Cert – 12, Run-time – 2 hours 14 minutes, Directors – John Francis Daley, Jonathan Goldstein

After escaping from prison Edgin (Chris Pine) and Holga (Michelle Rodriguez) hatch a plan to steal the riches which only just escaped them, and to rescue Edgin’s daughter (Chloe Coleman)

You can often tell when the writers and directors of Dungeons And Dragons: Honour Among Thieves are having the most fun. It’s when they get to play with the various monsters, creatures and magical elements of the world in which the actions play out. The most entertaining scenes are those largely playing with these ideas, and stepping aside from the central ‘plan’ as the central group of adventurers run through mazes and across hanging bridges to escape whatever’s trying to kill them.

There are various backdrops where such elements are used as we see the ensemble changing plans as they go in order to steal treasure which was taken to them just before they could claim it. Leader Edgin (Chris Pine) has spent two years in prison with fellow thief Holga (Michelle Rodriguez) and is determined to see his daughter (Chloe Coleman) again, currently in the care of former crewmate Folge (Hugh Grant – who appears to not be taking the film seriously throughout almost all of his screen-time) who has been promoted from conman to lord. However, after being kicked out of the city they must hatch a plan to break back in and steal back what’s theirs, however darker forces may be at play.

As the narrative meets new characters in various locations, including Sophia Lillis’ shapeshifting tiefling Doric and a somewhat wavering turn from Justice Smith as fumbling sorcerer Simon, the style very much seems to be ‘we need to see this person to go to this place to get this item to do this thing’. While not a huge detraction it does bring in feelings of cliché. This lingers in the styling of a handful of scenes throughout the journey and does remove something from them due to the familiarity. It’s another reason why the flow of the third act contains some of the strongest stuff in the film in terms of the entertainment factor. There’s a more direct nature to the way things move along as the ‘journey’ element is moved away from, with much more in-the-moment points instead of sticking to the ‘plan’.

During such moments, and when properly striking the fantasy-adventure chord and having fun with the creatures and elements of the Dungeons And Dragons world, the film is at its best. The cast appear to understand the light tone, helping to bring one or two chuckles into play along the way, even if not every one of them lands, and help to push the enjoyable nature of the film, even during some of the more cliché-washed sequences. As a whole there’s an enjoyable nature to the film, particularly the third act which stands out as the highlight thanks to the action which it displays.

There’s a fair deal of cliché within Dungeons And Dragons: Honour Among Thieves’ narrative style, however when it breaks away from this and focuses on what the world has to offer there’s an enjoyable quality to the action and fantasy on display.

Release Date – 31st March 2023, Cert – 15, Run-time – 1 hour 54 minutes, Director – Dominik Moll

A group of detectives encounter multiple dead ends in the search for a culprit of the murder of a young woman.

The opening text and voiceover of The Night Of The 12th lets us know that 20% of murders in France are never sold, and that this is one of those stories. To some extent this is the early faltering of the film as it’s admitted at the very beginning that there isn’t a conclusion to the central case. Much of the first half is taken up with newly-promoted police captain Yohan (Bastien Bouillon) and his fellow detective Marceau (Bouli Lanners), alongside the rest of the department, questioning various suspects and figures with relationships to the murdered Clara (Lula Cotton-Frapier). They go from ex-boyfriend to ex-boyfriend, each with their own different views on how they were actually involved with the deceased, and repeatedly back to her best friend (Pauline Serieys) trying to work out who was the person to burn her to death late at night.

Knowing that the case goes unsolved removes something from these various strands, which almost feel back-to-back for much of the first half of the slow-burn narrative. Instead of creating interest it creates more thought as to where the film is actually going, is it just going to be scenes in different rooms and homes asking about how people knew Clara? It certainly seems as if it is. While certain other character dramas come into play – Marceau is going through a divorce after his wife had an affair – they never quite feel fully slotted into the surrounding narrative, and occasionally feel as if they come from nowhere.

Points are made about gender balance in the police, including how predominantly men will investigate crimes done by predominantly other men, yet these comments are simply made and don’t actually seem to go anywhere despite some promise during one or two scenes. They’re largely brought up as we begin to get more developments in the case, at least outside of questioning. As more action is taken the cycle is broken as there’s a bit more to find interest in and be engaged in. What has come beforehand has been generally watchable, if repetitive, but there feels to be more going on in the second half, especially in regards to the investigation which takes up much of the films concerns, while still keeping the slow-burn nature.

