Vice

This review may contain spoilers!

When Adam McKay directed The Big Short I found a film that stood out in 2016, with Vice I was excited to see what else McKay could do. Turns out the answer to that is a lot of the exact same. I would give Vice a 6/10.

Vice takes the audience into a look of the life of ex-VP, Dick Cheney, and how he wielded political power during his time in office. What Adam McKay does very well is presenting the satirical nature of his biopics, every scene is balanced towards a very dark punchline or to inform the audience so that they may be in on the not so funny joke: The message behind this film. Vice is brilliant in how it breaks apart and exposes the power structure within American politics and how easily this system can be manipulated to the advantage of power and greed. The cinematography used throughout is very deliberate and effective; McKay wields a tight frame well with all his dialogue sequences feeling very intimate, trapping the audience with his leading protagonist so you can't look away for a second.

Amy Adams, who played Lynne Cheney, seems hungry for power and position from the start; Adams reveals her role as a strong power player and manipulator throughout the film and in her hands, Lynne is a true force beside Bale's Cheney. Steve Carell, who played Donald Rumsfeld, begins the film as this boisterous wild card who plays the political landscape like it's the Wild West; Carell has a more restrained, suspicious approach when he returns in the final act signalling his role as the relic of an old era of politics. Sam Rockwell, who played George W. Bush, manages to capture the mannerisms and tone of the former American president perfectly; Rockwell presents this particular character as quite abrupt and clueless to the events of the film occurring around him. Alison Pill, who played Mary Cheney, gives an excellent display of a very vulnerable role throughout this feature; Pill's depiction of Mary coming out as a lesbian and her subsequent display when her family betrays her trust are very powerful moments. Shea Whigham, who played Wayne Vincent, is a very untrustworthy role from the start; his wild abusive introduction leading to his drunken state at his wife's funeral sets him as a low figure in a rather diabolical film.

However, the best performance came from Christian Bale, who played Dick Cheney. When we first meet this character Bale displays a very aloof, drunken wanderer, a man who has little ambition and no future. Yet he pivots in a way that is so believable, so convincing that the transition from drunkard to Vice-President seems a natural progression. Bale's depiction of Cheney awkwardly stumbling through his early political career is quite funny, yet he seems almost charming at first. However, there comes a tipping point where Cheney begins to learn from his surroundings and sees what will mean power for him and when. This is a role that has a lot of menace behind him yet he is so quiet, so deliberate that you almost believe everything he advocates comes from a place of reason. By the time we see Cheney in his later years he is so deep into his desire to hold a legacy in politics that he is willing to throw his very family under the bus.

While this film manages to pull off some moments of satire and presentation of information rather well it is hardly inspired or original cinema. A lot of this feature is merely the director pulling out all the same stops as he did on The Big Short. There are long overbearing metaphors that the film cuts to throughout, we often get hit by an unreliable narrator who also doubles as a rather dull role in the narrative and the incessant cutting to black, stock footage or photographs seems to have doubled since the last feature. At first, it's a jarring sensation that works wonders for the film, it ramps up the shock factor and makes the reveal of some information quite surprising. Then after the first 45 minutes, it's just repetitive and jarring. There are some moments where the director attempts to get creative with some of these off moments of satire by weaving in Shakespearean monologues or having the main character address the audience like House of Cards did years ago. These risks don't land and just make an already slow film look as overstuffed as Bale does in the film. The score for the film has a few tracks that lend some fine moments to the humour but overall it's forgettable and doesn't lend itself to the tone of the feature.

Eddie Marsan, Justin Kirk, Don McManus and Tyler Perry, who played Paul Wolfowitz, Scooter Libby, David Addington and Colin Powell respectively, are a supporting cast of very proficient actors who are shunted into very bland background roles; these are roles that are almost always present yet are never given the time to actually stand out or make an impression. Jesse Plemons, who played Kurt, is a narrator for a film that doesn't exactly feel like it especially needs narration; because you never really connect with this role but just watch him spout exposition every so often the payoff with his plot twist is rather weak. Lily Rabe, who played Liz Cheney, is the counter to Pill's brilliant role; Rabe is quite monotonous to watch and never lends a great deal of personality to her role.

Ralph Breaks The Internet: Wreck-It Ralph 2

This review may contain spoilers!

This isn't an especially necessary sequel but it is very well made. I would give Ralph Breaks The Internet: Wreck-It Ralph 2 a 7.5/10.

Ralph Breaks The Internet is the sequel to Wreck-It Ralph, in this feature our heroes Ralph and Vanellope venture into the internet in an effort to repair Vanellope's broken arcade game. This journey inevitably introduces them to some new things and changes the relationship between these two characters forever. This movie thrives whenever it attempts to get at the heart of the relationship between Ralph and Vanellope, the pair depend on one another a lot and to watch this fracture and mend itself over the journey is an extremely emotional story. The film is also littered with fun cameos and easter eggs that comprise the fair share of comedy in this film; the Disney princess scene is obviously a massive point of appeal for this film and it doesn't disappoint. The animation style is so colourful and creative; with the variety of video game characters and online companies, there's clearly a lot of room to have some variety in design which makes for quite a creative watch. The score for Ralph Breaks The Internet is very modern and has a lot of energy to it; even the soundtrack includes some fun tracks like "Slaughter Race" or Ralph performing a Rick-Roll.

John C. Reilly, who voiced Ralph, really lends a lot of heart to his character; this isn't a character who thinks first but definitely one who is always motivated by the best of intentions. Taraji P. Henson, who voiced Yesss, really does feel like the high-flying electric head of some internet tech company; Henson is wild and constantly making herself heard in any scene she's in. Alan Tudyk, who voiced KnowsMore, is very pretentious in this role which is entirely the point; this is a very smug know-it-all who drives the characters to the point of annoyance with his constant autofill function. Alfred Molina, who voiced Double Dan, really feels like a good antagonist for the film; his menacing demeanour and shifty attitude to the bargain he strikes with Ralph makes for an ominous scene. Bill Hader, who voiced J.P. Spamley, really finds a perfect way of personifying a pop-up ad; Hader's edgy Boston accent and deceptive presentation of himself makes for an entertaining role. Irene Bedard, Kristen Bell, Jodi Benson, Auli'i Cravalho, Jennifer Hale, Kate Higgins, Linda Larkin, Kelly Macdonald, Idina Menzel, Mandy Moore, Paige O'Hara, Pamela Ribon, Anika Noni Rose and Ming-Na Wen, who voiced Pocahontas, Anna, Ariel, Moana, Cinderella, Aurora, Jasmine, Merida, Elsa, Rapunzel, Belle, Snow White, Tiana and Mulan respectively, really come together for a smattering of lines but make for two of the best scenes in the film; Benson, in particular, stands out because her depiction of Ariel in this feature is exceptionally comedic.

However, the best performance came from Sarah Silverman, who voiced Vanellope. This role is just a barrel load of fun, always hurtling through scenes and getting the most fun she can out of a moment. Silverman really lends her sense of comedy to the role, making for a funny dork who always tends to leave the audience grinning. What I loved so much about her in this film is that she is constantly exploring her self, Silverman opts to make this role extremely introspective and it works a charm. You can see Vanellope wrestling with her own insecurities and finding her way through the challenges she faces. It's a great display of characterisation that Silverman lends herself to expertly.

This film doesn't mesh strongly with the original, a problem that stands as a bit of a sticking point for a sequel. In the last film the way we left Ralph and Vanellope there wasn't a lot of room to set up a film in which their newfound friendship would fracture and become a more distant one. The fact Vanellope goes on a journey in which she needs a change for herself is a good plot on its own but as a sequel plot, it really doesn't hold together strongly. Furthermore, most films that depict the main characters journeying through the internet just doesn't always completely work. This has to be one of the best depictions I've ever seen of this particular setting but it still grates watching a story attempt to personify data or corporate entities. Having entire plot points around buying a product from eBay or going viral is weirder than anything else. The worst case of this is when a computer virus is focused upon finding insecurities in others and then using that insecurity to shut down entire systems; a massive convenient plot point that was a little too simple for its own good.

Gal Gadot, who voiced Shank, is not really suited for voice acting; her character just doesn't have a lot to her and we're often told that she's badass but Gadot never makes us believe it. Jack McBrayer and Jane Lynch, who voiced Felix and Calhoun respectively, had a very fun subplot in the first film to watch but are really shortchanged this time around; the parenting plotline feels tacked on and is extremely disappointing. Phil Johnston, who voiced Surge Protector, has the blandest voice acting out of the cast; Johnston tends to a more monotonous tone which makes his more present character a pain to watch.

Holmes And Watson

This review may contain spoilers!

There have been a few good and bad comedies this year, but this is one of the worst. I would give Holmes and Watson a 2/10.

Probably the best thing I can say about this film is how much I enjoyed the quirky and unpredictable use of music. The score for the film riffed off the more well-known BBC Sherlock or Robert Downey Jr.'s Sherlock Holmes films; while the soundtrack was a hysterical yet surprising blend of modern music. There's even a musical number presented at one point for the sake of it, the sheer fun that's had with the range of music is quite fun if not a little mismatched.

