Written & Directed by: Scott Beck and Bryan Woods

Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are young missionaries for the Mormon Church. They are taking their work door to door when they arrive at the home of Mr. Reed (Hugh Grant). With a storm brewing overhead he invites the girls inside to meet his wife as she cooks them pie. What starts as a detailed and intellectual debate around religion and faith soon becomes something else. A test designed, by Reed, of the girls own faith, intellect and will.

I really enjoyed this, it’s a smart smorgasbord of genres packaged together into tense, taught drama. It encompasses thriller, intellectual drama, locked room mystery, detective story and good old fashioned survival thriller.

It’s basically a three hander centered around Grant’s mysterious, unsettling Mr. Reed and Sophie Thatcher and Chloe East’s smart, if initially naive young missionaries. All three turn in fine performances that build tension and keep the story on track as it swings between its genres.

Grant is excellent as Reed, as his character shifts from pleasant host to an increasingly menacing figure. A smart embodiment of a controlling and coercive threat. His two young co-stars are equally strong, as the growing peril of their situation becomes clear and while their characters become more desperate, they portray a cool headed determination to survive.

The story is smart as it initially builds unease and then looks too misdirect. There is a continual element of mystery as it refuses to rely on twists to keep you engaged instead focusing on intrigue as it reveals the true nature of Reed.

And while it may have some plot holes as it heads towards its conclusion, it earned the right to ignore them.

Heretic is an intelligent thriller/horror. Built on three excellent performances, with Hugh Grant slipping effortlessly into a menacing role. Its clever story takes you seamlessly from intellectual discussion to survival thriller and maintains a sense of intrigue throughout. Tense, smart and you’ll never look at Hugh Grant the same again!

Written & Directed by: Kelly Marcel

Last Dance starts where the previous film finished with Eddie and his symbiote alter ego, Venom (Tom Hardy), in a bar in Mexico. Framed for the murder of Detective Mulligan, they decide they need to head to New York to clear their name. However, their plans are interrupted by a Xenophage, a Symbiote killer sent by Venom’s creator, Knull (Andy Serkis), to capture Venom and reclaim the Codex, a device which will free him. This sets Eddie and Venom on a road trip across California, which includes a run in with Martin Moon (Rhys Ifans), a new age alien enthusiast, and his family. And makes him a target for army general, Rex Strickland(Chiwetel Ejiofor). All before ending up in a battle to save Venom and possibly all of humanity.

My expectations for this were pretty low. The other two films, had not done much for me. But to its credit, The Last Dance was better than I’d expected.

The story, for what it’s worth, is an absolute mess. It introduces characters who seem to have no real point. Juno Temple’s Dr. Teddy Payne a prime example. But what the franchise does have is the Eddie/Venom “buddy” dynamic. Hardy gets this absolutely right, nobody does bedraggled as well, as he wearily drags himself across California and Nevada. But Venom offers him a cheerleading alter ego, providing plenty of life advice. This provides lots of laugh out loud fun, whether it’s Venom’s appetite, or some fun that includes a slot machine, a tuxedo and a dance! Ryhs Ifans’s Moon family (Alanna Ubach, Hala Finlay, Dash McCloud) are also a fun distraction. But it is Eddie’s and Venom’s relationship that allows the film to paper over its many cracks.

I had low expectations for The Last Dance and it met them. Its paper thin plot and characters that serve no purpose make it a bit rubbish. But what it has is Tom Hardy. And it’s his “buddy” relationship with his own alter ego that lets this film get away with a lot. He has so much fun with the role you can’t help but enjoy it. It’s rubbish, but entertaining rubbish.

Director: Ali Abbasi

Writer: Gabriel Sherman

Set in 1970s and 80s New York City, we follow the development of Donald J Trump (Sebastian Stan), from ambitious son of a powerful father (Martin Donovan) to the beginnings of the man who would become the President of the United States. It focuses on Trump’s relationships, with notorious lawyer Roy Cohn (Jeremy Strong), his family and his first wife, Ivana (Maria Bakalova). And we see how those relationships, particularly the one with Cohn, develops the principles that make him the Trump of today.

This was always going to be tricky to get right and while it is not the best docudrama I’ve seen, it does a good job of providing some insight into the creation of Trump.

This is not a flattering portrayal of its subject, but it’s also no “hatchet job” either. What the film does is pose some questions, perhaps the most interesting is how much of Trump is nurture over nature.

