Cert – PG, Run-time – 1 hour 31 minutes, Director – Dean Parisot

Bill (Alex Winter) and Ted (Keanu Reeves) are tasked with creating a song to unite the universe in 78 minutes, otherwise all of space and time will be destroyed.

There’s a point as the familiar faces of William S. Preston (Alex Winter) and Theodore Logan (Keanu Reeves) are tasked with their mission for their third big screen outing that you feel a surge of joy and excitement. A rush brought by the fact that you know you’re about to spend the next hour or so in good company, as if revisiting friends that you haven’t seen for a while. Although older and with their differences since the last time we met – after all 29 years have passed since their bogus journey – they’re still the same old Bill and Ted that have gained more than just a cult following over the last 31 years.

Brought to the future to the society that they so strongly influence the Great Leader (Holland Taylor) tells the pair that they have just 78 minutes to come up with a song that will unite the universe, and stop all space and time from closing in on itself. However, the Wyld Stallyns have split after a decline in sales and an apparent overall decline in quality; they’re not what they once were, and it’s taken a toll on Bill and Ted. They’ve believed for a long time that at some point they will create a song to bring everyone together but after almost three decades of trying nothing’s arrived. Still trying to find it they perform songs with convoluted names involving bagpipes, theremins and throat singing – making for a hilarious re-introduction – to little response from the wedding guests. Thus the time travelling phone booth returns and Bill and Ted decide to travel to their future in the hope of finding versions of themselves that have created this song.

Meanwhile the pair’s daughters Billie (Brigette Lundy-Paine) and Thea (Samara Weaving) also find themselves travelling through time – in a similar vein to their fathers – picking up various different musicians in the hope of forming the world’s greatest band. While initially it seems as if the young duo are trying to exactly mirror the late-80’s, early-90’s versions of Reeves’ and Winters’ famous duo. However, gradually as their narrative grows they come into their performances and slightly begin to grow their own character personalities.

While roughly travelling along the same lines with each new place in time in the case of both plot-lines it doesn’t really matter. The entertainment value and laughs carry the film along and secure your engagement within these characters and what they’re doing. This could easily come across as a ‘reunion tour’ of sorts, but the film and its characters mostly avoid this feeling. This isn’t a cheesy wistful look back on past glory days. Yes, there are elements of nostalgia within the company of these figures. Yes, they do have their differences and some new issues. Their backs might not exactly creak but there are elements of their now marriages with the princesses from the first two films that are under strain – going to couples therapy as a couple of couples pretty much tells you everything that you need to know. Yet despite this none of it really matters because you’re there for the two titular characters, Bill and Ted. They face the music in a number of ways throughout the film and it’s a pure joy to watch.

From big grins spread across your face as the pair enthusiastically air guitar and William Sadler’s much anticipated return as Death to the many laugh out loud moments of the film and even some genuine emotion during the big scale finale; facing the music might actually be what some people need after the last few months. This might not be a most excellent adventure, but it’s certainly a bodacious return to good, entertaining friends.

Filled with plenty of entertaining laugh out loud moments it’s easy to forget, or simply not notice, any potential issues with this nostalgic re-visit thanks to how easy it is to engage with the film. Who cares about those anyway? Bill and Ted are back, dudes!

Cert – 12, Run-time – 1 hour 48 minutes, Director – Natalie Krinsky

A young woman (Geraldine Viswanathan) starts up a gallery for people to dispose of items leftover from previous relationships

During the opening credits of Natalie Krinsky’s directorial feature debut the streets of New York are filled with the towering figures of a variety of objects in statue-like form. Some of them actually seem to be statues others are enlarged everyday items such as watches. There’s no real explanation for their presence, much like the hoarded objects that gallery assistant Lucy (Geraldine Viswanathan) allows to linger in her flat. Each one a memory of a past relationship. The latest one a tie from her boyfriend Max (Utkarsh Ambudkar) who she breaks up with at the start of the film when it turns out that their relationship isn’t as serious and exclusive as she thought.

