Cert – U, Run-time – 1 hour 30 minutes, Directors – Pierre Coffin, Patrick Delage

1920s Hollywood, the Minions (Pierre Coffin) arrive and quickly become big stars, but with the arrival of sound a monster movie idea could be the thing to help them, until it breaks beyond the studio.

Illumination has been criticised almost since its debut feature, Despicable Me, 16 years ago of playing into convention. Overfamiliar animation style, safe jokes and a cycle of ideas that appeals more to the younger members of the crowd. Even for me, having fond a general liking for their films, it comes as a surprise that the third main outing for their Minion mascots, Minions And Monsters, is as cine-literate as it is. Within minutes of crashing into 1920s Hollywood, in search of a new big boss, we’ve seen a quick succession of references to Chaplin, Lloyd and Keaton.

References to early and genre cinema are scattered throughout this story which sees the Minions (voiced by creator Pierre Coffin) taking over Hollywood. But, when sound arrives and noone can understand them it’s up to leads James and Henry to use the former’s creativity and storytelling skills to make a monster movie that could save them all, if it doesn’t backfire and threaten to destroy the world.

As the story unfolds we hear voiceover from Allison Janney as a movie museum tour guide, explaining to a group of tourists who James and Henry are. It’s this strand that contrasts with the Looney Tunes-style slapstick of the central yellow characters as the tone almost seems to talk down to the younger audience members. Not quite patronising, but still in a way that feels almost uneasy for everyone else, especially in comparison to the simplicity and easy-going nature of the more upfront antics. We’re trusted to understand Minionese for stretches of time, the actions and gestures speak for themselves, what’s being said isn’t important. So, when narration is at the fore why does the film feel as if it’s talking down, or just needing to explain?

The same feeling doesn’t come with other English-speaking characters such as Jesse Eisenberg’s Dort – claiming to be an alien robot seeking a team to help him destroy Earth. A group of Minions follow him as their new evil leader and while amusing there’s a slightly sketch-like feel to some of the sequences as they never have the same push as the direct monster movie ventures of James, Henry and Ed, a Minion who communicates with sign-language. It’s with them that the film has the most joy, and chaos. There’s slapstick elsewhere, and a good number of chuckles throughout the quick 90-minute run-time, but particularly in scenes that lean most into the main titular action.

Set-pieces and action sequences allow for both the biggest scales and most laughs. An out-of-control train chase is packed with gags and silliness, while the climactic battle, and its Star Wars references, provide plenty of giggles with just how much happens. Whilst Minions explosively attack one dressed as a clown charges forward in true golden age cartoon style firing plastic guns displaying tiny banners that read ‘Pew!’ from the barrels.

From the opening montage putting the world-famous characters into some of the earliest pieces of cinematic footage it’s clear that something different is happening here compared to their previous two outings. And once things get going and the cineliteracy takes the stage, alongside the true slapstick silliness that can come with the characters, the more direct moments that embrace the humour and allow things to pan out rather than be unnecessarily explained create plenty of chuckles and may even bring some people round on the Minions, even if just this once.

While side-plots might feel slightly sketch-like there’s plenty of amusement in the slapstick and cine-literacy of Minions And Monsters monster movie core that keeps the laughs coming, and brings something different to this franchise.

Cert – 15, Run-time – 1 hour 56 minutes, Director – Anders Thomas Jensen

After being released from prison Anker (Nikolaj Lie Kaas) goes to his brother, Manfred (Mads Mikkelsen), to find the money he stole. However, Manfred has DID, believing he’s John Lennon, and can’t remember where it’s hidden.

As director, Anders Thomas Jensen has found a home blending genres with deadpan Danish expressions and dark comedy. Often placing them into ever so slightly off-kilter situations, or pulling occasional comedic beats from the seriousness of the narrative – such as in his previous feature, 2020’s Riders Of Justice. While not a complete stumble, the writer-director’s latest feature, The Last Viking, suggests that there’s only so much that can be brought together under one style before feeling too busy.

