Release Date – 28th October 2022, Cert – 15, Run-time – 1 hour 56 minutes, Director – Nicholas Stoller

Whilst preparing to opening America’s first LGBTQ+ museum Bobby (Billy Eichner) finds himself moving away from a life of casual hook-ups as he becomes romantically involved with also struggling-to-commit Aaron (Luke Macfarlane).

Bros commits the cinematic sin of being a rom-com that’s over 90 minutes long, and it doesn’t quite get away with it. While still having a number of laughs along the way you can feel the run-time being drawn-out as it starts to wrap up the various elements that it’s dealing with. You can also feel that it’s still eager to explore and develop certain points and wants to show more while knowing that it needs to wrap itself up. This is largely down to the fact that while it plays along the lines of a traditional rom-com it unashamedly leans into its big promotional angle of being ‘the first major studio gay rom-com’, also featuring an entirely LGBTQ+ central cast. Helping to provide a number of good jokes along the way while never completely jumping into the prominence of the narrative.

Billy Eichner leads in an against-type performance as Bobby, a recently-turned-40 gay influencer with a successful podcast and series of children’s books about LGBTQ+ history. After the prospect of writing a movie fall through when his views of gay romance don’t match those of the studio his sights are turned to America’s first LGBTQ+ museum. The opening is rapidly approaching however there’s disagreement as to what the big final exhibit should be. Should it be dedicated to the idea that Abraham Lincoln was a closeted homosexual, or should it be a Hall Of Bisexuals? Each figure has their own strong views, perhaps none more so that Jim Rash’s scene-stealing Robert, leading to a number of chuckles within the representation-based arguments.

However, Bobby’s focus isn’t entirely in the museum as he begins to enter into a relationship with will lawyer Aaron (Luke Macfarlane). Both are very much single and spend their free time engaging in quick hook-ups with matches on Grindr. However, despite initial hesitancy from both parties a bond begins to form between them. It shouldn’t work “we’re from different worlds. I’m from New York City, you’re from upstate New York”, but it’s made clear through the more intimate scenes between them – as opposed to the humour and lack of emphasis in other sex scenes in the film – that there’s something between them.

Amongst this there’s a clear self-awareness from the film about the relationships it’s depicting and gay representation in pop-culture. Certain scenes, such as Bobby and Aaron leaving another gay cowboy movie led by straight actors or the Hallmark channel now making more inclusive Christmas films such as “A Holly Poly Christmas”, are pitched with an effective satire. It leans into the ‘first of its kind’ push that the film has without, again, feeling overbearing or the main element of the film, the narrative is consistently remembered. Yes, it may mean that the run-time is pushed, but there’s still plenty of amusement to be found within the various laughs held in the third act and its more largely traditional rom-com stylings. With certain moments it’ll be interesting to see how well this film ages, more in regards to its rather modern leanings and the ways in which the likes of dating apps, etc play into Bobby’s life, but while that’s a point for the film in the future for now it all works rather well in the film’s context.

Amongst the humour it almost takes you by surprise when the film delves into a more serious strand. Particularly in an effective character-based monologue from Bobby when sat on a beach with Aaron. The film as a whole works rather well from its frequently acknowledged landmark studio movie perspective while never forgetting the core narrative/s at the centre of it. It might lead to it feeling slightly busy in the final stages where you begin to feel the run-time, but there are still plenty of laughs within co-writers Billy Eichner and Nicholas Stoller’s (who also serves as director) screenplay. Bros remembers its rom-com basis and travels along those lines rather well. Presenting plenty of amusement and satire along the way.

Amongst its self-aware satire and enjoyable humour Bros doesn’t forget its traditional rom-com leanings and narrative. It effectively comes together and while leading to a slightly pushed run-time there’s plenty of laughs to be had along the way.

Cert – 12, Run-time – 2 hours 5 minutes, Director – Jaume Collet-Serra

Having been imprisoned for almost 5000 years Teth Adam (Dwayne Johnson) is unleashed on modern day Kahndaq, with the powers of the gods, looking to finally finish long-sought revenge.