It’s not long until, after a couple of chance encounters, Lucy meets Nick (Dacre Montgomery), a young man aspiring to build and open his own hotel – alongside his friend Marcos (Arturo Castro). When Nick encourages Lucy to leave her ex’s tie on a wall in the shabby walls of what will hopefully one day become his business, allowing her to get rid of the heartbreak, Lucy comes up with an idea for a gallery. A place where people can leave and donate the leftover items from past relationships and hopefully resolves some lingering upset. Throughout the film there are brief interview-style clips of minor characters talking to camera holding specific items and talking about the relationship memories that they bring, a number of which manage to raise a mild chuckle.

This certainly isn’t your standard rom-com, it does feel different in terms of style and overall feeling. There doesn’t seem to be a formulaic feel and you actually quite like the characters, leading to a couple of effective laughs every now and then that just bring you to like the characters even more. This isn’t a rom-com that feels lazy and seems to say ‘these people are young and attractive – you will like them’. You actually do find yourself enjoying the company of these figures as they try to just make their dreams come true through their hope and creativity. Bring into the mix an equally entertaining supporting cast, including Molly Gordon and Phillipa Soo as Amanda and Nadine, Lucy’s deeply supportive flatmates, alongside Amanda’s silent boyfriend Jeff (Nathan Dales), who can raise a laugh with a small smile in response to a cue line.

You feel the connection between each character, and the antagonism that some feel for others, such as Lucy initially feels for Max after their break-up. But when it comes to the friendships that are present they feel genuine, adding to the level of friendly engagement you have with the piece. The bond between Lucy and Nick never feels forced, they’re friends, they know that and the film knows that and by not adding pressure to anything or making things obvious the film feels even more relaxed. It’s an uncomplicated engaging feature that brings you in to a bright, inventive world full of people who also match that description. And as the gallery begins to take off and the plot as takes form the film still admirably remembers such characters and instead of being a standard cliché modern rom-com it gives something more, and a fair deal better. It gives something enjoyable, with likeable characters who actually have individual personalities, who do good things and you want to see them succeed; and also doesn’t forget to throw in the odd laugh either. It’s light, enjoyable and engaging fun, not just down to the performances but also Natalie Krinsky’s screenplay and direction.

Taking a step away from the standard modern rom-com The Broken Hearts Gallery invites you in for a relaxed, enjoyable time with characters who feel genuine and you want to spend the duration of the run-time with.

Cert – 15, Run-time – 1 hour 25 minutes, Director – Sally Potter

The day in the life of Leo (Javier Bardem), experiencing growing dementia, as his daughter (Elle Fanning) takes him to various appointments in New York while his mind drifts back to memories of his past.

“What kind of endings do you like?” asks Javier Bardem’s Leo as he converses with someone about a novel that he’s almost completed, but is struggling to end. The Roads Not Taken is a film that while following a simply laid out – although unfolding as somewhat chaotic – day in the life of it’s main character is strongly concerned about its ending and where the central figure ends up. Throughout the film we see him staggering around, lost and confused on the busy streets of New York, and various buildings within it. His dementia has reduced him to only be able to stutter a limited amount of words, and often when in private with his daughter Molly (Elle Fanning), his head seemingly forced downwards trying to get to grips with the basics of his overwhelming surroundings. His memory is limited, although certain things, such as seeing a dog, do bring back memories – although often emotional, perhaps negative, ones. Writer-director Sally Potter’s screenplay builds to a point when someone may actually recognise Leo and treat him with some decency – instead of simply asking his daughter if everything’s alright with him, if he’s all there or even just attacking him telling him to go back to his own country after a heated set of events in a shop.

As all of this happens and the day gets thrown off course Leo finds his mind thrown back to key memories of his past, which are often sparked by some of the events or circumstances of the day. One such memory is to his life back in Mexico, to an often tense relationship with his ex-wife Delores (Salma Hayek), the tensions of which sometimes reflect the chaos of his life in the current day. The other a holiday in Greece where he continues to stumble into, and follow, a young tourist who reminds him of his daughter, who at this point in time he rarely sees due to his travels to aide his writing.