John C. Reilly, who played Watson, puts a lot of effort into finding the best comedic approach to each scene; Reilly's portrayal of Watson's unabashed adoration for Holmes is very over the top and a good deal of fun to watch. Kelly Macdonald, who played Mrs Hudson, is a very surprisingly lewd role in this film which is where some of the better moments of comedy stem from; Macdonald has a lot of fun playing the surprise antagonist and gets to really experiment with lending a nasty streak to her character.

However, the best performance came from Ralph Fiennes, who played Moriarty/Musgrave. Fiennes is often quite a class act and he's certainly a step ahead in this feature. He doesn't have the most consistent presence in the film but he has a silent menace that really holds your attention in his scenes. Fiennes presents a man of intellect and malice, his gravitas against his adversaries is something to behold. Yet in spite of all this, it's terrific fun to see the veil stripped away and watch Fiennes present the dithering form of the impostor, Musgrave, right at the end of his performance.

Holmes and Watson is an extremely loose adaptation of Sherlock Holmes and his colleague, Dr Watson, in their struggle against the villainous Moriarty. At every turn, this film seems hellbent on finding a way to sabotage itself or provide a very cheap gag. The plot is seriously contrived and to say that it reached an ending or had any sense of what direction it was taking would be a serious stretch. The main characters are constantly being toted as being genius detectives, yet the characters themselves don't feel any different from the usual Ferrell/Reilly morons we're used to getting. The historical inaccuracies and increasing inability to keep with setting, tone or character as the film goes along makes it feel like watching something coming apart at the seams. Ultimately, this is a comedy that is just not very funny; often there are points where physical comedy, gross gags or just uncomfortable moments are created for laughs and the film never rises above these. The cinematography used throughout the feature feels staged, if the camera has the option to remain as static as possible then it will remain so. The editing sets a dull pace, often slowly transitioning between scenes in a rather lethargic manner.

Will Ferrell, who played Holmes, hasn't risen from the same usual character for quite a while now; Ferrell presenting the same old arrogant yet idiotic role is tired and played out. Lauren Lapkus, who played Millie, is just an odd role and uncomfortable to watch; her being paired against Ferrell is a strange choice and the pair share no chemistry whatsoever. Rebecca Hall, who played Dr Grace Hart, is just too bland an actress for a comedy; Hall comes across as very stiff and doesn't manage a wide range of emotions within this role. Hugh Laurie, who played Mycroft, is a very forgettable cameo performance; Laurie's dour role lands little to no impression on the audience beyond one of vague recognition. Pam Ferris, who played Queen Victoria, just plays a caricature of the Queen throughout this film; it's a dry role that never gets much chance at any real comedy so she just becomes a boring set piece. Steve Coogan, who played the One-Armed Tattooist, is yet another cameo that is almost instantly forgettable; Coogan has no real gravitas as a villain and the jokes around his character being one-armed tend to fall flat. Rob Brydon, who played Inspector Lestrade, takes his role too seriously in a film where no one is really giving a very serious performance; this just makes Brydon fall squarely into the background of many of his scenes.

Bumblebee

This review may contain spoilers!

If you had told me at the beginning of 2018 that there would be a good Transformers film this year, let alone one in my top ten, I would have called you crazy. But here this beauty is. I would give Bumblebee an 8.5/10.

Michael Bay made a couple of fun Transformers flicks and a lot of just terrible ones, it is a wonder to see what a Transformers film can be in the hands of a different director. This is a complete revamp and excites me to see this homage to 80s pop culture blend beautifully with this modern day blockbuster picture. The best possible way to describe this experience is to equivalate it to Guardians of the Galaxy; no one thought Marvel could do superheroes in space and make it work but it did, and it invented some fresh movie magic for itself in the process. Bumblebee tells the story of the title character fleeing the war for Cybertron in an effort to find shelter for his fellow Autobots; along the way, his memory core is damaged and he has to rely on young human, Charlie, to keep him safe. It's a heartwarming story about a young woman trying to reconcile the loss of her Dad and a budding friendship that stands against aggression from all sides. This is fun, it has a ton of heart and it is easily one of the strongest blockbusters of 2018. The cinematography is phenomenal, steering away from the Bay flicks and favouring warm intimate shots ( a bold move in any blockbuster). The special effects are so carefully detailed, being able to see facial expressions and body language from the Transformer characters is brilliant. The score for the feature is thrilling, yet it is the soundtrack that grounds you in the setting and builds up characters.

Dylan O'Brien, who voiced Bumblebee, has the plucky earnest energy of the young Autobot; O'Brien really brings forth the selflessness at the core of this character and the scene in which he loses his voice becomes a truly tragic one. John Cena, who played Agent Burns, has a really charismatic sense of humour that is often rather blunt but immediately entertaining; Cena can also effortlessly switch to a silent intensity that really works for his military role. Angela Bassett, who voiced Shatter, is one of the best antagonists the Transformers films has ever had; her manipulative nature and disregard for life other than that of the Deceptions made her a true menace. Pamela Adlon, Stephen Schneider and Jason Drucker, who played Sally Watson, Ron and Otis Watson respectively, made for a very entertaining and dysfunctional family; Schneider, in particular, has a very humourous off-key relationship with Steinfeld that is great to watch. Peter Cullen, who voiced Optimus Prime, has played and mastered this role for a long time now; Cullen lends himself to this strong leader flawlessly and brings out the true hero that resides in this role. Jorge Lendeborg Jr., who played Memo, is a very awkward yet likeable role; he has a very sweet chemistry with Steinfeld and he often feels comedically out of place in the big moments of action. Len Cariou, who played Uncle Hank, is a gruff role that seems very caught in his own small world; yet his little displays of kindness towards Steinfeld make for a nice relationship at the beginning of the feature.

However, the best performance came from Hailee Steinfeld, who played Charlie Watson. Since Pitch Perfect 2 and Edge of Seventeen it has been hard to see Steinfeld as anything short of an up and coming icon, her sheer talent speaks for itself and it is front and centre throughout Bumblebee. This is a young woman who has retracted into herself and does not have a lot of room for family and friends after the death of her Dad. If there's one thing Steinfeld plays really well it's a role going through grief; she takes a role right through the process of experiencing and enduring this type of emotional pain. Yet Charlie Watson is hilarious, with a wry sarcastic wit and street smarts to outrival any other. The bond built up between Steinfeld what is essentially a special effect is the driving heart behind this film and it is so clear how much of that is driven by this wonderful actress.

This film loves the 80s film but at times it pulls a few bad tropes from it that really hijack this film's narrative. The coming of age elements are often done pretty well but watching Charlie have to deal with bullying from the popular clique is very dated and a hard watch.

Justin Theroux, who voiced Dropkick, is a very brainless antagonist compared to Bassett; Theroux's performance is very reminiscent of the two-dimensional antagonist we've seen in past films. Gracie Dzienny and Ricardo Hoyos, who played Tina and Trip respectively, are some of the most cliched roles in this film; Dzienny's arrogant and vain bully is as far from an original performance as one can get. John Ortiz, who played Agent Powell, is a role that is very convenient for the plot but hard to really buy into; Ortiz seems to have been constructed just to have a polar opposite to Cena for the sake of it. Glynn Turman, who played General Whalen, gives a pretty standard stern military role; his granite-like exterior is hard to read and there's not much as far as character goes.

Mortal Engines

This review may contain spoilers!

This is a very cliched blockbuster. It is a very well made cliche, but a cliche nonetheless. I would give Mortal Engines a 6.5/10.

This is a movie that pulls out all the stops in the first twenty to thirty minutes; the set up is thrilling, there's an intense chase sequence and even the exposition is somewhat engaging. I truly loved just how much had been put into the production of this film, even though the story falters a lot at least those visuals are right there to lift it back up. The cinematography is a grandiose treat, taking in massive set pieces and special effects with ease. The special effects themselves certainly flaunt a rather impressive budget with mobile cities and aircraft looking detailed and unique, yet it is the design for Shrike that leaves the biggest impression by far. The score for the film speaks of the epic scale at work here, going full fanfare for the epic chase sequences and monolithic battles in the final act.

Hera Hilmar, who played Hester Shaw, is a strong protagonist throughout the feature; her aggressive stand-offish attitude is tempered by her extremely vulnerable upbringing making for a complex role. Robert Sheehan, who played Tom Natsworthy, is a very sheltered yet kindly protagonist when first we meet him; his meekness gives way to bravery as he follows Hester upon their journey back to London. Stephen Lang, who played Shrike, practically breathes life into what could have otherwise felt like a mindless monster character; Lang reveals the tragic personality of this machine that is attempting to break through the surface.

However, the best performance came from Hugo Weaving, who played Thaddeus Valentine. This is a character who presents a front of governing from the best of intentions, with the good of London at the forefront of his mind. Yet Weaving masterfully reveals his role to be a power-mad tyrant, striving for a military power the likes not wielded by other cities. As his actions grow wilder and bolder he distances from the allies he once held close, even his daughter. Finally, come to the end Valentine is a purely malevolent force bent solely upon destruction, only ever really leading to his downfall.

The film suffers heavily after the first twenty minutes, from about this point we're treated to a terribly underwhelming generic young adult film. The most glaring issue is how overcrammed the film is; you have to learn a lot about the world and not very much makes sense. There's a ton of history, technology, political structures, factions and personal motivations that layer one another and getting through the film attempting to register it all feels like a chore rather than a pleasure. The camp plotline about the small resistance fighting a giant monolithic power is worn out, but not as worn out as the poor love story between the two main characters. The film looks original and makes a grand impression but watch for long enough and you'll see a film with all shine and no substance.

