Release Date – 22nd July 2022, Cert – 15, Run-time – 2 hours 5 minutes, Director – Olivia Newman

A young woman (Daisy Edgar-Jones) living alone in a North Carolina marsh finds herself put on trial in front of a town who look down on her, for the murder of a man (Harris Dickinson) she was in a relationship with.

“Whenever I stumbled the marsh caught me” claims Kya (Daisy Edgar-Jones), a young woman who has spent much of her life raising herself, after growing up with an abusive father (Garret Dillahunt), in the expansive marshland of North Carolina. It’s been the place where her small, tucked away home has been a place of solitude and safety away from the nearby business and increasing modernity of the local town. A town which for years has spread rumours and myths about ‘the marsh girl’ – a figure who could very well be the missing link in human evolution. Such rumours make her the prime suspect in the murder of local man Chase Andrews (Harris Dickinson) – who she also once had a relationship with.

As the town instantly takes against Kya once more it appears that only one man is willing to support her, lawyer Tom Milton (an, as expected, excellent David Strathairn). As he, and the state, present evidence and the trial unfolds we see various flashbacks into Kya’s life, and her two key relationships with Chase and fisherman Tate Walker (Taylor John Smith). From the opening there’s a compelling story to be told. There’s something almost indescribable about just how much your brought in from the simple tension of a police chase via boats through the marsh, helped by the understated direction of Olivia Newman. While this feeling might calm down as the film goes on and we explore Kya’s relationships there’s still a consistent style and tone to the piece that keeps you engaged and interested in the general goings on which refrain from asking you whether you think the central figure did the murder or not, simply showing you the events of her life in the build up. Only really raising the question in the brief moments of the court trial and the points that link to the flashbacks, etc.

Where the film succeeds most is in its performances. The likes of Edgar-Jones, Strathairn and Sterling Macer Jr and Michael Hyatt as a couple who own a small shop within the marsh all bring home many of the dramatic points of the film and help to power them through, lifting them up and keeping the viewer interested and engaged. It’s also perhaps reason why the modern day elements, which admittedly Macer Jr and Hyatt appear little in, contain some of the strongest points of the film. This may be down to the fact that I’m just a sucker for a courtroom drama, but the ways in which the performances, if briefly, get to shine and take part in the developing nature of the trial are just fun to play along with and see unfold – especially from Strathairn whose closing statement has lead the trailer for the film (alongside publicity for the film containing an original song by Taylor Swift).

It takes a little bit of time to actually hear Kya properly speak. When she does the first words that come form her mouth are “people forget about the creatures who live in shells”. It’s an idea that the film plays with and echoes throughout its relatively easy 2 hour run-time. Kya is seen as an outsider by nearly everyone around her, made to feel like an outside and even more lonely than she already is. This comes across rather well and certainly sets up a number of the themes and ideas that play out within the plot and the relationships which are formed by the central character throughout the film, and are pivotal to her overall character and development. Helped by Edgar-Jones’ central performance and a strong cast of, if minor in screen time, supporting faces there’s enough to keep you engaged and interested within the central focus of Where The Crawdads Sing.

While it might lose its compelling edge after a little while Where The Crawdads Sing remains a consistent and engaging drama lead by a selection of strong, if brief, supporting performances which help to lift up the well-established themes and ideas surrounding Edgar-Jones’ excellent central character.

Cert – PG, Run-time – 1 hour 30 minutes, Director – Jim Archer

Attempting-inventor Brian (David Earl) combats the loneliness of his isolated life in rural Wales by building a robot (Chris Hayward) from the items lying around his house.

You pretty much know the kind of film you’re in for with Brian And Charles as soon as central figure, attempting-inventor, Brian (David Earl) reveals the name of his home as Ploxgreen Cottage. It’s a case further set in stone when he reveals his cabbage bin, a bin exclusively for cabbages, and a fridge full of butter. “Is this interesting?” he asks the camera crew which follows him throughout the mockumentary. The answer should be no, but it’s certainly enjoyable to see a film and character go into such levels of simple quirk from the very start.

Brian’s various inventions almost seem to be uncertain to himself. While some are made to help the local community, just down the road from his isolated cottage in the Welsh countryside, others appear to come to his mind with no real context. Regardless he begins to assemble to bits and pieces lying around his house, and some items from the local area, to scrap together his latest creation. The one with perhaps the most thought is an invention more for himself than anyone else. A robot with a mannequin head and washing machine tummy which mutually agrees to be called Charles Petrescu (co-writer, alongside Earl, Chris Hayward).