A cinematic depiction of DC’s antihero Black Adam has been in the works since around 2006. Dwayne Johnson has been attached to the role since not long after. While the character, and indeed the film which he leads, has likely taken different forms over that time – including having gone from the antagonist in a Shazam feature to leading his own film – you’d be excused when watching the film for believing that little has changed in that time.

As the central figure of Teth Adam (Johnson) is unleashed in the modern day city of Kahndaq, after having spent almost 5000 years imprisoned, his powers-of-the-gods lead to almost instant chaos and destruction. It catches the attention of the Justice Society, led by Pierce Brosnan’s Dr Fate and Aldis Hodge’s Hawkman. Their aim is to get Adam to say ‘Shazam’, thus removing his powers, before imprisoning him again so that he no longer poses a threat to the world. However, eventually, after a string of chaptered fight sequences which show off each character’s powers – including newbies to field work Cyclone (Quintessa Swindell) and Atom Smasher (Noah Centineo) – all must come together to defeat a potentially stronger threat which links to an ancient crown.

Admittedly, once everyone has come together there is a more direct feeling to the film. It no longer frantically jumps from character to character, feeling less crammed in and generally giving itself a bit more space to breathe. Not to mention a more solid answer to ‘who are we meant to be supporting here?’. Also along for the ride are Adrianna (Sarah Shahi) – the person who brings Teth Adam back in the first place whilst being chased down by mercenaries in a tomb where she believes the integral crown is hidden – and her superhero-obsessed son Amon (Bodhi Sabongui). The relationship between Adam and Amon strikes a feeling of a one-sided Shazam. Amon’s discussion of catchphrases and comic-books is met with a stony-faced, often silence and confused, response as the hero in front of him is more focused on getting revenge and answers.

It’s made clear that this particular hero doesn’t follow the rules. The trailers have highlighted that he’s a hero who kills, and certainly his constant flinging of people from great heights and distances solidifies this point. And while sometimes his responses and differing approach to the Justice Society is a potential source of humour there’s never quite a response due to just how straight the character is played. If anything it just causes him to come across as arrogant in his amoral nature and therefore brings an unlikable sense to the character. With all the constant reminders of Shazam, largely held in that relationship between hero and child which feel like they could just be outtakes from that very film, you sometimes can’t help but think of the character as Angry Shazam. There’s a strong lack of subtlety during one particular fight scene where various close-ups show superhero posters and logos being ripped and torn.

While there are some moments which manage to slightly pull you back in, and certainly this may prove to be amusing and watchable enough for some audiences – the humour may perhaps work better for others, too – the structure of the film soon gets in the way. There are multiple points where, while you know it isn’t, it starts to feel as if it’s bringing itself to a close before suddenly bringing in a new point and remembering to resolve something else. As a whole the film doesn’t feel divided up into stages, but you can occasionally – particularly in the second half – see the seams between ideas and sequences.

Again, there are those for whom Black Adam may prove to work for. Whether they be fans of DC – Zack Snyder fans may get a kick from a number of slow-mo sequences which feel to have been inspired by him – or simply people who have been looking forward to seeing Dwayne Johnson in this role for a long time. It’s a shame that the character doesn’t always come across with the perhaps PG-13 sense of amoral ‘fun’ that’s intended, and as a whole leads to a number of tonally confused scenes and instances. The film as a whole, while providing some watchable sequences within its lengthy action, simply feels weighed down by its structural and narrative issues that it never has the chance to fully take off. The promises that the hierarchy of power in the DC Universe is about to change now feel more akin to the character’s opinion of himself and his (undeniably insanely strong) powers than anything else.

Black Adam’s tonal inconsistency means that it never quite strikes the tone that it perhaps wants, instead occasionally feeling like a set of outtakes from a Shazam of 16 years ago with a more arrogant lead character. Bring in a fluctuating structure and narrative direction and as a whole it never quite fully comes together.

