Streaming on Amazon Prime.

Written and Directed by Nicole Holofcener is this smart insightful comedy. Julia Louis-Dreyfus is Beth, a writer of a successful memoir and on the verge of releasing her first novel. Her husband Don (Tobias Menzies) is a frustrated therapist. When Beth gets less than positive feedback from her publisher, her supportive husband tells her to carry on and find another one. However, all this changes when she hears her husband confide in a friend that he didn’t like her book either. This leaves Beth questioning everything about her ability as a writer and her husbands love.

On the surface this is a gentle meandering comedy, lit up by excellent performances. But that doesn’t quite do justice to what is also an insightful and smart comedy that explores the impact of “little white lies” those little encouraging things we tell people to encourage them whether we believe them or not. And how, while people may ask for “honest” feedback, they often don’t really want it.

There is a smart script, with some wonderfully judged performances to enjoy. Dreyfus and Menzies are excellent and hugely believable as a married couple. But there is also a range of equally good supporting performances, Michaela Watkins as Beth’s sister Sarah, a frustrated interior designer and her struggling actor husband, Mark (Arian Moated) are great. And there is also some fine scene stealing from Jeannie Berlin as Georgia the girls mother.

This is a gentle meandering comedy. But that is not to do it down. It’s also a clever look at human insecurities and our need for validation. It’s humourous throughout with great performances. A really smart and enjoyable way to spend 93 minutes.

Directed by Jeff Rowe and Kyler Spears is the big screen return for everybody’s favourite martial arts expert turtles. This time in a gloriously animated origins story. The boys (played by Micah Abbey, Shamon Brown Jr, Nicolas Cantu & Brady Noon) still live a sheltered life with their father Splinter (Jackie Chan). The highlight of their days been their “Ninja” shopping trips. All that changes when they see April (Ayo Edebiri) become a victim of a moped theft. Playing “April’s” hero leads them into a collision with a group of mutants, led by Superfly (Ice Cube) who want to destroy all of humanity. The boys decide that they need to step up, ve heroes and be accepted by humans for who they are, regardless of their turtle based difference.

This is a 99 minute wild ride of an animated adventure. It feels like it’s pitched well at its target audience and doesn’t try to be over-smart or full of nostalgic nods back to the 90’s Turtle movies. Instead this is a fresh introduction to the story, which uses a smart mix of animation styles to create a lively and entertaining world.

The voice cast works well with the young leads well supported by a who’s who including Seth Rogen. Rose Byrne, Maya Rudolph, John Cena and Paul Rudd.

If there is a criticism it is that there is a lot squeezed into its short running time which, for me, gave it a rather chaotic and unstructured feel at times.

It’s animation look is innovative and impressive, catching the eye throughout. Whciht is accompaniest by a lively soundtrack.

Mutant Mayhem is an action packed 99 minutes of animated Turtle fun. Its animation style and lively soundtrack all keep you engaged. Although it felt somewhat chaotic and unstructured at times, here’s plenty to enjoy in what is an entertaining Turtle’s adventure.

Written by Cherry Chevapravatdumrong and Teresa Hsiao is Adele Kim’s directorial debut, the female “raunchy comedy” Joy Ride. Audrey (Ashley Park) and Lolo (Sherry Cola), are lifelong friends thrust together by their parents as the only Asian kids in the area. When Audrey, now a successful lawyer, gets the chance to go to China to close a big deal, she takes Lolo with her. Travelling with them is Lolo’s cousin Deadeye (Sabrina Wu). When in China they join up with Audrey’s college friend and successful actress Kat (Stephanie Hsu). But after a less then successful meeting with Audrey’s client, the girls find themselves on a odyssey to find Audrey’s birth mother. But it becomes a journey that does not go as planned and becomes a journey of discovery, friendship and finding your place. Mixed in with sex, drugs and K-Pop!

There’s nothing new with Joy Ride. It follows a well trodden path of buddy road trips that lead to tensions and self discovery amongst the jokes and comic set pieces. But cinema is full of genre films and when done well they can be an enjoyable treat. And Joy Ride is in the “done well” camp.

Its humour is very much on the adult side. It’s not subtle but it is consistently funny, Including a particularly entertaining K-Pop musical interlude.