There’s a childlike nature to Charles as he first begins to explore the world around him, better known as Brian’s house and garden. It makes for a number of amusing conversations between the pair, particularly when it comes to an argument about whether Charles can sit in the front of the van or not when going out for a trip. There’s plenty of easy-going, whimsical British humour running throughout the film, and it makes for a better connection with the characters. Perhaps more so Brian thanks to the brief time we spend with him before. David Earl gives a great performance as the isolated loner, talking to few people apart from June at the shop (Cara Chase) and equally shy Hazel (Louise Brealey). Yet, Brian appears to be very much content with his life and moves from one thing to another with relative ease, always trying to look on the bright side. When first looking up his robot creation he reflects “building a robot is much like making a cake. You start off wanting a Victoria sponge but end up with a blancmange. That’s alright, because I like blancmanges” truly keeping the highly British quirkiness at heart.

When it comes to the ways in which Brian and Charles eventually interact with the world around them, especially a tense relationship with nearby farm owner Eddie (Jamie Michie), that’s where the more familiar elements of the film come through. Certainly in the second half you can feel the more conventional lines being tread and despite the humour that’s present it’s not quite enough to be distracted from the recognisable nature of such elements. It’s perhaps assisted by the fairly simplistic nature – not necessarily a bad thing – of the largely followed base idea of a man and his self-built robot companion, one which certainly looks different to most other robot companions we may have seen in TV and films over the years.

At 90 minutes the film as a whole is quite short, and certainly knows exactly what it wants to do or where to go. It’s based on an 12 minute 2017 short film of the same name. And while not overly outstaying its welcome the feature adaptation, largely in the third act, does begin to feel as if it might have been better suited as a TV special rather than anything else. Yet, there’s still enough to enjoy and chuckle at within the likably slightly odd sensibilities of the characters and the way they fit into the world around them, and indeed that which they have created and filled with cabbages. It’s when focusing on the thoughts and feelings of the characters, whether reaching for humour or something a bit more sentimental, that the film works best – particularly as it looks at Brian and his reactions to the companionship that he’s gained and found, and the pride and confidence he finds in himself for having pulled off this achievement.

Much of these moments come across in subtleties within Earl’s performance, and indeed the film as a whole, and yet manage to create an effective impact that fits into the rest of the film. It may slip into familiarity which slightly weighs it down, but there’s still plenty to like about the quirks and oddities that are on display from the very start. This is a film that knows exactly what tone it wants to achieve with its content and characters and does that rather well, without ever feeling as if that’s all that it’s got going for it.

While it might be slightly weighed down by its more conventional elements there’s plenty of highly British quirks and oddities to enjoy from Brian And Charles, not forgetting the more sentimental elements, including within David Earl’s top performance, which carry things along nicely and avoid feelings of just quirk.

Cert – PG, Run-time – 1 hour 35 minutes, Director – Morgan Matthews

Three siblings (Beau Gadsdon, Eden Hamilton, Zac Cudby) are evacuated to Yorkshire during World War II, where they must help an American solider (Kenneth Aikens) escape to Liverpool as part of a secret mission.

1970’s take on The Railway Children is a fairly quaint and calm affair. It follows the three central children as they wave to the passing steam trains, while wondering when they may get to see their father again, interspersed with moments of a slightly fumbling BAFTA-nominated Bernard Cribbins. It’s a generally calm film with not much in the way of plot, but still enough to engage the audiences of various ages, a British family film of a much different age. The difference in times shows in this sort-of sequel. Set just under 40 years later in 1944 we follow three more children; eldest Lily (Beau Gadsdon), Pattie (Eden Hamilton) and Ted (Zac Cudby), as they are evacuated from Manchester to the small Yorkshire village of Oakworth. When nobody else will take them in, due to the siblings wanting to stay together, they find themselves taken in by original protagonist Bobbie’s (a returning, if eventually forgotten about, Jenny Agutter) daughter, headteacher of the local school Annie (Sheridan Smith), alongside her own son Thomas (Austin Haynes).

Life in Oakworth is a lot different to that in Manchester, that’s made very clear from the various mentions and discussions of that fact. But, there’s of course common ground to be found between all the children, including young US soldier Abe (Kenneth Aikens), whose discovered hiding in the trainyard away from the rest of the army figures and military police in the area. While the children attempt to help Abe escape to Liverpool as part of a secret mission they all begin to open up about the people the war has taken away from them. Whether it be brothers or parents there are various insights into the emotional losses and impacts that the war has had on the young protagonists. None more so than Lily as she experiences flashbacks to saying goodbye to her father in an environment that appears to be made entirely of dark smoke – just to push the point across a bit more.

