Directed by: Curtis Vowell

Written by: Andy Riley

Medieval Queen, Dagan (Aimee Lou Wood), is not the most popular Queen. When she is overthrown by the leader of the people’s revolution, Humble Joan (Nicola Coughlan), she goes on the run with one of her maids Shulmay (Lolly Adefope). Shulmay has a plan to get the Queen to the east coast and safety. On the way they pick up shit shoveler, Bobik (Nick Frost), and make their way through towns and forests chased by Leofwine (Jessica Hynes), the Queens former aid. The three have lots to overcome, including their growing friendship, as they try to get Dagan to safety.

This follows a template of recent films from the likes of Horrible Histories and Catherine Called Birdy. While it’s not the quality of the latter, it is still an amusing adventure.

Ultimately this is a medieval road trip, that follows the road trip tropes of a quirky group brought together by circumstance, whose friendship develops. And that’s where it is at its best, as the three’s relationship goes through ups and downs and is tested to breaking point. It’s maybe a pity that the story of Humble Joan is no more than a bit of a distraction and perhaps a stronger storyline could have made a better film. But that said while it’s not rip-roaringly funny, it packs plenty of charm and comes with enough chuckles to keep you on-side.

Performances are enjoyable, especially Lolly Adefope who steals the show. Aimee Lou Wood is engagingly annoying and Nick Frost as reliable as ever. And the three of them take you along on a pleasant ride.

Its not perfect. It can drag occasionally and isn’t consistently funny. It also has a strange 15 rating which feels like it takes it out of reach of what would be an ideal audience.

Seize Them! Won’t live long in the memory or become a classic. But in its two leads and short running time there is enough humour and charm to keep you on-side. Amusing rather than hilarious but enjoyable enough.

Written and Directed: Dev Patel

Co-writers: John Collee, Paul Angunawela

Dev Patel is down on his luck, scrapping for a living, including as the fall guy in a fight club run by Tiger (Sharlto Copley) where he fights as Monkey Man. Looking to take a step up he cons his way into a job at a rich man’s club run by Queenie (Ashwini Kalsekar). A club where the rich and powerful congregate including the Chief of Police (Sikandar Kher) who is linked to influential religious leader Baba Shakti (Makarand Deshpande). When Patel’s character befriends hotel fixer Alphonso (Pitobash) it becomes clear this is less about work and more about vengeance for a childhood trauma and his vengeance will be bloody!

This is Patel’s directorial debut and perhaps unexpected that it’s a Mumbai based, very violent, revenge thriller. While it is not hugely original it is stylish and well done and would not look out of place in the John Wick cannon.

Set in India (although filmed in Indonesia) it uses its location well to tell the story. It shows poverty alongside riches and corruption. It shows religion, mysticism, persecution and violence. It looks great, using the chaos of India for fantastic set pieces, including the worlds fastest tut tut.

Action is well choreographed and Patel slips seamlessly into an action role, channeling more than a touch of Keanu Reeves. It’s a film that won’t escape the John Wick comparisons but those comparisons are a compliment.

It’s not prefect and is a little baggy in the middle third as Monkey Man finds his purpose. This includes a Rocky montage as he readies himself for the final showdown with the help of a transgender group living in a temple under the guidance of Alpha (Vipin Sharma). But this aside, this is an entertaining well done genre film.

Monkey Man is an entertaining, although extremely violent, revenge thriller. Dev Patel delivers a strong directorial debut as well as slipping comfortably into an action lead role. It looks great with some excellent action set pieces. While it’s not perfect it is a stylish and fun revenge thriller.

Written and directed by: Gil Kenan

Written by: Jason Reitman

Back in New York the Spengler’s (Carrie Coon, Fin Wolfhard and Mckenna Grace) along with Gary Grooberson (Paul Rudd) are now full time Ghostbusters, living in the firehouse, driving the car, busting Ghosts. But when Nadeem Razmaadi (Kumail Nanijani) turns up at Ray’s (Dan Akroyd) store with a mysterious orb, the team find themselves with a new threat in the shape of Garraka, an ancient and powerful spirit who is keen to free himself from the orb and unleash the ghosts held in Ghostbuster containment, to freeze the world and destroy humanity. The Spengler’s join forces with the original Ghostbuster team to tackle this new foe and save the day.