Over the course of its short 85 minute run-time the film jumps back and forth between the three time periods and events, initially seeming like a selection of ideas with little connection apart from all being told from the same perspective – something which seems to remain the case until about just over halfway through the film. While some flashbacks start with a link to the events in a different time beforehand there are others that do still occasionally feel quite jumpy; not quite with a different tone or feeling, but seemingly something else to connect with. Bardem’s character certainly isn’t a completely different personality in all three circumstances, although there are key differences, a life affected by tragedy, loss and regret shows its scars but the short amount of time that we sometimes spend in the flashbacks does mean that a bond is somewhat difficult to form.

Despite all the flashbacks and the different ideas that the film brings up there are patches that feel as if they could be explored more. Little bursts of sparks and interest as a new point is brought in, only to be quickly gotten rid of or are only lightly touched upon. The themes are kept relatively the same, not that there’s no change or exploration; but that which there is does come across as if it could go a bit deeper or show something more to increase the connection that the viewer has with the characters. Yes, there is some interest in the fact that the film only takes place over the course of one day, assisted by the view of past memories, and there are some emotional beats there; but because of the lack of connection with the characters and the one or two familiar beats within the plot. There are some decent elements within the film however not quite enough, especially in terms of an emotional connection or response. Most elements are perfectly fine and drift along rather well, however when everything comes together the punch isn’t quite there and it forms a slight distance between film and viewer. Despite some good ideas and occasional sparks the amount of jumping that the film does is overall the thing that prevents it from establishing a proper connection.

There are a number of ideas witnessed throughout The Roads Not Taken, and the film as a whole is fine. However, the lack of connection and jumpy nature do stop the viewer from feeling the full potential of the emotional beats within it.

Cert – 15, Run-time – 1 hour 44 minutes, Director – Ladj Ly

New to Montfermeil, Paris and the anti-crime brigade a police officer (Damien Bonnard) soon discovers an angered world of gang rivalries, tough cops and racial tensions on the French streets.

The 2018 World Cup. There’s joy in the air of the streets of France, people coming together; bringing peace and harmony as the country celebrates the victory of the French team. However, darkness isn’t far away. Set after the World Cup and inspired by 2008 Parisian riots documentarian and short maker Ladj Ly throws new-to-the-area police officer Stéphane Ruiz (Damien Bonnard) into a world of high gang related tensions and power-abusing cops. For much of his first day encountering squad leader Chris (Alexis Manenti) and Brigadier Gwada (Djebril Zonga) Ruiz remains quiet. Sat in the back seat with little to comment on, yet his face reads all as he notices the behaviour of his colleagues – especially leader Chris.

Chris regularly abuses his powers, not properly following the rules in all manner of situations – on one occasion seemingly doing so just to make the girl he’s searching at a bus stop feel uncomfortable. It’s testament to Manenti’s startling performance that the viewer also manages to feel this discomfort, and tension whenever he appears on screen. With the streets of Montfermeil filled with rival gangs, seemingly always at each others throats its almost a necessity to be careful and always aware of your actions, however Chris doesn’t seem to care, while Gwada goes along with things as if he’s used to this behaviour, although somewhat reluctantly, and Ruiz watches in astonishment as all this goes against what he knows and has been taught. Tensions truly reach a peak, however, after the theft of a lion cub from the circus that has recently arrived in town. Fingers are instantly pointed while the police can do little until the real culprit – a young child (Issa Perica) – is worked out and found.

While the constant feuds between gangs are already enough the rising racial tensions in the streets – racist abuse casually being spat out in enraged assaults in the middle of the street – add to the violence and stresses that everyone faces. We come across various faces over the course of the narrative, yet spend enough time with each figure to understand who they are and what they stand for; all adding to the tension that the film gradually builds up until it’s big releases – in some respects there are two major stages and releases of the course of the piece. All the chaos as the riots and disputes increase is captured by Ly in a documentary style. The edits and cuts between various angles and perspectives are, on some occasions, only just allowed to get into focus before a new change. You know exactly what’s going on and are thrown into the centre of it, much like Ruiz – and to an extent his colleagues – is.