Jihae, who played Anna Fang, is this very monotonous freedom fighter who doesn't register much emotion throughout the film; she has a great presence in the fight sequences but she isn't a role that you relate to on any level. Ronan Raftery, who played Bevis Pod, is a very mild-mannered role who is quite easy to look past; Raftery presents a plot point rather than a character and is only kept around to give Leila George something else to do. Leila George, who played Katherine Valentine, doesn't possess a strong relationship with Sheehan or Weaving making her significance hard to place; the film places a lot more importance on her role than the actress every really gives back. Patrick Malahide, who played Magnus Crome, is a sour and irate secondary antagonist; Malahide plays a tired old villain and it's pretty clear what his fate is going to be from the beginning. Colin Salmon, who played Chudleigh Pomeroy, is very much comfortable in the background of the film; Salmon presents mild exposition and little else to the feature. Rege Jean-Page and Kee Chan, who played Captain Khora and Governor Kwan respectively, are the rather two-dimensional characters who represent the resistance in this film; Chan in particular sticks closely to the stereotypical roles he has done in past features. Sarah Peirse, who played Dr Twix, is a character armed with more knowledge than seems likely for her to possess; this role is just a glaring convenience the whole way through and her relationship with Weaving is never really fleshed out or explained.

Robin Hood

This review may contain spoilers!

This film begins by telling you that this is unlike any Robin Hood film you've seen before; so it's fitting for this review beginning with me telling you that this film is like every Robin Hood film I've seen before. I would give Robin Hood a 5.5/10.

This film is actually rather fun to watch when it comes to some of the production elements, it has all the working components of a fun, mindless blockbuster. In particular, the speed and fluidity of the fight sequences look great, right down to some of the horseback stunts that really impress the viewer. The editing for the film manages to keep the action moving in good time, while also presenting the timing of a sequence or scene rather well. The best achievement from this film is certainly the score by Joseph Trapanese; the music throughout sets the blood pumping in those high energy scenes or slips in an emotional mood to a scene that desperately needs that feeling.

Taron Egerton, who played Robin of Loxley, is an excellent pick for the protagonist of the film; Egerton is more than capable of portraying the indignant young rebel and lends a hefty amount of charisma as the thief becomes a leader of the people. Ben Mendelsohn, who played the Sheriff of Nottingham, has absolutely triumphed in every antagonist role he's taken up and this role is no different; his wild displays of malice fringed by a deep-rooted weakness at the hands of those who made him who he is. Paul Anderson, who played Guy of Gisbourne, is another great antagonist who is merciless against those who oppose him; Anderson is in a role who could've been another henchman but he never once allows the character to become two-dimensional.

However, the best performance came from Jamie Foxx, who played Little John. From the beginning of the film, Foxx presents the sheer intensity of this Arabian warrior through his physicality and initial fight sequences. It does not take long for us to see Foxx shine when his role has to suffer through watching his onscreen son brutally murdered by Crusaders. Rather than break, a fire awakens in this role and the mission of fighting the rich to prevent war comes to pass; a goal that this character pursues with tunnel-vision. Throughout the entire film, Foxx has some nice camaraderie with Egerton and equally shares a powerful rivalry with main antagonist, Mendelsohn.

This film tries really hard to push the idea that it's new or original in its design all the while playing to obvious themes or cutting corners to advance the story. This is a Robin Hood that pins a lot on the romance between Marian and Robin, a relationship that comes to pass in the first scene and grows corny very early in. Yet the film continues to return to this subplot as a significant driving force, even allowing it to become a love triangle narrative the likes that haven't been seen since the young adult novel adaptation craze. Throughout things are just pushed along so that the narrative can happen without much justification. Robin and John's alliance is very quickly forged and Robin agreeing to join the fight is more surprising than exciting; alternatively, the reasoning for keeping Marian away from the antics of 'the Hood' is flimsy at best. Add onto that the poorly written antagonists and the film falls apart. The major antagonists of the film are the Church and they're so absurdly over the top in their portrayal of being evil that it becomes melodramatic. The cinematography used throughout is very experimental which is a risk that doesn't pay off, the random shots at odd angles that litter a scene don't heighten the pace but rather hamper the films otherwise fine visuals.

Eve Hewson, who played Marian, is very much built up to be the romantic counterpart to Egerton but the two severely lack chemistry; Hewson feels rather bland and doesn't seem committed to playing to the revolution storyline or the love triangle storyline. Jamie Dornan, who played Will Scarlet, has found a better film than the Fifty Shades series but hasn't proven to be one of the better aspects of said film; Dornan oozes angst in every scene and his role fast wears the viewer down. Tim Minchin, who played Friar Tuck, is this unbridled comic relief who lays it on pretty thick throughout; Minchin's constant bantering and jokes make for light relief but grate against the tone of the film severely. F. Murray Abraham and Ian Peck, who played the Cardinal and the Arch Deacon respectively, make for a pair of overdramatic master villains; it's disappointing to see the masters behind the antagonists' plot devolve into melodramatic laughter and moustache twirling.

Widows

This review may contain spoilers!

I'm a sucker for heist films but to see a heist film where the leads barely interact and there's no build-up to the heist itself was always going to fall flat. I would give Widows a 4/10.

This film does not shy away from depicting a brutal, violent criminal underworld on the fringes and intermeshed with wider society. Throughout the film, the protagonists are threatened or placed into situations that are extremely perilous and invasive; you watch a world that is governed by political campaigning and mundane occupations delve into backroom dealing and gang violence. Widows is a messy film in a lot of respects but it juggles the setting and tone extremely well.

Brian Tyree Henry, who played Jamal Manning, really eclipses most other antagonists within the film; Henry's unabashed conviction towards achieving alderman is a driving force and it's interesting to see the ways he chooses to portray that, such as the scene in which he confronts Davis. Garret Dillahunt, who played Bash, is a seemingly simple figure who presents a firm pillar of advice and support for Davis in the first two acts; Dillahunt brings forth a loyal role who will take any task or punishment in aid of those he cares about. Jon Michael Hill, who played Reverend Wheeler, is intensely charismatic that you feel his character to be almost intoxicating; Hill's role holds power and has a great deal of self-awareness about this as he cleverly plays both sides of the political fence.

However, the best performance came from Liam Neeson, who played Harry Rawlings. You don't see a lot of Neeson in this film but the little you get is nothing short of a treat. There is something inherently pure and good in his affections for Davis' Veronica that we begin to see the fantasy she has created is a shadow and not the truth of Neeson's role. As the film begins to progress and we see this character begins to bargain and trade promises for time it becomes clear how corrupt a figure this role is. The final confrontation between Neeson and Davis is an epic display of betrayal and greed that shreds apart the image of Neeson we had previously held in our heads. This is a small role that manages to shine clearly throughout the film.

This film pushes the idea that it's a heist film despite having most of the features of a slow-burn indie crime feature. What is most distinctly frustrating is how the title characters feel barely banded together throughout, Veronica's story takes priority at every turn and you barely see her interact with the rest of the team. In a way, it's hard to believe the heist even happens because the prep scenes are barely there and everything just goes too conveniently well. The film spends too much time walking off the beaten path and examining how Belle will cram into this mess as early as the beginning of the third act, or over-analysing a rather bloated self-empowerment sub-plot for Alice. The film is constantly finding distractions or adding of big elements to the plot that should matter but likely no one will care about; the political skirmish for Alderman a prime example of this. The whole journey is a predictable yawn-fest, with major plot twists such as characters returning from the dead causing few viewers to bat so much as an eyelid. The cinematography tries a little hard to get inventive and experimental with entire scenes, this just has the pay off of feeling indecisive and lacking a coherent visual style. The editing manages to keep the film trudging a lethargic pace. The score for this film is done by none other than Hans Zimmer which is surprising considering the music is barely present throughout; this film loses a lot because there is no substance or emotion in the backing tracks.

Viola Davis, who played Veronica, has little emotion to give to this film; Davis feels cold and distant almost the entire film and as an audience member she's a difficult protagonist to engage with. Michelle Rodriguez, who played Linda, doesn't really give a great deal of range either and seems perpetually unhappy; Rodriguez's role doesn't seem to much care for her shopowner background and it's hard to even be convinced that she's a struggling mother. Elizabeth Debicki, who played Alice, has done this role before and better; Debicki's entire arc of recognising that she's clung to men and then seeking her own self-power isn't very original in its execution. Carrie Coon, who played Amanda, is the grumpy widow who doesn't want to engage with the rest of the cast; Coon's embraces her role's abrasive persona a bit too strongly. Robert Duvall, who played Tom Mulligan, really goes overboard in his senile elderly racist performance; Duvall seems like an absurdity tacked onto the film. Colin Farrell and Molly Kunz, who played Jack Mulligan and Siobhan respectively, are the political figures you are supposed to perceive as good initially but the film just makes you feel apathetic about them; I still don't really know if I'm supposed to consider Farrell as an antagonist because the film dealt with his role in such a murky way. Daniel Kaluuya, who played Jatemme Manning, seriously found his peak with Get Out and now we're experiencing the low; Kaluuya's wild and irate gangster feels a little too over the top for the tone of the film. Jacki Weaver, who played Agnieszka, has been typecast well and truly as the crazy mother role now; Weaver just lays it on too thick every time she picks up one of these characters and it just means there's little connection between her and Debicki. Cynthia Erivo, who played Belle, is introduced into this film far too late to be lumped into the main heist group yet she is anyway; Erivo bounces her role's personality from being meek to being confrontational at an annoyingly frequent rate. Lukas Haas, who played David, is an odd character this film pitches alongside Debicki; the pair have a lot of chemistry but you're not really sold when Haas tries to portray the nastier side to his character.

