Release Date – 14th February 2024, Cert – 12, Run-time – 2 hours 15 minutes, Director – Anh Hung Tran

Cook Eugenie (Juliette Binoche) has been working for gourmet Dodin (Benoit Magimel) for over 20 years, what will it take for the pair to make an official romantic relationship?

Not since Harley Quinn’s egg sandwich in Birds Of Prey has there been such tempting displays of food porn lavishly poured onto the big screen. The opening twenty minutes of The Taste Of Things are largely constructed of little more than various dishes being put together. Little is said between the four bodies in the kitchen as they focus on the recipes at hand for a range of dishes being prepared for later in the day. In fact, the occasional sound of cooking and utensils is about all we hear for ten minutes before dishes begin to be sampled while the cooks are still busy preparing later courses. While engaging, and a sensory treat, the true effect of this extended sequence is saved for later in the film when another key meal takes place.

Roles are reversed between cook Eugenie (Juliette Binoche) and gourmet Dodin (Benoit Magimel) with an overall different tone to the proceedings. The pair have been working together for over 20 years, and it’s made clear that there’s more within their relationship, however there’s not an official romance – despite Benoit having proposed over the years, something brought up in more casual requests as they sit together one evening after a long day of work (and eating). Professionally the pair are admired with culinary skills which would have Studio Ghibli seething with jealousy. Admired by internationally renowned chefs and princes the dish of the day is always fine food.

So much attention to detail floods the eyes and ears throughout. Eugenie says after the many courses of the opening meal that while she wasn’t with the diners she had an even greater experience having spent so much time with the ingredients, and the final creations. She was with every smell, taste and sound as they changed and developed over time, and indeed so were we. These ideas manage to subtly play into the relationship between Eugenie and Dodin as the film plays out. While uncomplex in its overall narrative the priority is how things come across and the ways in which themes and details can be conveyed. And they’re put across rather effectively, with a gentle and engaging manner.

The culinary arts act as a way of communication, particularly during the second extended meal which is packed with subtle emotion and a good deal of heart. Complimented by the sound design (particularly foley artistry by Olivier Thys) and cinematography (by Jonathan Ricquebourg) which perfectly capture the feelings of each individual scene or sequence, fleshing them out and providing more subtlety to the ways in which they convey themes and tone.

Particularly in the final 15-20 minutes where things begin to feel somewhat overlong the way in which cooking is leaned into in these particular moments provides interest, and a fitting round off to the relationship which has been observed in the, frequently described as, ‘autumn years’ of the pair’s lives. As we explore this, and the clear feelings between the pair – alongside the things and reasonings which aren’t always said or expressed between them – the slow pacing fits the film. The pacing is made clear in the opening stages as the quiet cooking process is allowed to speak volumes – before the dishes flood the screen to be met with wonder, and envy, from the viewers.

It’s these treats which represent the best of the film and get the most of it across. Where the themes and emotions are still contained, but in subtle ways which are injected into the mood of the process. The feelings which wash across the character’s faces as they prepare and eat personal meals. Yet, none of these sequences ever feel flashy or overindulgent, or as if they’re showing off. That’s where the real inviting key comes through, yes the characters know the food is great, it’s mentioned enough by supporting characters and fellow gourmets, but these mentions never feel as if they’re trying to force anything. As a whole the film feels unforced and again is allowed to gently tell its story, if in ever so slightly lengthy fashion. This is a film where it becomes its own language, understood from the first few minutes and having a good deal of effect as it takes form and further meaning over time.

The Taste Of Things allows the culinary arts to become its own language, excellently captured in sound and vision the dishes are immensely inviting and their preparation speaks loudly as they’re filled with emotion and personal meaning from the characters.

Release Date – 9th February 2024, Cert – 15, Run-time – 2 hours 12 minutes, Director – Sean Durkin

As wrestling coverage changes in the early 80s, the Von Erich family struggle with the increasing pressure put upon them to be the best.