Things may still be disturbed due to the fact that you know there’s no conclusion to the case but it tries to push things forward with character drama for the central characters. It comes very late in the day and doesn’t quite get the progression it may need, but it does help to make it about more than just the case. It shows in scenes long after the case is first opened where Bouillon’s captain is clearly struggling to see why he should keep it open, despite the otherwise statements of a judge (Anouk Grinberg). There’s something in Yohan’s growing frustrations which help to push the progression and developments of the case, they might not be given a full light very often, but they certainly help when present. Particularly when moving on from the repetitive nature of the earlier stages, and the fact we know there’s no conclusion to the largely-focused-on case from the very start.

While a generally watchable slow burn The Night Of The 12th makes a mistake in telling us the central case is never solved from the very start, character dramas are brought in but never quite given enough focus to become prominent, even with more developments in the second half.

Cert – 18, Run-time – 1 hour 58 minutes, Director – Brandon Cronenberg

Whilst on holiday in a luxury resort couple James (Alexander Skarsgård) and Em (Cleopatra Coleman) discover a dark world of crime and identity on the island after leaving the safety of the resort.

There’s no denying that an opening line such as “did you just say you can’t feed yourself with white sand brain death?” is going to grab your attention. It’s a strong lead into the world of Infinity Pool – soon accompanied by shots of the central island resort where it seems as if the world is rotating rather than the camera. Central couple James (Alexander Skarsgård) and Em (Cleopatra Coleman) are well aware of the rules about not leaving the safety of the resort. However, after being convinced by another couple, Gabi (Mia Goth) and Alban (Jalil Lespert), to venture to other reaches of the fictional La Tolqa trouble quickly follows after James hits a local man in a car accident.

As the married couple, primarily James, begin to discover the workings of the prison system in the area things shift tone from horror to thriller. Yet, despite this style the rising high-pitched score indicating a new scene or idea still indicates a more direct horror. For much the film when it is playing out the horror is more restrained, or about the course that Skarsgård’s character is taking rather than the more up front gore which pops up very prominently every now and then.

As the world the resort is isolated from is shown to be darker and darker it soon makes its way into the confines of the luxury holiday. Soon Gabi and Alban’s friends who have all had similar experiences come into the mix and start to show an almost cult-like nature to their group. In comes both a more frequent trippy style to proceedings and a feeling that at the end of each scene you can almost see the narrative trying to figure out where to go next. While in general the film is watchable and moves along fairly fine there are a couple of bumps along the way because of this.

Perhaps most of all when reaching the final 20-25 minutes where the film truly feels as if it loses itself. The actions that we see on screen appear to just happen with no real context as to ‘why’ to bring in more of a shade of horror. Instead it just seems as if decisions and subjections are made just because. It removes something from what has come before as you start to wonder what the real point behind it all has been. Further pushing the need for a tighter, stronger narrative so that the final stages have more substance and drive to them instead of an almost confusing state of uncertainty where the suspense and horror lack.

While for the most part it’s fine Infinity Pool often feels as if its finding its way as it goes along with each new point and idea, eventually reaching a point where it feels context is lacking as to why stuff is happening or being done in the first place.

Cert – 12, Run-time – 1 hour 38 minutes, Director – Kyle Marvin

After 16 years of having watched from home, inspired by their love for Tom Brady, four aging best friends (Lily Tomlin, Jane Fonda, Rita Moreno, Sally Field) decide to go to the Super Bowl, and make the most of the experience.

Perhaps one of the biggest reasons 80 For Brady works is because of how much you buy into the central friendship at the heart of it. In fact, it’s not really something you need to buy into, you simply need to observe it for a short while to clearly see that the cast clearly enjoy being with each other and had fun making this film. It adds to the entertainment factor of the ‘inspired by true events’ narrative. Yes, it may deviate a lot from reality but it’s never really something you stop to think about as you simply get caught in the spur-of-the-moment sequences.

