Cert – 15, Run-time – 1 hour 45 minutes, Director – Trey Edward Shults

A singer (Abel Tesfaye) in the middle of a world tour finds himself strained by a recent break-up and a failing voice, could an overnight encounter with a fan (Jenna Ortega) help or worsen matters?

Going into Hurry Up Tomorrow my lack of knowledge about modern music meant that I couldn’t have named you a single song by The Weeknd. Leaving after the credits had rolled I’m still not sure I could. Maybe a better knowledge of at least some of his music may have helped with the viewing experience of the film which the artist has co-written, co-composed, co-produced and leads. It’s an undoubtedly personal work. but for much of the run-time I sat there wondering what it was I was meant to be feeling and taking away.

As Abel Tesfaye, playing a version of himself with his character named The Weeknd; as if this film is acknowledging the dropping of a character, is tied down to a bed a fan, Jenna Ortega’s Anima, mimes along to some of his biggest hits, explaining the more-personal-than-they-may-seem lyrics to him. The scene, which appears to be directly referencing American Psycho, comes somewhat late in the day and with a more direct nature compared to previous montage-based sequences. Yet, it feels as if it adds little development to Tesfaye or his character, or even his stage persona. We’ve seen him up until this point struggling with a harsh break-up in the wake of his unfolding world tour, dropping out of a show in the opening song after being pushed on stage by his manager (Barry Keoghan) despite a failing voice. But these largely seem to be ideas rather than fleshed out points in the narrative.

Director Trey Edward Shults, who did interesting work with the style of 2019’s Waves, tries to create an otherworldly, dreamlike feel in the opening stages. As if aiming for an almost Lynchian feel it makes for an interesting opening and introduction to the world. Perhaps some of this comes from the simple fact that it’s nice to see a film like this on a wide release, in mainstream multiplex cinemas. That may have been part of the reason why I sat there throughout wanting to like it so much. There are some interesting beats here and there amongst the heavy dose of Acting from the three stars.

Yet, while creating some engagement this style also causes the film to feel unsettled as it cycles through the various struggles faced by The Weeknd – with the eventual resolve for him being to shout down the answerphone to his ex-girlfriend (voiced by Riley Keough) about what went wrong and how she never gave him a proper reason for leaving him. Could Ortega’s character be the one to save him from his spiral, or will she just make things worse? The looping events form something quite boring, struggling to find itself amongst a stretched run-time. All told between references to the aforementioned American Psycho, a sequence taken directly from The Shining and shots from The Adventures Of Prince Achmed, the latter of which I don’t think I’ll ever work out the inclusion of.

But, I still sat there wanting to like the film. I could feel it trying, but struggling under its constantly moving style. It feels unfocused and undetailed bringing in a slow dullness. It ultimately means that what it’s actually trying to say and go for feels unclear, even if at the same time attempted to be rushed and pushed in the final stages. Confusion begins to rear its head, and even slight frustration starts to settle in the more things are pushed causing things to drag and lose any interest that may have been initially developed in the dreamlike style.

A slow and unfocused character piece with little character insight, Hurry Up Tomorrow tries to push its style but even that falters eventually leading to a film where it’s unclear what’s meant to be taken away from it, no matter how much you yourself try to put into it.

Cert – 15, Run-time – 1 hour 30 minutes, Director – India Donaldson

During a hiking trip with her dad (James Le Gros) and his best friend (Danny McCarthy), Sam (Lily Collias) finds herself at a distance with the machismo attitudes of the older generation.

A weekend hike is a competition. Whilst Sam (Lily Collias), quietly looks at the woodland scenery around her, taking it all in, the shots of her father, Chris (James Le Gros), and his best friend, Matt (Danny McCarthy) are loud in comparison as they make their final preparations before properly setting off on the walk. Rips and clatters display a noisy seriousness from the pair as if the weekend is less about letting loose and more about holding on to something.

As the trio meet a group of young men on their own hike, one of many which have taken them around the world, Chris’ face is washed with resentment. He and Matt seem to instantly hold something, or more likely multiple things, against the group and much of it seems to be immediately based on a generational divide.