A casual game of football doesn’t exist in the Von Erich family. However much the four brothers would like that to be the case their father (Holt McCallany) is constantly on the sideline, or right next to them, shouting at them to be the best, the strongest, in the family, the state, the country, the world. What should be a fun throw-around is underpinned by the drama of not being good enough. It’s something the siblings struggle with throughout their lives, their father reminding them of who his favourite is as he once again lists his ranking of his sons at the breakfast table. As the 80s arrive and wrestling coverage changes on TV the brothers find themselves under even more stress as they hurtle towards fame and heavyweight titles.

Our central perspective is Zac Efron’s Kevin – this is the kind of role Efron seems to have been searching for for a number of years now, and he knocks it out of the park – throughout this inspired-by-a-true-story tale. The biggest kick he gets out of wrestling, and life, is getting to spend time with his family – he tells girlfriend Pam (Lily James) on their first date that he’d love a huge house where everyone can live together, kids and grandkids. However, as each brother gets closer to their father’s goals the effects of the immense pressure weighing down on them are inevitably felt. They aren’t fighting with their opponent, or each other, but with themselves; with warring views on survival.

The second half brings many tough-to-watch sequences as events and decisions create a sense of fear as to where they might lead. Not just the physical toll which is made more than clear in the ring, but on the mental states of the characters too. We see, despite their exteriors, sometimes because of it – Jeremy Allen White’s Kerry starts to use steroids when it feels like he’s the only chance the family has at being the best – a weakening group, particularly in Harris Dickinson’s David. When we’re first introduced to Kevin his map of pulsing veins and muscles taking up the screen as he jumps out of bed to leap into morning exercise looks almost painful.

Even youngest sibling Mike (Stanley Simons), somewhat left behind in much of the build-up and first half of the film, gets his moment with one of the most affecting scenes; landing an emotional punch from a character with whom we don’t have a proper connection with for some time. It comes back to the firm Iron Claw pressing down on the Von Erich’s – a move created by their father which pins opponents down to the ground as they scream in pain until losing the match. While the film as a whole might feel slightly overlong it’s the heavier moments of drama showing just this in effect that keep you engaged. Especially in the knock-back emotional moments, contrasted well with a key moment of gentle peace in the later stages.

Throughout the consistent dramatic tension both in and out of the ring holds engagement and connection. It also means that the two worlds which should feel separate come across as very much the same, something which is acknowledged by the film and the eventual turns in the relationships between the Von Erich brothers, and more importantly their father. Through this themes of communication and expression, or rather the lake of it instead sticking to performances similar to wrestling personas, come through.

The family as a whole feel shut off from each other, and their feelings. When asking his mother (Maura Tierney) to speak to her husband about the pressure that is being put onto their children Kevin is simply told that that’s what his brothers are for, little change is made. When it comes to moments of tragedy her emotions remain restrained, leading to later feelings of increased pain later in the film, wonderfully shown in a scene between Tierney and James.

With the strong performances on display, and the ways in which they work together, The Iron Claw is the kind of film which ensemble cast awards should be for. The heavier drama and tragedy is well handed with plenty of effect, and a sense of fear worked well into such moments too. Everything comes together to create a compelling, if slightly lengthy, drama with a good deal working underneath the surface to increase the sense of pressure and need to be the best that is being put upon the central family.

A strong ensemble brings about plenty of knock-back effect to The Iron Claw, allowing for the pressure and tragedy to be felt without being overbearing. While it might feel slightly overlong its the way it handles its unfolding tale of performance and contradicting expressions which keeps you engaged throughout.

Cert – U, Run-time – 1 hour 23 minutes, Directors – Benjamin Renner, Guylo Homsy

A family of ducks leave the safety of their pond for the first time in order to migrate to Jamaica for the winter, bumping into crazed herons and chefs along the way.