The devastation of war is something pushed throughout the film, alongside just how bad it is. Sentiments such as “I ‘ate war, I ‘ate it” and “in war, even the dead aren’t safe” are spoken in quiet, reflective scenes which bring about the feeling that perhaps the film would be better off as a TV special rather than a full feature film. It’s something further pushed in the lingering feeling that you don’t quite believe the film is actually set in 1944; instead being more of a recreation of sorts with people just dressed up for the time period. It’s a mild agitation which stops you from properly engaging with the film and the unfolding events, of which there appear to be a number opened in the first half from a handful of perspectives. It all bundles together into something quite tonally bumpy, especially when it comes to the attitudes and feelings from the central figures – at one moment they’re worried about a German lurking in their hideout, the next they’re excited about the prospect, sometimes within the same line of dialogue.

It’s much the same when it comes to the treatment of race within the film. Abe is a black soldier who has deserted the rest of the army due to racist abuse from white military police. However, such topics and ideas are dealt with so lightly that the surface level scraping rarely lands a proper impact and simply feels like just another element to add to the film. It’s one of the more consistent references in the film, but feels as if it never pierces the skin or makes a proper point. Instead, we carry along as the film carries along with its narrative elements and ideas of escape.

Such ideas come more into play in the second half where things manage to just about pick up. While the film as a whole may be fairly forgettable it at least leaves on a decent enough tone. Some ideas are shed and a better pacing is found, even the recreation feeling is dropped as you manage to sit and watch the unfolding events with more ease. Yes, some ideas still don’t quite go below the surface, but there’s still a more likable tone and quality once things come together as a selection of properly joined ideas in the second half where it feels more like a properly working film. One which, admittedly – and I should have probably mentioned this much earlier in these ramblings – I am not the target audience for. While I’m not completely sure who is, I’m definitely not. That being said, there’s still a level of amusement to be found at certain points, largely in that latter section, but enough to stop this from being entirely agitating viewing for the 95 minute that it’s on. Viewing which eventually evens out and forms something which feels more filmlike instead of like a TV special. It’s at the point that the railway actually comes into focus where things begin to work best.

While starting off as feeling more like a recreation or TV special The Railway Children Return, while still not quite getting below the surface on certain dramatic themes, does eventually produce something less frustrating that moves along well enough once the railway actually comes into focus and the flow picks up in the second half.

Cert – 12, Run-time – 1 hour 59 minutes, Director – Taika Waititi

Whilst trying to drop his ego and work as part of a team, including his now-superpowered ex Jane (Natalie Portman), Thor (Chris Hemsworth) must take down rising god butcher Gorr (Christian Bale).

After some of their major, usually Avengers, films Marvel Studios has tended to drop a palate cleanser, usually in the form of a lighter Ant-Man film in the summer months. Now, their 29th feature release feels just like one of these, perhaps after the multiverse introduction and expansion of their previous two ventures. Certainly, with the humour, flashes of colour and Guns N’ Roses and ABBA infused soundtrack there’s a clearly different style and feeling to Thor: Love And Thunder to the previous entries in the MCU’s fourth phase.

We re-meet Thor (Chris Hemsworth) as he parts ways with the Guardians Of The Galaxy on the way to a new individual journey of self-discovery, with Korg (co-writer, alongside Jennifer Kaytin Robinson, and director Taika Waititi). However, as elements begin to pile up Thor finds himself having something of an identity crisis, particularly when rediscovering trusted hammer Mjolnir, now in the hands of ex-girlfriend Jane Foster (Natalie Portman) – also going by ‘The Mighty Thor’ – arrives on the scene, causing something of a jealous relationship with his axe Stormbreaker. As the two get reacquainted and the god of thunder comes to terms with the idea that perhaps – as one of the film’s poster taglines claims – the one is not the only they, alongside Korg and king of prime tourist destination New Asgard, Valkyrie (a very enjoyable Tessa Thompson, truly running with her screen-time) to take down a rising threat who has been murdering gods all across the universe – Gorr the God Butcher (Christian Bale).

When on screen Bale truly steals the show with a dark, potentially scary, performance which deeply contrasts with the rest of the film. While his screen-time feels limited up until the climactic battles, which pay off rather well – particularly a colour-drained setting where some of the action engagingly looks like it could be from a 2D animation – Bale makes the most of what he gets and commands the screen whenever he appears. However, Thor is the core focus of this film. He may be learning to be more open and work as part of a team, but he is the main figure we follow throughout. And we certainly follow him to a number of places as the narrative feels constructed of having to go through points C, D, E, etc to get to point B. While there’s plenty of humour along the way – although perhaps less punchlines than Waititi’s previous Thor Marvel entry, Ragnarok – Love And Thunder does somewhat feel slightly held back by the construction of its narrative.