While they display far less subtlety than they may be thinking, although the performances behind them are quite the opposite, writer-director India Donaldson’s feature debut is packed with it. Sam is gay and thinking about going to college, what could be three days of reconnecting with her father – after a distance has formed following on from his divorce from Sam’s mum and quickly moving on to a much younger partner who he has a baby with – leads her to feel at odds with the machismo behaviour and internalisation on display.

Led by a fantastic performance from Collias, often shown in close-up or alone in the middle of the natural surroundings, this is less a coming-of-age film, as many have put it, and more a quiet character study as Sam’s plans for a calm weekend face a generational and gender gap. Meticulously observed by Donaldson and understood by her cast there’s a compelling set of events unfolding from start to finish.

The hesitant divide is set out early on as Matt arrives at the car, having just argued with his son who was meant to come along. From their everyday frustrations begin to appear in the older pair as life hasn’t handed them their preferred cars in the last year or two – leading them to look back on their whole lives, to some degree. 

Matt’s eventually uneasy behaviour round a fire is dismissed by Chris when his daughter tells him what happened. It’s here where extra layers are brought to Collias’ performance, as the one character who has effectively externalised thoughts and feelings, at least to herself, does so even more. It’s what much of Good One starts to revolve around, externalising and holding in feelings in addition to a generational gap. Effectively detailed and engaging in its quietness, this is an intelligent and in-touch drama which never loses sight of where its main character sees herself in the world.

An intelligent, emotionally observant and in-tune depiction of a young woman facing a generational and gender gap in calm surroundings. Brilliantly performed and packed with subtleties this is a fantastic debut from India Donaldson.

Release Date – 14th May 2025, Cert – 15, Run-time – 1 hour 50 minutes, Directors – Zach Lipovsky, Adam B. Stein

With her life being disturbed by a recurring nightmare, student Stefani (Kaitlyn Santa Juana) attempts to locate her grandmother (Gabrielle Rose) to find out what it means, only to discover that death is catching up with her family.

Instead of making a return with a remake or requel, as has been the case for other returning horror franchises since 2018’s Halloween, after 14 years, and following on from two generally lesser-regarded entries, Final Destination returns to the big screen for a sixth outing. One working in a similar standalone vein as before with occasional nods to previous entries. Yet, where it best succeeds is the fact that directors Zach Lipovsky and Adam B. Stein, clearly both fans of the franchise, understand the balance of comedy and darkness at play.

For every Tom and Jerry style marble-run build-up and execution of death there’s a suspenseful build up and sense of threat hanging over. Both forces combining to make for tremendous fun as the various escalations which lead to the demises that we see feel like their own individual set-pieces. Approaching the death with gleeful anticipation shared by the film and the audience. Getting a laugh from the sometimes, knowingly, ridiculous set of circumstances and a flinch from the gory splatter.

Death’s plan in this case has taken a while to catch up as he targets the family of student Stefani Reyes (Kaitlyn Santa Juana). Plagued by nightmares of a skyline restaurant disaster, seeing the perspective of two people with the names of her grandparents, she tries to track down her grandmother (Gabrielle Rose), despite family claims that she’s best just leaving things alone. However, after finding her she discovers that her dream was a vision her grandmother had before saving multiple lives at the restaurant; ever since death has been catching up, and now has to kill those who were never meant to exist – including Stefani, her younger brother (Teo Briones) and their cousins.

With each progression there’s a swiftness to Bloodlines that, while being the longest entry in the franchise at just under 2-hours, leads it to fly by. A good deal of which comes from the pure entertainment factor. Insert shots which add to the tense fate that the characters are unaware of and thrill of waiting to see how things unfold from a simple penny falling on the ground. Leading to an eventual trail of bloodshed and mutilation.

