Cert – PG/ Recommended for ages 6+, Run-time – 1 hour 46 minutes, Director – David Lowery

Soon to be sent to boarding school Wendy (Ever Anderson) fears that she’s growing up, only to be flown, via the magic of pixie dust, to Neverland where Peter Pan (Alexander Molony) takes on anyone who grows up, especially pirate Captain Hook (Jude Law).

David Lowery’s 2016 take on Pete’s Dragon is perhaps the best Disney live-action remake to date. Perhaps it’s because with lesser-seen initial material there was more opportunity to take it in a different direction and do something more fresh than with other features – particularly those inside Disney’s ‘Animated Classics’/ Walt Disney Animation Studios branch and label. Returning with another adaptation in the form of Peter Pan And Wendy Lowery’s fingerprints are very much over the directorial and visual style of the film. There’s a personality to it that comes through a number of times in the generally contained narrative.

Where Lowery’s identity comes through less is in those moments where it feels as if the Disney reins are being pulled in. Not so much as with Guy Ritchie’s Aladdin (where you could feel Ritchie wanting to make a darker film than Disney would allow) but still enough to make something of a clear alternation between director and studio every now and then. Perhaps this is less down to the studio and more down to the fact that there’s a strong familiarity with the story, or in this case rather idea, of Peter Pan meaning that there’s a feeling of safety within the events. While there may be some new interpretations and directions (again, the way the narrative is contained and goes from one event to the next is well-handled and the general flow is effective) as a whole it still has many of the standard, recognisable elements of a story about the boy who never grew up.

However, this, as the title so clearly states, isn’t just the story of Peter Pan. This is Peter Pan and Wendy. Wendy Darling (Ever Anderson) is the push of the film as she fears growing up due to the looming presence of boarding school. On hearing her worries Peter Pan (Alexander Molony) flies in through the window and takes her and her two brothers, John (Joshua Pickering) and Michael (Jacobi Jupe), via the magic of pixie dust (Yara Shahidi is on likable Tinker Bell duty) on a flight to Neverland.

While not always dealing with it there is a more upfront dealing with the idea of growing up here than in other adaptations of this story. Pan doesn’t entirely fear or worry about the prospect, but certainly takes against anyone who dares to do so, especially pirate Captain Hook (Jude Law seemingly having a good time hamming it up as the villain). Whilst surrounded by a world of semi-imagination and the idea of clinging onto childhood ideas – particularly when with the Lost Boys – Wendy herself confronts whether she has already grown up, and what points of childhood she can cling on to (is it really all that bad?).

There are some nice ideas which don’t always entirely come through, largely as we jump back to the pirates and what they’re up to before Pan and co come back in to save the day (with Peter himself not feeling overly present for good chunks of the film’s run-time). These ideas, and indeed simply some of the camerawork and capturing the landscape, are where Lowery (alongside co-writer Toby Halbrooks) shows his style the most and brings an identity to this particular Disney ‘reimagining’ that isn’t as present in many of the others (even if they have turned out to be good). Yet, the familiarity with a number of the key ideas, and the occasional feeling of the, albeit not-as-tightly-held, Disney reins being pulled in dampen the proceedings stopping the film from ever truly taking flight in its world of not growing up and imagination.

David Lowery’s visual style and directorial flair help to bring a feeling of personality to Peter Pan And Wendy, helping to occasionally push the conflicted feelings of not growing up within the latter’s mind. However, a mix of familiarity with the key elements and the feeling of some studio notes or influence cause some points to never truly be given the time they need.

Release Date – 28th April 2023, Cert – 12, Run-time – 1 hour 44 minutes, Director – Nida Manzoor

Teenager Ria (Priya Kansara) believes that her older sister Lena (Ritu Arya) is changing for the worse, and forgetting her passions, as she prepares to marry short-term boyfriend Salim (Akshay Khanna) in a wedding which Ria is determined to stop.

Much of Polite Society’s sharpness comes from its style. The way the fight scenes add explosive bursts of energy to the distinct lines of a colourful British comedy. This is a film with an identity. There are familiar tones and elements (in that aforementioned British vein) but there’s plenty of energy and creativity on display to make for a highly engaging piece of work hopefully on course to become a notable British title.

