Cert – PG, Run-time – 1 hour 30 minutes, Director – Dean Fleischer Camp

Marcel (Jenny Slate) lives in an Airbnb with his grandmother (Isabella Rossellini), when a documentarian (Dean Fleischer Camp) renting the house makes a film about him, the tiny shell begins to search for his missing family.

“Guess why I smile a lot” says Marcel (Jenny Slate), a tiny shell turning around to the camera operated by the documentarian (Dean Fleischer Camp) who is making a film about him. “Why?”, “Because it’s worth it”. It’s such a small line and yet one of the most wholesome moments of an irresistibly wholesome film. In many ways it sums up the innocent figure of the titular character rather perfectly. He’s fascinated by the giant world around him, living in an Airbnb with his grandmother (Isabella Rossellini), travelling around via tennis ball – although not being able to see whilst driving is an issue. Questions to the meant-to-be-invisible filmmaker are filled with interest as he quizzes the human renting the house as to “have you ever eaten a raspberry? And what was that like?”

Yet, there’s plenty working in the background of Marcel The Shell With Shoes on to push emotion through the wholesomeness. Over time we see the one-eyed mollusc begin to search for his missing family, seemingly taken in the break-up of the original owners of the house. It’s less a plot and more a set of developments over the course of the short 90 minute run-time. Yet, one which holds you firmly in place as you sit and stare at the screen in wonderment, entranced in the story that’s being told. You buy into the mockumentary format, so detailed that you totally buy into the shells and they might as well be real figures in a real documentary.

With all the details that come through in the characters and the various instances we see them in, including in the animation, one thing is made clear and that’s that director Fleischer Camp, alongside co-writers Slate and Nick Paley, has made a film that celebrates the small details. Both within the film and in life. The quiet elements – in what is a very quiet film, although frequently backed by a fantastic score from Disasterpiece which accompanies many scenes perfectly – which connect us more to the characters and help to get across the sentimentality amongst the humorous patches. Simple cuts, edits and glimpses which show the world as it truly may be, or rather against how Marcel sees it. There may be a handful of chuckles along the way, alongside audible exclamations at just how wholesome and innocent the central character, and the film as a whole, is, but there’s certainly a fair deal of unexpected emotion and sentimentality on display too. All gelling together for an even greater overall effect.

Within the first few minutes you’re sat wrapped in the blanket that the film places around you. Utterly entranced by its gentleness and heart as a warm, fond smile appears on your face on multiple occasions. All of this from the heart and mind of a tiny shell with shoes on called Marcel. Yes, he’s thrown into the chaos of the world and we see the worries and stresses that he faces, in many ways it’s what makes his positivity more effective when it’s on display. But, regardless, he’s absolutely sure to be one of the best characters to grace the big screen this year in one of the best films of the year. A stunningly warm slice of wholesome joy. You can’t help by fall for and into it as you’re swept up into believing that the shells on the screen are actually real. A calm stirring of care and emotions, it’s just fantastic.

Perhaps one of the smallest characters we’ll see this year emits one of the biggest hearts, there’s so much to love about the tone and style of Marcel The Shell With Shoes On. A film which celebrates the small, subtle details and makes for what may be the most wholesome film of the year.

Cert – 15, Run-time – 1 hour 52 minutes, Director – Steven Soderbergh

Mike Lane (Channing Tatum) returns to the striptease game to direct and choreograph a stage show for theatre owner Max (Salma Hayek Pinault).

“You’re in another one of your phases, aren’t you?” teenager Zadie (Jemelia George) asks her mother, Maxandra (Salma Hayek Pinault) on meeting her latest inspiration, Mike (Channing Tatum). She’s brought him to London, from Miami, to trade his social-event bartending job for directing and choreographing a production for the stage. Max has been known to run with ideas and overcomplicate them until they implode, often referred to as never getting past the first act themselves. However, Mike is – despite being far from familiar waters – determined to make something good of The Rattigan theatres production of romantic period drama Isabel Ascendant.