Cert – 15, Run-time – 2 hours 14 minutes, Director – David O. Russell

Two years-long military friends (Christian Bale, John David Washington) attempt to investigate the murder of their former commanding officer (Ed Begley Jr.), leading them to a mysterious former friend (Margot Robbie), part of a broken bond from World War One.

For anyone who has seen the trailers for Amsterdam you’re likely aware of the absolutely stacked cast that makes up the latest film from writer-director David O. Russell. It’s a fun cast, all of whom appear to have been having a rather good time making this film. This comes across and allows you to engage with them and become caught up within the fast-paced opening stages of the piece. It’s lucky that you’re able to engage with these performances in this way so early on as on a number of occasions throughout the 2 hour+ run-time the cast are doing a lot of the lifting in terms of keeping the audience in place throughout the sprawling, winding narrative.

O. Russell appears to acknowledge this as often characters in scenarios are focused on more than the actual narrative itself. This comes in the form of various attempted gags planted into each scene. While some lift off it’s clear that others are being pushed a bit too hard and therefore gain a slightly awkward reception, particularly in scenes and interactions which seem to simply lengthen the run-time of this not-quite murder-mystery.

We’re certainly not in the confines of a standard whodunnit with Amsterdam, while some have claimed it as a murder-mystery it doesn’t quite follow those lines or generally feel like one. We follow the pair accused of murdering the daughter (Taylor Swift) of their former commanding officer from World War One (Ed Begley Jr.), whose own death is the source of interest and confusion for them. Therefore military pals Burt (Christian Bale) and Harold (John David Washington) set out to find the real culprit and prove their innocence before it’s too late. An aim which leads them back to an old friend from their military days, nurse Valerie (Margot Robbie) who helped the pair in Amsterdam over ten years earlier towards the end of the war. There they formed a close bond and pact, both of which appear to have been broken over time.

Not much time is spent exploring this point as the trio rush around exploring the increasingly complex and wide-spreading murder plot at the core of the film. Figures from their past – including government intelligence and part-time glass salesmen Henry (Michael Shannon) and Paul (Mike Myers) – begin to reappear or provide assistance. As things progress you begin to notice the cracks and weaknesses within the screenplay, particularly when it comes to the amount of elements that it deals with as additions and details linked to the main narrative. It becomes more apparent that the initial engagement you create with the ensemble cast (which also includes the likes of Zoe Saldana, Anya Taylor-Joy, Robert De Niro, Rami Malek, Chris Rock, Andrea Riseborough and more) is the biggest factor of your engagement with the film.

There are entertaining moments dotted throughout the film. Often held within pacier sequences which still manage to hold the relatively lighter, breezy tone of the film. A transition from the entertaining opening stages to a lengthy, explanatory flashback sequence demonstrates the fluctuations of the film early on. Demonstrating early on that your connection with the fun ensemble cast keeps you generally engaged with the film. Perhaps without them this would have ended up as something more alike to the patchy screenplay.

Despite its winding narrative and the increasingly noticeable weakness of the screenplay the early connection you form with the fun ensemble cast which leads the film, and at times the scenarios within it, manages to lift Amsterdam and stop it running off the rails.

Cert – 18, Run-time – 1 hour 51 minutes, Director – David Gordon Green

Four years after his Halloween killing spree Michael Myers (James Jude Courtney/ Nick Castle) returns for one final time, in more ways than one, to take down Laurie Strode (Jamie Lee Curtis).

As a general film Halloween Ends is pretty good. As a Halloween film it’s naff. As a warning before going any further, I rather liked it. It’s been interesting to see the advertising campaign for the culmination of this reboot trilogy. While there’s certainly been a presence of posters, interviews and social media marketing they’ve largely held back on details – focusing on what’s supposed to be the intense final clash between Michael Myers (James Jude Courtney/ Nick Castle) and Laurie Strode (Jamie Lee Curtis). Even the main trailer has focused on this decades-long battle, providing little other details of the film.