Teenager Ria (Priya Kansara) aspires to be a stuntwoman, making videos for YouTube displaying her skills. She works with her older sister, art school dropout Lena (Ritu Arya), on these. There’s a great chemistry between the pair as they train and party together while their parents (Shobu Kapoor, Jeff Mirza) are out of the house. However, their bond begins to fade when Lena begins a relationship with wealthy doctor Salim (Akshay Khanna). Ria believes that her sister is becoming a different person, forgetting her art and who she was before the relationship, and when the couple quickly announce their engagement she sets out to break them up. But how can she take down a man who seems so spotless?

Helping her she has best friends Clara (Seraphina Beh) and Alba (Ella Bruccoleri), making for three personalities who truly capture the feeling of an excellent friendship. Not quite the ‘weird’ kids but not amongst the popular crowd they’re slightly at a distance from the other crowds at school. The trio’s performances and chemistry bring about a number of laughs and just a highly enjoyable friendship group to truly liven up the scheming and plan execution on display. The humour comes through with ease thanks to the featured personalities and the clear effort that has gone into the screenplay from writer-director Nida Manzoor; a rapidly rising British talent following on from her acclaimed TV series We Are Lady Parts.

Amongst the humour there’s plenty of action on display. The fight scenes are well choreographed to embrace martial arts films of the past with grounded contexts and settings to allow for the drama to come through. Particularly when it comes to the threat at hand. There are some truly dark moments dotted throughout, especially when it comes to Ria’s interactions with Salim’s mother (Nimra Bucha) who creates genuine tension through her performance. Even if Ria is being constantly disproved with her increasingly dangerous attempts to prove Salim’s disguised intentions the film does a good job of posing Bucha’s Raheela as a consistent antagonist.

The blend of genres all adds to the overall style which the film wears throughout. Everything comes together to create a highly enjoyable piece of work hopefully destined to have legs beyond its initial release. The strong chemistry between the characters helps to heighten the events which take place and connects you more to the action, which itself adds flair to the overall piece feeling a strong part of it even when it might feel (effectively) tonally different. It all comes together to make for a very entertaining film that knows exactly how to work its originality into the narrative to strengthen itself. 2023 is shaping up as an excellent year for British films, and emerging British talent.

Funny, smart and effectively blending influences Polite Society is a highly entertaining piece of work showcasing a great deal of British talent with shedloads of chemistry both in front of and behind the camera.

Cert – 18, Run-time – 1 hour 37 minutes, Director – Lee Cronin

When her sister (Alyssa Sutherland) is possessed by murderous demons, Beth (Lily Sullivan) must protect her nieces (Gabrielle Echols, Nell Fisher) and nephew (Morgan Davies) and help them escape their powerless apartment block alive.

2019’s underrated chiller The Hole In The Ground is a restrained and eerie affair. Evil Dead Rise is a very different film in terms of its upfront horror. Filled with splatter and gore there’s plenty here to please fans of mad yet never quite ‘just-for-the-sake-of-it’ bloodshed. Yet, one of the biggest draws into the events is writer-director Lee Cronin’s continuing theme of familial horror. Being unsure if you can trust someone who looks like the person you know yet seems completely different. Although, here possessed mother Ellie (Alyssa Sutherland) certainly looks very different to her normal, more composed self.

There’s a very physical nature to Sutherland’s performance which adds to the creepiness of her threats and attacks. She moves like someone (or rather something) not entirely sure of how to work the various limbs and functions of the human body. Add to that the demon’s taunts and attempts to maternally talk to Ellie’s children before attacking and there’s certainly an unsettling nature to this latest form of evil dead.

Battling this force is Ellie’s younger sister Beth (Lily Sullivan), attempting to protect her nieces (Gabrielle Echols, Nell Fisher) and nephew (Morgan Davies) from the bloody onslaught. While the two older figures may try to help fight (with mixed results and various injuries to gain an audible response) it’s youngest Kassie (Fisher) who is most uncertain. After all, as mentioned, this is her mum. Why is she acting so strangely? She can trust her, right? It’s this idea that Cronin plays with very well, establishing that familial theme early on and displaying the relationships effectively before the consistent horror and violence begins, infused with the tinges of the character’s uncertainty and mistrust.