How can the material be updated? By adding a few more attractive men dancing and performing stripteases – in typical Magic Mike fashion. Stepping away from the traditional ‘will she marry for love or money?’ narrative and making something more empowering for the largely-female audience. There’s plenty of discussion throughout the film about the development of the play and the disagreements between Mike and Max about the direction in which it’s going. “You wouldn’t say that what we’ve done so far isn’t f*ckin’ special” infuses Mike at one point, a line which would perhaps have more effect if we actually saw more of the developing production.

What we focus on more is the conversations behind it, and the relationship between the two central characters. While the previous two Magic Mike films have been more about the male friendships at the centre of them, this is upfront about the journey of the stage-show – inspired by Magic Mike Live – and the relationship of Mike and Max as they combat the various barriers for them causing the stage production. There’s interest to be found in such moments as the height of the stage only just breaks the law or Max battles with her separated husband (Alan Cox) (or receives wry remarks from her butler, Vincent (Ayub Khan-Din) – a character who steals the show so much you want to see a film just about him).
What we focus on more is the conversations behind it, and the relationship between the two central characters. While the previous two Magic Mike films have been more about the male friendships at the centre of them, this is upfront about the journey of the stage-show – inspired by Magic Mike Live – and the relationship of Mike and Max as they combat the various barriers for them causing the stage production. There’s interest to be found in such moments as the height of the stage only just breaks the law or Max battles with her separated husband (Alan Cox) (or receives wry remarks from her butler, Vincent (Ayub Khan-Din) – a character who steals the show so much you want to see a film just about him).

When there’s a clear direction for the film and its more focused on the way in which the show is being produced that’s where it moves and works best. Generally improving as it goes on and builds things up, particularly as we get to the big dance finale that many will be expecting. There’s less blandness as the film goes on and the camerawork, and editing, during the dance sequences helps to liven things up; used more with each new instance, pushing the closing stages to have more effect. The film generally appears to be one which develops as it progresses, realising its better elements and piecing them together as it takes time to take out the weaker, less-engaging back-and-forths. Making for less fluctuations throughout and a slightly smoother ride overall. It may take some time but as the focus expands and comes together there’s a more likable and engaging piece of work as the film, like Mike, displays its confidence in different ways.

As the fluctuations become less frequent there’s a more enjoyable time to be had with Magic Mike’s Last Dance. Ironing out the creases and more drawn out sequences to make for a smoother, more engaging piece through its collected ideas.

Cert – PG, Run-time – 1 hour 42 minutes, Directors – Joel Crawford, Juanel Mercado

Down to his last life Puss In Boots (Antonio Banderas) retreats to a quiet life of being a regular cat, unless he can be the first to reach the mythical wishing star to wish for more.

There was something of a worry that the main trailer for Puss In Boots: The Last Wish had shown the majority of content, luckily my mind was very wrong in thinking this as most of what’s shown comes from the opening stages. It might be the fact that I’d seen so much from this that the prologue and build-up for the film felt somewhat drawn out, but luckily it’s not a lasting tone. We see a fearless (and reckless) Puss In Boots (Antonio Banderas) taken down to his last life. He’s told by the doctor (Anthony Mendez) that he should consider taking things easy, and therefore finds himself taking to the downbeat life of a regular cat (now named Pickles) in the quiet, cramped home of Mama Luna (Da’Vine Joy Randolph).

However, on learning of the mythical wishing star Puss jumps back into his life of fights and adventure as he becomes set on wishing for more lives. Yet, as he enters the path that will lead him to the star he discovers that he’s not the only one on the track. He teams up with self-training therapy dog Perrito (Harvey Guillén) and old face Kitty Softpaws (a returning Salma Hayek) to outrun criminal family Goldilocks (Florence Pugh) and the three bears (Ray Winstone, Olivia Colman, Samson Kayo), alongside power-craving Big Jack Horner (John Mulaney) alongside his Bakers Dozen and plethora of magical items. However, perhaps the biggest threat faced by Puss in the constantly changing magical landscape – according to whoever is holding the map to the star – is Death himself (Wagner Moura). Chasing him with an eerie whistle there’s a truly sinister nature to the darkness and threat posed by the character as he stalks the protagonist.

