Cert – 12, Run-time – 1 hour 34 minutes, Director – Seth Worley

When her sketchbook falls into a life-bringing pond Amber (Bianca Belle) and her family take on the scribbled monsters which have emerged from the pages.

Sketch finds itself with a 12-rating from the BBFC, for ‘moderate horror’ and ‘violence’. While certainly some of the monsters that emerge from the pages of young Amber’s (Bianca Belle) sketchbook after it falls into a magical pond have a sense of threat and perhaps tension about them but not quite with a sense of darkness or strong fear-factor as something like the PG-rated The Kid Who Would Be King, to name another recent live-action family film, had.

The overall tone and style of the film is one that would feel fitting amongst well-remembered 80s family films, the kind that are fine when looked back on but hold a good deal of nostalgia and love for those who saw it at the time. There’s a slight Spielberg-produced influence to the narrative and visuals as the narrative rather simply revolves around Amber and her family – brother Jack (Kue Lawrence), father Taylor (Tony Hale) and aunt Liz (D’Arcy Carden) – trying to reach each other whilst battling the brought-to-life doodles; themselves a colourful array which create an amusing set of antagonists along the way. Alongside a handful of chuckles.

The monsters are encouraged creations of Amber’s. A counsellor at school says that instead of lashing out and actually attacking another student she’s doing the healthier thing by sketching her frustrations out – even if some of her drawings are quite violent. There’s an amusing and believable nature to Amber and her sketches. A childlike sense of knowing how violent what they’re saying and drawing is without being fully aware of how violence what they’re saying and drawing is. Even the more innocent creatures, orange spiders where the bodies are eyeballs, which are designed to steal phones and wallets are meant to eventually progress to taking eyes and fingernails.

While coming from her responses to bullies and comments at school Amber’s drawings also stem from grief over the loss of her mum. In the way that it speaks to its younger viewers about letting out emotions and dealing with them there’s an admirable quality to Sketch. One that speaks directly to such viewers while also working as an amusing 90-minutes or so for those also watching. With some effective chuckles and monster battles along the way throughout the slightly familiar beats of the narrative there’s a likable live-action family flick here.

Likely to speak well to younger audience members, Sketch should work for all ages with a likable and amusing, if familiar, 90-minutes with some solid monster doodle design.

Cert – 12, Run-time – 1 hour 59 minutes, Director – Scott Cooper

While movie offers and executive demands for more commercial work pile up, Bruce Springsteen (Jeremy Allen White) finds his passion fuelled by a stripped-back switch in style, and his most personal songs to date, for album Nebraska.

There’s not a great deal of musical performance in Springsteen: Deliver Me From Nowhere. We hear the end of Born To Run and a recording session for Born In The USA, but perhaps the reason for this is more to focus on just how stripped-back the songs actually focused on are in comparison. No full band, no expensive production room with all kinds of kit. Just Springsteen (Jeremy Allen White), a guitar, harmonica, a bedroom set-up, and the help of Paul Walter Hauser’s recording engineer Mike.

The music created goes to form his 1982 album Nebraska, a departure from the music that was just starting to make him a star across America and lead him to offers of film roles. Record label execs (particularly David Krumholtz’s) want the singer-songwriter to continue with more commercial ventures, however as he reflects on his childhood and abusive father (Stephen Graham) and current relationship with Odessa Young’s Faye Romano inspiration strikes and leads to a stripped-back, personal selection of tracks.

Music and inspiration appear to split somewhat as the film goes on, especially in the second half. While the moments focusing on Springsteen fighting for the music on the cassette to be released as it sounds that way, raw and in-the-moment without any studio effects or tinkering. There’s something about it that means more that he’s not giving away, although we’re seeing that confronted more as he visits locations from his past. It’s these beats, and those focusing on his relationship with Romano, that feel much more conventional when it comes to music biopics of the last few years. Such moments may be watchable, and have a bigger push in latter stages when delving more into the titular star’s mind and mental health, but such points are properly confronted quite late into the run-time.