The fight begins to escape the flat and get out of the apartment building alive (a much more difficult task when you’re on the top floor). Another of the film’s biggest strengths is just how fast-paced it is. At just 97 minutes the run-time is undeniably short. Helped by the fact that you genuinely believe that the events are set over one night, or maybe even just a few short hours. Such a feeling is effectively captured and helps to move things along briskly and keep the action moving with the rising threat at hand. One with plenty of strong and effective gore and a handful of unsettling moments along the way. For those looking for enjoyable horror Evil Dead Rise likely won’t miss.

Filled with plenty of effective gore and bloodshed Evil Dead Rise underpins the upfront horror with tones of familial uncertainty for an effective piece of fast-paced action horror.

Cert – 15, Run-time – 1 hour 51 minutes, Directors – Nicholas D. Johnson, Will Merrick

When her mum (Nia Long) doesn’t return from a holiday with her new boyfriend (Ken Leung) 18-year-old June (Storm Reid) uncovers various truths about their disappearance via their online profiles.

When the fad of screen-based films first spawned it was largely used by horror films such as Unfriended. 2018’s Searching took the format and used it for purposes of tension in John Cho’s search for his missing daughter. However, after that the ‘gimmick’ generally seemed to disappear, being used less frequently (but still to effect such as in Rob Savage’s terrifying Zoom-based horror Host). Now, a sort-of-sequel to Searching arrives in the form of Missing, following 18-year-old June (Storm Reid) as she tries to find out why her mum (Nia Long) and her boyfriend Kevin (Ken Leung) haven’t returned from their brief holiday to Colombia.

Perhaps the key to Missing’s engagement is that the display feels genuine. From a montage of party sequences (cue Snapchat and Instagram updates) as June celebrates having the house to herself to sticky notes littered all over the desktop you believe that this is indeed an 18-year-old’s computer filled with increasing and frantic details. Much of this is helped by Reid’s excellent central performance. It could be so easy to simply put your engagement, and some of the tension, down to the format, however Reid leads the film with a strong turn capturing her character’s fear, panic and disbelief at every turn.

And there are many turns. Having seen the trailer I was worried that many of the twists and revelations had been given away, however there’s plenty left for the film to surprise you with. At certain points the build-up, or perhaps effective drawing out, of reveals is met with an open-mouth constructed with shock and some glee at just how well the rug has been pulled. The mystery is layered with plenty to not see coming and the screen-based format is used to help boost this with plenty of effect in the way the developments are captured. Whether through delving into personal accounts of those who have gone missing, or through hiring someone to find clues on the Colombian equivalent of TaskRabbit (Joaquim de Almeida’s Javi).

For much of the run-time the fast pace helps to keep you involved in the search, allowing for there to always be something to be involved in. All making the third act all the more disappointing. There’s a somewhat predictable nature to the overdone change in style and tone of the third act. It’s a segment all on its own, standing aside from everything else – including the very final few minutes – heightening false darkness with confused melodrama for a very strange set of events. It’s a late-stage fumble for what could otherwise be a thoroughly excellent thriller. Everything that comes beforehand still holds up, and there’s still a very enjoyable film here, it’s just that the final developments are something of an overdone let-down with strong stylistic and tonal changes which are never for the better.

Missing effectively makes the most of its screen format to strengthen its reveals and developments. Alongside Storm Reid’s strong central performance there’s a lot to be engaged and intrigued by. If only it didn’t falter in the overdone and predictable third act.

Cert – PG, Run-time – 2 hours 2 minutes, Director – Makoto Shinkai

After following a stranger (Hokuto Matsumura) to an abandoned building, teenager Suzume (Nanoka Hara) finds herself travelling across Japan to stop otherworldly forces from causing disastrous earthquakes.

Bear in mind that we’re still to see Across The Spider-Verse and Pixar’s Elemental, but Suzume may very well be the most visually stunning animated film of the year. The way its settings shine off the screen and truly get across the almost unbelievable fantastical nature leaves you in awe of the animation on plenty of occasions from the opening stages. It’s also thanks to the animation that tone is so easily established in so many settings. We see two different occasions where a chair chases a cat through the streets of Japan. both very different. One leads to plenty of chuckles, the other a good deal of effective tension. All thanks to the style of the animation, the shots that are used and the way in which both scenarios are generally presented; alongside the inviting score from Kazuma Jinnouchi and band Radwimps.