Within this trail the darkness lies. Yet, even in quieter scenes as the cast try to figure out how to stop death and break the cycle – featuring a wonderfully poignant turn from Tony Todd in his final film role, still relishing every line he’s given – there’s a sense of threat as they fear what will happen to them if they bring themselves to the only, still deadly, ways to disturb it. The balance throughout is well handled, often co-existing with great effect, and adds to the overall entertainment factor.

Very little of what we see is done with a wink down the camera. Instead, a great tongue-in-cheek grin staring directly into the lens as another wonderfully playful, chuckle-inducing needle drop adds to the dark humour (the soundtrack as a whole is rather good). Clearly made by fans who understand the workings of the franchise and what makes it so enjoyable; acknowledging and embracing the ridiculousness without ever feeling overruled by just silliness. Making for one of the best, and slickest, entries in the franchise.

Tremendous fun from start to finish mixing Tom and Jerry style disaster with dark tragedy for pure entertainment there may be plenty of laughs to be found within Final Destination: Bloodlines yet it never forgets the fear and tension in its splatter. As one of the best of the franchise it flies by.

Cert – 15, Run-time – 2 hours 1 minute, Director – Paul Feig

Struggling with book sales, Stephanie (Anna Kendrick) attends the wedding of friend-turned-attempted-murderer Emily (Blake Lively), where she finds herself blamed when death strikes again.

Paul Feig recently stated in an interview with Empire that sequels often tend to heighten what people liked so much about the first and loose some of their appeal because of that. He claimed that what people really want are what they’re attached to in the first place: the characters. In the case of Another Simple Favour, the sequel-hesitant director’s first follow-up, Feig appears to be in a different state of mind to returning writer Jessica Sharzer and new co-writer Laeta Kalogridis as they ramp up the campness of the multi-genre original.

A reasonable success when first released 2018’s A Simple Favour seemed to have a cult audience from the off. This follow-up appears to play to what that audience, or at least the vocal audience on the internet, claimed to love so much. Thus, like the heightened tone the characters also lean into a lighter, sillier sensibility. Feig has also talked about stakes and tension in interviews promoting this film, yet as the narrative of Another Simple Favour develops twists a more akin to preposterous nonsense – although entertainingly so.

We re-meet Anna Kendrick’s mum-blogger turned online investigator Stephanie Smothers embarking on a low-attended book tour to promote her novel based on her previous experiences with Blake Lively’s now-imprisoned Emily. However, Emily finds herself released on appeal, turning up at one of Stephanie’s events to invite her to her upcoming wedding, as maid of honour. With the hope of increased sales, and the threat of a lawsuit, Stephanie boards the colourful private jet to Capri for a wedding which quickly turns from sun-soaked to blood-soaked.

Finding herself accused of multiple murders, and surrounded by mafia figures, including Emily’s husband-to-be (Michele Morrone), Stephanie sets out to prove herself innocent and get to the bottom of what’s going on; suspecting Emily of seeking revenge. On paper the events may be those of a suspenseful thriller, when in actuality the film presents them as part of a lighter jaunt across an island, helped by the focus on the campness. As things develop they grow from feeling uneven and unengaging to, once they truly kick off, purely enjoyable for the slightly messy nature in which they’re dealt with. The eventually convoluted nature is to some degree all part of the fun of the unfolding shenanigans.

The cast appear to largely be in on this too, especially Kendrick and Allison Janney who truly hams it up in gloriously scene-chewing fashion. With the garishly colourful and sunny surroundings, and costumes to fit, the visual style of the film, even in dark rooms somehow seeming like a full-beam light is being emitted, matches a tone which appears to be aiming at a Mamma Mia audience. A film in which you can clearly see the blemishes but still manage to have an enjoyable time once the murder-mystery starts to unfold – and it certainly seems as if the cast and crew at least had a riot making this.

Almost at the midpoint between the genre-meld of the first film and a complete send-up, Another Simply Favour takes some time to get its elements together. It has its destination but wants to set everything up, and remind us of all the characters from the first film who we may have (for me almost certainly) forgotten beforehand – including Henry Golding reappearing as Emily’s now-ex-husband in a very different, frequently drunken, manner. The film enters a state of pure nonsense instead of tension in regards to its thriller aspects, and while this may not always be the intention there’s enough of a tongue-in-cheek feeling throughout to help with the enjoyment, and occasional laughs, to be found throughout.