With this in mind it seems something of a surprise that the first two thirds of the film follows the arc of newly introduced character Corey (Rohan Campbell). He’s been an outcast for a number of years since being accused of killing a child he was babysitting – a sequence which opens the film in rather dramatic, and shocking, fashion. Ever since he’s been both tormented and feared by what everyone thinks he is. “Because your boogeyman disappeared they needed a new one” Laurie is told by Corey’s mother (Joanne Baron) as she sees her son begin to change as he enters a relationship with Andi Matichak’s Allyson – Laurie’s granddaughter.

Both appear to respond to the looks and rumours about them differently, especially after one has their own interaction with the masked villain of the franchise. It leads Corey to begin to go down a somewhat cheesy, but still interesting, arc when it comes to the way that he develops over the course of the nearly two hour run-time – which manages to go by fairly well. There’s a point within this strand about the spread of evil and perhaps even where it comes from. It’s likely to be, and has proven so, divisive particularly within the slasher bracket of a Halloween film – again, for fans of the franchise going in expecting the core to be the confrontation between Myers and Strode this is not that film and will potentially prove disappointing.

It takes some time to actually get to that point and as a whole the event feels brief. There’s certainly a fair deal of wincing from the viewer as the third act arrives at more conventional Halloween territory, perhaps a slight step down from the rest of the film. You can tell that it knows it needs to wrap things up and starts to quickly pace certain elements so that it can get to the main selling point. Allowing for Laurie Strode – who up until this point has felt like a rather different character, pushing the idea that this occasionally feels like a different film outside of the franchise as it’s largely known, as she finds herself in a better place away from Myers and working on a book about her trauma – to finally fight back.

The horror often comes not in jump scares or the gore that’s on display, although when there is blood there’s certainly a fair deal of it, but in the potential darkness of the narrative. It’s not overly heavy, but it helps to get across the core ideas of the film a bit better, especially within Corey’s progression. The slasher elements are definitely present in the third act where much of what’s been expected and advertised arrived. There’s just another two thirds beforehand that will prove to split the audience due to the introduction of a new core character whose arc leads the film to feel almost something separate from the rest of the trilogy it’s closing. But, amongst the conventions that it displays there is a fair deal of engagement to be found in it and some of the places that it goes, largely helped by the fact that much of it has been kept quiet/ unrevealed in the marketing.

As a general film Halloween Ends is rather good. As a Halloween film it’s perhaps not going to work with fans of the franchise in particular. For what it does there’s a level of interest and engagement to be found within the main character progression, and of course some good winces in the eventual finale.

Cert – 12, Run-time – 1 hour 48 minutes, Director – Stephen Frears

After seeing a performance of Richard III, and feeling underappreciated at work, Philippa (Sally Hawkins) sets out to try and find the body of the misunderstood monarch.

The Lost King is very much one of those films that shows you everything in the trailer. Admittedly, the subject matter (or at least part of it) was headline news. The side perhaps not told as much is that which forms the narrative of Stephen Frears’ latest directorial outing (written by Philomena, also directed by Frears, duo Steve Coogan and Jeff Pope) as we follow Sally Hawkins’ Philippa Langley. Feeling underappreciated at work after newer, younger employees are given heavy promotions she’s inspired to set out on her own adventure after a trip to the theatre to see Richard III.

As the performance of the actor playing the titular monarch (Harry Lloyd) begins to linger in Philippa’s mind she finds herself researching his life; attending society meetings where the group claims the king was misunderstood and painted falsely by Tudor society. And with this she goes on a mission to try and find the body of the titular lost king, finding further inspiration when he appears to her (again in the form of Lloyd) in various visions throughout the film. She’s adamant about proving innocence for the figure – frequently emphasising phrases along the lines of innocent until prove guilty, which gradually become quite laboured when overused in a scene.

There are a handful of elements throughout the film where, even if based on true events, when they appear feel somewhat forced and tenuous. There’s a feeling of ‘of course’ present in certain instances. There may be some interest here and there when it comes to some revelations – while some of the course may feel rooted in convention, interactions and conflictions with the University of Leicester, represented largely by Lee Ingleby’s Richard Taylor, does help to bring a bit more to the film – a handful of elements feel as if they’re simply padding out the run-time.