Throughout the journey we follow teenager Suzume (Nanoka Hara) who after following stranger Souta (Hokuto Matsumura) to an abandoned building in her town discovers a door to another world. From this world escapes a giant red worm, sprawling with multiple strands across the sky of her town, only being stopped if the door to its world is closed and locked in time. Otherwise it will fall and destroy her home in a disastrous earthquake. Its for this reason that she ends up travelling across the country with Souta, although racing against time trying to find where the forces will meet to stop these events being risked for another generation.

Along the way they’re taunted by a small cat ridiculing their attempts, and seemingly trying to stop them from progressing. Perhaps not quite an antagonist, there’s an amusing yet eerie sense to the character, helped by the childlike voice (Ann Yamane) and just where and how it appears throughout the story. Soon it almost seems to Suzume and Souta that they’re following the cat rather than the events. With such appearances, and the unknown nature of if and where worms may emerge (when found a number of locations are rather cleverly dealt with and built in), there’s a well-structured narrative taking place. One which moves along quickly and makes the most of your engagement, knowing how to increase it and keep the viewer in place.

It therefore seems somewhat strange when the third act comes along and there’s something of a tonal shift. The course of the narrative changes and it takes a few minutes to adjust and almost re-engage with the film as a whole. While some original footing is regained, particularly when it comes to the action sequences, with some of the character interactions there’s a different tone and style to the proceedings which almost feels separate to the tight, well-flowing events that have taken place over the previous 80-85 minutes. Things gradually rise back up during the aforementioned moments of action, but it takes some time to get there before things are quickly wrapped up. The animation may still be spectacular, and there’s plenty to enjoy, including patches of appreciated humour (it shouldn’t be understated just how funny Suzume is) and the strength of the fantastical elements, just for a while in a slightly different tone and style.

Visually stunning, contributing to both humour and fantastical tension, there’s a lot to like about Suzume and the world it transports you to. The latter stages may feel like a tonal and stylistic shift, but it gradually climbs back for an enjoyable ending.

Cert – 15, Run-time – 1 hour 33 minutes, Director – Chris McKay

After decades of serving Dracula (Nicolas Cage), assistant Renfield (Nicholas Hoult) wants out, however it’s difficult when interacting with the police and the most powerful crime family in New Orleans.

For those going to Renfield for Nicolas Cage giving a rather Nicolas Cage performance as Dracula you’re unlikely to be disappointed. While not flooding the film he’s certainly in it more than you might expect from the trailers. He’s clearly enjoying giving his raspy performance, commanding familiar Renfield (Nicholas Hoult) to bring him more innocent victims whose blood can help bring him back to full power. While Cage is enjoyable the element which truly pushes his performance is the make-up which constructs a gradually repairing Dracula, after almost being burned alive at the start of the film.

He and Renfield take to New Orleans after an attack from hunters try to take the count down. There Hoult’s character attends meetings for those in toxic and co-dependent relationships, listening to their stories and attacking their partners to take to Dracula. However, none of this is enough – “I don’t ask for much, Renfield. Just the blood of a few dozen innocent victims” – a life of just drinking blood isn’t enough. Dracula wants the achieve world domination, and its this which finally pushes his assistant away from him. Going for a life of his own Renfield starts to try to help people instead of killing them. However, this winds him into interactions with the police, particularly officer Rebecca (Awkwafina) – the only non-corrupt officer in the force, it seems – and the most powerful crime family in the city, the Lobos.

The narrative winds in and out of each perspective as each side-character, or at least person Renfield seems to form a relationship with, gets their own subplot. Certain points may wind themselves into the core narrative, but a number of scenes never quite feel like they’re adding context to a moment or pushing the threat to be faced, instead like they’re forming a new strand to follow. With so much going on, and with the general tone and style of the film, things often feel better suited to a TV show. A number of scenes feel like a feature adaptation of a series and as a whole with everything that happens 93 minutes seems like the right amount of time for this particular film.