Certainly, it doesn’t overly prevent it, but it does mean that at just under two hours it perhaps stops itself before it has any run-time issues and it could fit in another location. Where things move forward with the most ease is when focusing on the action, especially in the aforementioned final stages where things appear to have properly come together, and there are some rather nice ideas laid out in perhaps unexpected ways. It contrasts well with the darkness of Gorr, and the cartoon-like nature of giant screaming goats – who conjure a chuckle every time they scream – and Russell Crowe as gluttonous showman Zeus. There’s plenty to keep things moving along nicely and keep the light, slightly ego-centric tone and humour that Taika Waititi has been credited as bringing to Thor, elevated and properly grounded by Chris Hemsworth’s fine comedic capabilities, going fairly consistently. The plot might have what feel like occasional tangents, with their own engaging elements, that lean away from Christian Bale’s scene-stealing turn, but there’s enough within the overall course of Love And Thunder to make it an enjoyable, if palate-cleanser feeling, venture and new turn for the god of thunder.

Thor’s new journey of self-discovery feels slightly stilted by its tangential narrative, however, while it might feel a bit of a palate cleanser, Thor: Love And Thunder has plenty of good humour to contrast with the darkness of Christian Bale’s brilliantly performed central villain, and help move things along.

Cert – 15, Run-time – 1 hour 26 minutes, Directors – Albert Calleros, John Rice

When a space mission goes wrong, 90s slackers Beavis and Butt-Head (Mike Judge) find themselves sent 24 years into the future, where their core aim remains to score.

When it was announced that Beavis and Butt-Head would be making another return to screens some raised the question as to how the characters, and their 90s style slacker humour, would come across in 2022. Well, the answer appears to be just about the same as it did back in the day. Mike Judge’s cartoon duo remain the same “two very, very stupid, and horny, teenagers” they always were. It’s confirmed as we meet them in 1998, hanging around in the school gym where Butt-Head (Judge) is “trying to find out how many times I can kick Beavis [also Judge] in the nads before he passes out”. Not for the sake of the currently happening science fair, but simply for fun.

After a shoe-to-the-balls goes horribly wrong the pair find themselves in court and eventually space camp, where they appear to be more impressed by scoring than landing on the moon. After accidentally proving themselves as apparent prodigies when it comes to space tech the pair are sent on an important mission to space – the point of which goes over their head as they think their purpose is to have space sex with mission commander Serena Ryan (Andrea Savage). It’s perhaps a slightly detailed opening to what eventually leads the pair to leap 24 years into the future to today, however it brings to mind the openings of classic Simpsons episodes. A random event or occurrence that seems unrelated leading to the eventual plot of the episode. However, in the case of Beavis And Butt-Head it all seems to make sense. With the two central characters and their mindsets being the focus of most of the jokes, or rather the joke, there are plenty to of chuckles to be had as things are built up and get going. Particularly helped by the fact that much of this doesn’t feel like build-up, instead acting as throwing you into the developing plot from the start with its layers of absurdity and crudeness.

Once in the future the pair are intent on completing their mission, trying to track down now-Texas Senator Serena to finally score with her. However, she wants the pair dead so that her past isn’t revealed, while other government agents are trying to track down a pair of odd-looking aliens who have just arrived on the planet. Certainly the film as a whole doesn’t feel like an extended episode. It may be made up of various short stages and ideas before moving onto the next situation that Beavis and Butt-Head can get up to and misunderstand in the modern day, jokes which could so easily feel tired but generally manage to keep their head above water, but things move along fairly well over the short 86 minute course of the narrative.

Things could easily lean into the central figures adapting to modern culture and the way in which attitudes have changed since the 90s, there is one moment where white privilege is discussed with a worthwhile punchline, however things travel more along the lines of them viewing a smartphone as just a small TV before using it to buy the world’s supply of nachos. They’ve been told by alternate versions of themselves (named Smart Beavis and Smart Butt-Head) that they need to get to a portal before all world’s are threatened and close in on themselves, but there are more important things at stake. All involving their own sex-crazed minds. Little, if anything, has changed and the film works well for it. This isn’t to say that it’s a completely un-PC fest, the focus has long been, and continues to be placed, on the pair’s idiocy more than anything else. More that the pair very much feel like the same characters, getting up to the same stuff, and it’s still rather amusing to see unfold. A smile begins to emerge as you once again hear the declaration “I am Cornholio! I need TP for my bunghole!”

Beavis and Butt-Head return with little changed about themselves. They’re still idiots. Very horny idiots. It often feels as if little has changed (although this does come from someone not overly familiar with the characters) apart from the updated look and movement of the same-style animation. The core joke is very much the same, and for a large part of Do The Universe it manages to raise a number of chuckles over the short amount of time the film goes on for. It fits into its run-time well and doesn’t really outstay its welcome, knowing just about what it can do with its various ideas and sequences before it/ they begin to run out of steam – only slightly showing signs of slowing down towards the end as things begin to wrap up and some jokes start to run their course. However, overall this is a rather welcome return for two of animations biggest idiots. They remain that way, known by the creators who seemingly have no intention of making them seem otherwise. It’s one of the biggest reasons why this return works and manages to keep the viewer engaged with its humour in each moment and situation. Not quite leaving you laughing for no reason but definitely not leaving you agreeing that “this sucks”.

