long, overall it is an insightful and enjoyable documentary.

Written & Directed by: Nora Fingscheidt

Written by: Amy Liptrot & Daisy Lewis

Rona (Saoirse Ronan) is young and smart, a girl from The Orkney Islands, living in London. She has a boyfriend, Daynin (Paapa Essiedu), but she also has an alcohol addiction. As the addiction gets increasingly out of control, her life unravels. Eventually she returns home to escape the constant temptation that London presents. The film follows her attempts to reconnect with her life, her parents (Stephen Dillane & Saskia Reeves) and to control her addiction in the wild beauty of her home.

Based on Amy Liptrot’s book of the same name. The Outrun is a grown up look at the destructive nature of addiction and mental illness. It mostly focuses on Rona’s current battle, but tells the story of her addiction and unravelling through a series of flashbacks.  While it’s by no means an easy watch, it is the compelling performance by Saoirse Ronan that keeps this a compelling and absorbing watch.

Often the issue with films like this is those suffering with addiction can be difficult to feel for, but here Rona, is a character that you believe in and care about. It’s never melodramatic, it’s always subtle and believable and the performance drags you in, you feel the mania of her life, the desperation of her addiction and the pressure she feels. Alongside the difficulty of her relationship with her parents that she has to navigate.

Equally important to the story is the landscape. The wilds of The Orkney’s are used to mirror Rona’s life and challenges, windswept, turbulent, isolated and lonely. But it’s not relentlessly grim, it has moments of humour, love and hope. And while it’s a hard watch, and runs a touch long it treats its difficult subject matter with care.

The Outrun is not an “enjoyable” watch. It’s a tough look at addiction and mental health. But in Saoirse Ronan’s, Rona, it is anchored around a character you care about and want to see overcome her helplessness and desperation. But it’s not endlessly grim, it gives you hope and humour. It’s not a light film but a worthwhile one.

Written & Directed by: Todd Phillips

Written by: Scott Silver

Having murdered six people, including talk show host Murray Franklin on live television, we find Arthur Fleck/Joker (Joaquin Phoenix) in Arkham hospital facing a trail for his crimes. Here he meets a new patient, Harleen “Lee” Quinzel (Lady Gaga), a fan girl obsessed with Joker and his acts. As their relationship grows and Arthur heads to court, Lee encourages him to be himself, embrace the support of his “fans”, get free and together they can head off to “build a mountain” together. 

Todd Phillips in his follow up to the hugely successful Joker has decided that what we needed was a fantasy musical that explores the relationship between Joker and Harley, through a series of extravagant musical set pieces. And for 45 minutes we did, it was an irreverent, entertaining building of a relationship. It was like La La Land if everyone was a psychopath. But the problem was by 55 minutes you realise that actually we did not need it all.

The problem with Folie à Deux is it doesn’t have a story to tell. It has a promising setup and in Phoenix and Lady Gaga two excellent performers, who take us through a wild musical ride. However, it runs out of steam extremely quickly and rather than giving us, as we had in Joker, Fleck’s descent into delusional, murderous fantasy, we instead get his slow descent into dull procedural court room drama. 

While most characters are paper thin and forgettable a couple are wasted. Brendon Gleeson’s singing, psychotic prison warden for one. But no one more than Lady Gaga who is excellent in every moment on screen and at the heart of the story, until Philips runs out of ideas leaving her literally watching the action.

This is a hugely disappointing sequel. Its madcap fantasy musical approach works for 45 minutes, until you realise it’s a film with no story that descends into a dull courtroom drama that does nowhere at all. A film that wastes both the excellent first film and the fabulous talent on display. A crime deserving of a stint in Arkham.

Written & Directed by Francis Ford Coppola

Decades in the making, Coppola’s passion project, Megalopolis, makes the screen. Set in a crumbling New Rome, Cesar Catilina (Adam Driver) is an idealistic designer who wants to build a utopian new city, using his new wonder material Megalon. But in a city full of corruption and a decadent ruling class Catalina’s plans have many enemies. This includes Mayor Cicero (Giancarlo Esposito), Wow Platinum (Aubrey Plaza) and  Clodio Pulcher (Shia LaBeouf) a spoilt son of a wealthy father. Can Catalina overcome the corruption rife in a crumbling society and build his utopia?

