From Christopher London the writer director behind the Happy Death Day films, we get another entry in the comedy horror genre, Freaky. It’s Thursday 12th in Blissfield a day before homecoming and the town wakes to the shocking news of the murder of four high-school kids, reminiscent of the historic Blissfield Butcher murders. Later that night we find Millie (Kathryn Newton) an unpopular and low on confidence schoolgirl, waiting outside the school football game for her Mum, who is passed out drunk at home. While waiting she encounters the Butcher (Vince Vaughn) after a chase and a run in with a mystic knife, Millie and the Butcher find themselves having swapped bodies and time is short to reverse the change.

The title and the setup tell you all you need to know. It intertwines the Freaky Friday (or more closely Hot Chick) body swap idea with a homage to classic 70’s and 80’s slasher films. What I really enjoyed about this is how it uses, what for me is the inherent silliness of horror and embraces it. Like its predecessors Happy Death Day, Freaky has lots of fun mixing its genres into a horror comedy romp.

All the slasher characters are there, the jocks, the popular bitchy girls, the harsh teacher and new characters the best friends Nyla (Celeste O’Connor) the culturally sensitive “word police” and gay friend Josh (Misha Osherovich). Freaky makes use of them all. There are fun setups as they make decisions that only get made in slasher films leading to a suitable mix of fun and gore in a range of creative murders.

The film thrives on its two leads ability to transform their physical performances so well. Vaughn is well cast as the killer, with his size particularly helpful in channelling classic slashers like Myers and Voorhees, he even has an appropriate mask. While that make him easily believable as a serial killer, he uses it to great effect as he channels the mannerisms and language of a teenage girl. Newton is equally good turning her timid wallflower Millie into a overly confident, seemingly large menacing figure that hides a serial killer.

Freaky is a super balance between comedy and horror, using its premise to great comedic effect while balancing this with an affectionate homage to 1980’s slashers. It’s fun and gory in equal measure and was a fun Friday night cinema treat.

Directed by Cate Shortland is this standalone adventure from the Marvel Cinematic Universe. It takes place just after Captain America Civil War and, via a brief flashback introduction to the young Natasha and her early life with her sister Yelena and family, we find Natasha Romanov (Scarlett Johannson) on the run to Norway. When there she is hunted down by mysterious assailant after which she decides it’s time to be reunited with her sister (Florence Pugh) a highly trained assassin who is also on the run after discovering her own dark secret. Together they decide to embark on a sisterly adventure to exploit Yelena’s secret and correct what she has discovered. Hopefully that’s a spoiler free enough synopsis!

Let’s get straight to it, I really enjoyed Black Widow. It works well as a self contained film and delivers the kind of things Marvel get so right, full speed action adventure with enough of a light touch to allow its 2hr15 run time to be pretty much drag free.

It is perhaps more Bond/Bourne than classic Superhero fare, packed full of mystery, breathtaking action set pieces, overly powerful villains and of course globetrotting across dramatic locations. It particularly shines in an almost non stop set of action sequences for the first 40 or so minutes.

Johannsson brings her Black Widow A-game but it’s fair to say she is upstaged on more than one occasion by Pugh who steals much of the movie with her dry wit and putdowns of her sisters Avenger stardom. While David Harbour’s Alexie probably helps to steal the other bits. Alongside that, Rachel Wiesz’s Melina offers the redemption story.

Within all the action there is a story about empowerment of women and their manipulation by those in power, which is done sometimes subtly, sometimes not so much. But this isn’t a film grandstanding a message, it is delivering exactly what is expected from Marvel, a well written, well directed, well performed action film.

Blockbusters are going to be significant in the return of cinema and what we need them to be is an enjoyable spectacle. For me Black Widow hits that mark perfectly and feels like a great sign off for Johannson and hopefully a beginning for Pugh. Because let’s face it Florence Pugh’s Yelena feels like a character we need more of!

New on Netflix.