Fantastic Beasts: The Crimes Of Grindelwald

This review may contain spoilers!

If there's one thing JK Rowling could have learnt from Star Wars it's the ill-conceived notion of installing a prequel series into your franchise. I would give Fantastic Beasts: The Crimes Of Grindelwald a 4/10.

This film has a solid twenty minutes of good cohesive plot and that's generally whenever there's a focus upon the character of Gellert Grindelwald. This antagonist has a very quiet, methodical way of seeing his ends met and is able to win battles through his powers of persuasion rather than his magical ability. Grindelwald is a fearsome antagonist, an antithesis to Dumbledore through and through which is what makes him so thrilling to watch. The way this world is captured is so creative and absolutely grandiose, the large-scale special effects are captured in thrilling ways and the camera is used creatively to depict effects of magical spells. The special effects are certainly where these films come to life, seeing magical creatures roaming through London houses or Paris streets is a real treat. The music for the Harry Potter franchise has always been exemplary and this continues to be the case in the Fantastic Beasts series, there were some notable returns to the old with the revelation of Hogwarts as a setting but equally some of the new music, like Grindelwald's escape, will have you right on the edge of your seat.

Eddie Redmayne, who played Newt Scamander, has really found one of his most iconic roles in Newt; this role is disconnected from people and yet quietly confident and selfless that he becomes a great protagonist to watch. Callum Turner, who played Theseus Scamander, plays a headstrong older brother to Redmayne's Newt that actually feels like a mature distant sibling relationship; Turner does a wonder at being torn between his role's sense of duty and loyalty to family throughout the feature. Jude Law, who played Albus Dumbledore, does an admirable job as a young Dumbledore; this may not be the most ideal candidate for the casting but Law's skill as a performer shines through. Dan Fogler, who played Jacob Kowalski, is really a strong comedic talent who grounds these new films in a lot of ways; yet this time around Fogler's portrayal of his character's desire to reunite with Queenie and his grief at her corruption is rather profound. Thea Lamb and Joshua Shea, who played Young Leta Lestrange and Young Newt Scamander respectively, do an incredible job of capturing the relationship between their roles in a way you don't really get between Redmayne and Kravitz; Lamb shows how Leta has been bullied and haunted both due to her family name and her past actions, while Shea just looks and feels like Redmayne beat for beat.

However, the best performance came from Johnny Depp, who played the lead antagonist: Grindelwald. Over the past few years I've seen Depp play to blockbuster characters in a way in which their quirks were emphasised but not their actual character, yet sometime in 2017, my opinion changed when I saw a significant return to form in Murder on the Orient Express. Now Depp keeps that streak alive with this precise and calculated villain who is keeping this Harry Potter prequel universe alive. Depp approaches a scene with a quiet finesse, happy to stand the cold observer while keeping a lid on what can only be a deadly power brewing within. What I loved about this role was how he was described as being seductive or manipulative and it showed. There were key scenes where Grindelwald would stride amongst characters and speak calmly, persuasively and in a manner that provoked little response. Depp spends this whole feature making you want to listen to his star antagonist, hear what he has to say and then watch in horror as he conducts his magic and brings death right in that final act.

In many ways, it looks like the magical wizarding world of Harry Potter and it sounds like it too but in fact, there's no magic here and the romantic escape to Rowling's world isn't there anymore. Back when I watched the first Fantastic Beasts I thought the American setting was too harsh for what was trying to be achieved but in truth, it's more than that. These films are trying to tell a dark, conspiratorial cold war story in the wizarding world with characters who aren't young and see the wonder of the world around them. It's a story that feels dark and grey because it is so and that's not interesting nor is it fun - it's certainly less than what audiences are expecting. Yet that's merely tone issues and that was already there; what this film does wrong so much more so than the first was that so much happened and yet nothing at all did. The story here has a main plot with little substance, Grindelwald escapes and then holds a meeting at the end of the film for his followers in which he secures Credence. That main storyline is talked about a lot but doesn't ever feel like the focus or the driving force. Instead, this film pushes a dozen minor subplots that tease surprise revelations about a character's identity, there's a number of romantic subplots in the works, Newt's still collecting the odd magical creature and there are about eight new characters to attempt to focus on. The first Fantastic Beasts very frustratingly set up a lot with the implication it would be expanded upon in the next film yet this sequel answers only a few questions while confusing you by setting up and introducing more than is really needed. Rowling certainly can write some amazing novels but I'm not very convinced she can construct a good screenplay.

Kevin Guthrie and Poppy Corby-Tuech, who played Abernathy and Rosier respectively, are rather dull as Grindelwald's lackeys; these two are seen the most as his loyal followers but they have no personality to them and are essentially glorified extras. Zoe Kravitz, who played Leta Lestrange, was very much hyped up in the first film and never really lives up to it in this sequel; Kravitz feels disconnected from those she acts against and doesn't seem to balance out the moral and nasty sides of her character. Derek Riddell, who played Torquil Travers, is a mean enough role but doesn't seem too different from all the other mean older Aurors in these films; Riddell plays an abrasive figure but that's all he ever really amounts to being. Ezra Miller, who played Credence Barebone, is the bane of these Fantastic Beasts films; it's a pity his character continues to have a presence because there's so very little to him. Ingvar Eggert Sigurdsson, who played Grimmson, is one of those characters that really feels like he's overpopulating the film; Sigurdsson is just there to be a further point of antagonism in the 'find Credence' subplot. Victoria Yeates, who played Bunty, is a character suddenly attached to Redmayne's lead who you don't really get time to adjust to; she's barely introduced before the film pulls you away from her again. Alison Sudol, who played Queenie Goldstein, was one of the shining performances in the first film but her character is all over the place this time around; Sudol's role is seen to be manipulative at first which is quite off-colour and the whole subplot where she is corrupted is a significant weak link. Katherine Waterston, who played Tina Goldstein, is such a bland character who has little connection with Redmayne; Waterston just doesn't feel like she has the intensity to be playing an Auror. Claudia Kim, who played Nagini, is a role who is very much a nod to Harry Potter lore but who doesn't have a character outside of that; Kim feels like she's there so that Miller has someone to talk to in his aimless subplot. Olafur Darri Olafsson, who played Skender, is the generic mean-spirited circus showman; Olafsson's role is quite similar to Perlman's from the first film, a glorified cameo that doesn't have much of an effect. William Nadylam, who played Yusuf Kama, is this overly intense minor role who just has more screen time than he's really worth; Nadylam's feverish angry rants aren't very inspired and he doesn't have the presence to lend to his role's mystique. Brontis Jodorowsky, who played Nicolas Flamel, is introduced far too late into the film as a sort of novelty; but really the sudden introduction of Jodorowsky is another character the audience is trying to puzzle out exceptionally late into the feature.

Overlord

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This film owes a lot to a great director and cast making good use of a pretty awful script. I would give Overlord a 6.5/10.

This film is an ambitious genre smash, the likes of which are becoming more and more common these days. In this war/horror/sci-fi feature we follow a small band of American soldiers who drop behind enemy lines to blow up a Nazi radio jamming tower; little do they expect to find a secret Nazi laboratory in which ubermensch (supermen/supersoldiers) are being created. Overlord has a real talent for increasing the threat around the protagonists and immersing you within this dangerous setting; Nazi soldiers lurk behind every tree, a protagonist is suddenly erased by a mine or a great German Shepherd may maul a character before you expect it. By this measure, I found the first two acts absolutely enthralling and suspenseful. The cinematography at work throughout is inspired, with action coming fast yet playing with experimental angles; there is also an eye for powerful shots of war and desolation that populate the first act especially. The editing for the film moves at a great pace, even the way the film is cut to be slow then quicken for the sake of horror elements is impressive. The score used throughout really aids the tone and sets your nerves on edge, at first you feel immersed in the booming deafening world of war but as the sci-fi/horror elements come to play this same music takes a twisted and distorted turn that put you ill at ease.

Wyatt Russell, who played Ford, is a haunted yet dangerous soldier who is solely driven by a need to see his mission done; Russell's portrayal of the rage and hatred that his role barely has a lid on is nothing short of impressive. Mathilde Ollivier, who played Chloe, is a good representation of a people under hostage hungry to rebel; Ollivier narrowly navigates her way past protagonist and antagonist alike in an effort to obtain freedom for her and Taufer's Paul. John Magaro, who played Tibbet, is a fast-talking crass member of the platoon who entertains highly throughout; it's interesting hos Magaro can come across as initially so antagonistic to Adepo's role yet make the audience feel so much for him in the scene where he saves Taufer's Paul. Gianny Taufer, who played Paul, is one of the better child actors I've seen this year; Taufer imbues his character with an innocent curiosity about American culture which forms a strong connection that is the heart of this film. Bokeem Woodbine, who played Rensin, is hard as slate and tough as nails as the military corporal; Woodbine has some strong one-liners and is completely fearless under the threat of death.