When I first read about Coppola’s bold and ambitious passion project, it did feel there was a  risk of it being an ill disciplined, self indulgent mess. And that concern was not unwarranted as it’s exactly what we have.

Don’t get me wrong, I didn’t hate this and bizarrely the more it went on, the more tolerant I became of it, maybe, even enjoyed it! And there’s a certain admiration for attempting this huge sprawling, Shakespearian style tragedy. But that does not change that it needed someone to reign the whole thing in and stop this bonkers mess.

The film is all over the place. It has strange injections of Shakespearian dialogue, dreamlike fantasy sequences, weird shouty line delivery and far too many moments of “what am I watching”.

But like I said, I didn’t hate it. It looks great, there’s some good performances making the most of the nonsense they have to deal with and it does come with both a sense of humour and some social commentary. But in the end, while it’s big and bold, it is a messy nonsense!

Megalopolis is bold and ambitious. But, like many passion projects, it is also an ill disciplined mess. I didn’t hate it, there were enjoyable performances, a great look, a sense of humour and some social commentary, with moments to enjoy. While bizarrely the longer it went on, the more I tolerated it, it’s hard to recommend this bizarre craziness!

Directed by: Anand Tucker

Written by: Patrick Marber based on book by Anthony Quinn.

Haggard and vicious lead drama critic of The Chronicle, Jimmy Erskine (Ian McKellen) finds his lifestyle and livelihood under threat, when new head of the paper David Brooke (Mark Strong) needs to cut waste and take the paper back to its former successes. After a particularly savage review of actress Nina Land (Gemma Arterton), and a public “indiscretion”, Erskine finds himself on borrowed time. When he discovers that Brookes sensitivity to harsh reviews of Ms. Land may be a little more personal he sees a way, with the help of Nina, to protect his career and get control. But when the plan goes badly wrong. Erskine’s own plan takes a very dark turn.

There’s a bit of irony that a film about a savage drama critic, may well find itself on the wrong end of one or two less than flattering reviews, well one at least! Because this was a rather disappointing, melodramatic piece of nonsense.

And that’s a pity, because, the first half of it was interesting, funny and full of charm. McKellan’s curmudgeon drama critic particularly as he showed witt, a disregard for societal norms, a dislike for those whose views threatened society and, importantly, a touching side when challenged by one on the end of his most withering critiques.

But it’s the second half that undoes the good work. The characters becoming increasingly unlikable through their own selfishness and self pity. None of the characters, who make increasingly unrealistic decisions, have any redeeming qualities to the point where I no longer cared about them. This is not helped by a storyline that gets increasingly silly and performances more melodramatic. Ultimately all feeling a bit tiresome.

The Critic is half a good film. Its first half is intriguing, humorous and charming. But loses its way in a second that becomes increasingly unbelievable, with increasingly unlikeable characters that you stop caring about.. I imagine Erskine’s review would be less than flattering!

Directed by: Tim Burton

Written by: Alfred Gough & Miles Millar

Lydia Deetz (Winona Ryder) now hosting her own “psychic” TV show,  finds herself returning home, with her boyfriend Rory (Justin Theroux), to Winter River for a family funeral. This returns Lydia, stepmother Delia (Catherine O’Hara) and Lydia’s daughter Astrid (Jenna Ortega), with who she has a strained relationship, to the family home and all of its memories. No memory stronger than Beetlegeuse (Michael Keaton). It’s tough for Astrid, but when she meets a local boy, Jeremy (Arthur Conti), things look up. But when Astrid’s relationship takes a turn, Lydia’s only hope is to once more call on Beetlegeuse. A call that brings mayhem, led my Beetlegeuse’s wife, Delores (Monica Bellucci), who is seeking revenge. Can Lydia use Beetlegeuse to save the day? Or will she live to regret it?

Beetlejuice is another in a growing list of films that, for me, didn’t need a sequel. But her we are and The Juice is back. And, while it’s nothing great, it was enjoyable fun over its 104 minutes run time.

Tim Burton is at the helm and this is very Burton, dark, funny and a little off the rails. The story is all over the place, with random plot points disappearing as quickly as they appear. But that said it rattles along, hardly takes a breath and is fun and funny as it goes.