Migration is unlikely to change anyone’s mind about Illumination, or really trouble the mind long after it’s finished. In recent years many have associated the studio with overly familiar narratives wading through convention with more push for Minions over originality (Minions fans may well be amused by slapstick short film Mooned which precedes the feature – I personally still find a mild chuckle every now and then from the characters). Migration’s narrative is no different in terms of being a recognisable set of events as we follow the Mallard family, a group of ducks who have never left the safety of their pond due to father Mack’s (Kumail Nanjiani) fears of the outside world and the predators which lie in it.

However, when a group of birds travelling south for the winter make a rest stop at the pond Mack quickly becomes convinced to get away and take his family to Jamaica. Yet, there’s much more than just crazed herons (Carol Kane) in the wider world, there are merciless New York chefs who won’t hesitate to cook and serve the family if he catches them. As Mack and his family; wife Pam (Elizabeth Banks), children Dax (Caspar Jannings) and Gwen (Tresi Gazal) and elderly Uncle Dan (Danny DeVito – managing to get a couple of chuckles with the most cartoonish character in the film), make their way to the Caribbean the landscapes are undeniably well animated. In terms of animation quality Migration is perhaps the studio’s best looking film to date, with a slightly lower budget to most of their recent fare (at $72 million).

While you can see the stages and separate ideas in the narrative making for a structure of bits and pieces that you can see and feel going from one to the other, as the film goes on and the characters get into the wider world there’s more to like. Not anything new or challenging there’s at least a more amusing nature to the unfolding events, helped by a short 83-minute run-time, with the odd chuckle along the way.

The aforementioned villainous chef may create a bump or two – more in terms of feeling there simply for the sake of having an antagonist over anything else – but then again this might be down to not being overly present for much of the run-time. Treated as a silent character with the occasional grunt and audible sneer the film seems to be aiming for a Shaun The Sheep style with the character, but never quite lands this feeling due to not having the same kind of charm or humour in making the character the butt of the jokes, or the ways in which the protagonists outwit them.

Overall there’s a generally direct nature to Migration. It knows that it needs to get its characters from A to B (pond to Jamaica) and gets them there via the occasional challenge and new stage in the journey. Again, we’ve seen the outline (and indeed some elements of the presentation) of this narrative before, and there’s a good deal of familiarity on display, particularly in the first half. Yet, as things move along there’s enough to like about the air that the film creates for things to progress pleasantly enough for the time that they’re on. Thanks to a couple of lightly amusing gags, and to an extent a feeling that the film knows that it’s not trying to reinvent the wheel, there’s eventually enough here, largely once in the wider world, to make for a likable, if forgettable piece of work. It could easily feel much lazier.

Not exactly bringing anything new to the table, Migration won’t change anyone’s mind about Illumination. However, this latest, visually great, offering from the studio is amusing enough for the brief time it lasts with little trouble along the way, even if you can see and feel the individual stages of the narrative.

Cert – 12, Run-time – 2 hours 19 minutes, Director – Matthew Vaughn

Author Elly Conway (Bryce Dallas Howard) finds herself thrown into a world of rival spies not unlike her novels, when it turns out her hit series, Argylle, has reflected the real world a little too much.

There are three versions of Agent Argylle. There’s the one in author Elly Conway’s (Bryce Dallas Howard) hit spy novel series, a suave and focused figure knowing the best course of action in any moment; then there’s the version which appears in her head (both played by Henry Cavill), an arrogant persona smugly gliding through action self-acknowledging how great a spy he is with just one look. Finally, there’s the real Agent Argylle, the unseen face whose life has been almost exactly documented in Conway’s books. At least the former two of these personalities should perhaps feel much more in sync than they actually do, instead feeling as inconsistent as their author, and pretty much anyone around her.

In early action sequences we cut back and forth from Elly’s views of real spy Aidan Wilde (Sam Rockwell) and her mind’s view of Argylle. One is an intentionally chaotic and messy set of events to contrast with the other near-bulletproof depiction as Cavill’s spy stares into the camera with a thick air of vanity. Thankfully, this version of the character appears less frequently as the film goes on and Elly and Aidan’s globetrotting venture takes more form. The writer finds herself chased by opposing groups of spies as it’s revealed that her smash-hit series has almost perfectly mirrored events in the real world, and dangerous people (led by Bryan Cranston’s Director Ritter) need to know the next chapter of the as-yet-unwritten fifth book pans out.