However, the best performance came from Jovan Adepo, who played lead protagonist: Boyce. This character exists in a state of quiet morality and intense terror when first we meet him. Adepo very skillfully shows a young man lost in wartime, he is surrounded by violence and malice yet has managed to cling firmly to his principles. As the narrative carries forth Boyce has to grapple with some tough decisions such as saving Chloe from Wafner or exfiltrating his friend Rosenfeld from the underground Nazi laboratory. As this strength within Adepo's role grows he finds the courage to kill the abominable ubermensch menace that is rising around them and even manages to take charge within his platoon. This lead character is fascinating because he's seen as being incapable due to his reserved moral stance at first, yet without this perspective, the protagonists would never have triumphed over the ultimate threat of the film.

The struggle with making a film that has so many genre elements within it is finding the balance. This film banks almost all of itself on pulling off a war film which it does admirably well, right up until that final act. Eventually, the feature has to talk about the German super-soldiers, what created them and what purpose they actually serve. Sadly, this isn't really fleshed out till the very end of the second act and from that point, the film has such an intense sci-fi horror vibe that you feel like you're watching a B-list blockbuster as opposed to the interesting visual feature displayed prior. Quite frankly the ubermensch storyline just doesn't make a lot of sense, there's some black goop under a church that didn't do anything until the Nazi scientists had their hands upon it. This film might have had a better chance if the antagonist hadn't been Wafner, the German captain. Wafner controls the military might in the town and is captured very early on, he's depicted as being laughably weak and more of a hostage figure. When the film decides to cast him as the major antagonist by the end of the film and make him a special effects monster the interest dips a lot, the Nazi scientist behind these creations certainly offered more opportunity I felt. The soundtrack for the film also wasn't very good, 'Bridging the Gap' by NAS is so completely different from the score of the film that you are immediately dumped out of what you've been watching just as the credits hit which leaves you feeling both confused and a little disappointed.

Pilou Asbaek, who played Wafner, has to be one of the worst antagonists I've seen in a blockbuster recently; Asbaek is so completely unintimidating that you're looking for danger from outside sources and his change to a monster-type villain by the end is cornier than anything else. Iain De Caestecker, who played Chase, is such a meek role that you forget he's there half the time; his violent transformation into an ubermensch is abrupt and comes off as a moment that doesn't really fit De Caestecker's range. Jacob Anderson, who played Dawson, is a role written to die; Anderson's light tone is short lived and needed more screen time to really resonate with the audience. Dominic Applewhite, who played Rosenfeld, is a role who is perhaps the easiest to forget as the writers neglect to mention him after he disappears in the first act; Applewhite's return is quieter than it really should've been and his character doesn't fit into the chemistry of the platoon.

Bohemian Rhapsody

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This film is a touching letter of love to Freddie Mercury and a tribute to the family that is Queen. I would give Bohemian Rhapsody an 8/10.

This film focuses upon the life of Freddie Mercury, how the band Queen came to be, how it all fell apart and how it came right again for the 1985 LiveAid concert. Freddie Mercury as a character is so fascinating to watch because he is an outsider almost exclusively his whole life, you want to feel sorry for him until he very curtly reminds you there isn't time for such trivialities. Mercury's story is one of epic music and ambition, in which he sees the future he wants and actively seeks it out. The family aspect of Queen is at the heart of the film, with the band members squabbling like siblings but also staying loyal to one another in a manner you don't often see in musical biopics. Freddie spirals into a manic downfall during this film, for a long time he lives a life of debauchery as he struggles with aspects of his identity (both sexual and otherwise). The editing for the film has some nice flair, the crossfades used to show the impact Queen's music had on each other and their audience was inspired. The soundtrack for the film is incredible to no one's great surprise; it was fascinating how a number of songs felt like characters in their own right, 'Killer Queen', 'Love of my Life', 'Bohemian Rhapsody', 'We will Rock You' and 'Another One Bites the Dust' invoke some of the best scenes in the feature.

Rami Malek, who played Freddie Mercury, does an exceptionally good job as the leading protagonist; Malek embraces the self-assured confidence of Mercury while subtly portraying the moving loneliness of the character. Gwilym Lee, Ben Hardy and Joseph Mazzello, who played Brian May, Roger Taylor and John Deacon respectively, are together the heart of the film' these three have such charisma and chemistry with one another and Malek that you grow immersed in their journey together. Tom Hollander, who played Jim Beach, at first comes across as a dry role with a bit of wit; yet in a few short scenes, you see Hollander's role form a heartfelt bond with the band. Aaron McCusker, who played Jim Hutton, is a very grounded role in the chaos of the second act; McCusker has a calm and reasonable manner that makes for a nice counterweight to the wild extravagance of Malek's Mercury.

However, the best performance came from Mike Myers, who played Ray Foster. Myers is a surprising pick for some and it was a tough call between him and Malek if I'm being honest. Yet while it took a few scenes to see past Malek and perceive Mercury, Mike Myers was this gruelling music exec from the go. This character was decidedly blunt and rude, with every line traded often sharp and decisive. Myers crafts an antagonist who is smug and mean, yet portrayed as a figure others laugh at and not with. This is a character who brings out one of my favourite scenes of the film and it's a treat to see Myers onscreen again.

The main protagonist takes some getting used to at first, Freddie Mercury seems bizarre and he isn't very easy to empathise with initially. The first act isn't at all helped by the fact it tries to rush through, the success of Queen and marriage between Freddie and Mary seems to happen in the blink of an eye. Bohemian Rhapsody is quite comfortable playing to the formula of past biopics, taking familiar tropes and playing them out beat for beat. It's a successful move but makes for a predictable narrative. The cinematography attempts some unique things in a couple of scenes but ultimately is quite simple to watch, there aren't many creative shots and scenes often have a very simple look to them.

Lucy Boynton, who played Mary Austin, feels like a subplot awkwardly tacked on to the film; Malek and Boynton have a rather boring chemistry, though the pair certainly tries their best. Aidan Gillen, who played John Reid, is a great actor who had the misfortune of getting cast in one of the most boring side characters of the film; there is just no personality here and Gillen fast becomes wallpaper. Allen Leech, who played Paul Prenter, is a two-dimensional antagonist, to say the least; Leech's character is slimy and manipulative but offers nothing when it comes to substance. Meneka Das and Ace Bhatti, who played Jer Bulsara and Bomi Bulsara respectively, give the most generic performance in the film; the distant parent trope is rather played out and little is done to make this depiction stand out.

Hunter Killer

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In the past couple of years, Gerard Butler has really come back with some decent blockbuster features. I would give Hunter Killer a 7.5/10.

Hunter Killer is the sort of military blockbuster that will have you on the edge of your seat gripped in suspense, the scenes are set up really well to hold your attention in a state of nervousness right till the last second. While this feature is brilliantly thrilling it also manages to depict a theatre of water that we don't normally see in a feature film, the underwater depths. The submarine naval combat is fascinating to observe; everything feels monolithic yet you're still vastly aware of how small the submarines are compared to the ocean it sails through. This only ups the stakes, making every moment of conflict all the more risky and enticing. The plot really manages to weave together a fascinating narrative between that of the naval conflict, the black ops team and the command centre in Washington. The cinematography is stunning, capturing grandiose settings while proving extremely dynamic in the more confined sets. The special effects enable some great rendering of the submarine itself and the huge Russian dreadnought, really immersing you into the conflict between these two that sits at the heart of the final act. The score for the film plays to the scale of the scenes; which obviously adds to the action but also adds a lot of power behind moments in which characters give uplifting speeches or face death at the hands of the Russian radicals.

Common, who played RA John Fisk, has had a really solid year for his roles thus far; Common's RA was exemplary at keeping a level head and managing the theatre of war from afar. Gary Oldman, who played CJCS Charles Donnegan, is an extremely aggressive and antagonistic role; Oldman plays a role that feels rather relevant right now and he makes many key choices in his portrayal that conveys this. Gerard Butler, who played Captain Joe Glass, makes for a great leading protagonist who really knows how to share the screen; Butler's character is stoic yet extremely capable and diplomatic under fire. Carter MacIntyre and David Gyasi, who played XO Brian Edwards and Cob Wallach respectively, really brought forth the mood and emotion upon the greater submarine as a whole; Gyasi served to play a more moral compass for Butler while MacIntyre did a great job at portraying the fears and anxieties the crew held. Alexander Diachenko, who played President Zakarin, is extremely charismatic and fits the benevolent leader role he is in; Diachenko plays a strong leader with ever-present values well yet also shows his powerlessness in the face of unexpected betrayal. Michael Gor, who played Admiral Dmitri Durov, is a great antagonist for the film; Gor shows an almost insatiable desire for power and a hunger for a battle to ensue. Michael Nyqvist, who played Captain Andropov, gives a very subtle yet powerful performance it what is his last American feature; Nyqvist has great chemistry with Butler and the trust these characters build is the emotional centre of the film.