Busyness may not quite be the right term for The Last Viking, but it certainly falters under the various tones that are at play amongst the dead-pan style. Anker (Nikolaj Lie Kaas) has just been released from prison having committed a bank robbery. One of his first actions is to visit his brother, Manfred (Mads Mikkelsen) to find out where the money has been buried. However, past trauma, Dissociative Identity Disorder, and the belief that he’s John Lennon – cue a selection of ill-performed Beatles tracks – mean that Manfred has forgotten where he hid the money years before.

As a history of trauma for the brothers is looked at alongside a potential therapy with other DID patients who believe they’re the other members of The Beatles – although one amusingly only performs ABBA songs – things start to feel slightly rough around the edges as they play out around Anker’s search for the loot from his bank job years prior. Each strand has a slightly different tone, mixing the comedic and dramatic styles that are at play, but not quite enough for them to fully gel together. Yes, there are effective ideas at play in the final stages; even if still featuring in tonally shifting flashbacks which could land more of an effect in a slightly more consistent film, but as a whole the near two-hour run-time largely feels like its feeling changes every couple of scenes.

Mikkelsen and Kaas, both of whom have worked previously with Jensen, put in good performances, helping to lift a somewhat scattered script. The supporting cast, too, put in good turns, especially during bigger, more heated interactions. There are ideas about what people have done with and made of their lives, what they’ve wanted for them and have done/ are doing instead. As the film reaches its conclusion these link rather well with the pasts of the central siblings, although I do wish that they had been given a bit more space and time to breathe.

For the most part The Last Viking is an interesting film that has its moments, especially those focusing on the connections formed between the characters. Whether the history of the central pair, or a simple jam session where nobody is playing the same song. Unfortunately, the tonal shifts start to create a slightly bumpy journey where, much like the money being searched for, the core ideas can start to feel a bit buried amongst the changes between the strands at hand.

A likable slice of Danish deadpan that occasionally loses its bigger ideas in its tonal shifts. While there’s some amusement, and emotional connection on and off screen in the third act, it can sometimes be a bumpy journey to get there.

Cert – 18, Run-time – 1 hour 32 minutes, Director – Jeff Tremaine

The Jackass crew look back at over 25 years together with one final round of stunts, pain and laughs.

“This is the kind of extreme s**t those extreme dudes don’t even think about” says Chris Pontius looking at the scale of Jackass 3D’s Poo Cocktail Supreme. It’s one of the revisited segments in the fifth and final outing for the cast under this banner; and there’s no denying that the gross-out laughs are heightened on the big screen.

Thankfully, Best And Last isn’t just a clip show – throwback segments also feature new footage, such as Jackass Forever’s highlight Silence Of The Lambs now featuring Bam Margera’s experience after he was largely cut from the film. There are plenty of new painful stunts and sequences on display as the main cast say goodbye after over 25 years of admitted stupidity. 

The new sequences may not be anything death-defying, focusing more on the crude and aforementioned gross-out – a laxative-enhanced round of Twister is one not be watched shortly after eating – but the fact the main cast are mostly in their early to mid-50s is acknowledged. Steve-O leads much of this kind of stunt, featuring early on in a robot-provided prostate exam, and his bond with those around him is clear. However, not all cast members get much to do in the edit, new faces such as Rachel Wolfson and Jasper have nothing to do but stand and watch while staples Dave England and Preston Lacy feel rarely involved.

Yet, while this makes for a reflection for series lead Johnny Knoxville, and director Jeff Tremaine, with unseen footage also glimpsed of some of the initial stunts from the TV show, there are intentionally only hints of emotion amongst the laughter. There’s a slightly more intimate (of course taking on different meanings for Jackass) nature to the stunts; closer and less spectacle based. Calling back to the early TV days, just with a small budget being made the most of. Someone being hit in a private area or given an electric shock can illicit just as much laughter as being propelled sky high.

As was observed widely around the release of 2022’s Forever, this is a franchise that’s long showed a range of figures laughing with, rather than at, each other. It spreads throughout the cinema, even in lightly attended screenings, and you feel a part of the group. Through laughs, gasps and audible winces. You see the worry for their friends before everything is shown to be alright and the smiles grow. There’s a healthy friendship on display from multiple angles, and the joy comes through in the very final sequence which recalls the giant shopping trolley opening of the first feature outing for the group (the only film in the series I’ve not got on with, finding a cruelty in some of the segments).