The visual style of the film truly comes to life when he appears, alongside the various fights that take place. Many have cited the potential anime inspirations, which are notable, within the explosions of rushing colour and the ways in which the battles are depicted. They bring an engaging energy to certain sequences and allow them to burst through the screen, further catching your attention. As do the ways in which the landscapes, and the elements within them, we see throughout the predominant chase/ race element of the film – which once started is where things truly start to move – capture your interest through their general design and style. The ways in which they change and create obstacles for the characters whilst never feeling like they just happen for the sake of narrative convenience or to add to the run-time

In relation to this, the fairy tale and nursey rhyme elements and references feel much more lived in this time around than in the previous Puss In Boots film (released 12 years ago now). They’re played around with more and allowed to feel more a part of the world, even if just for a point of effective humour. Including an occasional patch of successful self-awareness; Jack Horner’s backstory relates to the fact that his nursey rhyme was never as successful as other attractions – such as Pinocchio – and in general was quite naff and not as memorable. It’s a potentially small detail within the rest of the film but works rather well and simply adds more to keep you amused as things pan out. It’s the detail within the world/s which keeps you engaged and entertained, in this case it’s a rather good thing as these are such big parts of the film and the narrative which takes place an unfolds in a truly entertaining fashion – also managing to not jump back and forth too much between different characters in different locations.

As a whole there’s plenty of visual creativity on display to help liven up the film with its already successful humour and narrative. There’s an energy to it that helps to lift the fantastical elements in both light and dark realms. Allowing them to work together and all feel a part of the same piece. All held in through the pacing and the ways in which the narrative is kept moving along largely thanks to just how much detail there is in the various areas of the film.

Once past the prologue and build-up there’s a fine pacing to Puss In Boots: The Last Wish as its world truly feels lived in to allow for the visual energy to match that of the narrative and the well-used, amusing fairy tale elements which crop up throughout.

Cert – 15, Run-time – 1 hour 40 minutes, Director – M. Night Shyamalan

A family (Jonathan Groff, Ben Aldridge, Kristen Cui) find themselves held hostage in a holiday cabin, with four strangers (Dave Bautista, Nikki Amuka-Bird, Abby Quinn, Rupert Grint) telling them that they must choose one to kill to stop the apocalypse.

With his last couple of films M. Night Shyamalan has made some films with undoubtedly interesting ideas. They start off rather well, however over time somewhat become lost within themselves, focusing on concept over narrative and while there’s a decent film overall it’s not quite been anything great. Knock At The Cabin is another case of this, although perhaps the best of recent features such as Old and Glass.

The film starts off with a highly suspenseful nature as fathers Eric (Jonathan Groff) and Andrew (Ben Aldridge) find themselves tied up and held captive in their rented holiday cabin by four strangers (Dave Bautista, Nikki Amuka-Bird, Abby Quinn, Rupert Grint). Alongside adopted daughter Wen (a standout performance from child actor Kristen Cui) they’re told by the home-invaders that they must choose to kill one member of their family to avert the apocalypse, however the family must make the sacrifice themselves. There’s an almost instant eeriness which lingers and adds to the overall tense nature that the opening stages have. Before we even know why these strangers are here and want to be let in Bautista nails the man-with-a-reluctant-mission role when lightly talking to Cui outside the cabin, alone.

The tension is consistent throughout much of this build-up, and indeed the first act as a whole. Where it begins to dip is as we cutaway to Eric and Andrew’s past. While such moments are very brief you do sometimes question their inclusion, largely due to the fact that they break up the pace somewhat and once back in the cabin things don’t quite go back to the same level as before. It’s almost as if the film settles into itself and begins to move along from there. It’s still good and watchable and there are some interesting ideas, but it lacks the same punch and style as was there at the start. Eventually settling more into this feeling with each new flashback.

There’s certainly a fair deal of development and bursts of action here and there as the couple try to reason with those who claim visions have brought them on this mission to this highly remote location yet as the stakes appear to rise the less the film seems to ask. Generally it keeps the same question – is what these people are saying true? – and while there’s nothing bad about this it never quite expands upon it or dives into it apart from, again, in various bursts that we see through news broadcasts on the TV. The different responses from the pair – particularly Aldridge – create some interest and further help to keep you engaged in the way that things eventually pan out, especially when more movement is involved, but again it ends up feeling settled within itself and focusing more on the themes and ideas than the narrative as a whole.