The four central cast members are all likeable and each has time to develop and have a level of depth that makes them interesting. While the comedy is adult. It’s never mean, gross-out or lazy.

What makes this really work for me though is its heart. While mainly an adult comedy, It has both charm and a good-hearted emotional core that culminates in a surprisingly touching final act.

While Joy Ride is a predictable “raunchy” adult comedy. It is consistently funny, has a likeable entertaining cast and most importantly it is good spirited with a warm touching story at its heart. It won’t live long in the memory, but one you’ll happily watch again when it pops up on TV!

On Apple TV+

Written and directed by Kristin Gore with Damian Kulash is this screen adaptation of Zac Bissonnette’s book about Ty Warner.

The story is told in two parts early 80’s with the company’s formation and success, and early 90’s when Beanie Babies take the world by storm. Zac Galifianakis plays Warner, who, after the death of his father, meets Robbie (Elizabeth Banks) and together they take the toy market by storm with their poseable, colourful toys. In the early 90’s we meet Maya (Geraldine Viswanathan) a college student who introduces Ty to the internet and revolutionises the business. Finally we meet Sheila (Sarah Shook) who becomes his long time partner and it’s her children who inspire the creation of Beanie Babies. The film follows Ty’s realtionship with the three women and the rise and crash of the Beanie Baby phenomenon.

I’m a fan of these based on true story films and the story of Ty and Beanie Babies was new to me. While it’s a pretty nuts and bolts telling, the story itself is interesting enough and seems relatively close to the reality. Although It does drag a little towards the end of it 110 minutes running time.

Galifianakis, is well cast at Warner, reprising the kind of role he has done before. A bright, talented eccentric, but one with a dark side, a control freak, who refuses to recognise the value of others and a childish self centered streak. Elizabeth Banks is as dependable and watchable as ever. Geraldine Viswanathan and Sarah Snook are equally strong and it’s the story of Maya that was most interesting to me.

The film looks great with a fabulous use of colour for each of the film leads with bright blues, yellows and reds matching those of Ty’s colorful toys.

The story telling is occasionally confused. The intertwining of the timelines doesn’t always work and it runs out of steam in the final act.

The Beanie Bubble tells a fascinating story. Its well drawn main characters keep you interested and it looks great. Its two timelines don’t always gel and it does lose steam towards the end. But still an interesting story to enjoy.

Christopher Nolan’s brings to the screen the story of J.Robert Oppenheimer, the father of the atomic bomb. Cillian Murphy plays Oppenheimer, we follow his life from theoretical physicist, to the man who leads the team that develops the atom bomb and ends up wrestling with his conscience, battling with a past and a political game that threatens to undermine his life. It’s a sprawling story that focuses on his work and those with the biggest impact on his life his wife Kitty (Emily Blunt), his lover, Jean (Florence Pugh), Leslie Groves (Matt Damon) and Lewis Strauss(Robert Downey Jr.).

Oppenheimer is a complex man, with a complicated life and bringing that to the screen in a big budget epic, while remaining intriguing and engaging is no small challenge. But if you could trust a filmmaker with it, it’s Nolan and he proves it with this compelling, sprawling 3 hour epic.

Told using three distinct timelines, we see Oppenheimer Idealistic in his science and politics to leading the team that developed the atom bomb. We see him after the war, his conscience and background haunting him and putting in danger his life’s work. We also have the story of Lewis Strauss, whose life is intertwined with post war Oppenheimer. All three separate but skillfully intertwined.

At the heart of what makes this work is Murphy’s portrait of Oppenheimer. Who takes us through the journey of a man from Idealist, to driven scientist, to one wrestling with his conscience. it’s an excellent performance that keeps fully you engaged throughout. While he’s well supported Murphy is its beating heart.

As always with Nolan the film is technically smart. It looks great, has a fabulous score and ingenious use of sound, especially when carrying out the Los Alamos tests.

This is how to bring epic stories to the screen. It weaves together its three timelines, juggling science, politics, revenge and conscience in a big budget cinema epic. While it’s long. It’s never dull and Cillian Murphy’s performance keeps you engaged throughout. It’s an impressive film about a story that changed history.