Fans will be far from disappointed, those who know this isn’t for them will almost certainly remain that way. Even with smaller scale segments the core of friendship and laughter is once again on full display, even more so with age. A welcome light lookback with plenty of laughs in the newer segments, too. Jackass closes as a true cinema audience experience.

More scaled-back, but in doing so highlighting the friendship and laughter amongst the gross-out stunts on display. This is a well-measured mix of old and new that closes 25 years of embraced pain and stupidity with one of strongest outings for the Jackass crew.

Cert – 12, Run-time – 1 hour 48 minutes, Director – Craig Gillespie

When her dog has days to live, Kara Zor-El (Milly Alcock) searches planets to get revenge and the antidote, with a weapon-maker’s daughter (Eve Ridley) joining her, seeking vengeance for her parents’ murder.

Supergirl kills. Yet, this isn’t what differentiates her story from her cousin Superman’s (David Corenswet) DCU-launching venture last year. While that was a film full of hope there’s not so much pride and patriotic spirit on display here. The dial isn’t turned all the way to darkness and hopelessness, but Milly Alcock’s Kara Zor-El wanders the galaxy looking for planets with red suns in order for her powers to be toned down and her ability to get drunk turned up. Turning 23, she’s dwelling in the past that saw her sent away to Earth, much like her cousin, although long after the destruction of Krypton.

Floating in a sense of grief and isolation, Kara sets out for revenge when her beloved dog Krypto is suddenly poisoned, given three days to live, by pirate Krem (Matthias Schoenaerts). Alongside her is equally vengeful teenager Ruthye (Eve Ridley), insistent on her joining Kara so that she can kill Krem for the murder of her parents. The pair journey from planet to planet in search of, or sometimes having been taken by, Krem and his fellow pirates. Paired with the soundtrack there’s a feeling as scraps and bar fights unfold that calls back to DC co-head and producer James Gunn’s Guardians Of The Galaxy films.

Alcock makes for a likably sparky lead with a rebellious streak within her character’s charm. She works well with Ridley who settles in quickly and the pair form an engaging bond and journey, one where a clear effort has been put in to making this a tonally different film to Superman without feeling too intensely done or engineered. There’s an assured self-confidence on display, especially in the quips she cracks just before, or as, a fight breaks out.

The grief that the titular hero feels is delved into in a lengthy flashback sequence around halfway through, introducing further details in the second half much more than the bursts and suggestions we initially get. It’s with this that the film starts to slow down, trying to develop Supergirl but ending up dwelling a bit too much on the past at expense of the current action. There’s still an entertaining third act, even if the camera turns some of it into a bit of a blur as it chaotically spins around it before panning back to Jason Momoa’s flying-motorcycle riding bounty hunter Lobo – only lightly, although amusingly, featured.

However, the pacing of the film is disrupted somewhat with the flashbacks and the way they start to be leaned into after the main one showing Kara’s origins, or at least reason for being sent to Earth. The tone and style, unlike that of the wider film and Supergirl herself, feels more forcefully pushed, especially with the slower nature. Weighing down the plot that’s still building up to the final showdown with a more noticeably familiar arc, too. There are still some chuckles and likable action beats, and as a whole there’s a rather entertaining film here thanks to the central character and the spark she provides throughout; especially in contrast to her quick-to-protect-whoever cousin. There may be some bumps along the way, but Supergirl generally takes enjoyable, punchy flight in its action and push from Alcock in the lead role.

While flashbacks might start to wear it down and bring out conventions, Supergirl still makes for enjoyable, if at times bumpy, viewing. With help from Milly Alcock who brings out a spark and punchiness in both her character and the fights she’s involved in.

Cert – PG, Run-time – 1 hour 42 minutes, Director – Andrew Stanton

As Bonnie (Scarlett Spears) grows up her toys have different views on how she should make friends compared to her new hypnotising tech device Lilypad (Greta Lee).

Toy Story saw the sudden arrival of a new favourite amongst the toys of Andy’s bedroom. Toy Story 2 saw multiple Buzz Lightyear’s experiencing the world of play whilst Jessie revisited her past with owner Emily. The trilogy closer looked at ideas of separation and moving on. Toy Story 5, following on from the solid, philosophical questions of what it means to be a toy that Toy Story 4 looked at in its sort-of-epilogue, appears to look back to this original trilogy for much of its events.