Focusing more on the campness of the first film than anything else, once things finally get going, the twists of Another Simple Favour are pure nonsense and the cast seem to embrace this the sillier their performance get. Undoubtedly rough around, and beyond, the edges there’s at least still an amusing time to be had.

Cert – 12, Run-time – 2 hours 7 minutes, Director – Jake Schreier

When sent by Valentina de Fontaine (Julia Louis-Dreyfus) to kill each other, a group of troubled and powerful rogues set out to get their revenge, however tragedies in their pasts may lead to bigger battles on their journey.

Perhaps not helped by how much the trailers give away, within the first 15-20 minutes of Thunderbolts* I could tell exactly where the narrative was going to go. I may not have been able to say about one of the undisclosed third act directions but much of what comes before this feels very predictable from the initial meeting of the titular rogues’ gallery.

Trapped together after being sent by Valentina Allegra de Fontaine (Julia Louis-Dreyfus), who up until now has been sending most on illegal missions for secret projects, to kill each other the group need to band together if they’re going to escape and get their revenge. However, their nature as a dysfunctional unit, and own tragic pasts, get in the way of forming a proper team – despite the insistence of David Harbour’s Red Guardian that they could be the new super team on cereal boxes, featured as toys inside.

It takes more time to connect with some members of the team than others. While much of the early events are told through the eyes of Florence Pugh’s Yelena Belova, having first made an impact in 2021’s Black Widow, as the unofficially named Thunderbolts come together there’s more of a group insight for the middle hour. Yet, it still feels like characters such as Ghost (Hannah John-Kamen), who we last saw during her debut seven years ago in Ant-Man And The Wasp, and super-soldier-gone-wrong John Walker (Wyatt Russell) don’t get a great deal of development. They still feel like quite basic characters, even with what they try to give Walker in regards to his anger and personal tragedies, with the world viewing him as a fallen sign of hope and a killer.

The film itself tries to lean into ideas of mental health throughout, especially regarding how the characters largely haven’t addressed or discussed the tragedies in their lives and the traumas which affect them. However, often these moments can feel somewhat clunky and quite on-the-nose. Even the third act where these points are admirably dealt with, even if taking a slight step away from the rest of the film, and to some other extent the wider MCU, feels slightly pushed, although not heavy handed. Perhaps this comes from the focus on one or two of the key characters who seem to have been more embraced by fans over the last couple of years; and the addition of Lewis Pullman’s Bob, accidentally placed into the vault at the start of the film when believed to be dead after being a medical subject for Valentina’s organisation, while others feel more present simply to make up the Thunderbolts and actually have a team, and with the writers to some extent perhaps unsure as to where to take them (Ghost, for the most part, despite John-Kamen’s efforts).

The presence of Sebastian Stan as now-Congressman Bucky Barnes feels placed to bring a more familiar face into the proceedings. While he ties in to an impeachment trial being faced by Valentina – led by the always welcome presence of Wendell Pierce – his eventual usage is less as a leader for the ensemble and more the reminder of what they can become, a further callback to past films and hopeful connection with this one. Stan, of course, puts in a good turn and there are some interesting developments eventually for him, and some of the more prominent team members, but they appear to come more to the fore very late in the day – it could be argued to some degree not until the end-credits scene, setting up some interesting dramatic elements that will hopefully arise in the future.

As the road trip to Valentina takes place there are some likable chuckles here and there, most of which are brought about by Harbour’s character most passionately believing in the non-existent team. They help to lift up some of the more uncertain or predictable moments, especially in the first half. Thunderbolts* appears to have started as something of a lighter MCU entry, maybe not quite an Ant-Man-style palate cleanse but perhaps a Guardians-esque romp, but overtime became something more serious as it got more into its dramatic themes.