As all the characters come together and the narrative progresses over the course of the relatively fast-paced and flowing run-time nothing is wasted. Everyone and everything is relevant and once you’re in the flow you’re there for the entire run. Gripped by the precise construction of the story and the characters, the events that unfold and the various twists and turns in the psychology of each figure, especially the actions of police at the centre of the film. There’s no denying that this is a timely film. Calling back to much of the year’s news, and perhaps it’s the realism of each figure – helped by a fine screenplay and fantastic performances that help to capture the stresses, worries, anger and fear of a lot of the characters, even the number of child performers who have a strong impact on the narrative excel, even if they get little to no lines their expressions and body language say everything. All simply placing you further into the authenticity of the world that the cast and crew create. A world that’s unfortunately not too different from our own.

Perhaps it’s because of this, and the fear and panic that the viewer experiences during a number of sequences, that there’s such a strong connection with the film. It’s the way that everything feels so genuine. As already mentioned the film is inspired by the Parisian riots of 2008, Ly captured footage of this as the chaos unfolded and there are feelings of this, the anger and the tensions are emitted throughout. Even during some of the quieter moments of conversation, the context of the film and everything built up already provides a feeling that anything could go wrong. Anyone could lash out or say something that could be easily misconstrued at any time. Or simple someone might just say something intentionally wrong and violent inducing a public brawl. The film is lined with such feelings and for 104 minutes carries you through this blood-pumping, tension-filled piece of reflection. Yet an admirable piece of reflection that never feels drab or bleak or as if it’s lecturing the viewer or talking down to them. A finely crafted non-documentary mirror of character, intrigue, action and tension.

Fantastically directed, with equally brilliant performances Les Misérables perfectly uses characters to progress the narrative and boost the levels of tension that engage the viewer throughout almost the entire run-time.

Cert – 12, Run-time – 1 hour 55 minutes, Director – Niki Caro

As the war against the increasing threat of Northern invaders demands more troops a young woman (Liu Yifei) disguises herself as a man, running away to join China’s Imperial Army in place of her elderly father (Tzi Ma)

Like many films of recent months Mulan has faced a long journey to the screen. After multiple push-backs amidst the Covid-19 pandemic the film finally finds a home away from the silver screen, on Disney+. Which is a shame, because Mulan is a film made for the big screen. Its immense detail, mixed with Niki Caro’s direction, creates the look and feel of something akin to a true epic. And much of the action throughout the film carries the same feeling. Carefully constructed and laid out often you find yourself with your eyes glued in awe to the screen as Liu Yifei’s Hua Mulan boldly faces battle, skilled with wits as sharp as her sword. The entertainment factor is high from start to finish within this film, bringing the viewer in for an enjoyable ride from start to finish throughout the fast flowing running time.

But, this is much more than a piece of entertainment. This remake of Mulan is a well-told, well-craft story. Keeping some of the themes of the original bringing in tweaks and additions that help to build a new style and tone, keeping thing fresh and engaging. The standard story is still there Mulan finds herself disguising as a man, running away and joining the Chinese Imperial Army so that her elderly father (Tzi Ma) doesn’t have to go and fight, being the only male in the family. Therefore, in disguise as Hua Jun, Mulan finds herself surrounded by a multitude of boisterous, somewhat rowdy men – one from each family. Each one having to be quickly trained and disciplined to fight the ever growing threat of Northern invaders, led by the vengeful Bori Khan (Jason Scott Lee), with the assistance of Xian Lang (Gong Li), a powerful witch with the ability to overcome entire forces with her shape-shifting abilities.

These aren’t typical Disney villains, and are certainly different to those of the original Mulan film. They are scarred and pose a harsh force to the heroes of the film. A promise that’s ingrained within the violence of the battle sequences and fights. Sparingly used and precisely laid out the 12 rating is lived up to, and again offers something different. There’s a fine streak of mild intensity and drama to the combat sequences. Using the connection that you’ve formed with Yifei’s protagonist. Like her, and those that she’s around, you’re thrown into this new situation, feeling the high stakes always at play; especially for the central figure as she is, of course, having to hide herself in such a situation where you’re almost always in sight of other people. Yet, it’s difficult not to root for such a strong and well-formed figure. Wanting to see her succeed, knowing she has each situation in hand. All leading back to that entertainment factor that spawns from the levels of investment that you have with the film and the characters within it.