It’s a classic origin story. We see a relatively innocent Trump, who is shaped by Cohn and his principles, always attack, the truth is what you say it is and always claim you won. It is this transformation and relationship with Cohn that is the heart of the film as apprentice outgrows tutor.

It’s built on three fine performances in Stan, Strong and Maria Bakalova. Stan does a good job avoiding a Trump impression, but rather inhabits him enough with the mannerisms and attitudes that you recognise. Strong’s character goes on an opposite journey from a man who’ll do anything to win, to one ravaged by personal events.

It uses the 80’s period well, weaving TV style documentary and drama effectively. It recreates a grim and desperate looking New York and uses the styles and music of the 80’s all to give a feeling of time and place.

The Apprentice is a nuanced view of a divisive character. It is driven by three good central performances and uses the sights and sounds of the period well. It’s neither a puff piece nor a hatchet job, but rather it poses some interesting questions about the Trump we see today. An origins story with a difference.

Directed & Screenplay by: Chris Sanders

Based on the book by Peter Brown, The Wild Robot tells the story of Roz(Lupita Nyong’o), a ROZZUM droid designed to help its owner to complete any task they need. But, she finds herself stranded out of place, in the wild. Here Roz finds herself amongst the animals of the forest, trying to understand her surroundings and importantly find a task to complete. Once she finds her task, in the shape of a baby goose (Kit Connor).With the help of a fox (Pedro Pascal), she learns new skills, the importance of working together, friendship and love that helps her realise what helping really means.

While I don’t think this is going to be a classic, it is a gorgeous film that deals with a range of themes, threats to the planet, family, friendship, love and growing up.

As you’d expect from DreamWorks the animation is flawless, with a beautifully rendered wilderness. The action is often fast and furious with a range of endearing characters from across the animal kingdom.

On the negative side the story did feel a little disjointed. It has a nice clear story about parenting, growing up and dealing with difference. But It then seems to take a strange turn with a story about Roz’s makers, that all felt a little tacked on and unnecessary. But overall the story is fun and does have some fine bits of dark humour that take advantage of the, sometimes, harsh realities of nature.

The voice cast are good, with the central trio well supported especially by Catherine O’Hara’s Possum, Bill Nighy’s elder Goose and Matt Berry’s determined tree chewing beaver. And all help to deliver an overall uplifting and engaging story, that covers a broad array of topics.

I’m not sure The Wild Robot is destined to be a classic, with a story that seems to lose its way. But It is a colourful fast paced adventure. It looks great, has a sense of humour and  has a point to make. Not a classic, but an enjoyable robot meets nature adventure.

Director: Josh Cooley

Writers: Eric Pearson, Andrew Barrer
Gabriel Ferrari.

Set as a prequel to the other cinematic Transformers adventures, this film is set on a desperate Cybertron. After a surface battle that claimed not only the lives of the Primes but also the Matrix of Leadership, a device that ensures the planet’s life source, Energon, flows freely. Without it the Transformers live under the planet’s surface. Here Sentinel Prime (Jon Hamm) needs to mine the planet for Energon. A team of miner bots, Transformers who cannot transform,  dig endlessly to support Sentinel Prime as he scours the surface looking for the Matrix. But when two bots Orion Pax (Chris Hemsworth) and D-16 (Brian Tyree Henry) want to prove their worth to Sentinel Prime, they head to the surface. However, it’s here they make a discovery that will change the future of Cybertron forever.

This is the first animated Transformers film since 1986 and what a lot of fun it is. As a prequel the film gives us the background story of characters that are a staple of the franchise. And importantly it, unlike the increasingly dull live action films, does so with a sense of fun and adventure.

Its voice cast is spot on, alongside Hemsworth, Henry and Hamm there’s also Scarlet Johansson, Keegan-Michael Key, Steve Buscemi and Laurence Fishburne all turning in enjoyable performances. The script barrels along well and has a light touch with plenty of moments of humour.

The action is fast and furious and the animation is colourful and, while computer generated, it reflects its 80’s film and TV adaptations. And delivers a really enjoyable animated adventure.

Transformers One is an entertaining origins film. The script bounds along nicely with a good mix of action set pieces and humour. The animation is eye catching and the voice performances spot on. It’s an enjoyable animated adventure, that’s more fun than many of its live action predecessors. A strong addition to The Transformers film series.

