Cert – 15, Run-time – 1 hour 28 minutes, Director – Ben Wheatley

A temporary sheriff (Bob Odenkirk) finds it difficult to leave a small, peaceful town as he found it when it seems the population is hiding a deadly secret.

As temporary sheriff Ulysses Richardson (Bob Odenkirk) tell us in his opening monologue that he plans to leave the sleepy town of Normal, Minnesota exactly as he found it you know exactly what kind of film you’re in for. Thus begins Nobody meets Hot Fuzz. Screenwriter Derek Kolstad had conversations about Normal with Odenkirk, who receives a story credit alongside the writer, before production on Nobody and there are similarities between Ulysses and Hutch Mansell. However, Ulysses truly doesn’t have special, military-trained skills and finds it best to keep out of things as much as possible. A parking ticket is less a fine and more a note telling someone to park better.

It’s the kind of law enforcement that fits in in Normal, at least on the surface. It isn’t long until Ulysses discovers a secret the town is hiding, and it seems everyone is helping to cover it up and protect it. The unveiling comes in the form of a bank robbery, from there the action is almost non-stop as Ulysses investigates Normal’s Yakuza links and fights off the people trying to defend it.

The action has the improvised nature of Nobody, although without John Wick-esque skills and swiftness. There’s a well-tracked messiness to the scraps and weapons used as part of them. Gelling with the main character, and the town at hand, yet Odenkirk still sells himself as a, perhaps still unconventional, action star. One who’s consistently entertaining and pushes the action and the humour found within it. In the director’s chair, Ben Wheatley gives a knowing nod to the oblivious, although growingly suspicious, outsider in a small town humour, of course with feelings of Hot Fuzz throughout.

There’s a familiar but still amusing nature to the first half build-up, but once things truly kick off and we’re faced with various stages of fights – with both the police station’s armoury, equipped with C-4 explosives (apparently purchased after a budget allowance following 9/11), and a nearby kitchen coming in handy. It’s pure entertainment and moves quickly through its narrative, clocking in at just 88-minutes including credits – much like Nobody, getting in and out with very little fluff. There’s a self-awareness to the film, both in regards to its humour and how Ulysses is presented as an almost reluctant, but dutiful, hero and as the pure entertainment actioner that it is. Not trying to hide its influences for both screenwriter and director there’s a fun time with plenty of thrills, spills and winces that feel perfectly in place with the style of the film and, thanks to a Yakuza opening, an avoidance of over-escalation as the threats grow and shift.

A fun, self-aware actioner in the vein of Hot Fuzz and Nobody, Normal leans into Odenkirk’s action and comedic abilities with plenty of spark and entertaining fights and weapons leading its short run-time to fly by, even amongst the familiar beats of the first half, which hold their own light enjoyment.

Cert – 18, Run-time – 1 hour 49 minutes, Director – Curry Barker

After using what he believes to be a novelty item to wish that his friend will love him more than anyone else in the world, Bear (Michael Johnston) finds himself trapped by Nikki’s (Inde Navarrette) desperate, increasingly manic, love.

Inde Navarrette’s turn in Obsession will undoubtedly be this year’s performance that we all point to as being undeservingly ignored and snubbed across the awards board simply because it’s in a horror film. Her character Nikki’s pained, manic devotion to Michael Johnston’s Bear grows into a red, jealous rage. Jealousy of anyone who gets the opportunity to speak, or even look, at him, and fury that he’s somehow able to not love her as much as she does him.

Her screams become more frequent and louder, creating a deafening fear throughout the room which echoes into the silences after. They’re often directed towards Bear, a consequence of him wishing on a One Wish Willow that his friend would love him more than anyone else in the world. However, what he believed to be a novelty product has real effects and takes over Nikki, who we see him struggling to ask out in the film’s opening stages, into a figure only recognisable on the outside – although, not to him; this is what he wished for, initially.