It’s 4th July in the US so seems appropriate that Netflix release an animated version of the countries founding. Directed by Matt Thompson and written by Dave Callaham, Channing Tatum voices a buffed up super hero sized George Washington, who must avenge the murder of his friend George Washington (Will Forte) betrayed and killed by Benedict Arnold (Andy Samberg) who it seems also happens to be a Werewolf. Encouraged by Martha (Judy Greer) he pulls together his group of avengers including Samuel Adams (Jason Mantzoukas), Thomas Edison (Olivia Nunn) and Paul Revere (Bobby Moynihan) to fight back and overthrow the British rule of Simon Pegg’s James I.

I am neither an American or history scholar, but I think it is fair to say this is not an accurate depiction of American history! What it is, in reality, is an excuse to make an adult cartoon that takes an occasional questioning look at America, its history and the country it has become. But mostly it tells jokes, blows things up and has fun using some subtle and not so subtle, references to other films.

This is a long way from a classic, but there is some fun to be had, the story telling has some very loose historic basis and ticks off the things that a non-American like me understood and I’m sure there are plenty of more “subtle” jokes for its American audience.

Vocal performances are solid, Tatum and Mantzoukas particularly carry it along and Raoul Max Trujillo as an increasingly exasperated Geronimo. The animation is well done and fits the storytelling perfectly. But it also too long and while I did laugh it isn’t quite as funny as it needed to be for 100 minutes.

This is a film that has not been met with critical acclaim, but it would be a lie to say I didn’t find some fun in it. It’s probably in its natural home on Netflix and if you are looking for some crude jokes, explosions (and sometimes you are) and an occasional look at history then this may work.

On Netflix.

Directed by Paul Weitz, Fatherhood stars Kevin Hart as Matt, a new father, grieving the tragic loss of his wife and trying to cope as a single dad to his newborn daughter Maddy. Alone in Boston, away from his Minnesota relatives, Matt has the help of some close Boston friends while trying to balance dealing with grief, raising a new daughter and holding down his job.

The synopsis of the film probably gives you an idea of the story you are getting and it does tick the boxes you may expect. However, if you are expecting a “Daddy Day Care” comedy of fish out of water, men raising kids, you’ll be, hopefully, pleasantly surprised, as Fatherhood is more subtle than that. While there is an element of jokes around baby bathroom trips and dad’s doing girls hair, there is plenty of thoughtful looks at grief, loss and the dilemma of trying to move forward past guilt.

Hart is likebale in the main role, balancing his natural comedic performance with some emotional depth when needed. The always reliable Alfre Woodward supports well as a grieving mother, trying not to hit out at the world and her son-in-law in particular and Melody Hurd as the more grown up Maddy steals the show whenever she is on screen.

As a parent there is lots here to identify with both comedic and emotional.

While it is predictable and won’t be remembered as a classic, it certainly comes from the right place. It is warm and heartfelt staying on the right side of saccharine with a delivery that is more than engaging enough to sweep you a long.

New on Netflix.

Directed by Kimmy Gatewood, written and starring Iliza Shlesinger is this based on a true story film. Shlesinger is stand up comic and jobbing actress Andrea Singer, who we find at another frustrating audition before heading back to the airport. On the flight home she meets Dennis (Ryan Hansen) who takes her up on an offer to come see her stand up show that same night. As they see each other more and against Andrea’s instincts they become a couple. It doesn’t take long for the relationship to come apart as Andrea’s suspicions about Dennis grow, is he really who he seems to be?

Regardless of some sniffy reviews I really enjoyed this rather original comedy. It’s an interesting mix of “anti romcom”, dark comedy and psychological drama (Although a light hearted one), all of this interspersed with clips of Andrea sharing the story as part of her standup, all of which worked for me.

Shlesinger is fun as the title character, and Nelson a fine balance of believable and creepy. The supporting cast is equally entertaining, especially Margaret Cho as cynical bar owner Margot and Rebecca Rittenhouse as Andrea’s acting nemesis Serrena.

The humour is pretty constant and is well balanced with the light hearted but still tense drama. There is also some social commentary around dating, gender politics and entitlement all without been preachy.

A well written, pretty smart, humorous and original comedy that at 92 minutes whizzes by and while it’s had some sniffy reviews, ignore them, you may just enjoy it as much as I did.