In general, the first half of the film feels like a lot of build-up to the second, although largely realised once the idea of Nebraska is committed to and what would become Born In The USA is put to one side. It’s just not until we get into the studio and how much Springsteen cares about Nebraska is shown in White’s performance as he becomes increasingly frustrated at not matching the results on the initially intended as a demo cassette. This is the point where things really click, and I sat there slightly wishing that the click was slightly louder and expanded upon, as it’s where the most interesting beats of the film lie – especially in relation to the artist being focused on, again just as he’s breaking out into national stardom.

There’s something of a film about being caught between two states, pushes, mindsets and stages of life in Deliver Me From Nowhere and to some extent the film itself feels slightly caught between two states. Yet, while both contribute to adding to the personal angles of the songs that are heard throughout there are more conventional music biopic elements throughout which sometimes hold things back from being fully effective and engaging, even if still remaining watchable. Scott Cooper’s film doesn’t feel wholly familiar and just about avoids outstaying its welcome, but could absolutely do with more of its studio sequences and Springsteen’s push to maintain the original sound of his original recording session, where much of Allen White’s performance hits best.

When confronting things most directly and looking at the personal sides of Nebraska and Springsteen’s passion for it Deliver Me From Nowhere breaks out from its more conventional moments with greater interest from the creative team and audience.

Cert – 15, Run-time – 2 hours 6 minutes, Director – Derek Cianfrance

Escaping from prison after a string of robberies, Jeffrey Manchester (Channing Tatum) hides out in the roof of a Toys R Us, eventually forming a relationship with one of the employees (Kirsten Dunst) whilst trying to remain undetected.

Roofman has found itself pulled in multiple directions as to what it is even before its release. While largely advertised as a comedy caper while early pre-review conversation suggested it as an outside Oscar contender, and eventual reviews suggesting that it has Oscar-bait edges with a release that shows a lack of faith in its chances – the actual film is a rather likable comedy-drama.

One that acknowledges the humour a man hiding out in the roof of a Toys R Us, having escaped from prison after a string of McDonalds robberies, while capturing the implications of entering into a relationship with one of the employees whilst trying to remain uncaptured before fleeing the country. Having left the military and not found a new line of work, Jeffrey Manchester (Channing Tatum) finds money by using his observation skills to commit a string of robberies. It’s these skills that allow him to stay hidden in the toy megastore for multiple months, however after getting bored and deciding to donate to a church toy drive he overhears about he gets to know single-mother Leigh (Kirsten Dunst).

While trying to do good, and coming across as a kind person, albeit one whose relationships are led by what he buys for others, the idea that at any moment he may be caught or have to run lingers in the background of Jeffrey’s interactions. It’s around the moral side of things, and the angles of Jeffrey’s relationships, where much of the light drama forms and grows. Yes, there may be laughs as he uses the products in the Toys R Us to keep his mind amused, but as he starts to step out into the outside world that’s where the narrative and film as a whole begin to grow. All coming together in the final stages where his in-two-minds state truly clashes as he’s caught between two lives, and possibly identities.

There’s a very starry cast around Tatum and Dunst, including LaKeith Stanfield, Peter Dinklage, Juno Temple and Ben Medelsohn – the latter two very briefly – and each put in good turns which capture the lighter tones of the narrative at hand. Although, while with such a starry cast Roofman doesn’t come across as an ensemble film and is certainly led by Tatum with enough likability and charisma to avoid making Jeffrey an utterly unlikable and unforgivable character for the risks he takes and creates for other people. His style leaks into the narrative and brings in the engagement factor and overall draw of the film which successfully strikes a crowd-pleasing sweet-spot with its balance of caper and moral drama, which appears to have been its intention from the start.

A likable blend of comedy caper and light moral drama, Roofman is successfully led and rested on Channing Tatum’s central performance, stopping things from being purely unlikable in the humorous and engaging course of the film and its growing dramatic sides.