The underworld is well imagined, the Soul Train is a particul favourite. But plenty of other fun in scenes of endless bureaucracy, characters with “humourous deaths” and its own underworld investigator in Willem Dafoe’s, Wolf Jackson. And to top it all a big song and dance finale!

Was the world crying out for a Beetlejuice sequel? I’m not sure. But, while the story is a bit of a mess, Tim Burton injects it with plenty of comically dark fun that never takes a breath. Keaton is clearly having a blast back in the black and white suite. And no film has ever suffered from having a big song and dance ending! A classic it isn’t, but I enjoyed it nonetheless.

Written & directed by: Zoë Kravitz

Written by: E.T. Feigenbaum

Frida (Naomi Ackie) and her flat mate Jess (Alia Shawkat) are working as waitresses at a charity event, hosted by Spencer King(Channing Tatum), a disgraced former CEO. When the women slip there way into the party, they find their way into Spencer’s group. The group includes his therapist, Rich (Kyle MacLachlan), who’s helping him deal with his mistakes, a selection of attractive women, including Sarah (Adria Arjona), and a group of Spencer’s friends and associates. As the night ends, the women are invited with the group to Spencer’s island. It’s idyllic and beautiful, food and champagne on tap. But Jess’s unease grows and she feels something is not right. When Frida discovers the reality of what is happening, it turns from idyllic Island into a fight for survival.

I enjoyed this tense, intriguing, thriller. It’s a strong directorial debut from Zoë Kravitzbthat feels very Jordan Peele in a good way. The plot is intriguing, keeping you guessing and ratcheting up the unease from the first minute. The reveal is slow and concealed well enough that the reality of what is happening is surprising and disturbing.

The film is nicely layered as it asks questions about abuse, abuse of power, control and forgiveness. As well as what  people are prepared to forgive for the right reward.

There’s solid performances throughout, Tatum believable in a more sinister role. Naomi Ackie is excellent and well supported by Alia Shawkat and Adria Arjonaz.  There’s also nice performances from Geena Davis, Christian Slater. Haley Joel Osment and Simon Rex.

The story, at 102 minutes, zips along and has a nice Jordan Peele, David Lynch, disturbing reality under the shiny surface feel. It also injects some laugh out loud moments along the way.

Blink Twice is a strong directorial debut from Zoë Kravitz. A smart, intriguing and layered thriller. It builds a sense of unease from the start helped by a good set of subtle performances. And its reveal of its dark secret is well done. An entertaining thriller, don’t blink and miss it.

Written & Directed by: Fede Álvarez

Written by: Rodo Sayagues

When Rain(Cailee Spaeny), who works on a mining planet with her brother Andy (David Jonsson), a synthetic human, are denied a visa to leave the planet, she’s encouraged by her friends led by Tyler(Archie Renaux), to join them to visit a deserted space station orbiting above the planet. On it, cryo chambers, that will give them what they need, to escape the planet and start a new life far away. But when they reach the station, cryo pods are not the only thing onboard. And rather than escape, they find themselves battling for their lives when the true reason for the desertion of the station becomes clear

The latest in the Alien franchise goes back to basics, with a grungy, retro futurist, space horror. It also goes back to the 80’s with not only its look, feel, practical effects and long dark tunnels. But also its story telling, an action thriller, short on dialogue, big on action set pieces and  jump scares.

The small and relatively unknown cast are perfect for the story. Especially the central pair of Cailee Spaeny and David Jonsson. Spaeny is an excellent action hero, nicely picking up the mantel from Sigourney Weavers, Ripley. Jonsson’s loyal humanoid works well alongside her in both his loyal and reprogrammed forms.

It’s not perfect, all of its leaning into the original means it relies perhaps a little to much on the story and beats of the original film. And it does suffer the classic problem of not quite knowing when to stop, with just yet one more hurdle to jump for our heroine. But ita stretched ending gets away with it because of what has gone before But these are small gripes in what is otherwise, an entertaining, riveting space horror adventure.

Alien: Romulus is a very entertaining addition to the franchise. Its 80’s inspiration works great, with a grungy broken sci-fi look alongside its stripped back storytelling which gives a heart pumping horror adventure. And while it may not be hugely original, it is an entertaining, tense, watchable sci-fi adventure.