Whilst the world of the Argylle books seems to be trying to pastiche Bond the events unfolding in the real world seem to be trying to dismantle this in order to set up a counter without ever quite landing the comedic effect. Instead, action sequences full of shonky CGI (two examples during a chase in the first five minutes had me audibly exclaiming ‘yikes’) play out to the questioning response of whether they’re meant to be funny, largely due to the choice in songs which plays over a number of them, and sometimes what’s incorporated into them – smoke cannisters burst into an array of colours as one fight turns into something of a callback dance scene.

This style dominates the drawn out third act as it tries to keep a spark alive, and push a spark between Rockwell and Dallas Howard who the film seems to want to position as Michael Douglas and Kathleen Turner, amongst the constant stalls and additions to developments. There’s a great cast here (also including John Cena, Samuel L. Jackson, Ariana DeBose and Catherine O’Hara, just to name a few), yet none ever seem to bring a proper sense of life to their inconsistent characters. Wavering throughout a lengthy 2-hour-and-19-minute run-time; particularly Elly with whichever reaction seems convenient at the time – her for-comedic-effect panic, heightening Aidan’s in-the-moment espionage skills, clashes with sudden bursts of putting her head down and moving forward as if nothing just happened.

As soon as Conway sends off what’s perhaps the first draft of her literally-just-finished fifth book the praise, admittedly from her mother (O’Hara) is that it’s brilliant as usual. Unfortunately, unlike the Argylle books, the film can’t be given the same praise, even after a number of drafts. The jumble of ideas while generally flowing well enough until the latter stages never feel as if they have the energy or humour to properly engage, one or two more casual moments of amusement aside.

With refining, including less time spent trying to semi jab at conventions while seemingly unaware that it features plenty of them narratively, there could be a more fun film here. However, the smugness sometimes shown in the Argylle of Elly’s mind comes through in the tone of the film, holding it further back amongst the uncertainty of what it wants to be and what it’s poking at. Whether itself or spy capers the landing is an uninteresting series of bumpy falters.

Unsure of what it actually wants to pastiche Argylle is a film full of inconsistencies. The narrative is overlong and lacking in humour, particularly in a crammed third act, and overall everything feels like it could be delivered straight to camera with an air of smugness.

Cert – 15, Run-time – 1 hour 35 minutes, Director – Alberto Corredor

Iris (Freya Allan) inherits a pub from her late, distant father (Pete Mullan), however in the basement lies a creature with the power to let people speak to their deceased loved ones, but not without forming a connection with the bereaved.

In 1970s Britain, and some of the years since, Bagpuss was a warm figure of many childhoods. The saggy, old cloth cat who awoke whenever owner Emily told him to see what new thing she had brought to her cozy shop. The pink and white cat would wake up, alongside a collection of other toys and ornaments, to inspect whichever lost item Emily had found and brought back with her and over the course of 15 minutes would discuss and repair it. A quaint and innocent set of events. Baghead, on the other hand, is unlikely to be a distant relative as instead this particular creature will gradually break down the people providing it with items, working its way into their heads beyond the basement of an abandoned pub.

The items belong to deceased relatives which people willing to pay a hefty sum provide ‘Baghead’ – never actually called that in the film, in fact the word is never once said – with in the hope of speaking to their loved ones just one more time. However, there are those who keep coming back, this is the case for Jeremy Irvine’s Neil as he insists new owner of The Queen’s Head Iris (Freya Allan) let him see the figure in the basement. Soon, Iris, who has inherited the pub from her late, distant father (Peter Mullan), finds herself keeping the building, just for a short amount of time, instead of selling it off immediately.