Cert – 18, Run-time – 1 hour 54 minutes, Director – Scott Derrickson

Still tormented by his experiences with The Grabber (Ethan Hawke), Finn (Mason Thames) and his sister (Madeleine McGraw) volunteer at an isolated youth camp with links to the serial-killer, who may be back from the dead in dream form.

The dead killer attacking via dreams against the backdrop of an isolated youth camp, the influences of A Nightmare On Elm Street and Friday The 13th are worn clearly in this follow-up to 2021’s The Black Phone. Supernatural elements are heightened, largely for reasons of bringing back Ethan Hawke’s The Grabber, and they help to bring about some of the best, and bloodiest, sequences. While not physically appearing for past victim Finn (Mason Thames) – still experiencing trauma from his experiences in the last film – The Grabber taunts him over the phone, although Finn often picks it up to tell whoever is on the other side, another presumed victim, that he can’t help them, and appears to his younger sister, Gwen (Madeleine McGraw) in her dreams.

Effects of attacks begin to bleed into the real world, as those around Gwen at the snow-covered youth camp – shut off for the season due to a snowstorm – try their best to help her despite not seeing what’s attacking. When stretching out such sequences, especially towards the film’s climax, Derrickson finds his stride on the directorial side of things. Allowing for the bloodshed to eek out and have more of a sustained impact in the face of the rising threat.

Yet, it takes a while to get here with all the build-up the film has in bringing all of its elements together. While justifying the more supernatural leanings and re-introducing us to the characters is understandable, the pacing of the first act feels a good deal slower compared to what follows. It’s something that leaks into the remainder of the run-time as certain instances feel almost disconnected, or at least slightly wandering, as moments of dialogue bridge between the more upfront horror; likely not helped by the fact that certain interactions with less-developed characters can feel rather clunky.

However, Black Phone 2 doesn’t quite fluctuate. Once it gets going, which does take some time, it finds itself on a largely consistent course that’ll give slasher fans some enjoyable spills. Hawke’s presence provides additional chills, especially when at his most upfront in terms of threat, his grinning devil mask hanging over the characters. Scares may not be anything intense, but there’s still enough that clicks within the film, and its bursts of horror to see it through with enough engagement to rise above the heavy influences.

Whilst slightly disjointed and slow to get to its core, Black Phone 2 has enough slasher action and spills to see it through with solid effect that doesn’t lean too much into its inflences to avoid pure copy or imitation.

Cert – 18, Run-time – 1 hour 36 minutes, Director – Justin Tipping

After an attack leads him to fail a major trial, Cameron Cade (Tyriq Withers) is given another chance by training at eight-time championship quarterback Isaiah White’s (Marlon Wayans) compound, where everything may not be as it seems.

Whilst training to make it to one of the most decorated football teams in recent times, the San Antonio Saviors, rising star Cameron Cade is expecting to develop his skills and grow over a short space of time, having been given one week to train with eight-time championship quarterback Isaiah White (Marlon Wayans) at his compound. You’d expect the horror, or at least narrative, of HIM to escalate in a similar way, yet with each day that passes – emphasised with a screen-filling chapter title – however it consistently feels to be on the same level from start to finish with little increase.

The workings of Isaiah’s compound appear to be off-kilter, although it’s difficult for Cameron to put his finger on what it is as he’s welcomed in so quickly. Practices such as preserving high-oxygen blood for when you have a big game are largely passed off as long-held secrets for continued excellence – Isaiah had an injury early in his professional career that many said would end it, but came back strong and is still playing 14 years later, with some saying he’s getting near the point of having the move on and let the next generation in, of which Cameron might be. Photographers appear to jump out of the corridors and weapon-wielding mascots hang in the background of visions. While much is explained in the final stages these points feel as if they’re left alone and could do with some more context, especially as they otherwise stand out from the other threats at hand.