For a good proportion of The Lost King’s 108 minute course it feels as if things are being slightly stretched out. While such points may still be watchable and there’s still a level of engagement with the film and the unfolding events it feels as if what you’re seeing would generally be better suited to a 60 minute one-off special. You’re kept in place by the mild amusement that’s provided – there are a couple of chuckles to be had along the way – however as a whole the film’s perhaps likely to be quite forgettable. There’s a lot of passion displayed by some of the characters, particularly Sally Hawkins’ well-performed central figure, but that doesn’t always make its way to the audience. It ultimately makes The Lost King something watchable whilst its on, but not likely to leave a lasting impact.

While it’s largely watchable there’s a lot within The Lost King which causes it to feel padded out and at times tenuous, even if sticking to real events.

Cert – 18, Run-time – 2 hours 46 minutes, Director – Andrew Dominik

As Norma Jeane (Ana de Armas) experiences a fast-track rise through Hollywood fame her life merges with her screen persona of Marilyn Monroe, both are taken advantage of and abused throughout lives of tragedy.

For those going into Blonde expecting a Marilyn Monroe biopic you’re very likely to be disappointed. However, if you go in expecting an exploitation film with Marilyn Monroe as the main character, perhaps the better initial mindset to have, you’re also not going to be completely catered to throughout the film’s nearly three hour run-time. However, it’s this tone and style which writer-director Andrew Dominik’s film largely leans towards in the opening 20-30 minutes. We see the early childhood of Norma Jeane Mortensen (Lily Fisher), spent with her mentally unstable mother (Julianne Nicholson) before being left at an orphanage by a neighbour. If Baz Luhrmann’s Elvis threw all the glitz, glamour and spinning cameras in the opening stages, Blonde sets a heavy tone of tragedy and dark despair in its opening stages.

It feels slightly odd going from seeing a young child crying “I’m not an orphan” to an instant cut into a montage of now grown-up Norma Jeane (Ana de Armas) beginning to take the form of Marilyn Monroe in a series of pin-up photo shoots. The film is brief with a number of its moments. Feeling like a set of montage-like sets of sequences its such moments which focus most on the hardship of Monroe as she hurtles into higher and higher levels of fame. Only to be met with further abuse from key studio figures and multiple tragedies in her personal life, from rocky marriages to unwanted abortions and miscarriages. There’s no denying that this certainly isn’t an easy watch at times, perhaps unhelped by the distance that there seems to be from Domink to his subject.

A subject who becomes split in her own life. Trying her best to live her own life and not be taken over by the idealised persona of Marilyn, the person who everybody loves and yet is subject to much of the hurt and suffering within her career. It feels at times as if she’d give anything to drop her ‘movie-star lifestyle’ (“I want to begin again from zero. I want to live in another world, away from Hollywood”) for a quiet family life, or perhaps a stage career. It’s during the quieter scenes which focus on Monroe verbalising her feelings, particularly in a handful of monologues and auditions, as she tries to deal with living almost two lives and the pain which comes with each of them that the film perhaps works best. It continues to lean away from a mainstream feeling and there’s some interest to be found in it, largely thanks to de Armas’ performance – even if every now and then you do still see her coming through (it’s a hard task to try and capture Marilyn Monroe, especially in a film such as this, after all; but she still gives a good turn regardless).

As we travel through the years and trials of the central figure’s life the visual style occasionally changes to match a particularly filmic look. While largely in black and white we occasionally get glimpses of colour, alongside a changing aspect ratio. It’s a relatively unintrusive set of decisions which generally help to push the visual style and solidify the fact that the cinematography by Chayse Irvin throughout the film is rather striking.

Yet, when it comes to the film as a whole and the way in which it presents itself. It may change between Marilyn Monroe exploitation film and arthouse biopic, and it certainly won’t be to everyone’s tastes, but there’s something interesting here. It chooses not to focus on most of the progressive elements of Monroe’s life and career and instead focuses on many of the tragedies. With this in mind it’s easy to understand why so many haven’t got on with the film, or have been rather mixed with it, It’s not a mainstream biopic and seems very much aware of it.