This film has taken a bit of a critical pounding. But to be honest, I had a good time with it. There’s still a warm fun feeling to be had from the familiar sites and sounds, including that music, of Ghostbusters. This film leans heavily on that, with Bill Murray, Ernie Hudson and Annie Potts joining Akroyd to bring the team back together alongside the newbies.

But it’s in that need to hang on to much of the original films, including it’s cast, the problem lies. Because there isn’t really much new here. The story treads familiar ground and ultimately is all about underwhelming. There are attempts at new bits especially Mckenna Grace’s, Phoebe, trying to find her place in the world through her friendship with the ghostly Melody (Emily Alyn Lind).

The films biggest issue is it tries to do too much, it has a huge cast but without much of a plan for it, with lots of characters struggling for a plot. The story is also never quite sure where to focus, flirting between promising storylines but never really carrying any of them through.

Frozen Empire has had some tough reviews. It does have its problems, such as a big cast with little to do and lack of originality. But personally I enjoyed it. There’s still fun in revisiting the familiar world of Ghostbusting. But as a franchise it needs something new. Maybe time for the Ghostbusters to hang up their photon packs.

Directed by: Johan Renck

Screenplay by: Colby Day

Czech Astronaut Jakub Procházka (Adam Sandler) is 6 months into a mission to investigate a strange purple cloud that has sat in the night skies for the last four years. However, he is now at a point where the tiredness and loneliness are taking there toll, not only on Jakub but on his relationship with his wife Lenka (Carey Mulligan).  However, when he discovers a strange presence onboard his ship, it becomes a companion with who he evaluates his life, his loves, losses, regrets and, as they head into the purple cloud, maybe a chance for redemption.

This is an odd slow burner of a film. It’s far from perfect it’s uneven at times, often  meandering, sometimes odd, but also sometimes touching and thought provoking. It’s a story of loss, regret, love and self discovery for Jakub and his strange companion, Hanuš (Paul Dano).

There are certainly things that do work, this includes Sandler’s performance, he carries much of this on his own and in one of his most restrained appearances, he captures well the feeling of isolation and helplessness so far from home. Carey Mulligan is a little under utilized as Lenka, but delivers it with the quality you expect. Paul Dano is just the right level of weird for Hanuish.

The set design is an interesting late 80’s early 90’s display of Czech technology and adds to the feeling of out of time and place.

There are problems, its pacing can be very slow, it story sometimes a little confused and dialogue a bit on the nose. But for all of that it also does have a quirky charm to it and at times is touching.

This is by no means perfect. It often moves too slowly and is a bit disjointed. But there is also enough intrigue, tension, occasional humour and touching moments to make it feel worthwhile. Probably not for everyone but I enjoyed it enough.

Available on Netflix.

Directed and Co-Written by: Denis Villeneuve

Co-Written by: Jon Spaihts

Part two picks up the epic tale from where the first part ended. Paul Atreides (Timothée Chalamet) and his mother (Rebecca Ferguson) are under the protection of the Fremen, after the slaughter of House Atreides by the Harkonnen’s. Increasingly the Fremen are convinced that Atreides is a Messiah come to Arrakis to lead it to prosperity. As the Freman become convinced so does Paul, that while not the Messiah, is there to lead the Freman to reclaim their planet from the Harkonnen’s and in turn avenge his father. At the same time balancing his feelings and relationship with Chani (Zendaya). In the background the force’s of the Bene Gesserit in the shape of his mother and Gaius Helen Mohiam (Charlotte Rampling) are looking to shape theirs and Atreides future.

After the success of Part One, Villeneuve has not disappointed with this incredible sweeping epic of a science fiction film. Part Two has a lot more story to fill in than its predecessor, with politics, faith, belief, mysticism and betrayal. And while occasionally it creaks under the weight of the story Villeneuve keeps it on track with effortless style, telling it patiently, giving it time to breath.

Epic is the only way to describe Dune. It’s a film of scale in the best way of the epics through cinema history. It storytelling, visuals,  soundscape and ambition are totally absorbing as it meanders and weaves effortlessly as a Sandworm,

The cast is great,  Zendaya, Javier Bardem and Austin Butler’s, psychotic Feyd-Rautha Harkonnen all add to the story telling. But it is built on Chalamet and Rebecca Ferguson. Broth brilliantly building character arcs on growing from freedom fighter to leader,  the other in the shadows, manipulating those around them.

