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.

At the Cinema and on Disney+.

Directed by Don Hall and Carlos Lopez Estrada. Raya (Kelly Marie Tran) daughter of Benja (Dave Dae Kim) is on a quest to find the last dragon(Awkwafina) in her homeland. With the dragons help she hopes to rescue her people from the evil Druun and reunite her lands disperate people and return peace across Kumandra.

This is the first Disney Studios animation of the 2020’s and what a treat it is. It’s not the most original story as we follow Raya, the newest Disney Princess on her adventure. It checks all the Disney story boxes, brave hero with tragic background, betrayal, eclectic mix of supporting characters and a cute and sassy companion who teaches our hero important life lessons. But it also does it with a huge amount of charm, warmth and heart.

The film is built around the relationship of two princesses Raya and her nemesis Nammari (Gemma Chan). But rather than a classic good versus evil, the characters are more two sides of the same coin and certainly neither has time for frilly dresses or love interests. Awkwafina’s Dragon, Sisu, is the perfectly voiced, balance of cute, funny and wise central character that both anchors the story and is a device to pull our feuding princesses together.

The story is grown up, but bowls along and never drags with some brilliant set pieces between Tran and Chan, including fantastically balletic fight scenes. But the thing that will impress most is, even in a world of ever more impressive animation, is how incredible this looks. From the gorgeous landscapes to the stunning character animations, you forget these characters are animated, such is the wonderfully realised detail, it is a constant wonder to look at.

While Raya and the Dragon is not the most original story, it doesn’t matter as there is so much to enjoy, a great voice cast delivering excellent performances, stunning animation, charm and an ending that should melt even the hardest heart. A Disney animation of the quality Mickey and the team will be proud of.

Written and directed by John Krasinski and starring his better half, Emily Blunt, is this sequel to the excellent and original 2018 hit.

We pick up the story, where we left the first film, via a minor detour back to day one of the invasion by the sound sensitive, human killing alien attackers, allowing us to meet Cillian Murphy’s Emmet. Evelyn (Blunt) and children Marcus (Noah Jupe) and Regan (Millicent Simmonds) leave their farm and head over to a factory with signs of life where they are reacquainted with Emmet. From here they discover a chance to build on the discovery that sound can be used as a weapon and set off on a dangerous road trip to rescue humanity.

For me, Part II did not quite match the originality of the first, feeling a little more predictable. It is at its best in its opening scenes, introducing us to the events of day one (Including Krasinski’s character Lee). There are some nice nods to the original, as well as plenty of action packed carnage and a prescient tale of a world changing overnight. But its that more obvious story telling that lets this down a touch. Its predecessor was clever with the way it used sound, or lack of, to build the tension and drive the story, while here it relies a little more on jump-scares and action set pieces. Although the more predictable story is perhaps inevitable as Krasinski looks to draw it to a close.

All that said this is by no means a bad film and as a two part story it works extremely well. This time we are more focused on Regan, brilliantly played by Simmonds, who does the bulk of the work, alongside Murphy’s Emmet. Blunt and Jupe play more supporting roles, although their story still delivers plenty to keep you on the edge of your seat.

Even if it lacks some of the ingenuity of the first this is still tense and tightly directed. At just 97 minutes, it tells its story very efficiently, perhaps recognising that their is no need for complexity, detours and exposition.

While Part II doesn’t quite reach the standards of the first, it is still a very decent tense action thriller and as a two part tale it more than delivers.

At the Cinema and Disney+ Premier Access.

Directed by Craig Gillespie we get all the Emma’s as Stone and Thompson star in this live action “origins” story of 101 Dalmatians villian Cruella De Vil. Stone is Estella, who we first see as a young girl who “attracts” trouble. When she loses her Mum she finds herself in London lost and alone. It’s there she runs into Jasper (Joel Fry) and Horace (Paul Walter Hauser) who grow into a mini crime family. She then gets the chance to work for Thompson’s Duchess, a world renowned fashion designer and Estella’s hero. But when she diacovers Duchesses background she builds a plan to take her empire and all she holds dear.

I didn’t go into this with any expectations and what a fabulous and unexpected joy it was. It’s as though Disney watched The Joker and thought Cruella needs that treatment!

The film has a fantastic energy, with a great feel and sense of 70’s London through its costumes and brilliant soundtrack, up there with Baby Driver for a score that sets a tone. Its plot leans heavily on smart heist films with its intricacies and misdirection and of course you can’t escape a Devil wears Prada vibe.

While the film takes a little time to warm up, once it does it is great fun. It has a surprising dark side. We have no hero character to get behind but rather two deliciously bad female leads. Thompson is fantastic as the Duchess but Stone goes toe to toe with her first as the driven and smart Estella, before her crackingly bad Cruella takes over.

Alongside the two leads, Joel Fry, Mark Strong (John the valet) and John Mcrea (Artie) particularly deliver great support.

Cruella is a fabulous treat, a proper surprising gem with two wonderful leads, a surprisingly dark look and feel, smart script, great soundtrack and wonderful energy and is one of my favourite films of the year so far. The only word of caution, if you’re thinking of cuddly Dalmatians and Disney fluff for the kids, this isn’t that film.