As it shifts away from it’s ‘we’re going to make this NC-17’ stylings and actually makes its film (albeit still with NC-17 elements) something else begins to emerge. An interesting film (although certainly not one to be taken as gospel when it comes to Monroe’s life as a whole) which may take some adjusting to properly engage with. It may not be completely successful in everything it wants to depict, and will likely continue to be divisive. But for what it does provide it’s more interesting from a filmmaking perspective and as the piece of work that it is than as a Marilyn Monroe biopic – something spoken quite loudly in its overall style and nature.

Perhaps the feeling of distance between Dominik and his subject heightens the occasional exploitation feel, but it also boosts the idea that this isn’t quite a full biopic. Interesting from a filmmaking perspective over anything else, there’s a strong visual style and central performance from de Armas, but it’s certainly going to be highly divisive.

Cert – Recommended for ages 12+, Run-time – 1 hour 45 minutes, Director – Anne Fletcher

Friends Becca (Whitney Peak) and Izzy (Belissa Escobedo) must stop the recently revived Sanderson sisters (Bette Midler, Kathy Najimy, Sarah Jessica Parker) before they cast a spell which could give them the power to kill the town of Salem.

Despite not being a huge fan of the original Hocus Pocus, I certainly like it but don’t hold it as fondly as many who have grown up with it, there’s no denying the smile that appeared on my face as the Sanderson sisters returned. While the following musical number of ‘The Witch Is Back’ might not entirely strike the same feeling Bette Midler’s preceding cry of “lock up your children. We’re back!” is a true mark that the trio (also including Kathy Najimy and Sarah Jessica Parker) have very much returned after 29 years.

They’re brought back by a spell-gone-wrong in the ‘forbidden woods’ by school friends Becca (Whitney Peak) and Izzy (Belissa Escobedo). The two have been interested in magic and witchcraft for many years, however aren’t quite ready to be dealing with the resurrected Sanderson sisters, especially when their aims switch from living further than the night to casting a spell to give them all-power. A spell which would allow them to kill the entire town of Salem – which has done them wrong before in its various different forms through history. Helping them to get the objects that they need to cast this spell is Sanderson museum and gift shop owner Gilbert (Sam Richardson), with the help of returning zombified former Sanderson lover (“It was one kiss”) Billy Butcherson (Doug Jones).

There are a handful of different groupings throughout the film that we jump back and forth between. While the main one is perhaps that of Becca and Izzy trying to stop the sisters from destroying their town the stars of the show are truly Midler, Najimy and Jessica Parker. They ramp up the camp with intentionally over-the-top performances and it seems clear that the three are all having a great deal of fun returning to these roles. The fun emits from the screen as there are plenty of chuckles to be had within the scenes where they take the lead. For fans of the original film this sequel is likely to be a hit. While it ticks the various throwback boxes it still paves itself out with enough to justify itself as a sequel largely down to its storyline, even if that element doesn’t overly steal the show.

The surrounding elements may sometimes slip into feeling like a cliched ‘Disney Channel’ movie (one particular strand for Becca and Izzy involves their rocky friendship with Lilia Buckingham’s Cassie since she started dating Mike (Froy Gutierrez) – a guy who is sometimes late because he “decided to have two breakfasts”) although this can be viewed as it simply working/ leaning towards a new generation. For a new group of people this may be what the original Hocus Pocus has become for many people since its first release, or rather in that film’s case various annual airings on TV. This is very much a film for fans of the original, and a new generation of young viewers.

However, for those outsiders, or with generally less connection to Hocus Pocus and the Sanderson sisters, there’s still a good deal to enjoy here. Plenty of chuckles and awareness of campness help to move things along and boost the overall enjoyment of the film. The story may feel somewhat mixed at times with its various different elements, but the film certainly knows what the audience are here for and it supplies it while still moving things along.

The various sets of characters may bring a different tone as the story jumps between each one but Hocus Pocus 2 knows that the main attraction is the Sanderson sisters and it provides them in all their camp comedic glory whilst not halting the film as a whole.