While those themes don’t always have as in-depth a nature or discussion as could perhaps benefit the film they still make for some admirable details in the third act, especially when straying away from developments which can be seen from very early on. There’s a good film within Thunderbolts*, but one that struggles with some of its team members lacking detail in a narrative that needs an emotional connection or understanding with them to have a greater effect, and more enjoyment.

Thunderbolts* struggles to bring new depth or detail to some of its lesser-known or loved characters, meaning that there’s not a full connection with the team stopping the effect of the sometimes clunky and on-the-nose themes of mental health in an occasionally amusing, but predictable plot.

Cert -15, Run-time – 1 hour 36 minutes, Directors – Alex Garland, Ray Mendoza

Having made a temporary base in a civilian house, a group of US Navy SEALs find their chances of making it out alive limited after an IED explosion causes chaos and injury amongst the group.

Warfare has sparked discussion about whether a war film can be truly neutral. With his previous film, last year’s Civil War, writer-director Alex Garland – here teaming up on both duties with veteran Ray Mendoza – tried to make a film that was apolitical and, depending on who your ask, generally achieved it. With Warfare the film may not be directly choosing a side, but then again it’s only showing the perspective of a group of US Navy SEALs in 2006 Iraq.

Having made a temporary base in a civilian home we see the troop in real time observing the buildings around them for suspicious activity, a sniper (Cosmo Jarvis) waiting to strike any target that could be a threat. However, once a rogue grenade makes its way into the building chaos erupts, made worse by a fatal IED explosion. The group’s chances of making it out alive grow increasingly limited, with much of the action confined to the one home and the growing screams, blood spills and panic. The families who own the apartments seem something of an afterthought, barely seen once pushed into the corner of a bedroom while the soldiers take over the home for their own surveillance needs. Perhaps this stems from the fact that these people weren’t the focus for the soldiers themselves. Based on real memories from those involved the film states at the end of the credits that events have been attempted to be replicated as accurately as possible.

It takes about 30-40 minutes for things to properly kick off. With much of the build-up less bringing us into the personalities of the group, the main character who seems to get something of a bigger push is Jarvis’ sniper simply from how much concentration we see him putting into his aim and scanning of the outside area through a small gap in the wall. Instead, we see the various details and elements of preparation the group (which also features the likes of Will Poulter, Joseph Quinn and Michael Gandolfini) are putting in to their work. It doesn’t form an entire connection with them which means that the key events in the second half may not have the emotional hit they could do after having spent this deal of time with them.

There’s still a sense of tension, already established in the quieter moments of focus, and the sound design helps to elevate the film, especially when multiple forces are cranked up loud. When shifting between perspectives and going from ringing ears and muffled noise to shattering screams there’s a slight jump in response, especially as often the camera cuts to some effective bloody detail at the same moment.

There have been criticisms of Warfare for lacking context. While I believe that what it provides is enough for what it shows and does, what I think it needs is more commentary. More to say about what’s happening, or at least more from the characters. While this may deviate from the realism on display, there’s no soundtrack or score throughout to keep this in place, the events as they’re depicted have some effect, but to some extent feel like the neutrality means that things have been held back somewhat in terms of the overall drama.

Warfare still has a punch in its style and details, even if sometimes it also feels held back by developments having to be waited for in real time due to the events unfolding outside the house – again, out of the memory of those involved because of where they were at the time. Particularly Mendoza, played here by D’Pharaoh Woon-A-Tai; getting more focus as events unfold with the camera cutting to him more often overtime. But, for the most part, there’s still a successful film within Warfare. One that creates interest in what’s happening and the uncertain fight for survival in the confined area which appears to be surrounded by opposing forces. What we get is good, but it does feel as if the key details of Warfare’s stances also hold it back.

While the look and sound of warfare has a good effect, its real time basis sometimes holds it back as you, like the soldiers, sit waiting for the next development in a film that sometimes feels as if it needs more commentary, even amongst the based-on-memory events.

