Dumb Money is based on the true story of how a co-ordinated investment strategy of 1000’s of small investors ended up costing hedge funds billions of dollars. Based on Ben Mezrich’s book and directed by Craig Gillespie, Paul Dano plays Keith Gill. Gill is an amateur investor and internet influencer. When he spots an investment opportunity, in the undervalued GameStop, he shares this with his followers. As investor numbers grow this catches the attention of powerful Wall Street figures especially Steve Gibson (Vincent D’Onofrio), Ken Griffin (Nick Offerman) and Gabe Plotkin (Seth Rogen) whose firm, is taking an investment gamble in GameStop’s failure, a gamble that Gill’s influence threatens and starts a battle between Wall Street Goliath’s and the small investor David’s.

I am usually a fan of this kind of story. I often find them fascinating, engaging and astounding in how one side gets away with flagrant abuse of its position. But while Dumb Money has all of the ingredients, I was left disappointed in what felt a rather flat and souless bit of storytelling.

The problem is possibly the story itself, while interesting it feels, at least in Gillespie’s telling, that it lacks any truly engaging characters to cheer for or rail against. The main protagonists seem to go about their business, with never any feel of peril to emotionally engage you. Gill is driving the investment, but it never seems to weigh on him or excite him. Plotkin, whose investment company is the one impacted, never seems to bothered by the billions he is losing. And the small investors represented by the characters of America Ferrara, Anthony Ramos, Talia Ryder and others, could all be taking high stakes risks, but it is never clear whether the are so ultimately I found it hard to care about any of them.

Dumb Money, while based on a fascinating story, is a strangely flat telling of it. It doesn’t really engage, lacks characters to care about, or present any jeopardy. This probably makes a great documentary, but not sure it makes a great film.

Alice Troughton makes her directorial debut with a film penned by Alex MacKeith. Liam (Daryl McCormack) is a writer and tutor. He is given an opportunity to tutor Bertie (Stephen McMillan) the son of famous writer J.M Sinclair (Richard E. Grant) and his wife Helene (Julie Delpay). Liam finds a home that is far from happy. Instead it is an oppressive household, mourning the death of Bertie’s brother, with fractured relationships between father, wife and son. But at least Sinclair is writing, inspired by a new story, but a story with a dark secret, a secret that Liam soon finds himself pulled in to.

This is an odd, but often intriguing film. It’s not one that fully works, but has plenty in it to keep you engaged and interested enough to stick with it. It’s a story that feels a bit like a classic TV thriller/horror of the 70’s (think Tales of the Unexpected, Hammer Horror) including its sometimes stilted dialogue and unusual angle camera shots. All part of trying to keep you off balance as the story takes its twists and turns.

The cast do a decent job with the solid enough script, playing out it’s intriguing story, that keeps you guessing up to and including its final act twist.

But there is something about it that doesn’t quite work and I’m not quite sure what. It is perhaps that it stretches the story a little bit, or tries to be a little bit cleverer than it really is. But while it doesn’t fully work, it does work just about enough.

This is an odd and uneven film that feels like a throwback to TV thrillers of the 1970’s. But while it didn’t completely work for me, that’s not to say I didn’t enjoy it. The story is intriguing and engaging and the cast more than watchable. While not destined to be a classic, it’s still worth a watch.

Kenneth Branagh directs his latest outing as Agatha Christie’s Poirot. Poirot (Branagh) is retired to Venice, protected from the desperate, seeking his help, by former policeman Vitale (Riccardo Scamarcio). That’s until old friend and author Ariadne Oliver (Tina Fey) comes to visit and invites Hercule to a séance at a local “haunted” Palazzo. A chance to meet famed medium Mrs. Reynolds (Michelle Yeoh) and prove her a fraud. Reynold’s “customer” is Rowena Drake (Kelly Reilly) a mother who mourns the loss of her daughter. The scene is set, a stormy night in a haunted house, a grieving mother desperate for contact with her daughter and a mystery to solve for a reluctant detective. But the mystery takes a twist when a murder occurs, is it angry spirits? Or is there a killer at the séance? it’s up to Poirot to find out.