There are handfuls of amusement throughout and a generally enjoyable tone yet often the things that generate the most response are the visual details. As mentioned there’s a lot to like about the occasional Dracula makeup, but also the splatter and gore shown in a number of action sequences provides a lot to enjoy. For a film that could so easily play into the 12 rated category it leans into the 15/ R certificate bloodshed with a visible grin. It’s such points in the film, alongside the light humour, which brings in the entertainment factor and manages to keep you engaged throughout. It’s very much a film to sit down, switch off and simply enjoy for what it is for around 90 minutes.

While certain aspects within the subplot-filled narrative may feel better suited to a TV series there’s enough humour and splatter within Renfield to keep audiences amused and engaged for its comfortable 93 minute run-time.

Release Date – 14th April 2023, Cert – 12, Run-time – 2 hours 1 minute, Director – Tarik Saleh

Having recently arrived in Cairo to attend university Adam (Tawfeek Barhom) finds himself caught up as a pawn in a power battle between religion and state.

Cairo Conspiracy isn’t a thriller of tension, instead it’s one of dramatic intrigue. As a power battle plays out between religion and state interest is created through the general style in which writer-director Tarik Saleh displays the world which whole occasionally spilling into the streets is confined within the walls of Al-Azhar university. An already unfamiliar setting for central figure Adam (Tawfeek Barhom), the son of a fisherman from a remote town he hopes to one day become an imam after having shown promise for many years with his knowledge. However, he quickly finds himself becoming a pawn in the bid for power from the state, looking to control the next Grand Imam after the previous figure suddenly passes away.

Rising up the ranks through various groups and assistant roles Adam reports much of his work and findings back to Colonel Ibrahim (Fares Fares) from State Security, who himself is closely linked to the bid to seize power. At times certain points about the battle between religion and state are slightly forgotten about as various elements of Adam’s journey are drawn out as the main point at hand. Yes, it links to the reason for much of this happening, but it does feel as if what the central figure is doing at a particular time is more of an isolated focus than anything else at certain times.

There’s a rather slow burn nature to the proceedings which if anything adds to the style in which things are captured. They allow you to become more caught up within the events and the way in which they pan out; it fits the world in which this story is taking place in. While there may be a wish for more darkness and bite during a handful of scenes, particularly those up-close and personal moments which truly show the threat at hand, as whole the film tells its story rather well within its just-about-comfortable time frame. Occasionally the gradual pacing may put you at a slight distance, largely when Adam’s almost chaptered story is isolated from everything around it, but the more things develop, particularly in the final half an hour, the more the intrigue increases and makes for a more engaging piece of work.

Things move along well enough and while they might not have the darkness which could emphasise certain points and bring about a sense of tension the dramatic sensibilities held within the world of the film are enough to help things move along. Occasionally there might be a separated feeling to the events, especially around the midpoint of the film, but there’s enough to like and find some form of interest in (perhaps personally pushed by a lack of familiarity with the location and some of the workings which the film depicts) to make for worthwhile viewing.

The slow burn nature of Cairo Conspiracy helps to push the dramatic intrigue and the contained world in which the events pan out, while occasionally the central character’s perspective may separate from the base of the film there’s an interesting enough set of events which eventually smooth out to make for solid viewing.

Release Date – 21st April 2023, Cert – 15, Run-time – 1 hour 44 minutes, Director – Daniel Goldhaber

A group of environmental activists plan to blow up a pipeline of a major oil refinery, some to make a statement others to act out personal revenge.

Perhaps the biggest asset held within How To Blow Up A Pipeline is the fact that the characters are the centre of it are flawed. The group of environmental activists aren’t gleaming heroes, nor are they overdone stereotypes of a political viewpoint. Instead, we see through individual flashbacks the reasons for their getting involved in the scheme which acts as the core of the film. Some wanting to properly make a difference and cause disruption because of climate change, others because their lives and health have been affected by living nearby to an oil refinery. It’s through these flashbacks that we see more of their flaws, bringing about more of a naturalistic feel to the proceedings and further engaging you in each moment.