Cert – 15, Run-time – 2 hours 18 minutes, Director – Ryan Coogler

With the roaring 20s now faded away, twin brothers Smoke and Stack (both Michael B. Jordan) return to their hometown to open a night time music club and bar, however the opening night is disturbed by vampires seeking something within the music.

If you’ve managed to avoid the trailers for Sinners so far continue to do so. It’s amazing just how much of the film they give away, including key moments in the final 10-15 minutes. For those who have seen the trailers already these points likely won’t be spoilt. In their own moments they have a good deal of punch thanks to the style which writer-director Ryan Coogler brings to them. There’s a cinematic flair upheld by a burning fire, sometimes literally, in the filmmaker’s eye increasing the heat of both the tone and visuals.

Luckily, some of the best moments have been left out of the trailer. As the new nightclub opened by twin brothers Smoke and Stack (both Michael B. Jordan, tracking the film’s changing tones and events from both perspectives with some great details) on their first day back in their hometown gets its opening night into full swing Coogler steps into something entrancingly experimental. Like an out of body experience for the film itself as it takes the viewer with it, the sequence – which should simply be left to be seen – is led by the music, initially played by Miles Caton’s Sammie on guitar, as it weaves like the camera through the moving bodies in the busy club.

It’s a strong opener for the twins as they look to move on from their lives in roaring 20s Chicago. Now in 1932, with everyone back home believing they had gangster connections, they simply want to run a business and enjoy good blues music with friends. However, the night is soon disturbed by the arrival of vampires. Properly arriving almost an hour into the film this almost feels like another point that the trailers could have left out as a tonal surprise, although then there could be a very different film being marketed. That film would possibly be more along the lines of the opening hour which sees Jordan’s characters reconnecting with their roots and the town they left behind, bringing the people in it into their venture. Whether that be performing (Delroy Lindo on excellent form), on the door (Omar Benson Miller) or serving food and drinks (Wunmi Mosaku – whose character Annie previously had a relationship, and child, with Smoke.

There are a good handful of characters dancing, performing and discussing business throughout the night before the vampiric arrival, but the events are well tracked. Partly thanks to the feeling of a solid unit in both the cast and the characters themselves but also thanks to the ways in which Coogler tracks things with the camera and editor Michael P. Shawver. Even some sequences in which there are clear cuts feel as if they have a tracking/ one-shot nature because of the fluid nature in which events are caught. Yes, it might take a little bit of time to get here after the slightly unexpected build-up, which adds depth to the central characters, but once the night begins things move along smoothly and in entertaining style.

There’s something to relish in the tension and yet entertainment factor of the vampires, led by Jack O’Connell, standing at the door to the venue asking to be invited in, although much more sinister compared to how this would be gone about in What We Do In The Shadows. There’s a sense of dread once things start to properly go wrong. You can see the first domino truly fall and before it touches the next you know just how things are going to pan out. At least in terms of the doom that’s to follow, not specifically towards who. There’s still a sense of suspense and a darkness which hangs over the proceedings and the character piece things together and try to figure out how to survive the creatures lilting Irish folk songs outside.

Where Coogler fully flourishes is in his big set pieces. While largely confined to the one area for much of the screen-time there’s a busy feeling to the scenery which helps during more chaotic moments of action. As the climax nears you can almost feel the film clenching its fists, steadying its feet; preparing to make the first swing just before the fire bursts into life. From there you can feel the heat of both the location and the moment itself. The rage and fear which has built up over the last near hour as it unleashes in all directions for a spectacular finale – although make sure to stick around to the end where there’s something more sedate yet still effective – fuelled by the scope of Coogler’s direction and cinematographer Autumn Durald Arkapaw.

If you’ve seen the trailers then there’s still plenty of punch and surprises to be found within Sinners and how it works with its characters, and how they work with each other. If you haven’t seen them then continue to avoid them and enjoy the tonal changes and gradually increasing drops of sinister threat as the integral music guides the events, and at times camera, for something which at times is utterly entrancing.