Amongst the various moments and sequences which construct the narrative of Beavis And Butt-Head Do The Universe there’s plenty to be amused by within the central jokes. Things might begin to wear out towards the end, but generally this is a consistently amusing return for the slacker duo.

Cert – U, Run-time – 1 hour 28 minutes, Director – Kyle Balda

After stealing a powerful jewel from his favourite supervillain team, nearly-12-year-old Gru (Steve Carell) finds himself kidnapped, with only his team of minions (Pierre Coffin) to save him.

Back in 2015 when the minions embarked on their first spin-off feature outing my favourite joke in a film that made me consistently giggle like I was seven-years-old didn’t actually involve the small dungaree-donning yellow figures which have become a source of confusion and irritation to many. As the film’s villain Scarlet Overkill flies into an arena packed with villains she proclaims “look at all those faces out there. We are all so different, yet we have one thing in common”. Cut to a figure who can only really be described as a ‘human fish’ who proudly leaps onto his chair, punching the air and declaring in a gargling voice “we were born with flippers!” Only to realise he’s alone, sitting back down with an increasingly quiet “no? Just me? Ok…” It was perhaps nobody’s favourite joke in that film apart from mine. A quick, silly moment that reduced me to fits of chuckles. It’s this style of slightly cartoonish humour which has perhaps brought much appeal to the minions over the years, since their first appearance as Gru’s henchmen in 2010’s Despicable Me.

It’s also the kind of humour that continues to work best for them as they allegedly lead their second feature outing, at least the film is still lead by their name. Moments where central trio Kevin, Bob and Stuart (all minions voiced by Pierre Coffin) steal a commercial flight, or simply flight in traditionally slapstick manner with various screams, clangs and yelps are where the film works best. Simply displaying its various gags and jokes in the moment and allowing the title characters to behave as they usually do. It creates a handful of chuckles and certainly helps lift up the film above some of the more predictable gags and references to the wider Despicable Me franchise which are scattered throughout, as a whole the film feels more like Despicable Me prequel than a Minions-led feature.

This feeling particularly settles in as 11-and-three-quarter-year-old ‘Mini Boss’ Gru (Steve Carell) finds himself kidnapped after stealing a powerful jewel from his supervillain idols the Vicious 6. A group with amusing pun names such as Jean-Clawed (Jean-Claude Van Damme), Nun-Chuck (Lucy Lawless) and Svengeance (Dolph Lundgren) – it’s just a shame they don’t quite live up to their names, both in terms of comedy and general presence. While the film tracks the aforementioned trio of minions trying to free Gru and get him back home it continuously cuts back to him in the house of his favourite villain Wild Knuckles (Alan Arkin), also trying to find the valued jewel with transformational powers. Therefore, with noone else being certain of where the jewel is, bring in Otto, a larger minion eagerly intent on serving his boss, riding and chasing across America to try and track it down. It’s certainly the most side-plot feeling element of the film, and works better that way. But, it also brings in a busier feeling to the overall film, already holding what feels like two core plot-threads.

At only 1 hour and 28 minutes this is a fairly short film, but it certainly tries to pack a lot in. Particularly in regards to the feeling that much of the narrative is assembled together with different ideas, events and moments before moving onto the next situation the minions can have a scrap in. Certainly, the scraps and gags are amusing, they keep the film moving along fairly well and provide a number of chuckles along the way. Perhaps not on the same hit rate as the previous instalment, with some being a bit more predictable than others, but there’s still an appreciation towards the near-chaos that’s delivered on-screen by the not-quite-multilingual figures. In many ways they are the saving grace of the film, amongst the familiarity of the various plot elements, and some of the gags the titular minions are very much present to come in and bring a handful of chuckles to help move things along. When at its silliest and allowing gags to move the narrative along the film is very much at its best, not bogged down by the rest of its elements. Perhaps the strongest positive thing to take away from this is that amongst all the social media memes, irony, twistings of initial memes, TikTok trends (the story of the screening I attended for this is one for another time!) and more the minions are still capable of being funny by simply doing their usual silly schtick as if none of that other stuff exists – the best way to go about this kind of thing!

Feeling more like a Despicable Me prequel than a Minions spin-off The Rise Of Gru get slightly bogged down by its various ideas and plot threads, however when allowing the minions to simply be silly and lead moments by themselves there are a fair few chuckles to help move things along and create amusing enough viewing.

