Cert – 12, Run-time – 2 hours 7 minutes, Director – Sean Anders

A controversial PR manager (Ryan Reynolds) labelled as Unredeemable proves a difficult figure for a group specialising in Christmas changes of character, particularly the Ghost of Christmas Present (Will Ferrell).

Perhaps one of the best things about Spirited is that it gives us the first Ryan Reynolds performance in what feels like a long time where Reynolds doesn’t entirely seem to be playing himself. While not an entirely against-type role it’s still nice to see him making a change from his Deadpool-esque roles and asides of the last year or two. He plays Clint Briggs, a man “so persuasive [he] kind of makes you want to push an old lady down the stairs”. As a PR manager he’s made a career of spawning controversy and Twitter storms between celebrities, his views of taking down opponents with as much of an attack as possible bring him to the attention of a particular group who specialise in recreating key life events of a chosen figure each festive season in the hopes of changing them for good.

The main figure who leads Clint through his Christmas past and present is Present himself (a restrained Will Ferrell). Relishing the opportunity to jump into a musical number there’s plenty of energy to be found within the various songs throughout the film. It may occasionally feels as if the musical edge has been dropped, however when leaping back into another Benj Pasek and Justin Paul number. Most of which scream Broadway with their big jazzy, theatrical, all-teeth stylings. Occasional songs may feel as if they’ve been written for the stage, particularly with the way in which they are built up to, but there’s still plenty of energy and enough to enjoy within them.

Present in particular gets a number of ballad-style songs as his conflictions with his job, where some are questioning whether he may retire or not to an actual life, come more to the fore. This is especially the case in the second half when the film introduces a number of elements as slight continuations of what has come beforehand. Yet, a handful feel like new points and the film as a whole starts to feel slightly lengthy. It’s not that things feel cluttered or busy, more near to drawn out, particularly at 127 minutes long. However, while this may enter the mind a couple of times after the 85-90 minute mark the musical numbers help to carry things through by simply keeping a continuous highly entertaining tone. They bring the engagement and entertainment factor, alongside a handful of chuckles every now and then within the very festive tone.

Much of these chuckles arrive when Reynolds and Ferrell bounce off each other. Feeling kept in place by director and co-writer (alongside John Morris) Sean Anders there feels a style of having stuck to the script thanks to their consistently restrained performances. You manage to engage with them and the fun that they appear to have been having on set, also pushed across by a supporting cast which includes Octavia Spencer and Patrick Page. Together, alongside the screenplay, they all help to take the elements of A Christmas Carol, and slightly deconstruct them as the narrative moves along and changing the story to not quite tell the same old course again. While things might slow down and feel a bit drawn out when adding extra details to the narrative there’s still enough glitzy festive cheer on display in the theatrical musical numbers, and chemistry between Reynolds and Ferrell, to keep things moving along rather well.

A restrained Ferrell and Reynolds work well together in creating a handful of chuckles within Spirited. Things may begin to feel a bit drawn out and busy with the narrative developments of the second hour, but there’s still plenty to enjoy within the highly entertaining glitzy musical numbers.

Cert – Recommended for ages 9+, Run-time – 1 hour 58 minutes, Director – Adam Shankman

After wishing that her new neighbourhood be more like a fairytale Giselle (Amy Adams) must reverse the spell before midnight strikes and she becomes the evil stepmother.

There’s been some form of sequel to 2007’s Enchanted in the works since not too long after the release of the original film. In a year where there has been plenty of praise and anticipation around a number of ‘legacy sequels’ this 15 years later release doesn’t tread into such territory and instead makes a general direct sequel without any belated fanfare. While we meet the characters around a decade older, with certain narrative events based around that, it’s all part of the standard sequel basis as Giselle (Amy Adams) is preparing for a new idealistic life in a quiet neighbourhood outside of New York City.

However, things don’t get off to a good start as husband Robert (Patrick Dempsey) struggles with commuter life and early starts, her relationship with now-teenage step-daughter Morgan (Gabriella Baldacchino) feels increasingly distant as she tries to also look after new baby Sofia. Therefore, when presented with a wand by King Edward (James Marsden) and Nancy (Idina Menzel), still living in her animated homeworld of Andalasia, Giselle wishes for her new town to be just like a fairytale. Cue a live-action depiction of her former life filled with plenty of music and dance numbers and as many traditional narrative arcs as you can imagine. It’s an introduction which breaks into the convention which has been present up until this point as the film solidifies that this is about everyone being in Giselle’s world instead of her being in theirs as was the case with the first film.