After 16 years of having watched from one of their homes best friends Lou (Lily Tomlin), Trish (Jane Fonda), Maura (Rita Moreno) and Betty (Sally Field) all decide to escape for a few days to the Super Bowl, to finally see their favourite player, Tom Brady (himself – also co-producer of the film), in person. Once arriving in Houston, Texas there’s no time to stop, the ensemble finds themselves making the most of the NFL experience and bumping into a number of famous faces along the way.

Yes, things could easily step into eye-roll territory but it helps that the film clearly doesn’t take itself too seriously. It has a sense of fun and allows for the energy and relationship of the cast to speak for itself. The laughs come with ease and there’s something of an unexpected quality to a number of the chuckles and the frequency of them. Again, much of this stems from the infectiously good time the cast are having, alongside the fact that in general the events are kept fairly simplistic without feeling repetitive.

It’s even possible to put aside some of the more dramatic elements – largely one involving a potential return of cancer for Tomlin’s Lou which when the sole focus stands out amongst the tone of the surrounding ideas – as things never truly slip away from the central theme. When simply allowing the characters to have a good time that’s when things are at their best. When creating good humour through their personalities and how they interact differently with the likes of convention attendees and wealthy partygoers, managing to avoid jokes which purely lean into the idea of ‘these people are old’. Another of the things that stops things from feeling tired is the fact that while there are some jokes about aging they’re embraced and a natural part of the characters and their conversations.

In general, thanks to the central friendship of both the cast and characters there’s a lot to like about 80 For Brady. An enjoyably amusing piece of entertainment with enough laughs within the simple scenarios to keep things moving along for most of the run-time. While the final few minutes might feel a bit drawn out with the focus shifting to the American football action there’s still a handful of chuckles to help things move along. It’s a very enjoyable time led by four highly entertaining actors.

80 For Brady has plenty of laughs throughout its run-time, but perhaps its greatest element is the relationship between the central characters who, like the cast, are clearly having a great time.

Cert – 15, Run-time – 2 hours 49 minutes, Director – Chad Stahelski

John Wick (Keanu Reeves) discovers that he can have the bounty removed from his head if he wins in a duel against the Marquis (Bill Skarsgård) of the High Table, however it’s a long road to get there filled with many people trying to stop him.

Over the last nine years John Wick has undeniably had more than the living daylights kicked out of him. However, if this is the case then he’s shot, kicked, beaten, stabbed, run over and pencil-ed the life out of anyone who gets in his way. It shows in Keanu Reeves’ performance in this fourth instalment. Despite still having the power and fury to continue fighting within him the world has made Wick’s goal seem almost impossible. Wanting to live his life in peace he first needs to have his excommunicado status removed. The way to do this? Challenging the Marquis de Gramont of the High Table (Bill Skarsgård) to a duel, and winning. However, there’s a long road to get there.

Faces new and old block the clearly tired and worn out Wick’s path to his goal – sometimes in the first hour it feels as if we don’t see him for good stretches of time. Every location houses a new antagonist rubbing their hands with glee at the prospect of claiming the increasing price on the head of one of the most stylish characters to grace action cinema. Each one also supplying a new backdrop with plenty of items, and obstacle, to heighten the action. There’s a somewhat surprising almost three hour run-time to this film and much of it houses a number of extensive action sequences. Many of which flow not just because of the editing but how much is happening in one moment.

The key to the action sequences is often that they’re made up of smaller sequences which connect and flow into each other. Allowing for more ideas and styles to be played with, and preventing one idea from being drawn out for too long. All further heightened by the detail put into the world that this franchise has created as a whole (largely when wound into the plot rather than taking the fore in the somewhat slow build up). There’s plenty of entertainment value to be found in this underworld of assassins and the various rules by which it plays by, a number of which push the narrative along; used best when the film displays that it clearly knows when to take a breather. There’s a chance the film could begin to fall into a plot which jumps from place to place to place and back simply to have more happening, or just to add to the run-time, however here that feeling is avoided simply down to the punchiness of such points and the ways in which they lead to further thrilling action.