There’s not a sense of a victory lap but at times an accidental re-tread this around. As the franchise reaches 31-years-old tech has finally entered the world of play, and completely changed it. Now eight-years-old Bonnie (Scarlett Spears) is struggling to make friends as everyone around her is focusing on tablets rather than toys. As she tries to introduce other kids to Jessie (Joan Cusack) and Bullseye she’s almost laughed at, quickly giving them back to her dad in exchange for electronic Lilypad (Great Lee).

The toys have been the heart of each of these films, and their relationship with their owners. This time around Bonnie is the heart of the film, many of the best moments revolve around her as she faces an addicting, and sometimes harsh, online world. As her toys become ignored, with Jessie fearing a repeat of her first owner Emily, who we see flashbacks to with the still tear-jerking When She Loved Me returning in Randy Newman’s once more integral score, Bonnie’s personal journey creates the most emotional impact. Both in terms of the joy of play – this time around we don’t see the full-world environment of what’s in the child’s mind or the simple play but a different colour scheme and animation style for the unfolding fantasies; creating a handful of wholesome chuckles – and the emotional beats, although only a few specks of dust are present here rather than enough to require a vacuum.

Toy-wise, Jessie is the focus here. She’s become the sheriff of the toy gang and is determined to prove that toys can still make friends over the draw of tech. As a consequence of the events of the previous film Woody (Tom Hanks) has somewhat been reduced to the Buzz role of that instalment, called in to assist with the fight against Lilypad; while Buzz (Tim Allen) still feels like an idiot, a very different character to who he was in the first three films. To make up for this we find an army of hi-tech Buzz Lightyear’s exploring the world, trying to find Star Command, after washing up on an isolated beach. It becomes clearer and clearer as the busy narrative – jumping back-and-forth between characters and rescue efforts – unfolds that this strand feels put in place for the convenience of resolving all other matters. The more they come into the picture and we see them playing a role in the developments the more everything seems very convenient, even if there is one nice call-back involving them.

Toy Story has long been rather simple narratively, although layered as part of that. There’s not as much layering happening this time around, in fact at times it can feel a bit preachy, and while somewhat simple the construction of the plot makes it sometimes feel very busy. It wants to give each character their moment, while spending time with new ones; human, tech and toy.

Jessie brings in some emotional moments as she revisits her past, with Cusack still charging full-force with her performance while Hanks and Allen continue to have genuine soft spots for their characters, placed best when once again looking at the role of a toy and the time they have with a kid – à la the ending of Toy Story 3, with hints of her aforementioned flashback song in the second film. Yet, for a Toy Story film it’s the human we have the biggest bond with, and who most spurs much of the action. The joy of play, the pain of tech, and other people, and yet how both can work together. The chuckles and tears may not quite be as present here, but there’s a film that has its moments amongst a narrative that feels busy with construction based largely around the events of previous films.

While still holding some Toy Story spirit the emotion and laughs aren’t quite on the same level as this fifth instalment, getting the most impact from its human characters and their relationships with toys and tech, feels busy with multiple strands, some seemingly more for convenience, and familiarity with previous entries.

Release Date – 19^th June 2026, Cert – 15, Run-time – 1 hour 27 minutes, Directors – Emma Hough Hobbs, Leela Varghese

Princess Saira (Shabana Azeez) leaves her home planet and ventures across the gay-laxy to save her ex-girlfriend (Bernie Van Tiel) from the Straight White Maliens (Aunty Donna).

The Saturday morning cartoon is alive and well. As seen with last week’s Masters Of The Universe, and now Australian indie animation Lesbian Space Princess, those who grew up on them are now bringing them to the big screen. The difference being that Lesbian Space Princess is made for a purely adult audience.

Coated in vibrant, cotton-candy colours the humour and characters across the gay-laxy are just as bright and sparky as Princess Saira (Shabana Azeez) ventures away from her home planet to save her recently-dumped-by ex-girlfriend, Kiki (Bernie Van Tiel), from a trio of Straight White Maliens (sketch group Aunty Donna) intent on obtaining Saira’s labrys in order to activate their Swedish-made chick magnet.