Yet, despite the familiar tones and surroundings Giselle is desperate to leave as she finds herself transforming into the vain role of the wicked stepmother. All she needs to do is reverse the spell using the same wand, which just also happens to be sought by Queen, and leader of most events and celebrations in the real world, Malvina (Maya Rudolph). Rudolph, as with many members of the cast, clearly recognises just how deep into a fairytale scenario Disenchanted is and very much plays it up. There’s a sense of theatricality to a number of the performances here, however while Rudolph plays up the role is never quite seems to land in the way that’s perhaps hoped for. Perhaps sticking out more so due to the more ensemble nature of the cast, with the film focusing on a number of different characters and how their day changes now they’re overcome with new personalities to fit the world they’re now a part of.

The film as a whole does feel a bit overlong with its busyness from various different perspectives, however there’s still enough to generally engage and amuse. Perhaps part of why the original worked so much was the consistency of a ‘y’know for kids’ tone. While this sequel should certainly work for younger viewers it doesn’t quite specifically target them throughout without pandering to adults who may be watching with kids or on their own. Yet, it perhaps detracts something slightly overall particularly when it comes to some of the themes and points that are on display, especially in the general vibe of the transformed town she initially enjoys until the consequences become apparent, if the spell isn’t reversed by midnight.

Perhaps the most confident, and enjoyable, sequences of the film come in the musical numbers. It’s no surprise when you remember that Alan Menken is behind them. Providing such moments with an energy which lifts sequences up and helps keep you in place in the developing narrative(s). The theatrical stylings are perfectly caught and summed up in such moments where they feels most and home largely because of what Menken infuses into them. This isn’t the same world where the singing princess is out of place and the songs need to grow around her, no, they burst in straight away here and in a number of instances it simply makes for an even bigger burst when they arrive to move things along.

As a whole there’s a generally likable, if very busy, nature to Disenchanted. It may feel slightly longer due to its leaning into cliché and convention, however the theatricality that lies throughout – particularly within Menken’s musical numbers – helps to keep you engaged within the world that has been created and expanded for this direct sequel which gets on with the job instead of lingering in any kind of nostalgia or catch up. Not without its faults, but there’s still enough to like and be engaged by with everything that the film gets in in just under two hours.

A bit long due to its busyness and focus on various characters, while Disenchanted may be made up of conventions there’s plenty of theatricality on display, particularly within the musical numbers where it’s most at home, to take away from that for a generally likable sequel.

Cert – 15, Run-time – 1 hour 47 minutes, Director – Mark Mylod

12 diners are presented with more than a lavish menu when attending a dining experience on a remote island.

While you may not be able to relish and savour the various lavish dishes that are put on display throughout The Menu you’re certainly able to do so to the mysterious darkness which lies within them. The meal itself may start off as something over-complex in terms of design and background – at least to diner Margot (Anya Taylor-Joy) who doesn’t quite get the fascination her partner Tyler (Nicholas Hoult) has with the various medleys put in front of them, and chef Julian Slowik (Ralph Fiennes) – but overtime personal details about those eating come to light as darker reasoning in-between the various dishes is revealed.

As the threat level increases with each course there’s plenty of fun to be had as the diners worry escalates, whether they be regulars (Reed Birney, Judith Light) or out-of-the-limelight film stars (John Leguizamo). Amongst the finely tuned dark comedy which adds to the fun there is to be had with this particular film there remains something captivating about Fiennes performance. The film pitches him and his working-in-unison staff, with Hong Chau as maître d’ Elsa, as the antagonists of the piece early on. Yet, with his early displays of culinary storytelling and introductions to each dish you can’t help but be held in the palm of the “Lord High Emperor of Sustenance’s” hand.

Things may start to lose their edge somewhat as the threats become more certain when led to the fore as the new driving force instead of the meal itself, but there’s still plenty of enjoyment to be had. The film keeps in mind various aspects of humour within the panic of the assembled twelve and manages to keep its pace up through a handful of laughs and chuckles as they have a dining experience like no other. Making it all the more perplexing that the ending barrels into staggering cliché as if going for the simplest thing due to having not known where to end.