Greta Gerwig and Noah Baumbach bring their film making skills to the world of Barbie. Margot Robbie is stereotypical Barbie. Living her best life everyday in her Barbie world while brushing off the attentions of Ryan Gosling’s Ken. But when Barbie’s world starts to change she visits “weird Barbie” (Kate McKinnon), who sends her to the real world to put things right. Here she finds Sasha (Ariana Greenblatt) and her mum Gloria (America Ferrara) and their strained relationship. Barbie and Ken find the real world to be very different from what they expected. But when that experience impacts Barbieland, Barbie needs a plan, the other Barbie’s, Gloria and Sasha to put it right.

Greta Gerwig is an extremely clever film maker. She shows just how clever here by taking a plastic doll and turning into a smart, humorous and emotionally engaging story about growing up and finding out how to deal with a world that wasn’t what you expected.

The real genius of the film was how it crept up on me. Halfway through I wasn’t sure what to make of it, but by the end I was completely enraptured by the pink world of Barbie, knowing it to be truly fantastic!

There’s much to enjoy. There’s long out of production Barbie’s and Ken’s, Barbieland, Barbie and Ken’s outfit choices in the real world and his discovery of the patriarchy. The comparison of the FBI and Mattel offices. All with cine literate storytelling, joyful performances and fantastic song and dance routines!

It’s all you expect, the world of Barbie is pink and pretty and the real world the opposite. But it’s also lots you don’t expect. It’s heartfelt, touching and incredibly smart. It’s about not just girl power, but a message for us all in growing up and finding our way. All wrapped in a dazzly pink bow.

Barbie is all you expect and lots you don’t. It’s Greta Gerwig at her best. A smart, funny, emotionally engaging, brilliant bit of story telling. It will have you laugh and cry and in Margot Robbie and Ryan Gosling you have two pitch perfect leads. It’s not plastic but it’s certainly fantastic.

Christopher McQuarrie and Tom Cruise are back with the latest Mission Impossible film. Hunt’s (Cruise) mission, should he choose to accept it, is to find old friend Ilsa (Rebecca Ferguson) and retrieve from her part of a key. A key, that when completed, will give the holder access to an out of control computer AI that can bypass any security and start to rewrite what is known as true. And that is the world we have become, where sentient AI, is the biggest risk to our safety. That means the world’s governments and powerful criminals want it. This includes the White Widow (Vanessa Kirby) and Gabriel (Esai Morales), a ghost from Hunts past. This leads Hunt and team (Simon Pegg and Ving Rhames) and new addition, Grace (Hayley Atwell), chasing across the world in a trail of epic chases through iconic locations to save the world.

What you want from these films, is a ridiculous plot, incredible action scenes and death defying stunts with ever increasing stakes. And here McQuarrie and Cruise not only deliver that, but deliver it spectacularly.

The plot is nonsense, chasing a random object around the world to stop a sentient AI falling into the wrong hands giving them infinite power. But that doesn’t matter, from the first bars of the famous score to the, literal cliffhanger ending, it’s one wild ride.

What really makes it is the high tension practical effects. From car chase to train chase, there’s a refreshing lack of (obvious) CGI. And while you know that Hunt is unlikely to die, it doesn’t stop each set piece ratcheting up the tension further everytime.

While it’s a little long it looks fabulous, with the cast giving it their all to keep up with the high paced action. Providing an entertaining high octane adventure.

Mission: Impossible is exactly the film that you expect. From ridiculous storyline to incredible action set pieces and fantastic theme tune, you get the high watermark of action adventures. While it is a touch long, it manages via its creative high stakes action scenes to keep you hooked. Roll on part two.

Peter Sohn directs Pixar’s first original cinema release since the beginning of the pandemic. Ember (Leah Lewis) works in her family shop, daughter of Bernie (Ronnie Del Carmen) and Cinder (Shila Ommi), fire elements who were amongst the first to settle in what is now Fire Town on the edge of Element City. A city which is the home to a mix of elements, including water, air and land. Life is simple until Ember meets Wade (Mamoudou Athie) a water element. A meeting that takes Ember into new territory in Element City, new relationships and new and challenging feelings.

Elemental does the thing that Pixar does well in taking a grown up topic and turning into a warm and charming story. It is a story about immigration, integration, history and balancing respecting heritage with making the way in a new world.