With everything that the film has to offer in terms of action, plot, character and everything else the piece never feels slow or as if it goes on for too long. You simply sit there at the spectacle on offer, immersed by the detail in each element and the pure entertainment factor that it emits. This might not be the full-on straight, direct no laughs action-drama that some might have hoped for. There are one or two mild laughs to be found in some scenes, in a similar vein to the 1998 animation on which this remake is based, alongside Guo Maoqian’s original work The Ballad Of Mulan, and a fair share of them are successful in raising a mild chuckle. However, gone are asides to Mushu and Cri-kee, as Caro has stated mostly for the sake of realism, but it allows for the attention to be back on the flowing dramatics of Mulan’s journey. She is the main focus of the film after all. The titular intelligent warrior with whom we have the connection with, and experience the majority of the film through the eyes of. Defying the expectations of those around her and traditional roles this isn’t your traditional Disney film, or indeed live-action remake. This is something different. Something bolder with style and flair. It might be made for the big screen but it’s still captivating on the small screen.

Carefully crafted in each department, brought to life by Niki Caro’s sweeping direction, Mulan isn’t just a strong piece of entertainment; it’s a well told story with engaging characters and fine action. All solidifying the stakes, and the viewers engagement, with an effective, and equally detailed, style that fully brings you into the world and tone of the film.

Cert – 15, Run-time – 2 hours 14 minutes, Director – Charlie Kaufman

When travelling through a blizzard to meet her boyfriend’s (Jesse Plemons) parents (David Thewlis, Toni Collette) a young woman (Jessie Buckley) begins to experience warped events that make her certain that she should end her relationship

One of the key lines of dialogue in Christopher Nolan’s Tenet is “don’t try to understand it, feel it”. The same advise could be given towards Charlie Kaufman’s latest piece of human observation, taking the form of a quasi-relationship-horror. However, it’s sometimes difficult to properly be able to engage with and ‘feel’ lengthy conversations as part of a long car journey in a blizzard. The conditions are harsh, cold and icy. Jessie Buckley’s character finds herself trapped in a cramped space – heightened by the box-like aspect ratio in which the film is shot in – with her boyfriend Jake (Jesse Plemons). She’s already sure that her relationship isn’t going where, finding herself repeating the words “I’m thinking of ending things” over and over again in her head. The reason for the car journey is so that she can meet Jake’s parents (played by David Thewlis and Toni Collette) for the first, and possibly last, time; she states early on that it’s unlikely that Jake will ever meet her parents, they don’t even know that he exists. Yet, here she finds herself on a long car journey in snowy conditions from the city to an isolated farmhouse.

For the majority of the car journeys – one of which makes up the first 25 minutes of the film – the audience is seemingly locked outside of the car. The camera sits outside of the windows; the wipers monotonously going back and forth brushing the never ending white downfall that seems to come from nowhere. As the film’s somewhat mysterious protagonist, burdened by a multitude of equally mysterious spam phone calls, is locked inside, the viewer is locked outside simply as an observer. The conversation is limited and struggling. Jake certainly isn’t the most exciting person in the world – and this is something that Buckley’s voiceover, which fills a lot of the film, makes note of. It’s this voiceover that throughout much of these scenes the viewer is able to connect with, it’s the through world into most of the film’s events.

Much of the film is made up of extended scenes and moments. Aside from the conversations in the car there are almost real-time scenes around a dinner table or at a roadside ice cream shop. Through this the realism and humanity of the film is brought through, especially the way that it delves into relationships. However, unlike the likes of Anomalisa and Eternal Sunshine Of The Spotless Mind, both of which were penned by Kaufman, there’s a slight horror tone to the film. As things become warped and twisted within the home of Jake’s parents the look into the relationship seems to be put aside for the sake of looking at eerie events within the household, and the behaviour of Thewlis and Collette’s exceptionally performance characters. Not just their off the cuff comments such as “Billy Crystal’s a nancy” or their loud somewhat raspy gasp filled laughs that linger for a while after the joke respectively but their general physicality and appearance that seems to change, evolve and devolve around every corner; as if each new room is in a different time period.