Release Date – 1st July 2022, Cert – 15, Run-time – 1 hour 52 minutes, Director – Justin Kurzel

Drama following mass-shooter Martin Bryant (Caleb Landry Jones) in the build up to the 1996 Port Arthur massacre.

There’s no denying the eventual hard watch that writer Shaun Grant and director Justin Kurzel’s Nitram is. It gradually somewhat prepares you for what is to come thanks to the slow burn nature that its course takes, and the fact that from the start it acknowledges that it is not a piece of entertainment. In the build up to the events of the Port Arthur mass shooting in 1996 we follow shooter Martin Bryant (Caleb Landry Jones) – only ever, and very rarely, referred to as Nitram (the character name also listed as this in the credits), a name used to taunt and bully him since his school days. From his opening moments, letting off fireworks in his back garden in the middle of the day, to the anger of his neighbours, Landry Jones’ figure is shown to be isolated amongst his surroundings.

As the film progresses, and Martin leaves his tired but trying mum (an excellent, scene-stealing Judy Davis) and dad (Anthony LaPaglia) to live with Essie Davis’ former-actress Helen – specialising in Gilbert and Sullivan productions – various layers are brought in to enhance the fear around the central character and what is inevitably going to happen. Small details bring in an eerie nature that lingers in the mind, slowed down Gilbert and Sullivan tracks played over home video/ holiday footage. Two extended scenes in a gun shop where Martin discusses weaponry, specifics, range, ammo, licenses, etc with the owners are held onto to simply leave the viewer in increasing dread and tension.

Perhaps what makes the moment worse is the fact that up until this moment there has been little discussion of what’s going on inside the central character’s mind, or indeed the thoughts of the few people around him. Initially the bare scratching of the surface is when asked “are you sick?” the response of “no, I just get sad sometimes”. We get very few glimpses, or instances of personal understanding of what’s happening in the mind of the title character. However, much of this specifically comes to the fore when sat down with his mum at the table and they begin to discuss how they are respectively feeling, although hostility still hangs in the air. Ideas of mental health quietly float in the background of a handful of scenes, particularly those where a fear factor rises due to the actions that are being acted out and where things are leading.

In many ways while watching I was reminded of Gus Van Sant’s Elephant in the way that nothing is played in a showy nature and much is shown with a direct matter-of-fact nature. Not just in terms of the inevitable events at the end of the film, naturally held as you feel and notice people generally going around their day, but the course that’s travelled along alone. The first half may take a while for the elements to properly come together and the ideas to be properly established in terms of how the film is dealing with the central character and his behaviours, however as the second half arrives things begin to develop more and look into the impacts and effects of certain moments beforehand and how they further build-up to the ending. Certainly, this means that the film is going to be a hard watch for a number of potential viewers, it’s very likely supposed to be. But, it’s effective because of that and feels this way largely thanks to the build up; once it’s properly established its elements and starts to look at the emotions and thoughts of not just its central figure, but those around him too.

While it might take a bit of time for the ideas and elements to come together Nitram forms an interesting film, with plenty of fear and tension in the final 15-20 minutes. A hard watch for some, more so because of the effectively unshowy nature and slow pacing, but it certainly hits some good notes in its thoughts on undiscussed mental health and personal understanding.

Cert – 12, Run-time – 2 hours 40 minutes, Director – Baz Luhrmann

Biopic following the career of Elvis Presley (Austin Butler) and the way in which it was controlled by his manager Colonel Tom Parker (Tom Hanks).

When it was announced that Baz Luhrmann was going to be tackling an Elvis Presley biopic my main interest in the project was always in regards to how one of cinema’s most maximalist directors would tackle a life story. Well, the answer is in his usual style. By throwing a few bucketloads of showbiz at the spinning camera. Once again, Luhrmann shows himself to potentially be quite a hit-or-miss director. However, as with a handful of his films, if you’re able to get past the intensity of the first 20 minutes – where much of the glitz and glamour is condensed – there’s a fair deal to like about Elvis.

Perhaps it helps that, at least for the first half, the film focuses on the showmanship of the King of Rock and Roll (Austin Butler). Depicting just what drew people to him and his music, and indeed those to protest it and his apparent dance moves and stage persona – furious headlines spread across America calling him ‘Elvis The Pelvis’. However, despite the uproar being about Presley it feels odd that the titular figure feels almost like support in his own life story. Instead the events are remembered by his manager Colonel Tom Parker (Tom Hanks – an understandably criticised performance which feels like his turn in the Coen Brothers’ The Ladykillers turned up to 11 and in a fat suit, it might take some getting used to but it’s certainly not dreadful) as he finally finds the show and act that can make him rich – “he was a taste of forbidden fruit… He was the greatest carnival attraction I had ever seen”.