Alongside best friend Katie (Ruby Barker) the pair begin to witness the extent of Baghead’s powers, and the attachment she forms with those using her for communication with the dead. The rules put in place in a video left by Mullan’s character begin to be bent and ignored as greed and addiction consume. They may be traditional points for a horror flick, and certainly there’s nothing wrong with this, however as the film moves along it almost seems to lose faith in itself.

Based on a short of the same name, there’s plenty of atmosphere to help move things along for the first half hour, yet the remaining hour, while still featuring similar tones, never quite seems to have the same strength. Glimmers of the past feelings arise every now and then, but as a whole things almost get bogged down in a cycle of attacks and risk as Baghead proves that her curse is perhaps stronger than the will of the lacklustre living. Yet, when such moments arise the film can’t help but stumble as it explains much of its events as it’s happening, almost providing its own commentary – whilst researching the history of the pub and its previous owners Katie can’t help but read everything we’re seeing on screen out loud just to push the point across.

Occasional jump scares become less effective as they become more obvious and overall as the run-time progresses the momentum decreases. The initially creepy air that surrounded the proceedings is no longer present and as a whole the film feels largely ineffective and rather bland. The character of Baghead feels less of a character and more of a plot device until backstory is provided in the latter stages of the narrative before an ending which, while interesting, would likely have greater impact if you had more of a connection with the characters and the build-up had more of a push, and unsettling nature.

While initially conjuring some interesting atmosphere Baghead seems to lose faith in itself as its titular antagonist feels more of a plot device than a character to push forward the increasingly ineffective scares in the cyclical narrative.

Release Date – 26th January 2024, Cert – 12, Run-time – 2 hours 21 minutes, Director – Blitz Bazawule

Separated from her sister at a young age, Celie’s (Fantasia Barrino) life is one of loneliness and abuse from her husband (Colman Domingo), over the years she finds strength in the outgoing and confident women around her.

The Color Purple’s core narrative may not feel as if it lends itself throughout to the big, upbeat Broadway musical treatment. Yet, on the stage it’s proved a successful, highly acclaimed transfer from Alice Walker’s novel. Now, receiving the big screen treatment the benefits of the stage perhaps come through as the tonal shifts from the drama and upset of protagonist Celie’s (Fantasia Barrino) life are contrasted with more upbeat musical numbers, particularly in the film’s first hour.

The various song and dance numbers, which themselves for a good while seem rather infrequent, oddly feel as if they could be played out on a stage. There feels a shift in Blitz Bazawule’s direction to capture the big dance sequences, as a crowd of bodies move in unison with effective choreography which would likely work greater wonders on the stage, feeling sometimes like moves unchanged from a live production over a bigger film. Such moments can sometimes feel like a jolt just after a highly dramatic scene of Celie being abused by her husband, going by the name of Mister (Colman Domingo). The emotion and drama doesn’t always feel as if it has time to settle in and fully expand.

Where the feelings of strength come through is in the performances, a number of cast members having previously performed in iterations of the stage production. There’s a strong supporting cast surrounding Barrino, who particularly gets time to shine in the second half. While Celie is separated from her sister at a young age (the younger Celie played by Phylicia Pearl Mpasi, while Halle Bailey plays sister Nettie) she finds support and sisterhood in the strong women around her. Bold and defiant Sofia (Danielle Brooks, a highlight in need of more screen-time) and singer Shug Avery (Taraji P. Henson, putting her all into belting out her tunes), herself having known Mister in the past, lead those around Celie encouraging her to find her voice and fight back, to say “hell no!”

During moments of fighting back, and Celie managing to find her voice and gain more freedom the film is better contrasting with the more dramatic and emotional sides. It allows for a third act which brings about the emotions, even if after a bit of build-up – the film as a whole feels a little bit on the long side – especially in the very final stages where the style of the songs, largely the gospel-leaning tracks, land with a good impact from the way in which the cast join to sing them.