The central events are those concerned with the actual idea of blowing up a pipeline. Bit by bit we see the group working on explosives, digging spots to hide barrels and dealing with the landscape around them. There’s an unspecified tension to a number of moments as things begin to go slightly wrong. The feeling calls back to Bart Layton’s brilliant American Animals as something that has clearly been so specifically planned with attention to every detail that if it goes any differently chaos might ensue. When dealing with explosives there’s an extra sense of jeopardy.

As the tension builds with each development it still feels uncertain as to whether it’s for the characters (some of them strangers scattered across America, some meeting for the first time in the middle of the Texan desert) at the centre of the piece, the plan itself or anyone who might be nearby (even if the landscape does seem to be almost entirely empty apart from one or two small structures, including the pipeline). When we reach flashbacks, some of which are excellently (and cruelly) cut into sustaining suspense, things are well timed and placed so as to not distract from the main set of events, or cause you to forget them, and in general move along rather well. Even the third act knows not to draw things out for the most part.

There’s an engaging piece of work within How To Blow Up A Pipeline. It brings you in to the events and adds details through the flaws and personal backstories of the ensemble acting out the plot. They know what they’re doing, there are worries about it – the film doesn’t hesitate to discuss the character’s views on this as terrorism – and while some may be somewhat hesitant there are others who are simply angry and clearly driven by that, perhaps not always in the best possible way for themselves. The film is undeniably political, but it feels as if personal politics don’t frequently dominate the direction things take as there is discussion as to whether this is the right thing to do and indeed the film doesn’t condone all the behaviour on display (again, it acknowledges and finds strength in the fact that these are flawed figures). It adds to the natural feel which is present throughout and makes for a more engaging, and tense, piece of work. Perhaps sometimes helped by the fact that you don’t always know, at least in the opening stages, who or what the tension is for.

Tense and largely well-paced How To Blow Up A Pipeline’s biggest success is in depicting its characters as flawed. Bringing in more naturalism and believability it doesn’t resort to heavy cliché at either end of the political scale and instead all helping to add to the occasional tension throughout.

Cert – 15, Run-time – 1 hour 54 minutes, Director – Guy Ritchie

A spy (Jason Statham) finds himself quickly leading a new team as he competes with former crew members to stop a billionaire (Hugh Grant) from spreading advanced weapons technology

The central character of Operation Fortune: Ruse de Guerre is called Orson Fortune. Orson Fortune is played Jason Statham. This should be enough to tell you what the film is like. A decent enough actioner with a handful of humour every now and then to help it along. Yet, there may be part of the naming of Orson Fortune which brings about a slightly self-aware nature to the film. Perhaps looking into things a bit too much, but there certainly seems to be a sense of self-awareness during moments where characters say in full seriousness lines such as “turns out there’s a reason they call him the Dark Angel of Merciless Death, Mike!” and “he’s not hot you idiots, he has a heart condition”.

Certainly in the opening stages the cast don’t appear to be taking things completely seriously. There’s a sense of fun to the proceedings as they border on rather enjoyable parody, creating a number of chuckles at the silliness of what’s on display as genre conventions – the likes of which co-writer (alongside Ivan Atkinson and Marn Davies) and director Guy Ritchie has played with before – appear to be poked at. Statham and his assembled team, including hacker Sarah (Aubrey Plaza) and Hollywood actor Danny Francesco (Josh Hartnett) at the fore, are competing with many of his former spy crew as they try to get close to billionaire Greg Simmonds (Hugh Grant), who poses the threat of spreading brand new advanced weapons technology around the world.

Throughout Grant’s eccentric, slightly campy performance leans into both the accent and the occasional silliness of the film. He’s the consistent highlight of the film from the moment he first appears on screen. Understanding the tone that the film perhaps should have, and initially lands rather well, it’s hard not to want to gleefully giggle at each line of dialogue which leaves his character’s mouth. While other performances around him might float in and out of seeming to take things seriously – gradually being more in a direct line than anything else, although still bringing about some clearly intentional comedy – there’s still a sign that not all has been lost and that this isn’t all meant to be a straight-faced actioner.