However, the best performance came from Toby Stephens, Michael Trucco, Ryan McPartlin and Zane Holtz, who played Bill Beaman, Devin Hall, Matt Johnstone and Paul Martinelli respectively. This group's military black ops subplot worked strongly alongside the main story and the group of actors had such fine chemistry and camaraderie that they wound up standing out strongly. Trucco and McPartlin really lent a tough vibe and immersed the audience in the military operation at hand. Holtz takes the audience on one of 'new recruit who has to prove himself' stories and it actually works rather well. I was strongly impressed by Stephens who managed to make time for funny bits of banter in amongst the action and violence; yet not for a moment does he drop the fearless leader persona he is portraying. It's rare for a group of actors to come together so strongly that it's hard to pick a single best performance, but this one is a no-brainer for me.

The first act of this film really rushes you out the gate and introduces you to a lot of characters and subplots very quickly, this can be a little jarring at first and takes time to settle in with. More significantly is how quickly Hunter Killer dives into the meat of the film, entering conflict quite early which feels a little premature when we're still processing a lot of information being given to us. The film plays the blockbuster angle very safe, the heroes and villains are just that and wouldn't come across as especially complex if the film didn't have such a solid cast. The film's pacing is quite strange because it rushes itself to act three which is where you feel like the narrative wants to be the whole time. Unfortunately, this means that a lot of the story passes by rather passively so that the real excitement can kick off later.

Linda Cardellini, who played Jayne Norquist, is quite a go-getter role that doesn't fit very securely alongside Common and Oldman; Cardellini's 'we share everything' attitude feels naive and doesn't mix well with the tone of the feature. Yuri Kolokolnikov, who played Oleg, is given a little too much screen time for the significance of his character; Kolokolnikov is quite a generic fighter/bodyguard who gets pushed from being a background figure into the spotlight rather abruptly. Caroline Goodall, who played President Dover, is quite a dry performance to watch and doesn't lend a lot to the film; the portrayal of the President should feel like a major role but in Goodall's hands the role became boring.

King Of Thieves

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I'm a sucker for heist films and this talented cast make for quite the rogueish crooks. I would give King Of Thieves a 7.5/10.

King Of Thieves is a heist film based on the true events of the Hatton Gardens 2015 burglary, in which a group of renowned thieves take on a job they'd been hoping to pull off for years. What I like about this feature is the casual camaraderie the whole cohort shares, there's a lot of banter at the expense of one another and this translates into the heist scenes, revealing how professional they are at stealing. As the film progresses it becomes intriguing to watch as the cohesiveness of this crack team falls apart; making idiotic mistakes, getting cold feet or attempting to turn upon one another. Greed gets the better of the thieves here and besmirches the code of honour that runs amongst them, it's an interesting film about the decline of an era of criminals. The cinematography looks really good, keeping steady and in motion to immerse you into the setting while also taking some creative efforts by developing shots from different security cameras. The score for the film has a gripping light edge that is unique to the heist genre, while the soundtrack totes some brilliant numbers with 'The Man' by Jamie Cullum amongst the standouts.

Charlie Cox, who played Basil, presents a role who is very restrained and at odds with the rest of the thieves; Cox presents an outsider who is just as competent as the rest, if not a little more duplicitous. Jim Broadbent, who played Terry Perkins, is quite a mean-spirited role prone to bullying in this; Broadbent plays to the ego of Perkins marking a big downfall come to the end of the film. Ray Winstone, who played Danny Jones, was truly neck and neck with Caine for best performance in this film; Winstone plays a thug who is very prone to bouts of extreme anger and narcissism that make him fascinating to watch. Tom Courtenay, who played John Kenny Collins, is hysterical as the rather dottery member of the group who has lost his sanity somewhat; Courtenay really makes for an eccentric role and stands out as the comedic performer of the cast.

However, the best performance came from Michael Caine, who played the leading role: Brian Reader. Caine is fantastic at presenting a calm and efficient role, one who is extremely adept at whatever he does in many of the films he is in. While the above is true in this feature too, it's interesting to see Caine take on a darker persona: this kingpin of thievery. The way Caine handles scenes in which he has to quietly lay down the law and bully his subordinates into following his vision you feel the strength behind his composed figure. Yet what really made him stand out were the moments in which Caine was completely losing his cool, when this role was consumed by avarice and envy at what his partners were swindling him out of.

This film is a very slow burn to watch, quite intentional given the nature of the characters and the heavy focus on the aftermath, but that doesn't mean this doesn't greatly affect the pacing in a serious way. There was also a tendency to give away big reveals a little early, most significantly being showing Basil as having taking the lion's share of the heist as a way of ending act two rather than immersing it into act 3. The editing for the film was rather slow and chopped up great cinematography into surprising places, most significantly the flashbacks to past heists were confusing and didn't really add a whole lot to this feature.

Michael Gambon, who played Billy 'The Fish' Lincoln, places up the oddness of his character but seems to be really going at this character in an exaggerated way; Gambon doesn't put a lot of effort here and it shows in this goofy role. Paul Whitehouse, who played Carl Wood, has the least amount of screen presence in the cast; Whitehouse's role could have done with less of a focus if he was just going to disappear halfway through the second act.

Bad Times At The El Royale

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This is a highly entertaining and shocking thriller that with a few more drafts for the screenplay or a little more direction in the editing room would have been truly spectacular. I would give Bad Times At The El Royale a 6.5/10.

Bad Times At The El Royale is a thriller about a group of strangers who all choose to stay at the El Royale hotel, only to discover that no one is whom they seem and neither is the place they are staying in. What works for this feature is the unique characters and how they interact with one another, there is special care placed here to avoid roles that feel stereotypical or done to type and that makes this movie a treat to watch. Beyond this, there are a number of surprising moments that will have you gripped, or even fearing for your favourite role as you wonder which body will hit the floor next. The soundtrack for the El Royale is stellar, hearing tracks like 'I Got A Feeling' or 'Can't Take My Eyes Off You' sets up the time period of the film and transports you there effortlessly.

Cynthia Erivo, who played Darlene Sweet, is one of the few characters who is true to herself throughout the feature; Erivo takes a role who is unsure of herself and transforms her to a woman confident in her own self-worth and strong in the face of a life or death situation. Jon Hamm, who played Dwight Broadbeck, has one of the best twists in the film and that's all thanks to how Hamm plays the transition of his role; Hamm's aloof and arrogant salesman melts away before the eyes of the audience into a heroic FBI agent of principle and self-sacrifice. Lewis Pullman, who played Miles Miller, steals the show in a greater number of his scenes and contends very heavily with Bridges for the standout role; Pullman wears his character's guilt like a glove and shows such deep horror at what's he done and seen that you can't help but cast him as a tragic figure. Xavier Dolan, who played Buddy Sunday, is a nasty minor antagonist in the backstory of Erivo's Darlene; Dolan's portrayal of a character consumed in self-importance makes for a very nasty figure who really challenges Erivo well.

However, the best performance came from Jeff Bridges, who played Father Daniel Flynn. This is one of those characters whose big twist you see coming but that's rather intentional both in the script and the performance. Bridges manages to convey the subtle traits of an older man suffering from dementia while also loosely fronting his priest ruse. As the act of being a priest slips away we see the scoundrel with a heart of gold that this character truly is. He is a sharp-minded criminal despite dementia, and the way he manages to achieve his goals while remaining kind to those who show him kindness in return makes for quite the charismatic role.

This film crafts the set up for a great thriller with interesting characters and some very interesting twists and turns but it makes some distinct mistakes. Most noteworthy was the way this film didn't really know how to structure itself, the first act is quite bland to watch until the death of Dwight kicks of the second act, but even that gets lost as the film chops up the pacing with flashbacks that feel very jarring in how their place. These moments carry throughout the feature even interrupting the major conflict in the final act of the film. This film needed to prioritise what was important to say and work out a sound strategy for how to present that. By choosing the presentation style that the film went with we only got a surface presentation for some characters or were left wondering why certain elements of the plot were never explained; there was no significant focus on the Summerspring sisters' backstory, the sinister management never went any further than a surface mention and the minute Dwight stops being important the FBI arc disappears into the wind. Leaving the audience wondering after things like this meant that it was disappointing when the cult leader was the major antagonist of the film when the audience didn't feel strongly connected to this particular plot thread. The problem with too many characters each having a subplot is that you hedge a bet when you say one if more important than the other. The cinematography seen throughout felt disappointingly washed out and there were a number of sequences where you just felt the presence of the camera, an experience that really drew me out of the events. The editing did alright, though it was a little slow pacing wise; the real tragedy was those cut to black title cards that functioned as a transition between scenes and acts.

Dakota Johnson and Cailee Spaeny, who played Emily Summerspring and Rose Summerspring respectively, were by far some of the more boring members of the main cast; Johnson, in particular, has proven to not show a great range of emotion in past films and that trend continues in El Royale. Chris Hemsworth, who played Billy Lee, didn't really cut it as the film's antagonist; Hemsworth just doesn't sell it as the overzealous wandering cult leader, this was a case of the wrong antagonist for the feature or poor casting. Nick Offerman, who played Felix O'Kelly, is woefully underused in the feature which means you never really come to appreciate his character; Offerman's role needed to be shown more with Bridges so you could appreciate their relationship and history with one another.

Smallfoot

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This year is really flaunting some great animated films so far. I would give Smallfoot an 8/10.