Bear’s own creepiness is somewhat intermittent. It’s certainly present as he falls into the control that his wish has taken over Nikki, and at various stages throughout where he appears more relaxed, but it perhaps isn’t as prominent as the film might want it to be – although themes of abuse and control are certainly present throughout. Much of the terror, however, comes from Nikki. The more intense her displays of love are, or it seems the real Nikki makes a brief appearance back in her own body, the more Navarrette dials her performance beyond eleven.

Yet, it’s also through this focus that Obsession’s biggest problem lies. It still has an effect, and works well – if I did half star ratings it would be a perfect example of a three-and-a-half star film – but after a while can start to feel slightly samey when it comes to how it views the central relationship, taking a while to properly start to escalate them, although doing so rather well in Bear’s third act panic. There’s less a feeling of repetition or cycling from the narrative and more that it’s at risk of becoming stagnant for a good chunk of the second act – with occasional unsettling bursts coming along to break out of this, although not entirely sustained.

It’s a shame because when Obsession strikes with its intensity, largely courtesy of Navarrette and the dark, looming score behind a number of her most sinister moments. There’s a loudness to Curry Barker’s film in terms of volume, intensity and just how it throws itself at you with a lot of intentionally in-your-face fear. Trapping you in a corner on a number of occasions with its frenzy. I just wish that those moments sometimes lasted a bit longer or leaked into the next moment, largely during the mid-section, slightly paddle-balling, but really popping at you after rebounding.

A film with truly fearful intensity, largely thanks to Inde Navarrette’s fantastically manic performance, Obsession may threaten to become stagnant around the middle, but still has bursts of threat and terror, and the tension of its ramped-up ending.

Release Date – 29th May 2026, Cert – 15, Run-time – 1 hour 47 minutes, Director – Daniel Roher

Piano tuner Niki’s (Leo Woodall) sensitive hearing condition comes in use for unlocking safes, especially when needing to raise money for his boss’ (Dustin Hoffman) hospital bills, however it leads to trouble with a gang of thieves.

The trailer for Tuner has been played in front of almost every non-horror (and even then some horror) film I’ve seen for much of this year (and that’s no exaggeration). Whether it’s cinemas believing it has mass appeal or Black Bear trying to give a big push after the dismal box office of last year’s Christy – a film with some tonal surprises that deserved better financially – there’s a clear attempt to make people aware of the film’s existence. And indeed there should be plenty of appeal in the traditional tones and leanings of the thriller narrative at hand.

Even the presence of Dustin Hoffman as the father-figure boss, Harry, of Leo Woodall’s Niki brings more to those ‘traditional’ stylings. Hoffman’s presence is largely confined to the first 15-20 minutes, bringing a good handful of chuckles with him, as he and Woodall travel between lavish homes tuning largely unused pianos. However, Harry hasn’t raised his prices in 30 years and can’t afford sudden hospital bills after collapsing in a diner. Niki, who discovers early on that his sensitive hearing condition can help with unlocking safes, takes it upon himself to raise funds after helping a gang of thieves with their job so he can finish a solo job one evening.

The group become reliant on Niki, who continues in order to help Harry – and eventually his relationship with student composer Ruthie (Havana Rose Liu) – but the more reliant they become the tenser the situation gets. Director Daniel Roher and Robert Ramsey’s screenplay is uncomplicated but certainly packs in the thrills, alongside a pure entertainment factor. From the opening stages to almost the very end I sat with a big smile spread across my face from the pure enjoyment there is to be had from the slickness of the narrative.

There may be a slight stretching feeling in the final stages as the film wraps up each of its elements, but for the majority of the run-time there’s a simply entertaining film here. One that’s sold by the cast, particularly Woodall in the lead role, who keep up with the pacing of both the film and its music. The compositions which crop up throughout, by Marius De Vries – with score by Will Bates – have their own engaging nature that gets across the connection with sound, music and the simple piano that a number of the characters have. In fact, one of the climactic sequences, acting as one of the film’s tensest, is made all the more so by the music which both backs and is cut into it. Music and piano also highlight a different aspect of Niki’s condition, captured in a number of moments with strong sound design.