It’s fair to say that there’s a lot being said within Kaufman’s screenplay, and his direction style – assisted by the dimly lit cinematography of Cold War cinematographer Łukasz Żal. At some points it feels as if he’s commentating on the state of Hollywood, or even the film industry as a whole, and the way that it treats relationships. The ideals that they present of a female mindlessly following and supporting the male, passively observing their accomplishments in multiple genres, despite what may happen. The extent to which this commentary comes into play is mostly in the very latter stages of the piece, as the film’s focus screams to herself, after the torment that has come beforehand, “it’s hard to say no… it’s easier just to say yes”. Yet, such readings and themes come, as already mentioned, later in the film. Before then there’s a gradually drawn out tangle of ideas and situations, some working better than others. When in the car things are slow, it’s hard to engage with them – perhaps that’s the point? But when in the farm grounds, at the ice cream shop and almost anywhere else there’s a bit more detail and energy to the piece, even if everything happening is a bit of a confusing mind-twist.

Once everything is over and done with, or as could be perceived to be the case anyway, it’s sure to take a while for everything to sink in. It might not exactly be something that can be properly comprehended and understood, but there’s enough detail and style in there, attaching to unconventional styles of horror and beyond;. All of this done in a way that only Charlie Kaufman can, almost always looking at the idea of human reactions; emotion, or perhaps lack of emotion. Each scene assisted by top performances from each member of the small but stunning cast. Led by a sublimely subdued performance from Jessie Buckley, capturing the tone of each scene and moment almost perfectly; even if the viewer’s connection isn’t quite as present in that moment she still manages to excel and capture the true essence of the moment, getting across what her character is thinking, even if her voice sounds like she’s hiding this by demonstrating other feelings to those around her. You might not know what’s happening during each scene or be able to connect with the film at all times, although during some of the genuinely scary isolated farmhouse scenes especially you’re probably not meant to, but you’ve always got Buckley’s performance to rely on to get across the feelings of each scene while still allowing you to make up your own mind as to the reason behind what’s happening, if you can find one within the sometimes empty drifting conversations and monologues.

While Charlie Kaufman’s traditional themes are certainly present within his latest observation of relationships and the human mental condition it isn’t his most accessible or engaging feature. The cast are on top form but the connection isn’t always there during some of the more isolated sequences, even if the unique scare factor and viewpoint are effective in others.

Cert – U/ Recommended for viewers aged 6+, Run-time – 1 hour 26 minutes, Director – Bob Bowen

Young inventors Phineas (Vincent Martella) and Ferb (David Errigo Jr) venture into space to rescue their older sister (Ashley Tisdale) from alien abductors.

It seems like there’s been well over 104 days of self-isolation and nothing’s come through that could end it. But, the biggest problem during this pandemic has been finding a good way to spend it. However, now arrives Phineas And Ferb The Movie to hopefully relieve some lockdown blues. Disney’s hit show Phineas And Ferb ran for seven years with just as many adults enjoying the animated antics of the two titular stepbrothers as they built the likes of roller-coasters, giant robots, beaches and even a jet sized paper plane in their back garden (47% of the shows audience was said to be adults). Creators Dan Povenmire and Jeff “Swampy” Marsh were initially reluctant to return to the characters, however when asked to make a film about the duo for Disney’s streaming service Disney+ they realised that they missed the pair and pressed ahead with making another feature length outing – having previously made a TV Movie in the form of Across The 2nd Dimension.

In many ways Candace Against The Universe acts simply as an extended version of a standard 22 minute TV episode. The general formula and structure is roughly the same, although perhaps with a few more songs than usual and yet there’s a similar feeling. The general simplicity somehow helps the film with it’s short 86 minute run-time. Phineas (Vincent Martella) and Ferb (David Errigo Jr) find themselves jetting off into space to rescue their older sister Candace (Ashley Tisdale) after she finds herself abducted by aliens. Joined by their friends and the evil Dr. Heinz Doofenshmirtz (Dan Povenmire); who regularly finds himself fighting the stepbrothers pet platypus Perry, although everyone else is unaware of the alias of Agent P, and finds his daughter Vanessa (Olivia Olson) also having been abducted, the group venture off into the depths of space.