Jon M. Chu and Quiara Alegria Hudes, bring Lin-Manuel Miranda’s stage musical to the screen. Set in a Latino community in New York we find a mix of dreamers and realists, at its heart are the stories of Usnavi (Anthony Ramos), Nina (Leslie Grace), Vanessa (Melissa Barrera) and Sonny (Gregory Diaz IV) each with a dream, each with a struggle. Usnavi dreams of a return back to the Dominican Republic, Nina carrying the hopes of the community as she heads to Stanford, but finds it’s not what she hoped. Vanessa wants to better herself and pursue her fashion dreams, while Sonny is young and wants to make his place in the world. All built around the colour, music and dance of Miranda’s musical.

What this is a great example of is how the final act can change your whole view of a film. That certainly happened here, as it beautifully pulled together the narrative, delivering a satisfying emotional punch of an ending, winning me over completely.

Before that you get a lot of what you expect, a story of a community struggling to survive and retain its identity, while at the same time its residents see their only opportunities elsewhere. It occasionally explores topics of racism,  the treatment of immigrants, gentrification, financial struggle and loss. All in the framework of some wonderfully choreographed musical moments.

Unlike something like La La Land, this often betrays its stage musical roots, but that doesn’t matter, performances are enjoyable and engaging, with the leads well supported by the likes of Corey Hawkins, Jimmy Smits and especially Olga Merediz as the matriarch figure Abuela. There are also plenty of enjoyable song and dance numbers.

While it doesn’t feel like a classic of a musical adaptation and did run a little long, its wonderfully judged final act gives it a warm emotional centre that should put a smile on anyone’s face and Miranda’s piragua song an ear worm to take home.

New on Sky Cinema.

Directed by George Gallo is this remake of Harry Hurwitz 1982 film. Set in 1974 Hollywood, Robert De Niro is Max Barber a small time movie producer whose latest classic “Killer Nuns”, made with his nephew Walter (Zach Braff), is tanking at the box office, in no small part due to picketing by the Catholic Church. The problem is Max borrowed the money for it from Morgan Freeman’s gangster Reggie Fontaine and now finds he has no way to pay it back. That’s until he sees a way out, which includes a scam to make a film and kill off its leading man, Duke Montana (Tommy Lee Jones) and old time star pulled out of retirement for the job, and claim the insurance money.

Right at the start of this film, Max and Walter are reading a review of Killer Nuns, which ends with the line, “the best thing about it, is at 90 minutes it ends” that should have been a warning, apart from at 104 minutes this doesn’t even have that going for it. You’d think with the acting chops of De Niro, Jones and Freeman this has to be worth a watch hasn’t it? Well sadly no, not in any way.

This a comedy based on one joke that never really works. The film seems to throw together a series of unfunny set piece attempts to kill off Duke, which fail as miserably as the gags fail to land. The three leads phone in their performances and while I’m sure they had a lovely time together, we don’t get to share that.

In reality, they are let down by the dreadfully unfunny, poorly structured script, which bounces around aimlessly, occasionally introducing characters who are quickly forgotten or offer nothing to the story. It attempts to do some kind of Blazing Saddles, behind the scenes making of a western that just makes you think, I wish I was watching Blazing Saddles. And It tells you all you need to know when the best performance is from a horse.

The original “The Comeback Trail” was only 75 minutes and that is probably the staying power of its one gag, extending it another 30 minutes breaks it completely. The reality though is its not the length of it that’s the problem, it just isn’t funny enough or good enough and its three leads really should know better. To quote the film back to itself “The best thing about it, is at 104 minutes, it ends.”

At cinemas.

Directed by Ilya Naishuller and written by John Wick writer Derek Kolstad is Nobody. Bob Odenkirk is Hutch Mansell an accountant at his father-in-laws manufacturing business and a put upon husband, ignored by his son (Gage Monroe) still loved by his daughter (Paisley Cadorath) and a strained relationship with wife Becca (Connie Nielson) all part of the dull repetition of his life. Life takes a turn for the worst when his house is burgled and he seems to let the thieves go after his son tackles one of them to the ground. Hutch however, is not what he seems and when he finds out the thieves took his daughters “Kitty” bracelet, his past skills are triggered and he heads off on a violent and bloody revenge.