With Tuner there’s an attempt to make a film as smooth as possible and there’s a general success. It may not quite glide like some of the hands we see across the keys of a piano, but for the most part there are a good number of fast-paced thrills to be found. A traditionally told and feeling story with a good handful of chuckles along the way, it’s hard not to be entertained by it.

A traditional story that holds plenty to enjoy in its music, sound design and tension, Tuner is pure, uncomplicated entertainment with a good handful of chuckles along the way.

Cert – 12, Run-time – 1 hour 54 minutes, Directors – James Cameron, Billie Eilish

Concert film of Billie Eilish’s Hit Me Hard And Soft tour, featuring interviews with Eilish about who she wants to be as an artist and behind the scenes details during the gig.

Billie Eilish’s music may generally not be for me, but I understand that it is for many people. I know that even more now having seen the concert film of her Hit Me Hard And Soft tour which appears to be less about Eilish and more about the audience. The camera is almost fascinated by them, giving us plenty of close-ups and glides across the audience members crying and singing along during the gig. During one particular ballad I could understand the camera showing the emotional connection of fans, many with tears running down their faces, but for most of the tracks I questioned the reason and effect. Additionally, on a number of occasions the sound mix appears to make them louder than the artist that they, and those in the cinema, have paid to see.

The audience seems to be one of James Cameron’s biggest interests here, co-directing with Eilish who makes her want for her creative vision to come through in her gigs clear in a brief pre-show conversation with Cameron. She says how the lighting of each song is meant to be specific to mood and theme, what colour matches what song? Cameron captures an individual nature to each song by treating each song as its own moment. While this eases the more the concert goes on, for the first few tracks it feels as if the songs, even when performed one after the other, are very separate. The decision to treat them as scenes rather than songs that flow somewhat backfires.

Yet, there’s no denying that technically there are a good number of things to like about how things have been captured and come across on the big screen. The 3D – the only format in which the film seems to be available in for its cinema release – is utterly useless, but what brings us in to the concert isn’t the insistence on placing us in the screaming audience, but the behind the scenes details. The way the camera goes into the pits with the musicians and backing singers – at one point Eilish runs amongst them with a handheld camera – or seeing how she arrives to the stage crouched in a box for equipment, or takes a quick break below during a song or interlude. A simple wave effect created on the edge of the stage as Eilish runs around it during one song struck me as quite cool. It’s these moments which somehow capture the best sense of energy in the room – a want for a good kind of sensory overload is mentioned but doesn’t quite come across in the cinema where you can feel the control of the editing and view of each song.

But, there’s no denying that as a concert film Hit Me Hard And Soft is perfectly fine. As with most concert films it does largely come down to your relationship with the artist and their music, there are glimpses of interviews with Eilish before and after the concert and although brief there are one or two interesting details in them. The bulk of the film, once past a stop-start nature between songs and interviews or behind the scenes details which begin to be better woven in as things go on (as is the case with much of the film), is taken up by the songs.

For fans, there’s almost certainly a more than worthwhile time when it comes to seeing the film, as it is for the gig. As for those outside of Eilish’s music there’s still plenty to like beyond just technical aspects as there is a mildly rumbling energy to keep things moving, alongside likable behind the scenes glimpses and details during the gig itself. But, you may not feel a full part of the audience, no matter how present, sometimes overly so, they may be in the film.

Once things even out, dropping treating the songs like scenes and flowing between them better, Hit Me Hard And Soft is a solid concert film with some fun behind the scenes details during the gig. Although for outsiders there can sometimes feel a disconnecting visual and audible focus on the audience over the work on stage.