However, as the film moves along, reaching it’s second half, Butler’s performance takes more of a centre stage as the focus also shifts onto Elvis’ own thought process and set of actions. Beginning to try to break free from the overall control of his played-as-villain manager. It takes a while to truly realise just how good Butler’s performance is due to the fact that the spotlight appears to not always be on him for so long, but when that light is finally placed upon him the strength of his performance shines. It allows for you to engage with the film, and its central figure, on a further level above the initial display of showmanship.

The highlight comes in the form of the surprise performance of If I Can Dream in the ’68 Comeback Special. Little is added to the moment as it largely focuses on Elvis singing. Allowing the song and moment to speak for itself a forceful punch of emotion is created as the song swells creating a powerful ‘wow’ moment, free from the flashiness of the rest of the film. It’s these moments where Elvis is the core focus where the film works best and engages you the most. Dropping the visual display around it and allowing certain points to exist in and speak for themselves. This isn’t to say that the surroundings don’t work, as the film charts Elvis’ Vegas residency there’s certainly a push from Luhrmann’s style – one which helps keep you engaged as the nearly two and three quarter hour run-time begins to show.

As a whole the film begins to near its conclusion you can feel it beginning to slow down and wanting to wrap up as the run-time starts to be felt. There are still elements that it wants to get in and check before the credits begin to roll, and it does them well enough but still with the lingering feeling of a slightly pushing run-time, despite the still engaging nature that it mostly manages to hold fairly well throughout – allowing for its head to be held above water. The idea of showmanship comes back round every now and then, mostly as we look through the eyes, or mind, of Colonel Tom Parker as he’s told that his “sideshow is a jackpot”. When the film leans this way it’s clear that it’s more about what people loved about Elvis rather than Elvis himself. However, when looking at the man himself, particularly thanks to Austin Butler’s strong central performance, and allowing moments to just exist as themselves – which there are a number of – the film is at its strongest. While this might be another hit-or-miss film from Luhrmann, if you can get past the spinning catharsis of the opening 20 minutes, there’s enough to enjoy and engage with to make for worthwhile, if not always in-depth, viewing.

When not throwing everything at the camera and looking more at the man himself, finely performed by Austin Butler, instead of his showmanship Elvis is at its best. The surroundings are fine and still manage to engage you, however the feeling lies that that’s perhaps what pushes the run-time.

Cert – 15, Run-time – 1 hour 43 minutes, Director – Scott Derrickson

After being kidnapped and trapped by ‘The Grabber’ (Ethan Hawke) 13-year-old Finney (Mason Thames) receives calls on a disconnected phone from past victims, trying to help him escape.

Co-writer (with C. Robert Cargill) and director Scott Derrickson’s The Black Phone appears to have been largely sold using the figure of Ethan Hawke’s central antagonist The Grabber and his selection of devil-like masks. It therefore comes as some surprise, although not entirely a bad one, that his screen-time feels quite limited. He’s used as a looming reminder of the threat faced by 13-year-old Finney (Mason Thames) as he finds himself trapped in a soundproof basement after having been kidnapped by the until-now-faceless figure who has been terrorising the streets of his mid-70s neighbourhood. The film follows him trying to find ways to escape, helped by what appears to be previous victims of The Grabber on the other side of a disconnected phone in the basement.

From the very start, as we witness the tensions in Finney’s own home where he lives with his younger sister, Gwen (Madeline McGraw) – a young girl with a mouth that could put a drill sergeant to shame – and abusive alcoholic father (Jeremy Davies), there’s an easily established slow pacing to the film. It draws out its themes and ideas in the build-up to Finney actually being abducted by the disguised figure in the black van. While some elements have a slight impact on the narrative, such as his being constantly bullied at school, there’s often not a completely investing nature to the film as a whole. While you’re able to sit there and watch the events unfold, and gradually become more engaged once the core plot kicks in and Finney’s escape attempts begin, the fear factor isn’t quite present.

It’s once we finally meet Hawke’s eerily soft-spoken criminal that an air of creepiness begins to enter the piece. When he’s on screen, his face largely covered up by masks meaning his eyes are conveying an effectively heavy amount, tension begins to waft in through the otherwise shut door leading to the potential staircase to freedom. An early claim of his to Finney lingers in the mind throughout whenever he appears: “I won’t ever make you do anything that you won’t… like”, the pause perhaps acting as one of the most effective pieces of suspense in the film. With the occasional reminder of Hawke and what Finney is potentially trying to prevent, detailed to him by the victims on the other side of the phone.