This, and the likes of Shug and Sofia, are the better contrasts to the harsh mistreatment Celie faces from Domingo’s well-performed character amongst the other tragedies in her life. While the songs may fit in more as we get more into the narrative they might still feel a part of the same film but the style frequently demonstrates a different feeling to the surroundings which are otherwise engaging. Even if sometimes needing a bit more time so tonal shifts don’t always feel so sharp and the drama can be more properly felt and given an impact.

The musical numbers may largely feel stage-like in this take on The Color Purple, however the strong performances help bring out the brief moments of bigger drama, and some worthwhile strands in the build-up to the effective conclusion.

Release Date – 2nd February 2024, Cert – 15, Run-time – 1 hour 52 minutes, Director – Cord Jefferson

With no publishers accepting his work, and trying to pull money together to care for his mother (Leslie Uggams), writer Monk (Jeffrey Wright) writes a stereotypical Black novel in critique of what he views as the want from the industry, leading to acclaim for his pen name’s ‘essential’ story.

There’s a real sharpness to the layered satire and critique which American Fiction demonstrates. It cuts through the film’s initial veneer/s as what may initially seem like a nearly overflowing plate begins to be viewed as simply a full one. Writer-director Cord Jefferson is aware of his film and what it needs to do to not fall into some of the trappings it’s trying to point at, complimenting with connected parallel narrative strands.

Writer Thelonious ‘Monk’ Ellison (Jeffrey Wright) has received rejection after rejection from publishers to his work, the demand is for stories which he views as capturing a stereotypical view of Black life – giving white audiences the feeling that they’re helping by calling out for change by supporting such “essential” stories. Thus, when faced with needing to financially support his mother (Leslie Uggams) as her mind deteriorates with signs of Alzheimer’s, his mind gets to work one night with a critique of the culture as he sees it. Fugitive author Stagg R. Leigh is born, hammering away what Monk views as a cliched Black novel – the kind which reflects an advert he sees advertising a Black film season on TV, each clip featuring pain, gangs and slavery.

The novel takes off straight away, to Monk’s contempt and uncertainty – can he get away with presenting the character of Stagg R. Leigh? There’s plenty of well-pitched humour to be found within this upfront satire, yet the best comedy lies in that which is more subtle. The background details or moments which are less upfront in a scene, sparking the true push of the film. Gently working in the background of the more dramatic sequences as the Ellison family faces tragedy and simply deal with their own lives and bumpy relationships. The subtlety of the performances truly coming through in the second half as the true extent, and love, within the relationships are allowed to quietly come forward.

Not only Wright’s brilliantly restrained role, but also those which create some of the most affecting moments; particularly Sterling K. Brown (a truly excellent performance which appears to thankfully have gained deserved recognition so far this awards season) as Monk’s brother Clifford and long-time house maid and family friend Lorraine (Myra Lucretia Taylor) – bringing about two of the biggest moments of quiet emotion. Monk’s career may not always drip into these scenes, largely it seems intentionally so, and while occasionally it might help to bring things together that bit more for the most part it allows for the family drama at hand to unfold more naturally. Moving alongside the rising success of Monk’s reluctant not-quite-alter-ego the multi-layered criticism and satire is well handled by Jefferson to bring out the humour, but also bring a complex poignancy to a number of key moments, made truly effective by the performances.

Working in the moment, American Fiction is a film that waits until its final stages, and key conversations between Wright and Issa Rae’s bestselling author Sintara Golden, to truly unveil how clever it is. It does this almost unconsciously, naturally doing so as the discussions unfold and things begin to near rounding off. Effectively encapsulating the themes and what the film has been saying, with counters to create further interest, and also potentially back up the core themes of the film while also working on their own. This is a complex, layered and well-executed comedy-drama that observes its characters amongst the backdrop of the satire they witness and create. That’s where the real spark of American Fiction is, the characters see and create what we find humorous rather than it feeling like the film is drawing it from them.

The key to American Fiction’s brilliantly layered satire is how it comes from the characters observations rather than their actions. There’s plenty of laughs, and some affecting emotion thanks to the truly understated subtlety of the performances in the quietness of the family drama.