Cert – 15, Run-time – 1 hour 56 minutes, Director – Simon McQuoid

When in need of a new member to fight in a tournament that will determine the fate of the Earthrealm, its defenders bring in washed-up action movie star Johnny Cage (Karl Urban) to take part in Mortal Kombat.

What I appreciate about the violence of these recent Mortal Kombat films is that they’re not gory just for the sake of being gory, neither for edginess or just to show off an R rating. Instead, it’s there with a grin from behind the camera as it’s simply the way those making the film have seen it fit to be. Because they believe that there should be some effects to the violence of a film adaptation of a game all about not just fighting but Mortal Kombat.

And there’s plenty of amusing CG splatter on display, more than some recent slasher movies, as the narrative links fight to fight over the course of a tournament that will determine the fate of the Earthrealm. Shao Kahn (Martyn Ford) seeks to destroy just this, with the help of an amulet that will grant him immortality, and so challenges the Earthrealm defenders to face him and his team in various stages. However, in need of a fifth team member they recruit, having been chosen by the gods, washed-up 90s action movie star Johnny Cage (Karl Urban), think Steven Seagal but with self-awareness.

The fights are jumped straight into with little build-up and that’s just the way the film wants it to be. Why waste time with exposition when you can have people throwing fire at each other or getting close to caving heads in? The exposition, and indeed narrative linking the stages of the Mortal Kombat tournament, are undeniably thin, but the entertainment factor helps to get away from this. Both in regards to fight sequences – even with some occasionally distracting heavy green screen – and humour scattered throughout, particularly coming from Urban’s Cage, who the film fluctuates as to whether he’s the main character or part of a core team, and Josh Lawson’s returning Kano, complete with Deadpool style quips and insults.

You could easily poke at this film and some of its structure, throwing characters around and sending them wherever via portal for whichever fight for the easiest reason but it’s made as a pure entertainment flick and does a pretty good job at being that. There’s fun, and some audible winces, to be had when it comes to the powers and weapons on display, and the eventual effects that they have. A nod to the video games and just what they can allow without feeling like you’re watching over someone’s shoulder while they play. Splattery, funny and certainly not taking itself too seriously, whilst being made with both seriousness and a grin it may, like the first instalment, be forgotten quickly after viewing, but for just under two hours it’s perfectly good action entertainment.

Another entertaining action flick, Mortal Kombat II may be thin on plot and exposition, but its enough to link together the heavy-CG violence which makes the most of both splatter and the powers that cause it.

Release Date – 8th May 2026, Cert – PG, Run-time – 1 hour 49 minutes, Director – Kyle Balda

When their shepherd (Hugh Jackman) is found dead, his flock of sheep take it upon themselves to investigate his murder.

For anyone who may have wrongly doubted it, the power of Emma Thompson is very much still alive and well. She walks into The Sheep Detectives around half an hour in through and somehow manages to completely turn things around. A lacklustre, on-the-nose murder mystery suddenly gains its laughs in the biggest portion of her brief appearances as the lawyer of shepherd George Hardy (Hugh Jackman). After he was found murdered she’s present to read his will, and reveal one of the possible motives for the gathered few in the village of Denbrook, where George had some secrets and rivalries.

However, the police (Nicholas Braun with not too shabby English accent) are struggling in their investigation and so the sheep still grazing in George’s meadow take it upon themselves to try and work out who the murderer is, inspired by the murder-mystery stories he would read aloud to them each night. Once past a series of cartoon behaviour which produces little but bland and faltering jokes we see smartest sheep Lily (Julia Louis-Dreyfus) take the lead alongside never-forgetting Mopple (Chris O’Dowd). The story isn’t so much about the mystery; that’s kept fairly simple and straightforward, but about the central sheep, with tinges of details about grief and remembering rather than choosing to forget.