Full disclosure, I’m a sucker for a murder mystery and I really enjoy Branagh as Poirot and after the disappointing Death on the Nile, Haunting was a return to form that did not disappoint.

Haunting plays well with its “other worldy” premise, building tension in a “hammer house” old school manner with ghostly voices, movements in the shadows and mysterious bangs and crashes. Supported by its atmospheric score.

While the mystery is perhaps no real surprise it’s delivered well by its strong cast. Which, alongside its main protagonists features good support from Jamie Dornan, Camille Cotton and Jude Hill as precocious youngster Leo. All allowing Branagh to have plenty of fun again as the famous detective.

I am a fan of Branagh’s Poirot so was already well disposed to this and wasn’t disappointed. The setting is sumptuous, the story suitably spooky and a star studied cast deliver an enjoyable old school whodunnit. It may not be a classic but I found it a really enjoyable, atmospheric murder mystery.

Now on Amazon Prime.

Sarah Polley writes and directs this Oscar winning adaptation of Miriam Toews book. Set in 2010, the women live in a Mennonite community, mostly isolated from the modern world. For years women have awoken beaten, bruised, blooded and sexually assaulted. Told for generations that the attackers were ghosts or the devil, this changes when the women catch a male from the community in the act. The women, unschooled, unprotected in an abusive environment, decide they must take action. The community leaders come together to discuss their options, should they do nothing, stay and fight the men or leave. What ensues is a complicated discussion about the pro’s and cons of each, the future and their roles in it.

Women Talking is exactly as it describes. It is a film primarily set in a barn where a group of, while uneducated, intelligent women discuss what their lives have been, what the community they live in has done to them and what their futures hold. But it does this in a hugely compelling and engaging way.

It’s a story that at times is raw and shocking, sometimes humourous, sometimes devastatingly sad. It shows the complexity of abuse at all levels mental, physical and institutional. Because while the horrific abuse they suffer would suggest an easy decision, the script smartly explores all of the difficulties that come with escaping abuse of any sort.

There is a strong cast that deliver compelling performances inclusing Claire Foy, Rooney Mara, Jesse Buckley, Shiela McCarthy, Judith Ivey and Ben Wishaw.

It’s not perfect, it does move slowly at times and it sometimes feels a bit stagey, but these are minor gripes about what is a smart, complex and thought provoking film.

Women Talking, now on Amazon Prime, deals with the complexity of abuse mental, physical and institutional. Full of strong performances from an excellent cast it presents a powerful message. While it’s basically women talking in a barn, don’t be fooled as this is a compelling, intelligent piece of storytelling.

Antoine Fuqua and Denzel Washington reunite for the final installment of The Equalizer series. Robert McCall (Washington) is in Italy, after brandishing his skills at a quiet farmhouse he finds himself in a small southern Italian fishing village. However, under the towns picturesque idyllic lifestyle runs the dark threat of the local mafia run by family head Vincent (Andrea Scarduzio) and his thug brother Marco (Andrea Dodero). While the village is helpless to stop the threat, McCall, the mysterious stranger who they’ve welcomed into town, is not one for letting an injustice go unpunished as Vincent, Marco and their thugs are about to find out.

This is an uncomplicated stylishly shot action thriller. It feels like it takes inspiration of Clint Eastwood Westerns of the 60’s and 70’s, where a stranger rides into a town that lives in fear and he can’t let carry on, so he galvanises the town behind him. And that’s the basics of the story here and that’s not bad thing.

Denzil Washington is always a wonderful screen presence. He brings an authority, calm and charm all that overlay a brooding threat. He’s well supported by a mainly Italian cast including Eugenio Mastrandrea, Gaia Scodellaro and Remo Girone as well as Dakota Fanning, who plays first time field agent Emma Collins.