Meanwhile Candace finds herself finally being seen and heard on a far off alien planet. Being known as The Chosen One she makes friends with the alien leader Super Super Big Doctor (Ali Wong), alongside holding the respect and adoration of the other aliens, from the welcome singers with their lengthy introduction numbers to the hard-pressure masseuses. There’s plenty within the film to keep it going throughout the run-time and never does it forget the Saturday morning cartoon style and feel that it holds so well. It knows what it is and what it wants to do and it succeeds and doing that and then some. Because of this there are plenty of laughs to be found within the various antics that unfold, managing to find new jokes instead of repeating the same ones – although some running gags from the show do make successful appearances. From the likably cheesy musical numbers to the references to one character bringing a canoe along for the journey there is a fine sense of comedy for the film.

Fans of the source show, both young and old, are sure to have a good time with this. The spirit and value are present and every member of the cast and crew have clearly had a great time being a part of this project. It shows and is emitted to the viewer for the duration of the film. And for those who aren’t aware of the show there’s still something to be found that can entertain and amuse. It’s delightfully daft and spot on in terms of it’s style and humour. Who cares if it’s simplistic? Even if it does feel like an extended episode that doesn’t get in the way of it and if anything helps it with its style. From the very start to the very end with each short musical burst, each fourth wall break and every new device and gadget – including a Chicken-Replace-Inator, one of the many outlandish inventions of Dr. Doofenshmirtz – there’s plenty of entertainment and humour to be found within this. Escaping to the far reaches of space, sometimes at twice the speed of light, this is perhaps the perfect post-lockdown film treat.

Keeping that Saturday morning cartoon style at its core Candace Against The Universe has a fine sense of humour to amuse everyone young and old. It might feel like an extended episode but this is a fast-flowing, entertaining slice of cartoon fun. It knows what it’s gonna do today and has a lot of fun while doing it!

Cert – 15, Run-time – 1 hour 26 minutes, Director – Amy Seimetz

A recovering alcoholic (Kate Lyn Sheil) is adamant that she is going to die in a days time. While those around her initially think this is part of her withdrawal they soon feel the same, creating a contagious feeling of anxiety.

Anxiety spreads. Or at least the effects of it are felt by those who may not find themselves experiencing it. Writer-director Amy Seimetz has claimed that She Dies Tomorrow is based on her experiences of the way that people have reacted to stories of her own anxiety attacks in the past. The central figure of the film, Amy (Kate Lyn Sheil) is certain that she is going to die in a day. Initially her friend Jane (Jane Adams) puts this down to Amy recovering from alcoholism, and having drunk that night. However, as she leaves Jane begins to also feel the weight of fear and worry that she too is going to die the next day. Soon, the spread of imminent death begins to spread and a wave of anxiety and paranoia overcomes multiple people.

There’s an interesting visual representation of anxiety within the film. The light switches from red to blue, like American police lights. There’s a feeling of worry as if the character’s have done something wrong, although unaware of it, and something bad is coming right around the corner; although instead of the police it’s death. The camera focuses directly on the face of each individual as their faces gradually contort into expressions of emotion or terror, or even shock and realisation. Everyone reacts in a different way and the emphasis on this by the performances add to the film’s nature. It might seem like a slow-burn, although the run-time is only 86 minutes long, but there’s certainly enough detail and stylistic representation in there to keep the viewer seated for the short amount of time that the film lasts for.

The slow burn nature in a number of ways helps the film. It heightens the strain and tension that some of the characters feel. The gradual release of emotions. As anxiety hits the close-ups on their expressions almost seem to turn to slow motion, although this isn’t the case it’s because of the levels of detail there and the specific reactions of each character that the impactful feeling comes around and almost strikes the viewer too. Slightly shaking them with a mild chill each time a character has to face the unknown; the belief that they are going to die tomorrow.