Cert – 12, Run-time – 1 hour 52 minutes, Directors – Samantha Jayne, Arturo Perez Jr

New-at-school Cady (Angourie Rice) finds herself welcomed into the most exclusive and known group in school – eventually colliding with feared student, and leader, Regina George (Reneé Rapp).

The highlights of this feature adaptation of the Mean Girls stage musical lie in the moments where the characters truly let loose and are having the time of their lives. As Auli’i Cravalho’s Janis and Jaquel Spivey’s Damian belt out Revenge Party, the best song of the film, the screen floods with a rainbow of bright, pastel colours. The laughs roll in from both the energy and the lyrics and its an extended sequence to simply be fully caught up in. The song leads in to a second half with more frequent humour and songs which feel more a part of the world.

For much of the first half the musical numbers, a good deal of which are presented with a slimmer aspect ratio, feel as if they’re in a different world, separate from the events of the rest of the film. More like music videos to get from one place to another rather than potential fantasy sequences or heightened situations. Most of the cast can undoubtedly belt out a tune, even if some of the songs feel better suited to this treatment than more restrained ballads of sorts – more the case for those given to lead Angourie Rice’s Cady – but perhaps they’d work better on the stage (the only song I’d heard from the musical before going in to this take was Stupid With Love, which sounds as if it has a different treatment and style here).

Rice makes for a likable lead, however with this being Mean Girls, the focus is on the most feared and known girl in school, Regina George (Reneé Rapp – returning from the Broadway musical). Leader of the exclusive clique branded as ‘the plastics’ (also including Avantika’s Karen and Bebe Wood’s Gretchen) she welcomes in new-at-school Cady, instantly making her aware of the rules and a tear-down who’s who of other students. However, when Cady falls for Regina’s ex-boyfriend Aaron (Christopher Briney), who sits in front of her in calculus class, she gets caught up in a web of conflictions between her friends and the plastics.

There’s a good deal of humour to be found within this particular take, particularly when the film breaks out into its own and steps away from the original – also written by Tina Fey who has now been with a Mean Girls project in three iterations over 20 years. It’s such points that allow the events to feel better connected, and the musical numbers to fully flourish and burst more from the screen instead of leaving you imagining how they would work on a stage. As a whole, when the plot truly kicks in and a chain of events become clearer Mean Girls truly finds its stride and struts forward with a good deal of confidence. There may still be some occasional bumps along the way, cut down from the stage version this film take still somehow feels occasionally overlong, but as a whole there’s enough to enjoy about the way in which this particular version of Mean Girls presents itself to make for good, entertaining viewing.

While certain moments might feel better suited to the stage, when Mean Girls lets loose with bursts of colour and energy there’s an entertaining nature with effective humour, particularly in the second half which brings in more narrative developments.

Cert – 15, Run-time – 1 hour 45 minutes, Director – David Ayer

When an elderly friend (Phylicia Rashad) falls victim to an online scam a retired, off-books government agent (Jason Statham) takes revenge, climbing the ladder of the company’s hierarchy before they, or the FBI, can catch up with him.

Jason Statham’s beekeeper goes by the name of Adam Clay. He lives out his days looking after bees, and occasionally removing hornet nests from the property of the elderly woman he rents a barn from. He’s moved on from his days as an off-the-books government agent, known as a Beekeeper. However, when Eloise (Phylicia Rashad) commits suicide after falling victim to an online scam Clay takes it upon himself to get revenge, or as he puts it “protect the hive”. An unstoppable force climbing up the hierarchical ladder of the companies connected to the scam, reaching the so-called untouchable, while his occasionally American accent – it’s understated that Statham has “a hint of British Isles” in his voice – might wobble the film generally keeps itself afloat, to some surprise.