While Marlon Wayans does a good job of growing the strange and threatening behaviours of his character the horror comes less from him alone and more the darkness and bloody bursts in the compound. However, scary isn’t what best describes the horror throughout as the dips are more freaky than anything else. While the un-rising state of the drama and tension holds things back, the final ten minutes earn the 18-rating but would perhaps seem more manic if built-up to better, there’s not anything boring or frustrating here. And indeed director Justin Tipping brings some interesting ideas into the mix.

Occasionally as bodies collide during practice, or injuries are sustained and emphasised the camera’s view switches to look like an X-ray monitor. Capturing the fracturing skeletons and outlines of the figures on-screen before suddenly cutting to see the external aftermath of the event. These shots bring something to the film that isn’t quite present throughout the rest of the run-time, and I would have liked to have seen them used more. They bring in a livelier nature which briefly dig in to some of the points that appear to be trying to be established with the hidden behaviours of Wayans’ character.

HIM manages to hold its head above water, and there are some interesting ideas dotted throughout where Tipping and co-writers Skip Bronkie and Zack Akers properly get into the strange workings of the training week that Withers’ central character embarks on in order to prove himself as the next great quarterback. Not everything clicks, or perhaps grows as it should, but there are still enough beats that create interest beyond what’s happening centrally to help things move along.

While failing to raise tension and not always landing the fear factor, there’s enough interest within HIM, thanks to certain moments of visual flair, to see things through for a watchable, if not always fully effective, time.

Cert – 15, Run-time – 1 hour 39 minutes, Director – Harris Dickinson

Released from prison after assaulting someone trying to help him, Mike (Frank Dillane) is trying to turn over a new leaf, however addiction battles and the prospect of becoming homeless again threaten a downward slope.

Harris Dickinson’s feature debut as writer-director isn’t a glitzy, mid-budget piece with a starry cast. The actor has risen dramatically over the last five years, and is set to play John Lennon in Sam Mendes’ upcoming Beatles movies, but Urchin marks an assured, if still occasionally finding the ropes, voice behind the camera.

Reminiscent of Ken Loach’s later work, Urchin begins with young Mike (Frank Dillane) homeless, trying to find a way to get a drink before finding a quiet, dry place to sleep at night. However, after being released from prison for assaulting and robbing a man offering to buy him some food (Okezie Morro’s Simon) he aims to start afresh. Employed in a hotel kitchen the work is stressful and acceptance from some co-workers rubs against tensions with others, mirroring his outside aims to stay calm and make amends with Simon with the help of counselors, and the struggle to maintain sobriety.

While more interpretative, metaphorical moments of imagery don’t always seem to land the potential intended effect they’re infrequent in the highly naturalistic surroundings of the narrative. Mike is a sympathetic figure, although the more time we spend with him in the second half the more his behaviour becomes difficult to watch, especially the more isolated he finds himself from the rest of the world.

The second half of the film might not quite be on the same level as the brilliant first half, but there’s still enough present to keep engagement and interest. What causes things to slightly lose their footing is the feeling that there are perhaps just one too many stages to the journey we see Mike take. He encounters various faces in a short amount of time and their times in his life appear to become briefer, signalling the growing downward slope that’s starting to form.

Dickinson, who also appears in the film as Nathan, another homeless man we’re introduced to in a moment of key confrontation with Mike, clearly establishes the kind of director he wants to be, and takes inspiration from, with this debut. Like the film, there’s a quietness to his direction which leans into the world and characters, and I look forward to seeing what he does in future behind the camera.

With his central performance, Dillane too marks himself as a name to watch on the British indie film scene, alongside a number of the supporting faces including Karyna Khymchuk, who appeared earlier this year in the excellent On Falling. There’s a quietness to many elements of the film as things are focused on pushing the characters and the drama of Mike’s various battles.

While there might be one stage too many and the drifts into metaphor don’t entirely click, Urchin is still a solid, naturalistic indie debut with quietly assured work in front of and behind the camera, landing an effective punch even in its slightly more uneven second half.