Director: Barry Jenkins

Screenplay: Jeff Nathanson

As Simba (Donald Glover) and Nala (Beyoncé) head off, they leave young Ciara (Blue Ivy Carter) in the care of Timon, Pumba and wise old mandrill, Rafiki (Billy Eichner, Seth Rogan, John Kani). To pass the time on a dark wet night. Rafiki tells the story of Ciara’s grandfather, Mufasa and how he became king. The story follows Mufasa from a young cub, through to the adolescent lion who becomes king. Along the way he meets the key people in his life, which includes Taka (Kelvin Harrison Jr.) and Sarabi (Tiffany Boone) and also the incidents that define his future.

Whether the world needed a Lion King origin story is questionable and now we have one, it probably still is. It’s by no means a terrible film, but it’s also no more than okay.

One of the challenges with origin stories is that the end is already defined, it’s just a matter of how you get there and can you make that journey interesting. That’s what Mufasa just about gets away with.

The story is a traditional journey of discovery. Discovery of a new home and of course discovery about each other, all wrapped up with some big Disney musical numbers and some classic Disney movie peril. But the story is also long and does come with plenty of lions talking! This gives it a bit of a pacing problem as it does on occasion drag.

It looks great, with the impressive photo realistic animation. Lin Manuel Miranda’s songs work well and the voice cast is solid enough.

To be clear, I realise this is not a film aimed at me and there is probably plenty for a younger audience, but it all does feel a little safe and “adequate” all a bit meh!

I wasn’t sure we needed a Mufasa origin story and now we’ve got one, I’m still not sure we needed it! While it looks great, has some fine songs and some perilous adventure sequences, it never felt any more than okay. As a watch, it’s all fine, and a decent cinema trip for the family, but maybe we deserve a bit better than fine.

Director/Writer:Michael Gracey

Writers: Oliver Cole & Michael Gracey

Better Man tells the, often complicated, life story of Robbie Williams. Portrayed throughout as a CGI chimpanzee (motion captured by Jonno Davies), rather than lookalike actor, the story goes from childhood, through his, successes, failures and his battles with the many demons that have haunted him. All backed with Williams’s own crowd pleasing back catalogue.

Better Man takes a creative approach to telling Williams’s story, presenting him as a chimpanzee and telling some of the story’s darker moments in a kaleidescope of fantasy images. But it uses its creativity well, offering a thoughtful, humourous, warm hearted and touching look at Williams life, offering one of the most enjoyable cinematic trips of the year.

At the centre of what makes it work is presenting Williams as a chimp. Rather than being a gimmick, it allows the film to tell its story and get under the skin of Williams, and you quickly forget he’s a chimp.

The story hits the beats you’d expect, Take That, the split, the solo career, the celebrity run-ins. But it is more than that, it’s a deep look into an often troubled person, thrust into the limelight at a young age. We see what shapes him, his relationship with his father (Steve Pemberton), his Nan (Alison Steadman), the rock who believes in him, and his put upon mother (Kate Mulvany).

We see his creativity and desire, his doubt and self loathing, and how this leads to self destructive behaviour. But it never looks for excuses, it feels like Williams wants to take responsibility not lay blame. All interspersed with Williams back catalogue presented as fabulous song and dance numbers and one of his best, Angels, used in a heartbreaking montage.

Better Man is one of the best things I’ve seen this year. A warm hearted, touching and open look at Robbie Williams life. The CGI chimp is an inspired choice, allowing the story to take centre stage, a story that is humorous, dark and touching in equal measure. Supported by a great soundtrack. Better Man definitely entertained, hugely.

Director: Jeff Fowler

Writers: Pat Casey & Josh Miller

It’s the third outing for everyone’s favourite blue hedgehog, Sonic (Ben Schwartz) and his friends Knuckles (Idris Elba) and Tails (Colleen O’Shaughnessey). Celebrations for Sonic’s arrival on earth are interrupted by  Director Rockwell (Krysten Ritter) who needs the gangs help to tackle a new menace, Shadow (Keanu Reeves). Shadow is set on revenge for his treatment and on destroying anyone who gets in his way. Sonic realising he needs helps, calls for support from an unexpected source, Dr. Robotnik (Jim Carrey). Together the group must not only deal with the threat Shadow poses to them, but to the whole planet!

The Sonic series have been good, fun, entertaining adventures. And this third encounter continues to deliver. From the start it is a fast paced, blur of colour, action and a smattering of gags.