It’s not trying to be subtle in covering it, from arriving to the new world on boats and turned away from lodgings with “No fire” signs on doors and building a community in a ghetto. But that it never veers into overly dark, while making its point. Alongside thesd struggles is a heartwarming story about family and new love.

The voice cast is at the high level you expect. Of course the animation looks fantastic and is accompanied by a fine score. The story moves along at a nice pace and their is plenty of humour along the way. At 101 minutes it never drags. But it never quite reaches the emotionally engaging heights that the best Pixar films do. This is illustrated by the Carl’s Date short before it, which reminds you just how good Pixar are at their best.

Elemental is a solid rather than spectacular Pixar film. It looks incredible and has plenty of warmth and charm. The voice cast are great and the story zips along. But it never quite reaches peak Pixar. But solid and original Pixar is still better than most which makes this enjoyable enough.

Available on Netflix.

Adam Devine stars and Tyler Spindel directs this action comedy. Owen (Devine) is manager of a small regional bank about to marry his love Parker (Nina Dobrev). What seems like initially welcome news, that Parker’s parents (Pierce Brosnan and Ellen Barkin) can make it to the wedding, soon turns into an unexpected problem! The problem comes when Owen’s bank is robbed by the “Ghost Bandits” who Owen quickly believes to be Parker’s parents. This leads to kidnappings, police chases, further heists, shoot outs and more as Owen tries to fix the problems the robbery at his bank created.

This is a very predictable, sometimes misjudged, sometimes funny, straight to streaming action comedy. I often don’t hold out too much hope for straight to Netflix comedies so expectations tend to be low and this just about met them

Devine does the thing he’s known for, that awkward yet strangely over confident character. But he’s overshadowed by Barkin, who shows a flair for action and Brosnan, who flexes his comedy muscles well, if you look past his oddly uneven Irish accent. There are a couple of good supporting roles too from Poorna Jagannathan as mobster Rehan and Lauren Lapkus’s overly cocky bank manager.

But the film is very uneven, and only funny in patches. It’s very predictable, there is some misjudged stuff (a particularly destructive scene in a cemetery) and even at just 95 minutes it does occasionally drag. On the plus side, there are some entertaining action set pieces and there also some solid laugh out loud moments. But ultimately it’s all just a bit meh.

The Out-Laws is the definition of a straight to Netflix comedy. It has its moments, but not enough. It does have some solid action set pieces and is probably worth it for Brosnan and Ellen Barkin. Although at only 95 minutes long it doesn’t overly outstay its welcome. I came in with low expectations and this just about met them.

James Mangold directs the fifth and final Indiana Jones installment. It’s 1969 and Jones (Harrison Ford) is about to retire, teaching history to kids more interested in Moon landings and music than history. But things don’t go to plan when the daughter of an old friend, Helena (Phoebe Waller-Bridge), arrives back in his life. She wants Indy to help her find a priceless artifact that her father spent his life hunting. While Indy doesn’t agree, it doesn’t stop him being pulled into a chase across the world, which includes Nazi’s (of course!) adventures under water, on land, in tombs, in the air and through time. All in one last outing for the Fedora and whip.

Dial of Destiny is a satisfying if underwhelming goodbye to one of cinemas most enduring adventure heroes. Mangold attempts to bring the look and feel of 80’s Jones and to a great extent he succeeds. But doesn’t quite pull it off completely with an adventure set over 2 1/2 hours which feels ready to get started but never quite does.

The action is impressive and relentless. Beyond some mixed CGI in the early scenes. The majority of the action is physical, with races through streets, scrambling through caves and battles through bars that all give a feel of an Indy adventure.

But the action sequences sometimes feel a little laboured and often lack the energy and humour the series is known for. A bit like with the returning Han Solo, Ford plays a more weary and melancholic version of Jones which works well. Ultimately it’s Waller-Bridge’s Helena that the energy and witt.

Alongside the leads Mads Mikkelssen goes full Jones Nazi. With Ethan Isidore’s Teddy taking on the adventurous kid roll. John Williams score carries the film along occasionally breaking into its globally famous theme.

The Dial of Destiny is a competent rather than memorable send off to a beloved character. It makes an attempt at creating a sprawling 80’s adventure, but never quite makes it. It just about manages to not jump the shark at the end and its touching final scene feels like a suitable goodbye.