There’s a video game-like nature to certain narrative elements, further fuelled by a number of close-up fights when Wick and those around him are dealing with multiple attackers at once. The swiftness and decisions of such tones are infused for a bigger push for the action. Adding to the tension which is already present from the fact that it’s clear that Wick is showing signs that he’s wearing thin. He may be desperate to escape this life, and the knowledge that about twenty someones are always around the corner waiting for him with sharpened knives and loaded pistols, but its going to be difficult. It shows in the body count and extensive nature of the first prominent set of fights. One which early on settles you in (as much as you can into something such as this) to the style and course that this fourth entry into this franchise offers.

With plenty going on at all times it’s easy to be thrilled and engaged in the extensive action sequences. There’s plenty on screen that can simply be described as ‘cool’, particularly bringing a smile to your face as the details are played into and expand the ever-fascinating world in which these events play out. There may be a gradual re-entry into it, but once there there’s plenty to enjoy within the expectedly finely structured and choreographed action of the film. Deeply enjoyable this largely shows off the best elements of the franchise with great effect.

The action sequences are filled with plenty of styles and elements to allow for the extensive nature of them to be pulled off. However, John Wick: Chapter 4 knows when to take a breather and still bring tension to the moment through the detail of the criminal underworld. Wick may seem tired here but he still leads with plenty of thrillingly engaging fire.

Cert – 15, Run-time – 1 hour 22 minutes, Director – Raine Allen-Miller

Twenty-somethings Dom (David Jonsson) and Yas (Vivian Oparah) help each other embrace moving on from their respective recently broken up relationships over the course of one day in the streets of South London.

There’s a strong sense of the 90s indie scene within director Raine Allen-Miller’s feature directorial debut Rye Lane. The natural dialogue of Clerks meets the free-roaming scenery and relationship of Before Sunrise in modern day London. As we see twenty-something strangers Yas (Vivian Oparah) and Dom (David Jonsson) roaming around South London there’s a fine sense of place. A clear feeling that the pair know the area well yet are aimlessly wandering and exploring as they go.

Fantasy and flashbacks leak into the real world – not just in terms of a box of popcorn travelling from memory into a scene of conversation – with great effect. It heightens the relationship between the two strangers as they open up over the course of a day about their recently broken-up relationships – the reason for their meeting being Yas having overheard Dom crying in the toilets at a friend’s art exhibition. In general there’s an interesting nature to Allen-Miller’s directorial style which engages you with the characters and the world of the film, alongside giving the film itself a distinct personality. Not just in terms of the way the scenery looks and is captured but also what’s happening in it. There’s so much happening in one moment alongside the main course of the narrative and conversation, even if just hints of details in the background further impacting the events and emphasising the bustling nature of the setting.

Jonsson and Oparah are excellent as the two leads. Bursting with energy and chemistry they bring Nathan Bryon and Tom Melia’s dialogue to life and add to the distinct freewheeling style of the film. It’s easy to get caught up within the connected roaming from place to place as the pair recover from their relationships whilst also trying to reclaim items from them – for Yas it’s a vinyl copy of one of her favourite albums. The fast-flowing nature of the events further caught in the short 82 minute run-time which manages to effectively build-up the relationship, engage you in it and take you and the central figures to so many places without feeling overstuffed. Instead charting a natural course of progression through the developments and conversations.

From that first proper click where the laughs start rolling in this consistently hilarious ride there’s an energy fuelled by a love for what’s on display. A care and passion for the locations and culture that we see throughout. Allen-Miller understands just how to allow this to further fuel the events and embeds each scene into those facts making for something of a celebration throughout the film, particularly during a number of particularly joyous scenes; whether through humour or the upbeat energy on display. There’s a lot to love about Rye Lane. Capturing the creativity and natural dialogue of plenty of 90s indie gems while very much embedding itself in the 21st century.

Early on, when sat opposite Dom’s ex (Karene Peter) and best friend (Benjamin Sarpong-Broni) – now very happily in their own official relationship – Yas appears at the restaurant to help Dom out. When telling a fake story about how the pair met at karaoke they start to chant their names, beginning to match each other’s rhythm. “Dom and Yas, Yas and Dom. Dom and Yas, Yas and Dom”. It’s early in the film, but you really want to join in.

Fuelled with natural dialogue and performances there’s a lot to love about Rye Lane’s celebration of its location and culture. Consistently hilarious and overflowing with creativity giving the film its own distinct style and personality, hopefully one to become a future British classic.