There’s intentionally a film made that should work rather well for all ages, broader than the traditional family labelling. It’s playing for a very wide audience and should generally have something to appeal to everyone, especially once it properly kicks in with the aforementioned arrival of Emma Thompson who brings about the bigger narrative focus and push for the sheep and actual chuckles – definitely a strong tonal shift for writer Craig Mazin, adapting Leonie Swann’s novel Three Bags Full, having spent the last few years working on TV projects Chernobyl and The Last Of Us (having written films in the Scary Movie and Hangover series before that).

The impact of this film may not be quite as striking, or memorable. In fact, it’s likely that it’ll be hard to remember much of it shortly after it’s finished. But, for its run-time there’s enough to like and be amused by, especially once the narrative factors are in play for the sheep to investigate. This is a solid slice of likable amusement for all ages.

It might take some time to properly get going, but once past some lacklustre build-up and properly focusing on the sheep investigating there’s solid, if forgettable, amusement to be found in The Sheep Detectives with a good deal of chuckles once the titular flock turn away from being cartoons.

Cert – 15, Run-time – 1 hour 47 minutes, Director – Damian McCarthy

American author Ohm (Adam Scott) visits an Irish hotel where his late parents had their honeymoon. However, a disappearance and tales of a witch lead him to become trapped investigating the haunted corridors.

I’ve been thinking quite a bit over the last couple of weeks about 2019’s The Hole In The Ground, Lee Cronin’s chilling Irish indie feature debut. Both with his own The Mummy being recently released in cinemas, albeit with more links to his Evil Dead film, and now the appearance of writer-director Damian McCarthy’s Hokum. The latter certainly strikes a more similar tone when it comes to the creeping claustrophobia of trippy folklore that closes in around both central character and viewer.

Successful American author Ohm (Adam Scott) travels to a secluded Irish hotel where his late parents spent their honeymoon, hoping to spread their ashes nearby. His current novel is in need of an appealing ending, and middle, causing him to arrive grumpy and often rude to staff. However, fear quickly breaks his tired and careless expression as folk tales of a witch in the locked and closed-off honeymoon suite start to seem true as he investigates the walls of the closed-for-off-season hotel when he hears of the disappearance of a staff member.

The Shining is an obvious reference, but there’s no doubt that particularly in the third act it comes to mind as the truths of the hotel are unravelled. Unravelling is truly what the mystery at the heart of Ohm’s journey is all about. Gradually unfurling with each detail, revelation and question that rise through visions and behaviours of supporting characters – not to mention an unsettling rabbit-like character who leaves a lasting effect despite only a brief appearance.

There’s a touch of 70s horror to the interactions Ohm has with locals, particularly David Wilmot’s Jerry who becomes particularly drawn into the mystery of the hotel and disappearance linked to it. Not quite a ‘turn back!’ style, instead one that’s quieter and more about the tone of the interactions and what they say about the characters, building up to their actions in the later stages of the narrative as things twist in uneasy fashion. Each decision works with the slick pacing and escalation that bring you in quickly and create initial unease that’s maintained with how rooted in folklore the film is – with many events taking place in looming woodland if not the dimness of the hotel.

Hokum strikes its tone early on and keeps that going with strong links to folklore which enhance the horror and creeping tone already established by the surroundings and how Damian McCarthy views them through Adam Scott’s increasingly haunted perspective. It builds and builds with growing creepiness and eventual suspense tracked through the mystery at the centre of the narrative. Entertainingly uneasy, it’s a great indie folk horror.

Rooted in folk tale style from start to finish, Hokum is consistently entertaining and creepy with its eerie design and visions, some of which, like the most unsettling of tales, will stay with you for a good while after.