When it comes to moral messages in animated films they've always been rather simple from a mature perspective, even as more modern themes have cropped up this general principle has rung true. Smallfoot manages to challenge this in a way few animated films do, by taking a rather complex theme and making it into something all audiences can watch and engage with. This film tackles the idea that humans don't exist through the eyes of the Yetis and Yetis don't exist through the eyes of the humans when the two finally interact they're forced to realise there's more to life than what they've just been told. Smallfoot does the monumental task of teaching youngsters and adults alike to question the world around them, not merely to accept something just because it's so, an inspired narrative element. The animation style is bright and colourful, lending an incredible range to the Yetis and their village while casting the human town in harsh bright neon colours. The soundtrack for this film makes use of its incredible musical talent, Zendaya really sets the film apart with her songs and Common lends his own twist to the antagonist's ballad.

Channing Tatum, who voiced Migo, has a charismatic way of leading the action as the main protagonist; Tatum grows this role from a naive member of his tribe to a hero who has awakened change in his people. James Corden, who voiced Percy, is an overly ambitious, desperate figure when first we meet him; yet Corden finds the compassion in Percy and rekindles his moral compass come to the end of the feature. Common, who voiced Stonekeeper, presented a very calm and persuasive antagonist' Common's portrayal here is expertly done as you can strongly understand this character's actions and the way he reflects and makes a change in his values speaks strongly to the message of the film. Danny DeVito, who voiced Dorgle, makes a great father figure; DeVito exerts a stubborn viewpoint in the film that changes as his love for his son takes precedence over his worldview. Yara Shahidi, who voiced Brenda, really plays out her frustration over Corden's Percy quite well; Shahidi demonstrates a strong moral compass and sets a bar for what we want to see Percy achieve as an audience. Jimmy Tatro, who voiced Thorp, is one of the funniest performers in the feature; Tatro attempts to layer on the thug-like menace but undercuts this with a rather amiable and likeable undertone.

However, the best performance came from the leading actress: Zendaya, who voiced Meechee. At first, the role of Meechee seems like a romantic interest, she's beautiful and holds a high station as the Stonekeeper's daughter. Yet Zendaya needs little time in unveiling the truth of her role, this is a character who will not blindly follow her father's rules and must understand what is true and why things are designed to be the way they are in her village. This character has a ton of energy from the moment she properly engages in dialogue, excited by knowledge and hungry for answers Meechee is going to have you hooked. She never once is conflicted in her values and makes an effort to always be true to what is right. It's not hard to see why Meechee is one of my favourite animated protagonists this year.

This film spends a lot of time fleshing out the theme and dwelling upon it, which is very unique and daring. However, this means the narrative arc is quite simple: Yeti thinks humans exist, gets one and inevitably attempts to put the human back. The risk here is a slow-paced feature which can be a detriment in animated films and children especially could grow bored during the second act.

LeBron James, Gina Rodriguez and Ely Henry, who voiced Gwangi, Kolka and Fleem respectively, are generic sidekicks to the major protagonists; the goofball antics from this lot tend to fall flat when it comes to Smallfoot's more serious tone.

Teen Titans Go! To The Movies

This review may contain spoilers!

This has the hilarious 'fourth wall-breaking' humour of Deadpool with the light-hearted charm of an animated feature. I would give Teen Titans Go! To The Movies a 7.5/10.

I loved watching the original Teen Titans cartoon series when I was younger and never picked up Teen Titans Go! back when it came out. However, when I heard that a Teen Titans film was coming out I figured that my young cousins would have a superhero film similar to what I used to enjoy; never once did I expect to be the one laughing the most in the entire theatre. Teen Titans Go! is packed with an inspired sense of humour as it weaves the tale of Robin trying his hardest to get his very own superhero movie, the 'defining sign' of a true superhero. This is an experience packed with funny gags at the expense of DC Entertainment, Marvel, the Deadpool films, Michael Bolton and even the Titans characters themselves. The fourth wall breaking gags lead to some hilarious scenes; the Lion King parody, Michael Bolton song and superhero origin story scenes standing out. The animation style is bright and colourful to watch, effectively transporting you to a classic cartoon style. This film is probably one of the funniest this year when it comes to the soundtrack (outside of maybe Pitch Perfect 3), the use of a Teen Titans theme song, Michael Bolton song and techno remix strongly lend themselves to exceptionally funny scenes.

 Greg Cipes, who voiced Beast Boy, is very comedic as the radical and laidback member of the team; Cipes really knows where to find the line when it comes to how over the top he can take Beast Boy. Khary Payton, who voiced Cyborg, is the party animal of the group, Payton lends himself strongly to the musical scenes and the comedic moments alike. Tara Strong, who voiced Raven, has perfected that almost monotonous voice of Raven's and lends an incredible amount of range to the character; when Raven has a more emotional or comedic moment it's all the stronger for how Strong delivers those scenes. Hynden Walch, who voiced Starfire, is the very bubbly optimistic member of the team; Walch is so good at portraying a character who seems very much the conscience and heart of the Titans. Will Arnett, who voiced Slade, is quite brilliant as a more comedic antagonist; Arnett certainly knows how to do 'over the top sinister' but his more quirky ways of tricking the protagonists make for funny scenes. Michael Bolton, who voiced the Tiger, lends himself to a very comedically timed upbeat song; yet Bolton gets to have his own fun with his character being one of the few casualties of the feature. Greg Davies, who voiced Balloon Man, does a great job of bringing forth a more over the top cartoon villain; Davies is certainly menacing but his way of interacting with the protagonists makes for quite a bit of fun. Stan Lee, who voiced himself, really has a great time mocking his way of popping up in superhero films; this is a great parody and suits how the film riffs on the superhero movie genre. Dave Stone, who voiced the Challengers Of The Unknown, has a very fun dry delivery; Stone's stoic superhero depiction makes for one of the funniest superhero teams in the film.

However, the best performance came from Scott Menville, who voiced Robin. This role is a highly ambitious one, who is driven by this extreme desire to have his own superhero film. The fact that Menville shows Robin to be a bit over the top in his superheroics makes fora very funny juxtaposition to how capable the character is in the fight scenes. Robin is an insecure hero, still very much aware that he's seen as a sidekick but desperate to prove that he's something more. Menville really knows how to play Robin with such a serious edge that a lot of the comedy just comes from him naturally due to the situations he's in. The arc we see Robin go through is brilliant; he starts as a somewhat selfish character driven by his need for a film but he moves past that and embraces his friends as being more important. It's hard not to like Robin, and he's certainly a favourite coming out of this film.

This film's strength is certainly the comedic elements but there's such a push to be funny all the time that there are several moments where it just degrades into toilet humour, this just lowers the quality of the film after what we'd seen up until this point. The film takes a long time to get to the main points in the narrative, the first two acts are mainly gags and don't really have much substance beyond setting up the premise. It's disappointing that Teen Titans Go! crams so much into its final act because you do feel like the back end is quite heavily loaded with content that could've been dispersed throughout.

Kristen Bell, who voiced Jade Wilson, is peppy but doesn't really put a lot of herself into this role; it's a shame because Bell has done some great voice-over roles in the past, but this certainly isn't one of them. Nicolas Cage, who voiced Superman, really doesn't have the voice to match this iconic role; Cage is hushed and restrained which doesn't really suit the optimistic and bright role. Halsey, Patton Oswalt and Lil Yachty, who voiced Wonder Woman, Atom and Green Lantern respectively, each give rather bland performances for such significant superheroes; these are quite casual figures with voices that don't hold a lot of presence in their scenes.

Venom

This review may contain spoilers!

This isn't the best superhero outing ever, but Tom Hardy's incredible acting ability makes it well worth watching. I would give Venom a 6.5/10.

This film really works when it's exploring Eddie Brock's descent into becoming bonded with Venom, their symbiotic relationship and how they eventually develop a begrudging respect for one another. They have a very serious back and forth, each is constantly grappling with one another for control but neither can exist without the other. It isn't until they have become synonymous with each other in the third act that we really see this anti-hero fulfil his true potential and defeat the sinister symbiote: Riot. The cinematography looks really good, particularly for action sequences; yet I love how creative the director gets with movement once Eddie has bonded with Venom or the slightly off-angle framing in dialogue scenes from that point. The special effects look superb, Venom, Riot and She-Venom are all excellently designed and their action sequences a true joy to watch; these are characters that have to look scary and intimidating which is captured throughout the film. While the score for this film has its drawbacks the soundtrack works fairly well, tracks from Eminem and other grittier artists help set the dark tone a Venom film requires.

Reid Scott, who played Dr Dan Lewis, really does a great job at getting away from the 'oblivious new boyfriend' stereotype; Scott really plies the humour for his friendliness towards Hardy yet shows a genuine degree of care when his role is attempting to diagnose and heal the character of Brock. Woody Harrelson, who played Cletus Kasady, may only serve as a part in the post-credits scene but it is a great moment; Harrelson draws on Hannibal Lecter somewhat and you can feel the menace oozing out from between his prison bars. Peggy Lu and Emilio Rivera, who played Mrs Chen and Lobby Guard Richard respectively, demonstrate a great amount of talent despite their minor roles; Lu has an optimistic look on life despite the hardships her role faces while Rivera and Hardy have some exceptional friendly chemistry towards one another. Ron Cephas Jones, who played News Network Executive, has an easy way of delivering out cool and concise dialogue; Jones very calmly sets out a degree of power between him and Hardy leading to the ultimate conflict between them.