Dune: Part Two is breathtaking storytelling on a scale  you rarely see. While the story sometimes creaks it is never anything other than absorbing. This is a wonderful 166 minute epic from start to finish. Cinema at its best and if you can see it, see it on the big screen

Directed by: Thea Sharrock

Written by: Jonny Sweet

A story that’s more true than you think introduces us to Little Hampton in 1920’s England. Edith Swan (Olivia Colman) has received yet another anonymous and very personal and abusive letter, much to the distress of her father (Timothy Spall) and mother (Gemma Jones). The police are involved and the accused is next door neighbour Rose Gooding (Jessie Buckley), an Irish single mum, with a wild side and a colourful use of language who is arrested and charged. But when woman police officer Gladys Moss (Anjana Vasan) starts to doubt Rose’s guilt she rallies a small group of towns women to help clear Rose’s name and find the real culprit.

I was surprised to see some pretty sniffy reviews of this, because I had a really good time with what is a crazy true story. If nothing else there’s wonderful joy to be had in hearing Olivia Colman and Jessie Buckley use some fine industrial language, and if you don’t enjoy that then you are doing it wrong! But this film has more to it than that. It’s a film with a surprising dark side and both a  sadness and warmth to it.

The script is fun, but does explore some dark attitudes to immigrants, womens rights and coercive control. And while it never delves too deeply it’s an undercurrent that plays well throughout.

The cast are fabulous Colman and Buckley are great and as always a joy. Anjana Vasan’s determined police woman often steals the show. Add to that Timothy Spall, Gemma Jones, Hugh Skinner’s bumbling policeman, Joanna Scanlan and Eileen Atkins you have brilliantly watchable ensemble.

I had a great time with Wicked Little Letters. While there is lots to enjoy in Olivia Colman and Jessie Buckley’s use of “language” there is much more to it than that. It has a sadness, darkness and warmth I’d not expected. It is a well written telling of a strange and rather sad story brought to life by a fabulously watchable cast.

Directed by: Reinaldo Marcus Green

Written by: Terence Winter, Frank E. Flowers, Zach Baylin, Reinaldo Marcus Green.

One Life follows the life of  Bob Marley (Kingsley Ben-Adir) between the attempted shooting of him and his band in Jamaica, through to his return to the One Love concert in 1978 and attempts to reunite his violently divided homeland. In between it follows the band to England and the recording of the Exodus album. The film touches on his life with his wife Rita (Lashana Lynch), the hugely successful Exodus album European tour and his tragic cancer diagnosis, before returning home to attempt to bring peace.

I went into this now knowing much of Marley’s life, beyond his music. And rather disappointingly I left it not knowing much more about him from this disappointing disjointed and flat telling of the life of a man whose music still remains well known and well loved.

On the plus side, Kingsley Ben-Adir delivers in the central role, inhabiting it wonderfully, from his laid back vocal delivery, to his energetic musical performances. Lashana Lynch underused but does the best with what she has. And of course Marley’s music is there to give you a great soundtrack to enjoy.

But beyond that it all feels a bit surface. The first half is a bit of a jumble, from the shooting through to heading to London, none of the story or decisions seem explored and presents seemingly random events. The second half is better, as we see the creation of Exodus, the interaction with the band and the performances. It only occasionally explores his unknown father, the complexity of his relationships and his religion. But it fails to ever fully explore what should be a fascinating story. And its use of Patois does have you working hard to capture the dialogue.

One Love, considering its subject, is a strangely flat affair. Kingsley Ben-Adir is hugely watchable in the lead role, but sadly the film around him never matches his performance. It all feels a little jumbled and never really gets under the skin on the story. But at least there’s the soundtrack.

Written and Directed by Sean Durkin

Based on the true and tragic tale of professional wrestling family the Von Erich’s. Kevin (Zac Efron) is the eldest of four surviving brothers, having lost his eldest brother as a child. He also is one of the hopes of landing a world title for his former wrestler and now trainer father, Fritz (Holt McCannally). Kevin is already established but is soon joined in the ring by brother David (Harris Dickinson) and Kerry (Jeremy Allen White) who joins them having lost his chance to go to the Olympics. For each wrestling is in their blood as is their desire to  please a demanding father. But it’s a desire that brings opportunity and tragedy in equal measure.

The true story of the Von Erich’s is incredibly tragic. And while there are things to admire in this telling I wish it had worked better for me.