The narrative jumps from place to place with multiple sunny, foreign locations acting as the backdrops to this globetrotting venture and at times through this brings in a sense of familiarity. The lack of self-awareness which appeared to be present beforehand isn’t as prominent here meaning that convention seems to be convention more than anything else. With each new location things begin to feel drawn out and slightly lengthy within the film’s just under two hour run-time. There are still moments of amusement here and there but by not being as unserious as the opening stages might imply the familiarity dilutes the course of the film and make for something slightly less enjoyable as Ritchie settles into comfortable territory. If the self-awareness were present all the way through then this may well be an intensely enjoyable time, but for what is there there’s entertaining, if drawn out, viewing.

Operation Fortune: Ruse de Guerre works best when feeling self-aware and those involved provide a knowing wink. It might become familiar territory for Guy Ritchie the more it goes on, but there are still patches of amusement here and there to help move things along.

Cert – 15, Run-time – 1 hour 52 minutes, Director – Ben Affleck

Basketball talent scout Sonny Vaccaro (Matt Damon) is looking for the next great player to sell a shoe on for struggling Nike, placing hundreds of thousands of dollars on Michael Jordan (Damien Delano Young)

The Nike rules often act as chapter headings throughout Ben Affleck’s latest directorial outing, Air. They’re spread across a wall in CEO Phil Knight’s (Affleck) office, where he frequently meets with talent scout Sonny Vaccaro (Matt Damon) to disparage his ideas on how to grow the brand’s basketball division. At risk of being shut down Sonny believes that he has the answer in forming a shoe around an athlete, the next rookie player yet to do great things in the NBA. It’s 1984 and Michael Jordan (Damien Delano Young, almost always shown from the back) is just about to enter the scene, and he’s also being observed by the likes of Adidas and Converse – the two market leaders at the time.

Rule 9 opens the film stating that “it won’t be pretty”. A statement which implies we’re going to see a series of heated arguments and struggles throughout the film. Certainly, there are arguments and struggles but whether they become truly heated and intense is a different matter. There’s a traditional feel to the film as a whole as we see various conversations in various rooms about trying to secure a deal that will likely save Nike if it goes ahead. The tone and style of Air are generally rather calm and push across the feeling of low-stakes drama, perhaps not quite what’s hoped for, as the traditional stylings become increasingly felt as we move from conversation to conversation. Rule 3 encouraging “break the rules” doesn’t quite seem to be observed here. As the characters fondly remember “the old Nike days” the film calls back to those of years gone by, without itself feeling dated.

When bringing the elements together, or in this case the various characters who Sonny deals with in his struggle to bring about the career-defining move, the film is at its best. A boardroom meeting in particular acts as one of the film’s highlights as the long-built-up-to pitch finally takes place. The key characters are present, including Viola Davis as Jordan’s mother Deloris who feels very sidelined in the story, especially as such a pivotal figure, and the themes at play summarise everything that has come beforehand, and what this is all for, rather well.

Michael Jordan’s name is used frequently throughout to remind us as to just what’s at stake, alongside various careers and an entire major business/ company, yet it’s very much apparent that this is a film largely about Sonny. Damon’s character is certainly at the centre of everything with most other characters being at the side coming in to play whenever relevant or needed for him to bounce off of. This especially being the case for Viola Davis as Jordan’s mother Deloris, a key player in the negotiation and search for a shoe deal for her son yet often only really present for key moments where she can help move things along and speak for the largely unseen player.

Things move along and are generally watchable throughout, if occasionally rather slow due to not being entirely engaging. Events may suffer from the fact that this is largely a rather direct drama about a shoe, albeit an iconic one but when the elements come together to work as one in the moment that’s when the highlights of the film appear. There’s a light spark, a burst of energy, when you can tell the characters have the same in their eyes and minds, the decision to add more red to the shoe is genuinely one of the best moments in the film. Such moments may be infrequent, but they make the film and particularly add to the better second half as much of the build up of the initial conversations pays off. As a whole Air doesn’t quite go as out there as the Nike rules may hope, but it makes for a likable traditional drama.

Air is very much in the traditional vein, it tells its story well enough and makes for a likable, if occasionally lacking feature. However, while largely watchable, it does suffer from the fact that it’s largely about a, admittedly iconic, shoe.