Sound familiar? Of course it does. Nobody, is almost exactly the film you expect it to be, riffing off John Wick, Taken, The Equaliser, even a bit of Rambo. But that doesn’t matter, because Nobody knows exactly what it is and has huge fun with it taking us along for the ride.

Odenkirk is excellent as an unlikely hero, unassuming and as impossible a hero as the bloody avenging trail he goes on. The script gives him all the lines a protagonists in these films should get full of humour and dryly delivered.

He’s not the only unlikely hero as Christopher Lloyd, no young action hero himself, is Hutch’s Dad, David, who has his own past and provides surprising support to his avenging mission. Of course we also have our cartoon Russian villian in Aleksey Serebryakov’s Yulian, a singing violent mobster.

What really works is this is a film that has no pretension to do anything other than have fun with the genre. No terrible background tragedy, secret organisation or kidnapping of a loved one, just someone who had enough and needed to deal with it.

At 92 minutes it whizzes along, with a great soundtrack that adds to the films fun feel.

This is by no means original and it knows it, remaining true to exactly what it is, a tongue in cheek action revenge thriller, with just the right man in Odenkirk to make it work. Lots of fun, for those wanting a film that does exactly what it promises.

Available at cinemas and on-demand.

Written and directed by Lee Isaac Chung, is this gentle and charming story of a young Korean family, the Yi’s, set in Regans 1980’s free enterprise driven United States. Jacob (Steven Yeun) has uprooted his family from their Californian home to 50 acres of potential farmland in Arkansas. Wife, Monica (Yeri Han) is less than impressed with the “house on wheels” she finds for her and the children, Anne (Noel Cho) and David (Alan S. Kim). They are not the American dream family, their relationship is clearly strained by the upheaval, financial pressure and concerns about David’s heart condition. To this they are about to add Soonja (Yuh Jung Youn), Monica’s mum, who is not your usual grandma material.

In all honesty I was not as bowled over by Minari as some, but that’s not to say there isn’t much to enjoy. It’s not the classic rags to riches story, even if it does have some of the ingredients. In reality this is less about a chase for success and more a gentle portrait of life, its ups and in the Yi’s case, its heartwrenching downs.

The storytelling and the cast paint a very engaging picture, with characters who you care about and a family whose story you want to see work. But we also see the difficulties of a family trying to make its way in the world, without losing touch with its Korean roots.

The performances are full of gentle charm, with, as her Oscar would suggest, many a scene stolen by Youn’s grandma. Alongside her is a lovely performance from Will Patton as Paul, a god fearing local, whose helpful and hopeful nature counteracts Jacobs concerns and pressures.

While I wasn’t completely blown away, I do love a slow meandering story about life and Minari’s story is full of charm, very watchable and touching.

Written and directed by Rose Glass and starring Morfydd Clark. Saint Maud is a psychological drama which explores mental health and religious zeal. Maud (Clark) is a personal care nurse who we find about to start a new placement with Amanda (Jennifer Ehle) a former dancer who is dying and who Maud sees as a soul to redeem.

While it’s sold as a horror it isn’t really, it’s more physiological and with religious core that owes quite a lot to Stephen Kings Carrie. The story is carried brilliantly by Clark who is innocent, lost and disturbing in equal measure, keeping you guessing at both her troubled past and her troubling intentions.

While there is a lot of love from critics and audiences for Saint Maud, it didn’t fully grab me. The story felt disjointed and even though it has a running time of just 85 minutes a little slow.

That said it’s a credit to the director that even with those reservations I was kept involved and intrigued throughout. That was due in no small part to Clarks performance, which keeps you as unsteady as she is unhinged. The performance is magnified by Glass’s directorial decisions with the way the film looked and sounded complimenting Mauds unsettling character perfectly.

While Saint Maud didn’t fully grab me, its excellent central performance and unsettling storytelling meant there was something about it that kept me invested throughout and makes it worth a watch.