Cert – 12, Run-time – 1 hour 59 minutes, Director – David Frankel

After being fired from her newspaper journalism job, Andy Sachs (Anne Hathaway) is re-hired at Runway as features editor, trying to navigate a demand for clicks over industry insight and editor-in-chief Miranda Priestly (Meryl Streep)

A lot has changed around the characters in the world of The Devil Wears Prada, even if they, for the sake of the viewers, haven’t. There’s not just as much dialogue said with an eye roll or disapproving hmmm as 20 years ago, there’s more. It seems that the tone of many of the standout quotes from Andy Sachs’ (Anne Hathaway) last stint at Runway have been taken to make for the dominant tone throughout the screenplay, an original instead of being based on either of Lauren Weisberger’s sequel novels to her 2003 original.

Runaway may still be a, albeit thinner, print magazine but the majority of its ‘content’ gets put online in a fight for clicks and social success. After losing her journalism job in a series of layoffs Andy is employed as the new features editor to try and see the magazine through a turbulent controversy linking to their promotion of a brand using sweatshops. As things develop it becomes apparent that the directions this sequel takes gives it a narrative that’s certainly not as simple as last time, but not the most complex tangle. However, it is a very plot-heavy film when it comes to each scene’s contribution, coming across as slightly more complex than it actually is due to all the pawns in play.

Whilst balancing demands from magazine owners to get better stats with her pieces, snark thrown from ever-present editor-in-chief Miranda Priestly (Meryl Streep performing as if she hasn’t broke character for two decades) and a late-in-the-day introduction for love interest, apartment contractor Peter (Patrick Brammall), a strand which feels as if it could be easily cut to ease the run-time, Andy is trying to work out what journalism means and stands for in this day and age, particularly in the fashion industry. It’s an idea that fluctuates in how much it wants to be played with, at least in terms of how passionately it’s put across. Another sign of just how much the film seems to try to juggle, despite not really being as complex as it seems.

It seems the case that instead it’s more trying to fit as much as possible in. Including occasional throwbacks to the first film, which feel held back by being slightly forced, and new characters going just beyond catch-up parts of relationships and context. Emily (Emily Blunt) returns and occasionally feels like she’s slightly jammed in because she needs to be there instead of having a proper course thought out for her character, although still selling the snark and frustration and getting one of the best lines of the film (once again about carbs).

With how much is stuffed into The Devil Wears Prada 2 you’d hope that there will be enough that lands and works. For the most part things generally land successfully, including a good handful of the gags. There may not quite be anything laugh out loud funny, but there’s a lot that’s perfectly amusing to help see things through. The sequel may not have lines of dialogue that will be quoted in 20 years time, but it’s got enough to provide a few chuckles for the duration of the run-time. Helped by the welcome familiarity of the central ensemble who appear to be having great fun being back with each other and these roles. So does the film with just how much it wants to give them to do.

Not complex, but it may seem it from just how stuffed it is, The Devil Wears Prada 2 may be overlong, but it proves to be consistently amusing whilst on, with help from a returning cast who jump right back into character with ease.

Release Date – 15th May 2026, Cert – 15, Run-time – 1 hour 40 minutes, Director – Steven Soderbergh

Art restorer Lori (Michaela Coel) is hired by the children (Jessica Gunning, James Corden) of famous artist Julian Sklar (Ian McKellen) to forge unfinished masterpieces for the sake of their inheritance.

Steven Soderbergh has been quoted a lot recently about embracing and using AI in his upcoming films. It feels particularly a shame that a director such as himself, having become known for making low to mid-budget crowdpleasers with quick turnarounds, would make headlines with such comments after making a film all about the humanity and emotion of art, and our relationship to it. The expression that it allows for. As Ian McKellen’s Julian Sklar revisits unfinished masterpieces, the third set in his Christophers series, he throws paint and an assortment of art supplies at the canvas with a mixture of intent and emotions.

He wishes to destroy them, wanting to remove a part of the past that’s been sat covered up on the top floor of one of his neighbouring homes for 25 years. Having hired new assistant Lori (Michaela Coel), he asks her to do the job, not knowing that she’s been hired by his children (Jessica Gunning, James Corden) to forge the remainder of the works in the hope they’ll be worth millions by the time inheritance comes around. The relationship between Lori and Julian is punchy and fluctuates as much as their bonds with art itself – Lori works part time as a restorer when not working in her food van or making her own private work – and throughout McKellen and Coel are magical, appearing to relish the opportunity to perform with each other.