While the spread of fear and the way that it impacts characters is interesting the connection that you have with these figures isn’t quite as strong. Initially there seems to be a chaptered, almost anthology style, nature to the narrative. Each character almost seems to have an allocated space of time, leaving the others in either the background or simply left out until either returned to or not seen again. Amy is very much the centre of the piece, her story is the centre and the spawn for all of this. And yet as the film switches to Jane Amy’s story simply ceases for a period of time. Only returning once another chunk of the film is out the way. You don’t exactly forget that she exists, or what her story is – although the story is relatively light in the film, not that that’s a bad thing – this is a film about impact and spread more than anything else, and those themes are handled well and with an interesting style thanks to Seimetz’s direction. However, the lack of a proper connection with the characters does mean that the impact of the film’s events and ideas isn’t felt as largely as it possibly could be. Fortunately there’s plenty of style and provocatively striking imagery and ideas to keep the viewer in their seat and within the world of turbulence and chaos that the film creates for its characters.

There may not be a strong connection with the characters, but the detail and style of She Dies Tomorrow is plenty enough to keep the viewer seated throughout its unique and almost dizzying effective slow burn run-time.

Cert – 12, Run-time – 1 hour 40 minutes, Director – William Nicholson

After almost thirty years of marriage Edward (Bill Nighy) decides that he is unhappy and decides to leave his wife, Grace (Annette Bening), inviting their son (Josh O’Connor) round to hopefully lower the impact of his actions.

“Just because there’s no blood it doesn’t mean it’s not a murder” spits Grace (Annette Bening), slouched in her chair in a crumpled pile of loss and despair. She’s still hurt by her the decision of her husband, Edward (Bill Nighy), to walk out and leave her for another woman on their 29th wedding anniversary. Initially when she’s told of this Grace remains somewhat hopeful. Although distraught she still sees a life with her husband, trying to get him to stay, surely everything can’t go out the door. However, as things become more real her pleads become more and more desperate. Surely 29 years haven’t just gone to waste? “You mustn’t take it all, you’ll kill me” she begs as her paradise, much like her happiness, begins to crumble around her.

The couple live in Seaford, a small, quiet coastal town filled with memories for them both. Yet, while for Grace it represents her calm contented life and nature for Edward it displays a silent emptiness. For almost three decades he’s stood around unhappy, believing he’s never had a proper connection to his wife. All of this comes to his realisation when he meets another woman, the mother of one of his school students. While Bening’s performance tends to fluctuate Nighy’s remains the same throughout much of the film. He’s serious and restrained, avoiding major displays of emotion. He says things as he sees them and shows his stresses through this way, while Grace’s stresses are shown through her gradual cracking. Although one of the questions throughout the film is what will this breaking out reveal? Will it be a more fragile, emotional figure, or will it be someone who finds the strength to move on and overcome such experiences, as some of the figures in the poetry that she compiles manage to do.

While all of this is happening the film spends little time with Grace and Edward’s son Jamie (Josh O’Connor). Edward invites Jamie round when he decides to walk out in the hope that his presence will lower his mother’s response to the event. The impact on Jamie is little dwelled upon. He seems to be more there as a messenger between his parents as they begin to feud. The emotional connection and understanding isn’t with him as much due to the lack of detail within his character, while there isn’t a great deal of detail and substance within the film as a whole, limiting the possible connection with each of the three primary characters, affecting O’Connor the most – despite still giving a fine performance.

Writer-director William Nicholson’s screenplay isn’t as detailed or in-depth as some of his previous works, which include the likes of Les Misérables, Breathe and the Oscar nominated screenplays for Gladiator and Shadowlands. As a whole Hope Gap is a relatively simple film. While making the film unfortunately quickly forgettable for the time it’s on it serves as something perfectly fine. While in some respects it could be viewed that the simple nature of the film is its downfall in others it could be seen as a strength. While it does mean that it feels somewhat lacking, like we’ve seen the film a handful of times before and it does sometimes create a barrier for connecting with the film and its characters it can also be viewed as something that does back the characters up. Adding to their natural feel and makes the feeling of their separation more real. Hope Gap covers the traditional basics of a divorce drama with a fairly slow pace, but getting out just before things go on for too long; with not a great deal to add. A feeling that is established early on and is continued throughout the run-time of the piece.

Hope Gap is a relatively simple, unforced, middle of the road divorce drama, perhaps more for the silver screen audience than anyone else, and it’ll likely be a hit with them. The performances are fine, and there are some moments of sharpness that bring the viewer in, but for the most part the simple, basic nature of the piece is its biggest downfall.