The films plot is basic, but it comes with a good messages for its primary target audience. Messages around choices, dealing with loss and doing the right thing all delivered in a fun package. This includes Shadows thoughtful back story which deals with loss and how he chooses to deal with it.

The lead characters all deliver. Carrey perhaps has the most fun, especially when Robotnik meets his long lost Grandpa (also played by Carrey) to team up and hinder rather than help. Reeves also has fun with Shadow, as do the animators, placing Shadow in more than one John Wick looking scene.

At 1hr50 it probably runs a little long, but it’s colourful and action packed enough to get away with it.

Sonic 3 doesn’t let down a solid series of films. At its heart is a story about making the right choice, even when hurt, all wrapped up in a blur of colorful action. The action is non stop, interspersed with some touching moments and plenty of gags for young and old. A little long, but the spinning blue hedgehog pulls it off!

Directed by: Luca Guadagnino

Screenplay by: Justin Kuritzkes based on the novel by William S. Burroughs

William Lee (Daniel Craig) is an expat American living in Mexico. A man of means, a dilettante, who spends his time in the city’s gay bars, looking for casual relationships, until he comes across a young American, Eugene Allerton (Drew Starkey). This quickly turns into infatuation, Lee becomes obsessed and desperate to understand Eugene and his feelings towards him. Eventually the two head off on a journey through South America, a journey that deals with Lee’s drug addiction, obsession with Allerton and their relationship.

I have a mixed relationship with Guadagnino’s films, some I’ve enjoyed, some I have disliked hugely. Queer sits somewhere in the middle. In its first two thirds, there are themes common to Guadagnino’s films, obsession and desire. It looks wonderful, and has some great needle drops. Then its final third goes on a psychedelic trip and it has to be a trip you’re prepared to go on, if you’re not, it’s likely it will all begin to feel a little self indulgent and tiresome.

It’s not without merit, especially in its performances, Craig is excellent as the unsure and obsessed Lee, a man unsure of who he is and, more importantly, how he is seen. Starkey is enigmatic, never giving away too much. Jason Schwartzman supports well, as does Lesley Manville, in a scene stealing performance as the jungle based botanist, Dr. Cotter.

But It is the final act that killed it for me. While the first two acts, may have been slow moving at times, the story was well told with a sweetness to it. But its drug induced trip in the final act lacked that and forced you to either go with it or, as I did, find it overly long and self indulgent, making me wish it would just stop!

This is a film that you’re likely to go with, or not. It has things to recommend it, its look, soundtrack and performances amongst them. But it’s also too long and becomes increasingly self indulgent especially in its final act. I didn’t hate it, but it didn’t really work for me.

Directed by: Edward Berger

Written by: Peter Straughan

After the death of the Pope, Cardinal Lawrence (Ralph Fiennes) finds himself in charge of the conclave and its solemn duty of electing a new Pontiff. There are favourites for the role including Bellini (Stanley Tucci), Tremblay (John Lithgow), Adeyemi (Lucian Msamati) and Tedesco(Sergio Castellitto). But plans are changed when a stranger arrives in the guise of Cardinal Benitez (Carlos Diehz). Lawrence must navigate the ritual, politics and process of the conclave, while trying to discover whether there is truth in the rumours surrounding some of the front runners. All in the hot house of a conclave isolated from the realities of the outside world.

Well who knew that the process for selecting a new Pope could be such a tense and thrilling experience! Well that is certainly the version that Berger gives us, as Conclave serves up an intriguing political thriller that happens to be based on selecting a Pope rather than a politician.

The film is a roller coaster as it twists its way through corruption, ethical dilemma, ambition and stretched friendships. It wor, in no small part, thanks to Fiennes’s excellent central performance as the reluctant leader of the conclave. His understated performance, is quiet and calm, with the stress of his role etched on his face. It’s not only Fiennes as all the main players are pitch perfect. As is Isabella Rossellini’s, Sister Agnes, who has seen it all before, watching, knowing exactly when her input is demanded.

The film great, from emotive close ups to moments capturing the humanity of its subjects, framed beautifully using the grandeur of its setting.

If there’s a criticism, it does run out of steam a little and perhaps goes one twist too far.

Conclave is a tense political thriller, set amongst the pomp and process of the selection of a Pope. Its strong cast are note perfect as it twists through intrigue and mystery. It looks great using its setting perfectly to frame the story. While it loses steam towards the end, it does not detract from a story well told.