At times entrancing, at others spectacular, and sometimes both. Sinners builds up the heat and darkness yet remains guided by the central music and established relationships between the ensemble whose night is thrown off course in tense and entertaining fashion.

Cert – 12, Run-time – 2 hours 3 minutes, Director – James Hawes

When his wife (Rachel Brosnahan) is murdered, CIA cryptographer and coder Charlie Heller (Rami Malek) sets out to get revenge on those who killed her, with multiple branches of his employers on his tail.

There’s quite a starry cast amongst the various players in The Amateur, yet with what they’re given to do it feels as if there may be quite a few details of various strands left on the cutting room floor. Not quite a 90s-esque thriller, or even ensemble, there’s quite a mixed bag as we follow the various stages of CIA cryptographer Charlie Heller’s (Rami Malek) revenge journey.

After his wife (Rachel Brosnahan – largely appearing in very brief flashbacks) is killed on a trip to London Charlie seeks training from his employers so he can kill those who murdered her. However, things don’t go well when he’s unable to use a gun or face a direct threat as it towers over him. When a plot to dispose of him after he discovers incriminating information about Holt McCallany’s CIA deputy director fails he goes both on the run from his employers and seeking out those he seeks revenge against using his own set of skills.

It’s at this point that the build-up which has already shifted once or twice shifts again with occasional scenes of Charlie using these skills as he faces those who took his wife away from him. The sequences are tinged with perhaps unintentional humour with the ways in which he tries to find information which will take him to the top of where he needs to go – trapping someone in a box which he’s funnelling pollen into to set off their allergies or depressurising the air between layers of glass in an infinity pool so that it shatters. These moments almost feel as if they’re making up for the lack of this kind of action in Jason Statham’s recent A Working Man, but feel so far apart and lacking a cheesy one-liner to properly give them an entertaining hit beyond mere amusement.

As a whole the film passes by with its various shifts in the narrative, as Charlie’s globetrotting becomes more of a chase with various branches of the CIA sending people after him – including Laurence Fishburne’s Robert Henderson, the man initially set to train Charlie to kill. There are some nice interactions between the two here and there, including one in a dirty Parisian bar, and indeed the chase aspect in general has its moments which help to speed things up and move them along. But it just marks more clearly the various stages of all the build-up, and indeed everything else that’s happening in the film. It’s not that there’s an overstuffed narrative, just that the film quite obviously moves from point to point with a bordering-on-chaptered nature.

Things are generally put together with little trouble and they move along well enough, if not always being thrilling or fully engaging. Malek’s central performance has its moments during quieter scenes, largely not when facing a direct threat in-person, and as a whole the ensemble around him works, even with those who are given very little to do. It feels somewhat of a standard tech thriller. It’s unlikely that much of it will be remembered long after watching, or to some extent shortly after doing so either, but for the time it’s on there’s just about enough within the slightly staggered course of The Amateur to keep it largely afloat.

With a cast and pacing which feels as if quite a bit has been cut out, The Amateur moves along well enough and provides some likable moments once its cat-and-mouse strands break out, but doesn’t quite realise the ridiculousness of some of the revenge aspects it suddenly breaks out into.

Cert – 15, Run-time – 1 hour 35 minutes, Director – Christopher Landon

On her first date in years, widowed mother Violet (Meghann Fahy) is plagued by messages from an unknown phone telling her to kill her date (Brandon Sklenar) or her son (Jacob Robinson) back home dies.

There’s a shift in the final stages of Drop where it turns from a suspenseful thriller into truly daft territory. While there’s dark comedy sprinkled amongst the escalating tension the sudden turn, you’ll know it as soon as you see it, is such a shift that it induces a different kind of laughter simply due to the immediacy of the switch. Yet, maybe because it doesn’t construct an entire third act, and it feels like the film allowing the growing bubble to finally burst as it nears an end, there’s something about this ending which works and doesn’t cause things to entirely swerve off the rails.