Saira is full of worry and anxiety, her world practically ended when Kiki broke up with her after a brief relationship for being boring. Her outlook contrasts greatly with aspiring singer Willow’s (Gemma Chua-Tran) endless optimism, although both greatly irritate the space-travelling Problematic Ship (Richard Roxburgh – who reduced me to tears more than once).

The Ship’s quick quips and audible eye-rolls have a similar effect, though in much briefer time, to the seemingly improvised interactions between the Maliens who can draw out plenty of arguments, misunderstandings and attempts at rehearsing asking a girl out with incel-led views. Appearing as pale, rectangular blocks the animation of these characters, and some of their humour, strikes similarly to the South Park Canadians, with other jokes throughout having a South Park-esque feel. Aunty Donna feel as if they’ve been let loose with the film and them embracing each others anarchic style.

Much like the title character, Lesbian Space Princess is confident and unashamed about itself. A story about self-love that strides forward with glee. A celebration of personal identity is at the core of the film and its a pure joy to see. Punchy and occasionally raunchy there are plenty of giggles and laugh-out-loud moments from start to finish.

A fun, joyful and silly film that embraces the colour and chaos of a Saturday morning cartoons, complete with short bursts of song as the countdown to Kiki’s execution lowers. Writer-directors Emma Hough Hobbs and Leela Varghese, alongside their voice cast and small team of animators (led by Hobbs, who also serves as production designer), make a full-throttle space adventure that’s playful, proud and aware of itself. Both in the anxieties of Saira and how she develops over 87-minutes which fly by. Filled with passion and love from every person involved in the production.

Creating a mass of laughs from start to finish, forming one of the funniest, most vibrant and entertaining films of the year. An explosion of colour and gay chaos, where every character is given plenty of funny lines in a film where almost every line feels like a standout. It all feels destined to become a cult classic.

A loud, proud and exuberant display of pride and self-love, Lesbian Space Princess is one of the funniest films of the year, bursting with colourful characters and animation. I loved every minute of it.

Cert – 12, Run-time – 2 hours 25 minutes, Director – Steven Spielberg

A cybersecurity worker (Josh O’Connor) and weather presenter (Emily Blunt) find themselves being chased by a government-linked organisation trying to cover-up existence of extra-terrestrial encounters.

Spielberg knows how to make a film in traditionally-rooted modernity. Disclosure Day could well have been made in the same decade as Close Encounters, with one or two tweaks. The visuals and narrative elements feel as at home in the 70s as they do today, but at the same time the director, who also receives a story credit while collaborator David Koepp pens the screenplay, has kept up with modern filmmaking and played with what can be done with developments in his own style.

Disclosure Day is a fast-paced thriller as much as it is a sci-fi blockbuster. Paranoia, fear and suspense are rife throughout cybersecurity operative Daniel (Josh O’Connor) and weather presenter Margaret (Emily Blunt – giving a performance up there with her exceptional turn as Mary Poppins) are chased down by armed forces from government-linked agency Wardex, trying to stop them from revealing information about earthly encounters with extra-terrestrial life. Car chases and an especially thrilling train sequence hold as much suspense as threatening conversations on other side of a table centring around multiple forms of control – led by Colin Firth as the leader of Wardex.

Threads converge and separate with a natural flow and development, with Spielberg and editor Sarah Broshar tracking each character and situation with mystery and fascination. Keeping a consistent pace for almost two-and-a-half hours in the increasingly tense flights and confrontations which the narrative runs through. Yet, Spielberg continues to focus on the narrative and wind spectacle into it. Alongside Koepp’s screenplay the drama and conversation, especially in the opening stages where we’re thrown right in and trusted to understand and keep up with the intrigue and piece things together as the world is unveiled to us with natural detail as explanation for what we need.

The director’s interest in extra-terrestrial life and UFOs, alongside how they can be linked to humanity, is as clear here as it has been throughout much of his filmography. The final stages may be a bit disrupted by narration similar to how many saw the commentary in last year’s F1, but there’s still a solid effect in the pay-off from all the suspense in the near race-against-time build-up to unveil to the world the truth that’s been covered up for almost 80 years in the film. Secrets are key to the film and its narrative of understanding and kindness, the idea isn’t forced and is allowed to filter through in the dialogue and narrative details, exchanges led by Blunt’s Margaret as she finds herself able to speak and translate different languages and develops telepathic skills.