On Netflix.

Director: Josh Greenbaum

When will Ferrell receives an email from his old friend and collaborator Andrew Steele, he is greeted with surprising news. He has transitioned to the person, she has always known she is, Harper. Harper has always loved travelling the US, but is now unsure about whether the country she loves will still love her back. Not only that, but how will old friends react to this big change. Will & Harper takes us on a roadtrip as they assess attitudes to trans people and their new friendship.

Will & Harper is a thoughtful, and touching documentary about dealing with change, sexuality, navigating a challenging world and of course friendship.

It is in its exploration of friendship where it is at its strongest. There is clearly a real love between the two old friends. Of the two Ferrell, who has the better known public persona, offers a very different view of him. While there is occasional clowning, predominantly we see a clearly thoughtful and caring person, who wants to support and understand his friend. There is no question of Ferrell’s total acceptance of Harper and, on occasion, this puts Harper more on show and open to hostility than he appreciates. In Harper we get a very transparent, touching and often difficult discussion of a life that has taken her on this journey. The hard times from the past and the fears and insecurities of the present and future.

The subject is always intriguing,  but also sad and often funny, with a plethora of SNL alumni cameos.

On the negative side, it perhaps runs a little long and eventually the town visits become a touch repetitive, but these are minor qualms over what is a thoughtful, touching documentary.

Will & Harper is a warm and heartfelt documentary. It is at its best exploring the relationship between two friends as they navigate change. Harper is always open and vulnerable, Ferrell warm, thoughtful and supportive. While it may run a little long, overall it is an insightful and enjoyable documentary.

Written & Directed by: Nora Fingscheidt

Written by: Amy Liptrot & Daisy Lewis

Rona (Saoirse Ronan) is young and smart, a girl from The Orkney Islands, living in London. She has a boyfriend, Daynin (Paapa Essiedu), but she also has an alcohol addiction. As the addiction gets increasingly out of control, her life unravels. Eventually she returns home to escape the constant temptation that London presents. The film follows her attempts to reconnect with her life, her parents (Stephen Dillane & Saskia Reeves) and to control her addiction in the wild beauty of her home.

Based on Amy Liptrot’s book of the same name. The Outrun is a grown up look at the destructive nature of addiction and mental illness. It mostly focuses on Rona’s current battle, but tells the story of her addiction and unravelling through a series of flashbacks.  While it’s by no means an easy watch, it is the compelling performance by Saoirse Ronan that keeps this a compelling and absorbing watch.

Often the issue with films like this is those suffering with addiction can be difficult to feel for, but here Rona, is a character that you believe in and care about. It’s never melodramatic, it’s always subtle and believable and the performance drags you in, you feel the mania of her life, the desperation of her addiction and the pressure she feels. Alongside the difficulty of her relationship with her parents that she has to navigate.

Equally important to the story is the landscape. The wilds of The Orkney’s are used to mirror Rona’s life and challenges, windswept, turbulent, isolated and lonely. But it’s not relentlessly grim, it has moments of humour, love and hope. And while it’s a hard watch, and runs a touch long it treats its difficult subject matter with care.

The Outrun is not an “enjoyable” watch. It’s a tough look at addiction and mental health. But in Saoirse Ronan’s, Rona, it is anchored around a character you care about and want to see overcome her helplessness and desperation. But it’s not endlessly grim, it gives you hope and humour. It’s not a light film but a worthwhile one.

Written & Directed by: Todd Phillips

Written by: Scott Silver

Having murdered six people, including talk show host Murray Franklin on live television, we find Arthur Fleck/Joker (Joaquin Phoenix) in Arkham hospital facing a trail for his crimes. Here he meets a new patient, Harleen “Lee” Quinzel (Lady Gaga), a fan girl obsessed with Joker and his acts. As their relationship grows and Arthur heads to court, Lee encourages him to be himself, embrace the support of his “fans”, get free and together they can head off to “build a mountain” together. 

Todd Phillips in his follow up to the hugely successful Joker has decided that what we needed was a fantasy musical that explores the relationship between Joker and Harley, through a series of extravagant musical set pieces. And for 45 minutes we did, it was an irreverent, entertaining building of a relationship. It was like La La Land if everyone was a psychopath. But the problem was by 55 minutes you realise that actually we did not need it all.