Soderbergh makes a rather quiet film, much quieter than expected from the trailer which makes The Christophers look much more comedic than it is. One that’s reflective, with a scattering of likable chuckles here and there, largely in the form of quips and jabs from Sklar when he’s not recording Cameo messages for £249, making another use for his easel for him to do so. There’s a lot hidden for him, as there is for Lori, that gradually unravels over the course of the film, although intentionally not in its entirety, and certainly not in upfront style. Yet, you can see how much is held in by both characters from their pasts. Leaking through in their interactions and resentments.

During the scene where McKellen attacks the canvas we never actually see the development of the picture itself, only his face, actions and the back of the easel. The Christophers isn’t a film about the art itself, but our relationship with it and what we put into it. From the start to the very end. Subtly done and finely constructed it’s a welcoming look at creation and the feelings that go into, and come from, it; and how those can linger and change over the years. Gently told with a gliding pace, it’s easy to be captured by the performances and the details gradually unveiled by them and the screenplay. With effects and crafted images lasting in the mind long after the credits have finished rolling.

A gentle and amusing look at changing relationships with art and creation with two excellent performances from Coel and McKellen who naturally bring out the subtle and layered unravelling details of their characters.

Cert – Recommended ages 13+, Run-time – 1 hour 37 minutes, Director – Ric Roman Waugh

After surviving a suspected world-ending comet, the Garrity family (Gerard Butler, Morena Baccarin, Roman Griffin Davis) must leave the safety of a collapsed Greenland bunker to search for a new safe place on what remains of Earth.

For the convenience of Greenland 2: Migration the world-ending comet in the first film was only 70% world ending. What remains of the world, largely Europe, has seen society decline, and given almost everyone a gun. A series of grey, misty landscapes, and gunshots, are explored by the Garrity family (Gerard Butler, Morena Baccarin, Roman Griffin Davis) who having survived the apocalypse in a tense race against time must venture out into uncertain air and terrain to try and find a new place of safety when the Greenland bunker, housing some of the best, most capable minds to rebuild when things are better up top, collapses.

The journey towards somewhere that’s green – although not quite the kind you’d find in Better Homes And Gardens magazine – sees them venture the not-quite-wasteland and harsh weather conditions that have been created by the comet with bursts of tension rather than the continuous race of the first film. Migration is a film of individual characters and situations, the post-disaster movie. The individual segments and chapters start to make the joins and divides between them visible.

Having been, as many were, pleasantly surprised by the suspense of Greenland when it landed on streaming during the pandemic I sat often wanting to like the sequel, which arrives in the same form in the UK having failed to make back even half its $90 million budget during its US release in January. However, the more it goes on during a generally contained 97-minute run-time, the more it started to falter and lose me, despite still wanting to like it more than I did. There are good moments and bursts here and there, largely when looking at the weather and details of the new environment; although with growing repetition when it comes to some of the military figures or gangs we see cropping up. All treated with the same stone-faced seriousness, which still works for the tone the film wants to strike although this time around sometimes feeling a bit much whilst still avoiding a need or want for silliness.

Sometimes with the segments that the Garrity family walk through feel like they’re putting the journey to a better place to one side in order to feature more ramshackle locations and tired-looking extras, despite those being on the way. Tension and drama don’t escalate here, instead they appear at irregular intervals in varying degrees – although overall the drama feels as if it decreases over time as interest starts to fade. This is less of a race and more of a brisk walk, with the odd rest stop, to safety.

A post-disaster movie with bursts of tension, but not the race against time feel of beforehand, Greenland 2: Migration has its moments but not quite enough consistent, especially in characters, leading to a feeling of wanting to like it more than actually liking it.