Cert – 12, Run-time – 2 hours 10 minutes, Director – David F. Sandberg

Whilst trying to make sure that his now super-powered family sticks together Billy Batson (Asher Angel) finds his Shazam (Zachary Levi) powers challenged by a group of Gods (Helen Mirren, Lucy Liu, Rachel Zegler) looking to take them back for themselves.

2019’s Shazam was something of a breath of fresh air in the DC Universe when first released. It wasn’t plunged in darkness, or gritty, or the filmic equivalent of a scowl (although none of these labels are really worn by Wonder Woman either). It was fun. As we saw teenager Billy Batson (Asher Angel) explore his various superpowers as the multi-powered superhero Shazam (Zachary Levi) whilst confronting the fact that he can’t just use them for his own amusement. It therefore comes as something of a disappointment that the sequel appears to have forgotten how to have fun, or why its characters worked in the first place.

Billy and his entire foster family (aside from parents Rosa (Marta Milans) and Victor (Cooper Andrews)) now have super powers, however the original Shazam still boasts the full array of powers. Yet, even that collection is challenged when a group of Gods (Helen Mirren, Lucy Liu, Rachel Zegler) arrive on Earth looking to both bring their own realm and take back the powers which are rightfully theirs. Soon the group of heroes start to feel even more strained than before, with some – especially Jack Dylan Grazer’s Freddy and Caroline Grace-Cassidy’s Mary – already having wanted to go near their own way.

There’s a lot of characters on display here, at least as part of the central group, and the film shows this by not quite being able to capture their personalities. Instead a number of side characters within the family – such as Faith Herman’s Darla – feel more like general character traits than people with proper personalities. It’s hard to connect with them as there’s not much there to actually connect with as the film tries to move the narrative forward while still showing the characters with their powers (characters who while clearly being older the film still wants to treat just as they were four years ago). In fact, when shedding elements and simply focusing on Billy/ Shazam (even if you do sometimes forget that the titular hero is a child) there’s a stronger feel to the proceedings as the pace is picked up and the action in general feels much stronger.

Much of this comes forward in the third act after a first hour which, while having its moments, fails to truly lift off due to the simple fact of blandness. A feeling perhaps created because of the struggling personalities of the core family. There’s more focus on less as the film progresses, meaning that there’s more enjoyment to be had. There may not quite be a sense of fun, or as much humour as you would wish despite one or two chuckles along the way, but things certainly improve as become more refined and engaged with their details. The powers of the villains at hand are shown with more effect – especially in regards to a number of very enjoyable, and fearful, monsters which start to crop up alongside an undeniably cool wooden dragon – and there’s a more engaging nature to things overall.

Even with just how much happens in the build-up to the final face off, and to some extent afterwards, there’s a consistently engaging feel to it all. Things could so easily feel drawn out but thankfully the film avoids this making it a rather worthwhile set of events after the more uncertain footing of what has come beforehand. For a film focusing on the central character trying to keep his family together – we see him in a therapy session at the start trying to come to terms with past traumas and abandonment – it works best when they’re largely apart.

There’s an uneven nature to the opening half of Shazam! Fury Of The Gods. While some moments are fine others feel bland due to too many characters with too little personality. However, as things are shed and the action picks up there’s a more enjoyable quality, particularly to the action on display.

Release Date – 17th March 2023, Cert – 15, Run-time – 1 hour 42 minutes, Director – Ti West

Trapped on her parents (Tandi Wright, Matthew Sunderland) farm Pearl (Mia Goth) dreams of escape, knowing that she’s destined to be a star despite the world around her.

Pearl makes no attempt to veil the fact that Mia Goth is the key selling point of the film. The main reason you buy into it. As the camera stays still the lead and co-writer’s (alongside director Ti West) face prominently fills up the screen against a very out of focus background. For five, if not more, minutes she delivers an increasingly emotional monologue. It might begin to feel slightly lengthy but you stay engaged because of the fantastic central performance which Goth gives. A brilliant turn as the young version of her antagonist in last year’s X.