The problem with Folie à Deux is it doesn’t have a story to tell. It has a promising setup and in Phoenix and Lady Gaga two excellent performers, who take us through a wild musical ride. However, it runs out of steam extremely quickly and rather than giving us, as we had in Joker, Fleck’s descent into delusional, murderous fantasy, we instead get his slow descent into dull procedural court room drama. 

While most characters are paper thin and forgettable a couple are wasted. Brendon Gleeson’s singing, psychotic prison warden for one. But no one more than Lady Gaga who is excellent in every moment on screen and at the heart of the story, until Philips runs out of ideas leaving her literally watching the action.

This is a hugely disappointing sequel. Its madcap fantasy musical approach works for 45 minutes, until you realise it’s a film with no story that descends into a dull courtroom drama that does nowhere at all. A film that wastes both the excellent first film and the fabulous talent on display. A crime deserving of a stint in Arkham.

Written & Directed by Francis Ford Coppola

Decades in the making, Coppola’s passion project, Megalopolis, makes the screen. Set in a crumbling New Rome, Cesar Catilina (Adam Driver) is an idealistic designer who wants to build a utopian new city, using his new wonder material Megalon. But in a city full of corruption and a decadent ruling class Catalina’s plans have many enemies. This includes Mayor Cicero (Giancarlo Esposito), Wow Platinum (Aubrey Plaza) and  Clodio Pulcher (Shia LaBeouf) a spoilt son of a wealthy father. Can Catalina overcome the corruption rife in a crumbling society and build his utopia?

When I first read about Coppola’s bold and ambitious passion project, it did feel there was a  risk of it being an ill disciplined, self indulgent mess. And that concern was not unwarranted as it’s exactly what we have.

Don’t get me wrong, I didn’t hate this and bizarrely the more it went on, the more tolerant I became of it, maybe, even enjoyed it! And there’s a certain admiration for attempting this huge sprawling, Shakespearian style tragedy. But that does not change that it needed someone to reign the whole thing in and stop this bonkers mess.

The film is all over the place. It has strange injections of Shakespearian dialogue, dreamlike fantasy sequences, weird shouty line delivery and far too many moments of “what am I watching”.

But like I said, I didn’t hate it. It looks great, there’s some good performances making the most of the nonsense they have to deal with and it does come with both a sense of humour and some social commentary. But in the end, while it’s big and bold, it is a messy nonsense!

Megalopolis is bold and ambitious. But, like many passion projects, it is also an ill disciplined mess. I didn’t hate it, there were enjoyable performances, a great look, a sense of humour and some social commentary, with moments to enjoy. While bizarrely the longer it went on, the more I tolerated it, it’s hard to recommend this bizarre craziness!

Directed by: Anand Tucker

Written by: Patrick Marber based on book by Anthony Quinn.

Haggard and vicious lead drama critic of The Chronicle, Jimmy Erskine (Ian McKellen) finds his lifestyle and livelihood under threat, when new head of the paper David Brooke (Mark Strong) needs to cut waste and take the paper back to its former successes. After a particularly savage review of actress Nina Land (Gemma Arterton), and a public “indiscretion”, Erskine finds himself on borrowed time. When he discovers that Brookes sensitivity to harsh reviews of Ms. Land may be a little more personal he sees a way, with the help of Nina, to protect his career and get control. But when the plan goes badly wrong. Erskine’s own plan takes a very dark turn.

There’s a bit of irony that a film about a savage drama critic, may well find itself on the wrong end of one or two less than flattering reviews, well one at least! Because this was a rather disappointing, melodramatic piece of nonsense.

And that’s a pity, because, the first half of it was interesting, funny and full of charm. McKellan’s curmudgeon drama critic particularly as he showed witt, a disregard for societal norms, a dislike for those whose views threatened society and, importantly, a touching side when challenged by one on the end of his most withering critiques.

But it’s the second half that undoes the good work. The characters becoming increasingly unlikable through their own selfishness and self pity. None of the characters, who make increasingly unrealistic decisions, have any redeeming qualities to the point where I no longer cared about them. This is not helped by a storyline that gets increasingly silly and performances more melodramatic. Ultimately all feeling a bit tiresome.

The Critic is half a good film. Its first half is intriguing, humorous and charming. But loses its way in a second that becomes increasingly unbelievable, with increasingly unlikeable characters that you stop caring about.. I imagine Erskine’s review would be less than flattering!