The film is stopped from rising as much as it could, and having the effect that it once had and could have continued to have. There may still be interest to be found within what is there, especially when things feel as if they truly move and start to develop and change up a bit. But overall it feels too settled within itself to properly run with this feeling and allow for the strong levels of eeriness and suspense felt in the opening stages of the film to run throughout. You’re able to watch the film fine, and it still works and moves along fairly well, you just wish that it did it with a bit more push.

While it starts off with plenty of suspense Knock At The Cabin eventually settles into itself and with each cutaway or flashback it seems to loose itself within its ideas instead of the developing narrative making for something watchable but less involving.

Cert – 12, Run-time – 2 hours 31 minutes, Director – Steven Spielberg

Teenager Sammy Fabelman (Gabriel LaBelle) lives his life through what his camera observes, finding escape from his divided family life through filmmaking.

In a short pre-film message Steven Spielberg makes certain that “this is my most personal film”. A semi-autobiographical depiction of his own childhood and the formative years which led to his passion for filmmaking his experiences are re-witnessed by Sammy Fabelman (Gabriel LaBelle). A teenager who, after seeing The Greatest Show On Earth as a child (Mateo Zoryan), becomes dedicated to capturing the world through the various camera lenses he holds throughout the film. Whether it be a fictional tale, brought to life with his own interesting homemade styles and techniques, or documenting his family life every bit of editing kit, type of film and camera becomes instant knowledge and fascination to him.

However, after being told by his Uncle Boris (Judd Hirsch – in a brief yet undeniably well-performed six or seven minutes on-screen) he’s told that being split between family and art will tear him apart. It’s mentioned by his mother, Mitski (Michelle Williams) that in the Fabelmans “it’s the scientists versus the artists”. It certainly seems that way with her encouraging her son’s pursuits while her husband (a very held back Paul Dano) is more wary about his son building up experience in engineering and building up skills in algebra just in case things don’t quite take off. As Sammy films more, observing the various relationships within his family – including three sisters and dad’s friend and business partner ‘uncle’ Benny (Seth Rogen) – he begins to notice a number of truths of life within his escape.

Alongside co-writer Tony Kushner you can see the personal fingerprints within the fond memories that construct the loose narrative developments and details throughout the film. Working for both better and less better. Certainly it helps to push certain points and bring a naturalistic sense to them, and even creates a mild, but not too overpowering, feeling of wistfulness that doesn’t dive into trippy, exclusionary nostalgia. However, occasionally this does mean that some scenes feel a bit drawn out with the amount of personal details packed into them – although at two-and-a-half hours long the film as a whole moves along rather well.

Much of this is effectively tracked by LaBelle who proves an engaging lead capturing the wonderment and creativity of his character whilst also managing to get across the cogs whirring in his mind when both constructing ideas and trying to register his family perhaps falling apart in front of him. It’s the core of the film as his skills and passions begin to twist and develop around this. Learning more and more that the camera doesn’t lie and understanding how to cope with this. There are a number of interesting developments in terms of this theme as the family moves around the country for Dano’s increasing tech career. In many ways, next to the general idea of family and what the titular group go through over the course of the film, it’s a core focus highlighting the imagination and fascination of Sammy.

Perhaps this also explains why when we see more of the central figure at school in the later stages of the piece things don’t quite have the same effect. While they still work and have enough to interest and engage they do feel for a fair proportion of the time as if they deviate away from the rest of what has come beforehand. Slightly leaning away from that key point of family which is so integral to the film and the memories which are on display to focus more on Sammy suffering anti-Semitic bullying, and starting to date. Yet, there’s still plenty to enjoy with what’s present, including the occasional patches of light humour which crop up and help to further connect you to the naturalistic elements that are on display; all with that Spielberg tint, although in slightly different style to some of his more recent work. All building up to a final few minutes which may prove to be one of the highlights of the year.

While it might sometimes draw things out with the style of fond memories this also helps to engage the viewer within the interesting and well-performed family dramas of The Fabelmans. All contributing to the effectively developing points of a developing filmmaker exploring the various impacts and revelations of his passion.