Luckily, it’s not enough to disturb the film as a whole, and the flow is still kept alongside your interest in the unfolding evening. Perhaps helped by the fact that while certain instances may lean into intentional theatricality for the presentation of each course but as a whole never feels as if it could be played out on a stage – despite the largely one-location setting of a restaurant on a remote island. Director Mark Mylod helps to keep a cinematic feel with his movement of the camera and drift through the conversations occurring at each of the different tables before everyone comes together in fear at what they are witnessing and what is being revealed within their dishes – including personal details printed on tortillas which are otherwise praised for their taste.

The second half of The Menu may not quite have the same edge of the first with the darkness brought more to the fore instead of lying as a sense of mysterious threat. However, there’s still plenty of enjoyment and devilish fun to be had witnessing the unfolding events weaved into the tales of food and cooking which are part of the initial engagement with the film as a whole thanks to Fiennes’ soft-spoken chef, alongside the rest of the ensemble cast – particularly the focuses of Taylor-Joy and Hoult who find their responses to everything they witness being polar-opposites. Things are well balanced and generally pass along with ease thanks to the flow of the meal and the various courses helping to initially present the twists, turns, surprises and intentions of the Hawthorne restaurant.

There’s plenty of fun to be had within the subdued threats and darkness of The Menu, while the edge might be slightly lost when that comes more to the fore there’s still a good deal of entertainment value to be had weaved amongst the various well-presented courses.

Cert – PG, Run-time – 1 hour 39 minutes, Director – Nora Twomey

Having recently moved to the city with his mother (Golshifteh Farahani) Elmer (Jacob Tremblay) finds himself in search of a dragon (Gaten Matarazzo) to help him raise money for them to buy a place to open a store.

Cartoon Saloon are currently five for five with their latest feature My Father’s Dragon continuing their brand of finely animated drifts into fantastical storytelling. While it may take a couple of minutes to get used to one of their films containing prominent American accents (The Breadwinner very much being its own thing with the non-Irish accents) you can’t overly hold that against the film and soon the fantasy begins to settle in shortly after young Elmer (Jacob Tremblay) moves with his mother (Golshifteh Farahani) from a small town the expanses of the city.

Before moving the pair ran a shop where every customer seemed to know each other and them. The place was filled with colour and there seemed to be little trouble for mother and son. However, when the shop closes and they move to the dark city streets there’s plenty of business but little interaction. That which they do get is from hostile landlord Mrs McClaren (Rita Moreno) – who ends up receiving most of the coins saved up to buy a place to open up a new shop as rent.

Despite trying his best Elmer finds himself raising little money to help. While things may begin to feel somewhat conventional and unlike other Cartoon Saloon fare just as Elmer is on the verge of giving up the fantasy steps in in the form of Whoopi Goldberg as a talking cat, quickly followed by Judy Greer as an excitable whale called Soda. They direct the young protagonist to a place called Wild Island in the hope of finding a dragon which can help him raise money to save up for the dreamed-of store. Yet, while he may be ready for a dragon Elmer isn’t quite ready for the kind of dragon that he’ll find – namely a round, clumsy one with a broken wing, still waiting to become an ‘Ever Dragon’.

To do this Boris (Gaten Matarazzo) must lift up the island to stop it from sinking as is done by a dragon every 100 years, however despite trying the change has never occurred for him. Meanwhile, the other inhabitants of the island – led by large, white gorilla Siwa (a highly enjoyable Ian McShane who, like a number of members of the starry voice cast, seems to be relishing the role in a film like this) – are increasingly fearing that it will sink and that their home will vanish at any point. Therefore the hunt is on to capture the missing dragon and the boy who set him free before it’s too late.

As we explore the various elements and sections of the island, and more colourful creatures – including Alan Cumming as an irritable crocodile called Cornelius – it’s easy to generally be caught up within the unfolding events. The film as a whole may not be anything overly complex, but does that really mater? There’s an enjoyable time to be had with the occasional moment of humour and the general lightness that’s on display throughout. The more the relatively short (99 minutes, including credits) run-time goes on the more engaged you feel, particularly once in the realm of Wild Island.