Striking and well-tracked, with a particular effect as John Williams’ restrained score takes centre-stage over the end credits, there’s spectacle in the film – a real sense of wonder comes when we finally see brief sight of alien ships making gliding movements in the sky – that comes through in both action and conversation. Many elements feel traditional, potentially a timeless sense from the film, yet have plenty of relevance to today both narratively and cinematically.

With plenty of suspense and mystery, there’s a consistent intrigue in the fast-paced action and conversation of Disclosure Day. Allowing details to be unveiled and developed naturally, it’s a thrilling sci-fi drama with plenty of narrative spectacle.

Cert – 15, Run-time – 1 hour 36 minutes, Director – Michael Tiddes

Ghostface (Dave Sheridan) returns to attack Cindy Campbell (Anna Faris), her friends, family and many horror movies along the way.

Horror films change quickly, as do the trends in them. A lot has changed and released since the last Scary Movie film in 2013, which itself didn’t really seem to tackle many horror film, or laughs, making for one of the worst films ever made.. However, with so much ripe for the picking, and the Wayans brothers returning to write, produce and star, this sixth instalment feels like it has no major interest in the horror films it’s trying to spoof.

Going from an opening featuring Teyana Taylor making references to last year’s One Battle After Another, and this year’s awards season, we then get extended scenes almost directly copying instead of parodying films that even The Simpsons have already spun on. The reboot-quel scene from 2022’s Scream is recreated seemingly with only the purpose of reaching the punchline ‘re-booty call’. Meanwhile a baffling joke about It Follows claims there’s no flashback or scene riffing on it because nobody saw it – the sequel is set to begin filming later this year.

Yet, as Ghostface (voiced by Dave Sheridan) returns to attack Cindy Campbell (Anna Faris) and her children, Sara (Olivia Rose Keegan) and legally-distinct Tuesday (Savannah Lee Nassif), there’s a sense that, like with some horror franchises, some things don’t change. Unfortunately, in the case of Scary Movie it’s still making running jokes about characters being gay and thinking they’re hiding it despite obvious actions and dialogue. A baffling scene about pronouns feels stale and increasingly confusing the longer it goes on as to what the actual joke is meant to be as a group of people stab someone who points out they go by they/them.

The result is a jumble of gags and references which never take off, and, again, feel far from interested in horror films, instead starting to guess and just hope for the best. Leaning back into gay or weed jokes, wrapping up with a rushed conclusion about its own meta state and the Wayans, Farris and Regina Hall’s relationships with the franchise. The later pair, amongst new and returning characters, and simply drawn out one-note sequences, feel like they get rather little screen-time, especially for the deal the film wants to make about them by the end.

The Scary Movie franchise certainly hasn’t been as bad as the new kind of spoof film that it ushered in with titles such as Date Movie, Epic Movie, Meet The Spartans and The Starving Game following in its wake. It doesn’t entirely rely on making a reference to another film and hoping that’s enough, although that feeling does often crop up. There are other kinds of jokes, the problem is none of them gain a laugh. This latest instalment admittedly has two jokes, one a very quick mention for Tubi, that in a more amusing film could gain laughs, but the laboured surroundings stop them from working here. Seemingly being moved on from so quickly in order to cut to another overlong parody sequence encompassing roughly one joke.

If there was more attachment to what’s being parodied, and things seemed a bit more direct instead of thrown in by the team of five writers, then there may be more chance of laughs and overall entertainment. However, Scary Movie feels laboured and lazy in its often drawn-out, sometimes confusing attempts at gags. Its ‘nobody’s safe’ attitude feels forced, and regularly stuck in the 2000s, there’s little shock value to the same recycled gay joke or Ghostface getting high, again. The horror landscape has, as always, continued to change and develop. Scary Movie has not.

Despite the same recycled gay and weed jokes; jumbled one-note references to more recent horror films, with which the film has little interest in, Twitch and baffling pronoun gags remind that this is a 2026 Scary Movie, not one from the 2000s. Tackling elevated horror hasn’t risen the amount of laughs in this franchise.