However, the best performance came from leading actor: Tom Hardy, who played Eddie Brock. I'm not going to lie heading into this film I doubted that I would be able to see Hardy as Brock but he really nails it in this role. When first we meet Hardy's Brock he is a bit aloof and comfortable in his life and relationship, yet as a reporter, he is very grounded and hard-hitting. Hardy really pushes the sense that this character needs to see justice done, no matter the price as a theme throughout Venom. Eddie's drive for justice leaves him very lonely and dejected after he loses everything that gives his life substance, and for a time we see a broken Brock. However, once he bonds with Venom the character really has to grapple with this symbiote he's joined with. The pair has a very conflicting view over what it means to wield power and for what purpose. Once Eddie embraces Venom it's clear his drive for justice changes the symbiote and in turn, a more self-confident Brock emerges too. This is a great arc from Hardy and it's not for nothing that he works hard on two roles in this film. He voices the very narrow-minded, hunger-driven Venom as well, doing great work to craft the alien entity and in turn lend some of Brock's mannerisms to the symbiote.

This film was always going to be an origin story but it takes a very long time to reach the introduction of the title character. The symbiotes are seen and discussed a great length in the first act but we don't reach the union of Eddie and Venom until about halfway into the feature. The pacing of the first act really does make for a slow opening, not a strong start for the feature. The really messy aspect is the antagonist, both the symbiote and Carlton Drake. The villainous Riot is seen in brief, jarring glimpses throughout the feature making his way to Carlton, yet their union is very sudden and rushes the audience into the final act of the film. Carlton, on the other hand, is an antagonist with a very generic motivation. He's unhappy about Earth being overpopulated and wants all human beings to be bonded with symbiotes or something, not giving a damn about who gets killed along the way. It's pretty tired, played out and a role that just lets the film down majorly. The romantic subplot throughout Venom is very dull and has little substance to it, the way it's written is quite vanilla and there's nothing there to make this thrilling or something audiences can connect with. The score for the film is dark and ups the noise for the action sequences, but you won't hear anything very original or inspired in these tracks.

Michelle Williams, who played Anne Weying, just doesn't have much to do in this film; Williams really struggles to lend any sort of character to this very two-dimensional love interest. Riz Ahmed, who played Carlton Drake, proved in the last Jason Bourne that he's not fit to be an antagonist; Ahmed doesn't have the screen presence to come across as menacing and doesn't really feel like he's connected with his role. Scott Haze, who played Security Chief Roland Treece, is just a generic henchman with a little too much screen time; Haze's gruff exterior and gravelly antagonism is nothing new and rather boring to watch. Jenny Slate, who played Dr Dora Skirth, has shown herself to be great in comedy and voice acting but this dramatic role really doesn't suit her; Slate just feels out of place in her scenes and doesn't exactly fit the scientist role she is given.

The House With A Clock In Its Walls

This review may contain spoilers!

There's a famous saying about making a film: The hardest things in a film to work with are kids and animals; the director should probably have heeded the kids warning. I would give The House With A Clock In Its Walls a 1.5/10.

Lorenza Izzo, who played the Mother, is a really nice sentimental point of connection and security for the young protagonist; Izzo does a stellar job at steadily shifting her scenes to a darker and more unnerving tone.

However, the best performance came from Cate Blanchett, who played Florence Zimmerman. Blanchett has a very refined poise throughout this piece, creating a role who is elegant and proper. It's really entertaining to see the chemistry between Blanchett and Black, watching the pair banter and quickfire dialogue between one another is a treat. What sets Blanchett apart so clearly in this film is how well she layers in and presents Florence's backstory. We can really hear her heartbreak over losing her family in the Nazi occupation of Paris, and the subsequent lack of self-confidence and outrage at Black for abandoning his own family make this a brilliant sub-plot. Not only is Cate Blanchett the heart of this film, but she also spends most of the feature carrying the entire production.

This whole film is pretty hard to redeem so I'll break down some of the key issues. For starters there's a lot of different genres at play that can make this a rather confusing film to watch; there are a number of horror, comedy and family film features all set to a fantasy backdrop. The film didn't really understand how to manage pacing either; dragging its feet for a long period before suddenly taking a massive leap forward in the section. The number of times exposition and story is presented through grainy flashback grows old pretty quickly too. The worst aspect of this film was just how much the film relied upon its child protagonist, this was not an actor who had the range to keep you hooked throughout. The cinematography impressed initially but then the camerawork grew very repetitive and recycled the placement of cameras a number of times. The special effects were plain ghastly and didn't align with the rest of the live-action set and performers; the hedge-lion or cartoonish armchair were serious eye-sores and whoever decided to put Jack Black's head on a baby body seriously needs to re-evaluate their creative decisions. The score for the film is cheesy, there is an attempt here to make music that sets up minor scares and spooky scenes but the rather camp melody doesn't lend itself very strongly to this effect.

Jack Black, who played Jonathan Barnavelt, seems like he's playing two different roles for most of the film: a serious warlock that the writer and director designed and Jack Black; the fact this role feels like he hasn't been worked on very much is a bit of a let down and makes the film hard to take seriously. Owen Vaccaro, who played Lewis Barnavelt, is one of the worst casting decisions that could have been made for the leading role; Vacarro has proven himself a lot over the last few years to be one of the really hard to watch performers in Hollywood and that just shines through in a leading role. Kyle MacLachlan and Renee Elise Goldsberry, who played Isaac Izard and Selena Izard respectively, really come into this film and ham up the antagonist roles big time; the pair seem so stiff and detached from one another that it's impossible to really view them as aligned, compelling villains. Colleen Camp, who played Mrs Hanchett, stumbles through this role; you really feel like Camp is only given the number of scenes she has for the Goldsberry reveal down the line. Sunny Suljic, who played Tarby Corrigan, gives a pretty stereotypical portrayal of a school bully; Suljic's ever dour expression and miserable attitude makes him difficult to perceive as this so-called popular class president. Vanessa Anne Williams, who played Rose Rita Pottinger, is one of the most unnecessary roles in the film which isn't necessarily due to Williams; this character just comes off as a forced last-minute romance sub-plot which is just plain uncomfortable to see Williams and Vaccaro play out.

Johnny English Strikes Again

This review may contain spoilers!

I have to say, this is probably my favourite Johnny English film yet. I would give Johnny English Strikes Again a 7/10.

Something that has really surprised me about the back half of this year is just how good comedy films are to watch again, films like Tag and The Happytime Murders have already impressed and now the third Johnny English film comes along staving off any semblance of sequel-itis. The strength of these spy comedies is the real slapstick, quirky nature behind the main protagonist, he's completely captivating to watch and manages to find a new shtick in each new scene. This is a film in which comedic timing is perfect, punchlines are set up clearly and each major skit-like scene has the audience doubled up laughing. The cinematography is the best it has ever looked in a Johnny English film, using dynamic camerawork for high pursuit chases or exquisite establishing shots of settings where confrontation shall occur. The score manages to maintain the light tone well, yet the real strength is the soundtrack with one of the best scenes in the film utilising Darude's 'Sandstorm' extremely well.

Emma Thompson, who played the Prime Minister, gives a hilarious Theresa May-esque parody in this film; her tirades around inaction and a desperate need to be near alcohol make for a rather entertaining political figure. Olga Kurylenko, who played Ophelia, does an amazing job at presenting this lethal spy alongside Atkinson's extremely bumbling one; Kurylenko presents a character who is cool under pressure and has the capacity to be extremely deadly. Ben Miller, who played Bough, is a truly welcome returning role; Miller was missed in Johnny English Reborn and it's nice to see him return with such strong chemistry alongside his onscreen partner. Michael Gambon, Edward Fox and Charles Dance, who played Former MI-7 Agents respectively, are a really nice unexpected cameo; this is a scene of immense acting talent presenting a sense of decorum that contrasts nicely with Atkinson's English.

However, the best performance came from Rowan Atkinson, who played the title role of Johnny English. It's no great shock that Atkinson shines throughout he has in all the other films up to this point. Where it really stems from is just how much he attempts with the role, always trying a new gag or piece of physical comedy. Atkinson is just so purposeful and expressive in how he performs, there's never a point where the comedy feels lewd or crass because he's just so natural at making humour feel clear and effortless. This is one of those nice roles where he has to be shown as exceptionally serious while doing things the audience can perceive to be silly, a contrast Atkinson has to a fine art at this point.

This film completely nails every aspect that makes it a comedy, there are non-stop laughs at most every turn. The problem comes when you take the time to focus upon the plot. Throughout the antagonist proclaims how much he loves 'data', all while spouting some technical jargon that never really makes any sense. His big plan? To shut off the internet and hold the world hostage as a result. Not only is this such a played out plot but as we've seen in the past the screenwriter just doesn't have the knowledge to be writing anything like that. The result is something just over the top and nonsensical, it's a step down from the moments of clever comedic wit shown throughout. The special effects for the film aren't amazing either, a lot of the green screen settings feel imposed and the submarine missile launch scene (while hilarious) feels quite superficial because the film suddenly relies on such a significant technical element.

Jake Lacy, who played Jason, has had a rough run so far this year; his antagonist in Rampage was less than successful and now his portrayal of a tech mogul who never really seems fully convinced with what he's talking about is quite the let down too. Adam James, who played Pegasus, is the first excessively bland portrayal of Pegasus we've had in a Johnny English film; James just pushes exposition and a dry tone often falling to the background in scenes with Miller, Atkinson and Thompson.