Eventually you can feel a bond between boy and dragon which provides further amusement and allows you to simply feel more a part of the piece. There’s a mild charm to their bond which you realise in the later stages as the film begins to reach the third act. A number of the elements and tones may take some time for you to realise, and in some cases the film as it builds each thing up over time, but in the end there’s an entertaining and rather delightful piece of work here. One which eventually takes you in for another fantastical dive into a love for storytelling and escapism from Cartoon Saloon, perhaps some of the most creative and imaginative storytellers working in cinema today.

While some elements may take a bit of time to build up there’s plenty to enjoy within My Father’s Dragon, particularly once it gets into its rather charming fantastical reaches.

Cert – 12, Run-time – 2 hours 41 minutes, Director – Ryan Coogler

After suffering the death of King T’Challa, the Black Panther, the country of Wakanda finds itself weakened and vulnerable after opening up to the rest of the world and receiving threats of war from an underwater civilisation.

The authenticity of the fictional country of Wakanda was praised as a large team effort. The highly visceral style which was on display was reflected in the overall sound – which led to a handful of rightful Oscar wins for the film in the creative categories. Yet, Wakanda was also authentic because of its characters and the internal conflicts which could impact the outside world. Now the country has opened up to the rest of the world there’s a global want for vibranium, the rare, almost indestructible, metal only available in that part of the world. There are tensions rising with other countries, including the US, who all believe that the peaceful nation could use the metal for weapons of mass destruction. All while they try to recover from the death of King T’Challa – the opening scenes certainly create an emotional build-up and response in the wake of Chadwick Boseman’s passing.

Without the defence of the Black Panther Wakanda finds themselves at perhaps their most vulnerable and weakened state. Particularly when threatened with war by leader of the underwater Talokan civilisation Namor (Tenoch Huerta Mejía) who asks the grieving queen Ramonda (Angela Bassett) and princess Shuri (Letitia Wright) to find the scientist who created the drills that have invaded his land or else he will destroy Wakanda. However, it turns out that this scientist is college student Riri Williams (Dominique Thorne). It’s with this introduction that Wakanda Forever really starts to find its flow. It’s introduced most of its characters and set itself up, now it can truly get into its narrative.

There’s certainly still a lot to see and get through over the course of the nearly three hour run-time (which manage to go by rather quickly), but the generally flow of the film is rather good as your kept engaged throughout. It’s the aforementioned authenticity of the titular country which manages to do this. Not just visually and audibly but in terms of the way that those within the nation interact with others and prepare for battle against forces which they haven’t seen before – forces which feel grounded and believable in their reasoning for threats and attacks, perhaps adding further interest in various fight and battle sequences.

There are a number of undeniably ‘cool’ shots within a number of these scenes, including a handful which linger through co-writer (alongside Joe Robert Cole) and director Ryan Coogler. Add to that the visual flair brought about by the cinematography and there’s clearly a strong visual effort that’s been brought into play to further bring you in to the creativity of the world on display. It mixes well with the third act in particular where there’s an understated nature to the build-up and escalating action held within it.

Further propelled by what has come beforehand in terms of the film narratively taking a step outside of familiar surroundings, particularly for the central characters. Looking at how Wakanda interacts with the rest of the world now that it has opened up and finding themselves in an increasingly uncertain situation as everything seems to have disappeared from around them.

While there’s plenty of action what truly propels and engages within Wakanda Forever is the dramatic side of things. A nation still mourning and trying to recover while in an already uncertain situation. Something shown and developed among the more present supporting characters, not just the likes of Danai Gurira’s fierce yet effortlessly funny Okoye and Lupia Nyong’o’s Nakia, in instances such as discussions between the various tribal leaders of Wakanda – including Winston Duke’s returning M’Baku. The same goes for the way in which we see the oceanic world of Talokan and the people within it. It adds to Namor as a character and that new realm as a whole. Creating yet another villain within this particular franchise, after the first film’s Killmonger, where you can understand their motives and reasoning, but they certainly go the wrong way about resolving it.