This partly comes down to some of the story telling decisions. While clearly care is taken in telling such a tragic story, telling it from Kevin’s point of view only, meant it felt like it lost something in understanding how the tragedies developed, leaving them feeling like distant events rather than gut wrenching tragedy. It also never fully explored the themes it introduced, such as Kevin’s own feelings about what had befell his family, was there guilt or responsibility? Or a look at the impact of the demanding father. It all felt a little bit too surface level.

All of which is a pity, because there are things to like. Efron, is a likeable screen presence and carries the story well. He’s also well supported, Allen White and McCannally of the central cast. But also strong support from Maura Tierney as a mum with so much to handle, Lily James as Kevin’s wife and Stanley Simons as youngest brother Mike.

But ultimately it never felt it had the emotional depth it needed.

The Iron Claw takes care in telling a tragic story and I wish I’d liked it more, especially thanks to some strong performances. But sadly it felt that the story never quite got under the skin of the real life tragedy and all felt a little detached. Which is a pity.

Written and directed by Jonathan Glazer.

Rudolph Höss (Christian Friedel), his Wife Hedwig (Sandra Hüller) and their children live their idyllic life. However it is a life built on the horror of Höss’s job as commandant of Auschwitz. The camp walls act as Hedwig’s garden walls in which she grows flowers and the children play, seemingly immune to the noises of industrial scale murder happening behind those walls. As Rudolph’s career advances and he is promoted, Hedwig demands to stay in her dream home and above all else keep it a home in which to raise her family.

This is not a film to provide a good time. It’s more domestic documentary than “story” as it follows Höss and his families day to day lives. And it is it’s domesticity that makes it work. It’s the normality of how mass nurder is such a normal part of life that is the films horror.

A couple who have done well for themselves, a big house, children running and playing, wife entertaining friends, tending the garden. Proud to show off her work when her mother comes to stay. He deals with his workload as though the head of a factory, handling strategic problems, dealing with his staff.

While we never see the signs and sounds of the industrial murder are ever present. Voices, shots fired, the clanking and banging of the machines of murder. In the background pillars of smoke continuously rise, steam puff’s from trains and at night the orange glow of the furnaces lights the skies. Not everyone escapes the horror, Hedwig’s mother sees it, one of the children overhears his father ordering murder.

The performances of Friedel and Hüller are excellent and chilling. But the soundscape is the true star, as the sounds of murder seep into every scene and are a constant reminder of what is really going on in these seemingly normal lives.

While not a piece of “entertainment” this is a hugely powerful film. The intertwining of industrial scale murder with domestic bliss is truly chilling. A smart piece of cinema that shows the way that seemingly normal people can treat mass murder with such scant disregard.

Director: Matthew Vaughn

Written by: Jason Fuchs

Elly Conway (Bryce Dallas Howard) is a writer of Bondesque spy novels. Struggling to finish her fifth installment, she gets a train to visit her mother (Catherine O’Hara) to try to figure out the ending. On the train her life is changed when she meets Aidan (Sam Rockwell) a real life spy, who has come to protect her. Because it turns out she is not only writing stories, but making predictions that are happening in the real world of espionage. This has made her a target for a shadowy group of bad guys, headed up by Ritter (Bryan Cranston). Aidan, Elly and her cat Alfie, set off on an adventure to get her and the information she knows into safe hands.

Tucked away somewhere in Argylle is a 75 minute, entertaining and funny spy parody. The problem is that idea is stretched into a 139 minutes and it really doesn’t have enough to sustain it.

It’s hard some harsh reviews, and in its defence it’s not a complete disaster. There are bits that work. It has moments where it’s funny and it has some decent set pieces, including an extremely colourful shoot out in the bad guys lair. All with an enjoyable soundtrack.

It also has a likeable cast. Rockwell is enjoyable as his down to earth spy. Bryce Dallas Howard an always enjoyable presence and you can’t go wrong with Bryan Cranston. Henry Cavill rocks up as Elly’s embodiment of Argylle. Alongside a starry set of cameo’s including Ariana De Bose Dua Lipa, John Cena and Richard E.Grant. All with an enjoyable soundtrack.

It’s problem is, the nugget of the idea, is just not strong enough and it’s stretched beyond breaking point far to early. It’s plot is more hole than plot and it didn’t know when to stop as it just kept going, going and going, having long since stopped being interesting.

Argylle had a nugget of a fun idea. But it’s an idea that is stretched about an hour too far, and it’s not smart or funny enough to sustain it. While it has its moments, it doesn’t have enough and will most definitely leave you wanting less.