Going from feeling inspired by recent YouTube crazes of ‘scammer payback’ videos and as if adapted from a short film, The Beekeeper grows stronger and more aware of itself the longer it goes on. Largely helped by more frequent action sequences, themselves aware of the film they’re making and bringing a slight sense of humour to the proceedings. A jar of honey is used as a weapon against a rotary gun causing destruction to a petrol station. It all contributes to more excusing of otherwise clunky lines of dialogue as certain elements begin to be seen as satirical – a young head of a call centre tries to desperately bribe Statham with NFTs and cryptocurrency.

There’s a wince-inducing aspect to just how far some of the violence goes. This is a film that doesn’t hold back on lingering on a body or injury, or fleshing out a fight with some injured flesh. The nature of the action goes unconflicted with the more humorous patches due to the fact that much of the film presents an air of balanced seriousness, at least in terms of its dead-pan protagonist – part of what brings a knowing feeling to his lines about protecting the hive.

The Beekeeper may prove somewhat divisive, and certainly to some it may simply come across as cheesy and unaware of itself. However, if you find a sense of satire and slight humour within it there’s an enjoyable piece of work here – particularly as the punchy action sequences become more frequent, and even punchier as Statham’s character gets even closer to his personal goal. The film knows what it wants to do and once things are finally set in, after an explosion or two, then there’s something rather enjoyable to sit back and be entertained by. From both the action and the silliness, this is a film about a beekeeper who was once a Beekeeper, and it knows it.

Once over some initial hesitation, once built up The Beekeeper lets loose and lets out stronger, more frequent action with a knowing feeling as to its occasional silliness and patchy dialogue, which it just about gets away with thanks to its tone.

Release Date – 12th January 2024, Cert – 12, Run-time – 2 hours 4 minutes, Director – George Clooney

The University of Washington junior rowing team finds themselves excelling at their sport, going from participating for the need for money to heading for the 1936 Olympics.

From the first frame of The Boys In The Boat you know exactly what George Clooney is going for with his latest directorial effort. The title cards and opening scene of an old man watching a child attempt to row down a river – despite speedboats and rowing teams racing past him – before reminiscing about what must be his own rowing past further cement this. This is going, and turns out, to be a very traditional sporting drama, one which would feel at home in the 70s and 80s alongside the likes of Chariots Of Fire, which this feels heavily influenced by.

We follow the University of Washington’s junior varsity rowing team, particularly Callum Turner’s Joe Rantz, from trying out for the team simply for needing money at the height of the Great Depression to potentially having what it takes to compete in the 1936 Berlin Olympics. Like the team, the film takes some time to find its pace and pull itself together – while the team have Joel Edgerton as their coach the film is somewhat left on its own to find a steady pace.

It’s once the central team properly unite to show their strengths in the sport that things begin to move. The races in particular, largely held in the second half, bring about much of the eventual engagement. The editing might sometimes throw you off as you’ve got no idea where the team actually are, or what’s being shouted at them by their cox (Luke Slattery), but it’s easy enough to reconnect with these sequences which act as the highlights of the film. Yes, the convention is very much still present in the surrounding moments, especially in the key build-up, but whilst unfolding there’s an unexpected level of tension and engagement to be found in the key races themselves, particularly in the final stretch of the film.

It’s these moments which mostly feel free of the familiar baggage that the rest of the film carries. They may cut back to Joe’s distant father (Alec Newman), who left him alone when he was 14, and girlfriend (Hadley Robinson) respectively listening to race coverage on their radios, alongside occasionally reminding us of the feelings of one or two other team members, but such points are largely present in the wider narrative. Moments best left as brief cut-to moments as they feel little developed in the first place. Most of the time dropped in every now and then with little impact before the film moves back on with the central team. Simply more conventional points in an already conventional, although seemingly aware of this in its traditional vein, sporting underdog movie. It doesn’t bring anything new to the table, but it generally does what it does rather well once its found its pace.

While some strands feel underdeveloped the base of The Boys In The Boat makes for a traditional, if very conventional, sporting drama where the highlights lie in the key races which store a good deal of unexpected tension.