For the most part Drop is a well-contained, single-location thriller. Set in a fancy, skyline restaurant widowed mother Violet (Meghann Fahy) is on her first date in years. Leaving her five-year-old son Toby (Jacob Robinson) with her sister (Violett Beane), she’s nervous but just fearing an awkward date. Not to look at her home security cameras and see a gunman lurking in the shadows, ready to attack if she doesn’t follow the instructions being sent to her via an Airdrop-esque app from an unknown phone in the restaurant – not helped by the fact that everyone within the 50 foot radius seems to be cancelled out by an identifiable profile picture.

The instructions sent to Violet constantly increase the stakes for her, and increase the threat of not just her son being killed but also those in the restaurant with her, including her date, Henry (Brandon Sklenar). With each image or message Violet receives, shown in daunting form as large text hangs over her shoulder (and in mirror reflections), the tension ramps up. Director Christopher Landon has great fun with Jillian Jacobs and Chris Roach’s screenplay, drawing out various instances and working with the cast to show the various thoughts and doubts running through their minds – whether it be the lives that are on the line, or the date simply not going well.

Every now and then a dash of humour is brought into the proceedings without disturbing the flow and rise of the suspense. Sometimes from the direct situations at hand, other times from the first-shift waiter (Jeffery Self, consistently funny when on-screen) dealing with Violet’s erratic behaviour. Contrast that with references to domestic violence, a factor of Violet’s marriage before the death of her husband, and there’s a number of well-handled details and elements working under the surface of this tight and effectively-told thriller. One which still manages to capturing the core thrilling nature with its deliriously entertaining tension, and to some extent silliness of the final stages.

Tense and darkly comic, even in the silliness of its closing stages, Drop is a tight and brilliantly entertaining thriller effectively confined to one location and really getting across the mixed thoughts and worries of the central date and beyond.

Release Date – 18th April 2025, Cert – 12, Run-time – 1 hour 52 minutes, Director – Peter Cattaneo

1976, with Argentina on the verge of a military coup, English teacher Tom Michell (Steve Coogan) finds his worries are more focused on keeping a penguin which has followed him back to work a secret from the rest of the school.

Marketed as a light comedy about Steve Coogan inadvertently adopting a penguin, The Penguin Lessons is absolutely what you’d expect it to be, even down to the slight swerving of more serious points. Set in 1976 against the backdrop of a military coup in Argentina we see and hear about people disappearing after being arrested in the street and crammed into the back of a car. Much of this is brought more forward in the second half of the film, still put in the background of Coogan’s English teacher bonding with a penguin, eventually named Juan Salvador, which has followed him back after a few days away in Uruguay – having saved it from an oil spill in order to impress a woman (Micaela Breque).

The biggest worries for Tom (Coogan) relate to the penguin and keeping it a secret until he can hand it over to a zoo. With a ban on any pets imposed by the headteacher (Jonathan Pryce, slightly feeling as if he was in the area with a couple of days free), and therefore his job on the line, especially when cleaning staff discover his reluctantly-held pet. A familiar light dramedy plays out with a hint of quirky unlikely duo energy. It’s certainly where the film wants to lean, despite at times feeling as if it wants to get into the more serious elements of drama, but steps away with a fear of losing the seeming silver-screen target audience.

It leads The Penguin Lessons to form a perfectly fine Sunday-afternoon-with-a-cup-of-tea film. There are some occasional chuckles, although they can tend to be sparse, and what’s there is light and engaging enough for the time the film is on. Coogan puts in a good turn which helps to lead the film and make its slower moments more engaging, also helping to lift up the more familiar beats and bring more to the dramas when they play out. There is a slight confliction at times between what the film wants to focus on and where it strays for the sake of keeping an engaged audience, but Coogan generally rides it out well and acts as the main consistent throughout, and there are indeed some nice moments between him and the central penguin.

The Penguin Lessons strays away from its more serious points in favour of the lighter man-and-penguin narrative. While it means the drama doesn’t quite land the right hits Coogan’s performance helps to lift what there is, making for a film that generally works, even if in forgettable fashion.