That is where Wakanda, and indeed Wakanda Forever, succeeds the most. Once it properly delves into this point after a slightly lengthy set of introductions – somewhat lessened by the simple use of fade edits from one scene to another to avoid feeling jumpy and somehow less busy – it finds its stride and manages to run with it for most of the remaining run-time. There’s plenty of humour along the way amongst the action and dramatic stakes which are well grounded by Cole and Coogler and the entire cast of the film. All of whom you can tell are dedicated to telling this story about a country, a group of people, trying to prevail. And in the end it succeeds because of all the detail and effort that has been put into the various different aspects of making an authentic place and people, as grounded as possible (of course with a number of sci-fi, fantasy and action tints) within a world which further reflects that.

While the build-up might take a bit of time to introduce the various different characters there’s no denying that the pay-off of Black Panther: Wakanda Forever is successfully engaging because of the various believable dramas which push the authenticity of Wakanda and the world it’s opened up to, playing out amongst plenty of enjoyable action.

Cert – 12, Run-time – 1 hour 42 minutes, Director – Oliver Hermanus

When told that he has only six months to live the head of a London council department (Bill Nighy) tries to make the most of his life.

There seems to be something about Akira Kurosawa’s Ikiru which appears to lend itself rather nicely to the backdrop of 1950s London. Kurosawa’s film itself was released in the 50s and while very much fitting of its time and Japanese culture and stylings undoubtedly has a sense of timeless universality. It’s brought into this English language remake with ease thanks to Kazuo Ishiguro’s screenplay and a fine capturing of traditional repressed British emotion under the guise of the stiff-upper-lip attitude. Much of this is conveyed through the leading performance of Bill Nighy as head of London Council’s Public Works department, Mr Williams.

While Williams is certainly the central focus of Living’s midsection he plays something of a supporting role in the stages which bookend the film. It’s here that while he certainly plays a prominent role and remains a central focus we see more of how other characters view him. Those who he works with in the quiet office filled with the sound of occasional paper filing alongside his distant son (Barney Fishwick) and daughter-in-law (Patsy Ferran). The difference in the bookends is the lease of life he finds in-between as, after being given six months to live, he tries to find a way to truly live.

Initially this takes him to other people’s interpretations of living, via a boozy seaside night with Tom Burke, before eventually finding it in that which was already around him. Simple cinema trips to see Cary Grant in I Was A Male War Bride with former employee Miss Harris (a rather charming Aimee Lou Wood) who he begins to form a friendship with. While Nighy’s performance throughout remains effectively quiet and restrained there’s a clear change in his character as the film gets through its moments rather quickly. Certainly the core change in attitude of the central figure feels condensed into a number of rather quick scenes which move from one to the other with a quicker pace than some of the other strands of the film. Time is still taken, but it feels slightly pacier as you can tell the film wants to reach a key point and development that will lead to the next big stage in the narrative.

In general little has changed from the original film, yet Living manages to get away with this and still makes for engaging viewing. There may be a sense of familiarity at times, but never too much to be bored or disengaged. Leaning more into the realms of faithful remake than a shot-for-shot one. Similarly tones and feelings are captured without feeling as if you might as well be watching the original. And much of this comes from Bill Nighy’s performance and the way that the film focuses on the effect that his character has in taking control of his life. Sometimes seen from the perspective of new-to-the-office Mr Wakeling (Alex Sharp), told to expect a stern, little-talking, punctual head of department before he fails to turn up multiple days in a row, after having to leave work early on the new employees first day.

As a whole there’s a calmness to the film which allows for the quietness of the emotion to come through and have more of a connecting effect. Much of why the film works is down to its subtleties and the conflicting restrained emotions of the themes and the displays of what the characters are often feeling. It has an engaging effect which manages to flow rather well, even if a bit sped up during one key part of the central Mr Williams’ course of change, and fits right in to the time period in which it is set – starting off with various 50s-style shots of central London, music and title cards to reflect a film of the period – to further reflect the tones and ideas on display throughout. All rather well captured and simply helping to create an even more thoughtful impact which perhaps remains due to the fact that never does the film go for loudness or heavy forcefulness.

The restrained tones and emotions that make the subtleties and thoughtfulness of Living as effective as they are are captured within Bill Nighy’s wonderfully restrained central performance. While some moments may feel a bit rushed through the film remains well placed within its time period, with quietness making an impact at the fore throughout.