Directed by: Jon M. Chu

Screenplay by: Winnie Holzman & Dana Fox

The wicked witch is dead, melted by a young girl with a bucket of water. As Glinda (Ariana Grande-Butera) visits Munchkinland to confirm the news, the Munchkins want to know is it true that Glinda and the Witch were once friends? As we look back we find Elphaba Thropp(Cynthia Erivo), she’s different, she’s green and has a gift. When she chaperones her sister, Nessa (Marissa Bode), to Shiz university, she meets Madame Morrible (Michelle Yeoh) and finds herself enrolled and rooming with Glinda. At first the girls don’t get on, but as their friendship grows they find themselves in Oz and its Wizard (Jeff Goldblum). But soon they learn everything is not what it seems and this sets Elphaba on a road to “wickedness”.

I had great fun with this film adaptation. Yes, at 160 minutes it’s very long, but apart from a few “baggy” moments, it doesn’t really drag and whizzes along to its part one climax, that proves what an absolute banger of a tune Defying Gravity is.

The emotional beats are there, the sadness of a marginalized Elphaba, a lovely scene of redemption and a wonderfully powerful finale.

The film is helped by its deliciously dark undertones, alongside the fun, humour, songs and dance Oz’s dark elements are on show.  Discrimination, persecution, corruption and vilification of parts of society, all give the story depth.

But at its heart are two super performances. Ariana Grande flicks her locks and has fun with Glinda, but it’s Cynthia Erivo who steals the show with a fabulous performance, full of depth and heart and of course both deliver great vocal performances. They’re well supported, Michelle Yeoh, Goldblum and Jonathan Bailey stand out in a great cast.

Wicked part one is a joy. It has two fabulous central performances, a story full of fun and deliciously dark undertones. While it’s long it doesn’t drag as it barrels along to its big finale. It’s colourful, funny and has emotional depth. And of course some banging tunes. A proper treat.

Directed by: Dougal Wilson

Paddington (Ben Wishaw) now fully settled in England with a shiny new passport and the love of the Brown family, is a content bear. But that changes when he receives a letter from the Reverend Mother(Olivia Colman) of Aunt Lucy’s home for retired bears in Peru. It tells him that Lucy is missing him. So Paddington and the Browns head for Peru. But when they get there they find Lucy has gone missing. So now Paddington and the Browns have more adventure than they expected as they head off across Peru to find Aunt Lucy and make sure she’s safe.

Having a third Paddington film, with a new director, hit the heights of its predecessors was always going to be a challenge. And while this doesn’t quite manage it, it has a pretty good go and still delivers a fun, entertaining family adventure.

It’s a film, that knows the audience it’s aiming at and delivers exactly what it should. Lots of fun and some mild peril as Paddington and the family chase through the jungle. There’s plenty of Bear type humour, marmalade sandwiches, slapstick and cine literate gags.

All the cast return, although not quite as central to the plot. Emily Mortimer steps into the Mrs Brown role seamlessly enough. But it’s the new cast members that bring the additional entertainment. Olivia Colman’s “suspicious” Nun is a joy as you’d expect, including a great opening musical number. Antonio Banderas is a fun addition as tour boat captain and adventurer Hunter Cabot.

It does ask some smart questions about family, friends, where we’re from and where we belong But it does lack a bit of the heart of the first two, at least until its final act, where it tugs the heart strings plenty.

The first two films set such a high bar, it was always going to be tough to do it again. While this falls a little short and misses some of the heart of the others it is still a fun family adventure. It has humour, excitement and guitars, as well as a strong message about family, friendship and belonging. While it may not be the best of the three. It will still put a smile on your face.

Directed by: Ridley Scott

Screenplay by:David Scarpa

It’s 20 since the death of Maximus, his son Lucius (Paul Mescal) lives in anonymity, sent far from Rome by his mother Lucilla (Connie Nielsen) for his own safety. But when his home is invaded by Roman general Marcus Acacius (Pedro Pascal) he finds himself transported back to Rome, under the ownership of Macrinus (Denzel Washington), who promises that if he fights for him, he’ll give him the head of whoever he wants. But Lucius finds himself in the middle of plots that involve Rome’s hated joint emperors. All this reawakens in Lucius the reality of his past and the desire to see the Rome his grandfather, Marcus Aurelius, dreamed of, whatever price he must pay.

I wasn’t a fan of the first Gladiator, so maybe I’m not the audience for a sequel. And if that’s the case, Ridley Scott won’t be disappointed, because I didn’t like this either!

It starts with a wonderful title sequence before jumping almost immediately into a superbly realised visceral battle. But that’s almost where the fun stops.