Set in 1918 Pearl lives on her parents farm. Her behaviour constantly disapproved of by her mother (Tandy Wright) as she knows she’s destined to be a star. However, her work on the farm and tending to her paralysed father (Matthew Sunderland) constantly put her hopes at a standstill, and make her even more desperate to escape her life as it is – and not just by going to the local cinema to see the latest dancing girls film and making friends with the projectionist (David Corenswet).

While certain lines and tangents may feel mostly present to link with X they’re generally tied enough into the film later on to feel more valid in this prequel. A prequel which feels rather different to what came beforehand. While there are certain horror elements, coming more into play as the film goes on, for much of the first half there’s something of a horror-tinted drama at play. The style of the film has been very carefully put together, both visually and audibly, to replicate the look and feel of early-Hollywood productions. It’s an enjoyable idea for a while, however as the run-time begins to progress you do wonder how much the narrative is going to develop. You can’t help but feel that you’re largely being kept in place because of the technical elements – particularly Eliot Rockett’s excellent cinematography – rather than what’s actually being depicted on screen.

It’s a feeling which particularly comes into play when the film feels as if its leaning into more conventional horror territory. Even when more spaced out in the third act cliché begins to crop up again and not quite with a feeling of homage as you realise the origin story is almost just “Oh no, she’s just a psychopath”. There may be good moments and some enjoyable sequences, particularly those which are more stylised and make the most of Goth’s performance such as a standout dance sequence, but often the question comes to mind as to whether a lot of the film is style over substance. Especially when at times it feels fairly light on plot details, and, again, you focus on the technical elements. There are rises throughout, but as mentioned they lead to feelings of occasional cliché, or the film settling back into itself. There’s a good film here, but like the titular character does it ever quite become a star in the way it wants?

There are feelings of style over substance throughout a lot of Pearl. While technically its excellent (especially the cinematography) and led by a brilliant Mia Goth it keeps falling into horror cliché without quite feeling like an homage.

Cert – 12, Run-time – 1 hour 33 minutes, Directors – Scott Beck, Bryan Woods

The survivors of a spaceship crash (Adam Driver, Ariana Greenblatt) must make their way through prehistoric Earth to an escape pod before an asteroid collision.

There’s no denying that the trailers for 65 have largely pushed the dinosaur element of things. It’s also understandable, they’re dinosaurs after all. However, the prehistoric creatures aren’t as prevalent throughout the film as you might think. In fact, the focus is largely on the journey and relationship between the two survivors of a spaceship crash. Pilot Mills (Adam Driver) and child Koa (Ariana Greenblatt). For much of the short 93 minute run-time we see the pair making their way across the uncertain terrain as they try to make their way to an escape shuttle 12 kilometres away, before an imminent asteroid collides with the planet.

Writer-directors Scott Beck and Bryan Woods understand the effect of holding back the threatening creatures within the narrative. Building up tension through what we don’t see yet know is there, and creating an impact when properly present by acknowledging the simple fact that they are (often) big and (always) scary. There is a fear factor to them, adding to the suspense of the action sequences which crop up every now and then providing another layer of entertainment to the piece as a whole.

While some of the emotional elements for the leading pair might not have the effect hoped for – particularly when largely appearing in the third act – and the ticking clock element of the nearing asteroids feels contrived there’s still plenty to enjoy within the film. This largely comes down to the fact that the narrative elements which make up the film as a whole are kept relatively simplistic. There are no convoluted tangents or subplots and largely things are kept to the journey for the two central characters – both of whom are rather well performed, particularly Driver who helps to bring some more investment and believability to the rather fantastical basis.

Thanks to this it’s easy to generally sit back and have a good time with 65. It’s nothing overly complicated and what it does it does rather well, making for an entertaining sci-fi actioner which knows how to move alongside its two leads rather than making everything around them the core of the film. Again, the film may not be anything complicated but in a way that adds to the enjoyment there is to be found within it. It may have some bumps along the way, largely in the third act when trying to deal with more emotional elements for both characters before the big finale, but there’s still an entertaining, occasionally suspenseful, and efficient piece of work here. A good time at the cinema.

65 may not be anything overly complex, but it uses that to its strengths, creating an entertaining and efficient sci-fi actioner. More directly dramatic beats might not always have their effect, but the occasional tension certainly does.