Yet, the true horror of the film comes in the more unexplained almost supernatural details. Not quite Gwen’s dreams where she can see details of previous victims kidnappings and where they might have been taken, but more in the presence of such figures when Finney talks to them. There are certainly a couple of effective jump scares placed here and there throughout the film. They pair up well with the more unexplained elements, which don’t really feel as if they need further expansion due to the creepiness provided from the relative unknown about them. As such moments play out a different side of the film is shown. While it certainly differs from what surrounds it, and indeed sticks out a bit, there’s no denying that some of the most effective, and engaging, content is held in these moments, although could be slightly expanded or used more so as not to feel as out of place, or from nowhere, as they occasionally do.

As things build up and get closer to the third act there’s enough within The Black Phone to gradually bring you on board and eventually involve you in the piece. It particularly occurs as the third act pans out and the tension and fear for what will happen to Finney is properly detailed. Even with Hawke simply sitting in a chair upstairs his posture and general nature – still with a mask on – raising the tension of the final stages, and allowing for any potential and actual interactions to have more effect – the speed of the final 15 minutes or so picks up from the rest of the film with a successful impact that helps to keep you in place and more engaged with the proceedings. While it might take a bit to become properly interested in the film, instead of simply just watching it unfold, once it does kick in things begin to grow and there is an occasional fear factor which works in its favour, not just thanks to Hawke’s performance and effective limited presence. It’s certainly an overall interesting film in the way that it goes about itself, it’s just that the actual content isn’t always as interesting and engaging, particularly in the build-up.

While it might take a bit of time to properly get going The Black Phone does pick up, thanks to a mixture of Ethan Hawke’s sparingly used performance and the more unexplained elements of horror. While not everything quite completely gels together there’s enough present to make for watchable and engaging enough viewing.

Cert – PG, Run-time – 1 hour 47 minutes, Director – Angus MacLane

After stranding himself and his crew on an unknown planet space commander Buzz Lightyear (Chris Evans) dedicates himself to completing his mission, spending years trying to find a way home.

“You. Are. A. TOY!! You aren’t the real Buzz Lightyear, you’re an… Oh, you’re an action figure! You are a child’s plaything!” was once the only case for the big screen figure of space ranger Buzz Lightyear, however now we get to see the film that apparently inspired that particular toy, and the imagination of its owner, Andy. Yet, instead of leaning into the idea of pastiching mid-90s sci-fi blockbusters, Lightyear has a generally direct nature. As we see Buzz (Chris Evans) and fellow space commander Alisha Hawthorne (Uzo Aduba) fail to escape from an unknown planet, they find themselves, alongside their expansive crew, stranded and lacking the ability to get back home. Therefore, whilst battling living-vines and rarely-seen bug-like aliens, Buzz takes it upon himself to complete the mission and find a way to get everyone off the planet, despite lacking the required formula to properly reach hyper-speed.

There’s an enjoyable nature to the first act of the film as we see multiple attempts by Buzz to single-handedly save everyone. There’s an entertaining feel to the big sci-fi blockbuster stylings of certain action sequences, helped by the stunning animation, and as a whole the film works better during its more direct and serious moments. When it attempts to crack a joke things more often than not fall fairly flat. Yes, there are a couple of chuckles here and there – particularly relating some references to Toy Story, which luckily die down just before they get too much – but most of the time the humour appears to break into the stride that the film is making in terms of the lighter dramatic side of itself.

Humour is worked more into the film as Buzz finds himself trapped out of Star Command’s makeshift city, and having to fend from giant robots that prevent anyone from leaving the planet. Equipped with companion robot cat SOX (Peter Sohn) – who luckily doesn’t play out as much of a frequent comic relief figure as might initially seem to be the case – and unprepared trainees Izzy (Keke Palmer), Darby (Dale Souls) and Mo (Taika Waititi), the titular figures mission gains a few extra steps. As the film begins to travel down this course you can feel and see the scenes and elements that construct the narrative being stretched out. Things slow down as the film begins to feel overlong, particularly during the third act, thanks to the extra elements and details that appear to be added from point to point within the plot. It simply results in the feeling that things are both, as mentioned, a bit too long and also generally meandering within the rambling construction.

It’s a shame for something that starts out with so much promise and intrigue. The initial set up and action elements mixed with the spectacular animation and general style genuinely set this up to be something amazing. There’s a lot of hope that it will capture something of a throwback feel to great sci-fi blockbusters, with the feeling of being one itself. However, overtime this fades as things begin to slip into feeling slightly more generic and leaning away from these grand sci-fi beginnings. While the film as a whole remains watchable and still has some pretty good ideas and moments it does become a bit trying at times, particularly in regards to the run-time and the narrative which feels as if it’s occasionally repeating itself. Beginning to leave it slightly stranded instead of properly taking off.

While starting off with plenty of grand sci-fi spectacle, Lightyear begins to devolve into a somewhat generic stretch, slightly dampened by its attempts at humour which break into the stride of the enjoyable action at play.