Yes it’s a sweeping epic as it recreates the Roman empire of 200AD with all its violent and bloody battles. But it also lacks any interesting narrative, character or plot development and for all of its scale, blood and thunder, it’s a bit dull.

The lack of character development is a problem because it leaves you with a film full of faceless characters you’re not interested in. This includes Mescal’s Lucius, who struggles to go beyond a Russel Crowe impersonation. The twin emperors (Joseph Quinn & Fred Hechinger) never convince as ruthless dictators. Its only saving grace is Denzel Washington, who steals every scene and is thoroughly convincing as the scheming power mad and ruthless Macrinus.

I always thought the original Gladiator was overblown nonsense and its sequel made me feel the same. Yes it’s full of blood and thunder. But it’s also long, predictable, lacks any character depth and is a bit dull. Mescal never convinces as an inspiration and while Denzel Washington is a saving grace he can’t save it on his own.

Directed by:Jake Kasdan

Written by: Hiram Garcia & Chris Morgan

It’s two days before Christmas and Santa (J.K Simmons) and his trusted head of security Cal Drift (Dwayne Johnson) are preparing for the big day.  But plans are turned on their heads when security at the Pole is breached and Santa, codename Red One, is kidnapped. Cal has only a few hours to rescue him and with the help of Zoe (Lucy Liu), head of an agency that protects mythological beings, and Jack O’Malley (Chris Evans), a waster with gambling debt, poor at fatherhood, but with a skill for finding people and doing it for the highest bidder. Reluctantly they team up to save Christmas.

This is an odd film and I’m not sure who it is aimed at. Its premise is fine, Santa needs help in the shape of his loyal, but disillusioned right hand, and the wrong guy, a level 4 naughty lister. Which leads to an adventure through Christmas mythology to rescue the big man. But the film really struggles to hold it together.

Johnson does what he does, Evans is fun as the flawed companion. Simmons as a super fit Santa, all offer plenty of promise. But as it goes on the more confusing it becomes. It shifts into a more teen/adult action adventure. It gets quite dark, it has language that borders on “bad”, there’s lots of fighty action. All okay in themselves, but drifts from a film about saving Santa to an action adventure that could be about saving anything. It also lacks heart, with its central emotional relationship between Jack and his son(Wesley Kimmel), never getting time to engage the audience.

It’s not a disaster, Johnson and Evans are watchable and there’s some fun with Christmas myth, especially Kristofer Hivju’s, Krampus. But it’s all a bit long and messy.

Red One is an odd film. I’ve no idea who it’s aimed at, a mix of Christmas film and action adventure. It’s probably a bit dark for the youngest and not adult enough for the grown ups. It’s all a bit long and lacks any real Christmas heart. It’s not terrible, but if you’re spending $250m you expect a bit more.

Written & Directed by: Sean Baker

Anora (Mikey Madison) is a sex worker. She works in a New York lap dance bar, serving all the usual mix of customers. Until one day her boss needs someone who speaks Russian to entertain a group of friends headed up by Vanya (Mark Eydelshteyn). Anora warms to him and agrees to meet him as a private customer. He’s young, rich and loves spending time with her, which leads them on a whirlwind affair, via a trip to Vegas! When Vanya’s family find out they are not amused and send their New York “minders” to take care of their son and his new relationship. But they find Anora is not quite the pushover they hope for, leading to a crazy chase across the city, a run-in with Vanya’s parents and some tough choices for Anora.

Anora fell flat for me. It started well, with great energy, but as it goes on, and it does go on at 139 minutes, it begins to grate, becoming repetitive and its unpleasant characters begin to drag. Vanya becomes childish, his mother just unpleasant and it all sucks the life from Anora and subsequently the story.

Which is a pity because for the first half there was a lot to recommend it. It starts as a dark Pretty Woman, a sex worker Cinderella story. It barrels along and has plenty of fun, leaning on screwball comedy, slapstick, and its comedic chase across New York. But It struggles to maintain that energy as it limps into its final act.

The two central performances are solid but they’re upstaged by Vanya’s Russian minders (Karren Karagulian,Vache Tovmasyan, Yura Borisov) who are great as a dysfunctional gang. But It is Borisov’s Igor that steals the show, a character who never really wants to be there and tries to put it right, and offer Anora some support, it’s a lovely subtle performance that lightens up the second half of the film.

I found Anora rather disappointing. It starts well as a dark take on Pretty Women, it has great energy, some fine screwball comedy, slapstick and a fun chase. But at 139 minutes, it eventually loses steam and begins to grate. Lots of people have enjoyed Anora, but for me it fell flat.