The film is set in a sleepy Italian fishing village with a main character who is not as young as he used to be and the film is paced to match. Patient in its storytelling and giving you time to get to know the village and care that McCall can help them. Helped by creating villains with no redeeming qualities who are going to get what they deserve.

While the films pace is gentle, when it comes to McCall doing his thing, it’s done in all of its creative gory glory!

The Equalizer is an uncomplicated action thriller with a compelling star perfect for the role. Its story feels like it borrows from classic westerns in a good way and is beautifully shot and choreographed. It’s a film that knows what it is and delivers in style.

Directed by Molly Gordon and Nick Lieberman is this move length adaptation of a short film about a struggling summer theatre camp. When theater camp owner Joan (Amy Sederis) falls into her coma, it’s left to her “entrepreneur” son Troy (Jimmy Tatro) to pick up the pieces which includes the eclectic group of staff. This includes life long friends and frustrated performers Amos (Ben Platt) and Rebecca-Diane (Molly Gordon), dance teacher Clive (Nathan Lee Graham), stage-manager Glenn (Noah Galvin) and new girl Janet (Aro Edebiri). While the kids enthusiastically work towards the end of summer productions the camp is under threat from its well funded neighbours. We spend a summer watching kids pushed to their theatrical limit and staff coming to terms with their own life choices.

Shot as a mockumentary, Theater Camp is the love child of The Office and Glee. With its nice mix of comedy both dark and light, and musical numbers!

It’s a bit of an odd film in reality, I don’t think it totally works, but there is fun in the frustrated performers becoming overly pushy teachers and the neediness they show while pushing kids to be brave! Importantly it’s also got plenty of heart, especially in its final act as everyone comes together to try and save the camp from its evil neighbours.

Performances are fine and there’s always enjoyment to be had in talented kids performing on screen.

But you can also see its short film inspiration and the limits that imposes. Often feeling it would work better as a comedy TV show and perhaps stretches itself a little into its 90 minute run time.

Theater Camp is a quirky mocumentary, the love child of The Office and Glee. While its not original it does have plenty of heart and there’s fun to be had in frustrated performers teaching enthusiastic theater kids. While the limits of its short film idea can be seen, there’s enough to enjoy for its 92 minutes.

Directed by Ángel Manuel Soto is this first DCEU outing for the Blue Beetle. Jamie Reyes (Xolo Maridueña) returns home from college to find life is turned upside down. His families business ruined and about to have their home taken from them for development by Kord Industries and their CEO Victoria (Susan Sarandon). Jamie finds himself working with his sister (Belissa Escobedo) at a hotel, where he meets Victoria’s niece Jenny (Bruna Marquezine). When Jenny offers Jamie a job he’s entrusted looking after a scarab. But when the scarab attaches itself to Jamie, he becomes the Blue Beetle and suddenly finds himself a superhero who, with the help of Jenny and his family, must stop Kord Industries from turning the scarab into a lethal weapon.

Blue Beetle is not a particularly original origins story, unwitting super hero, who loses someone close and finds love. It borrows heavily from Batman and Spiderman, with touches of Iron Man and Guardians of the Galaxy for good measure. But uses the influences well and has more going for it than against.

The strong latin influence adds a refreshing energy leaning on family and community. The action is fun and the script light. There are good enjoyable performances. Maridueña leads they way in the Titular role, but his family often steal the show Belissa Escobedo as his quick witted sister and especially George Lopez as his “creative” uncle. Most scene stealing comes from Adriana Barraza as a Nana who is never short of surprises.

The effects work well and their is an enjoyable 80’s influence in the older tech that is part of the story and a soundtrack to go with it.

The story is a bit disjointed at times and the script is often a little “on the nose” and it does descend into a bangy and crashy finale. But it gets away with it.

Blue Beetle while lacking in originality is still an enjoyable superhero adventure with more going for it than against. It has a bunch on entertaining performances, a bit of humour and a warm hearted core, all supported with a banging 80’s soundtrack. Not perfect, but enjoyable fun.

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!