Cert – 12, Run-time – 2 hours 8 minutes, Director – John Madden

A team of British intelligence officers put together a false identity for a dead corpse with fake documents that they hope will divert the Nazis from their upcoming attack.

Perhaps one of the signs that a film such as Operation Mincemeat is working effectively is when it’s able to conjure up tension even though you know (or can generally presume) how things are going to happen. The Allies won World War II, this story is being told in the first place, you can assume that it succeeds. Yet, as the group are properly preparing their dead body to literally float into enemy hands, looking over the work that they have compiled and poured over the details of for months on end, there’s a sense of worry. What if things don’t go right? What if everything is returned without having been opened or looked at? ‘Everything’ in this case being a series of fake letters and documents written in the hope of distracting the Nazis to Greece instead of remaining in Sicily, where an attack will hopefully be launched.

The group behind this operation, having to meticulously create a false identity, relationship and series of exchanges to seem like the identity claimed to the corpse is real, is racing against the clock, and indeed a group who don’t see much in their plan. Led by Colin Firth’s Ewen Montagu and Matthew Macfadyen’s traditional, stiff-upper-lip Charles Cholmondeley the team behind Operation Mincemeat meet difficulties and obstructions within the fable that they weave. Not just when it comes to their core goal, with the presence of Kelly Macdonald’s Jean Leslie, typist turned key player in the effort, something of a slight love triangle forms between her and the two leads. It’s an idea that never really clicks or takes off the ground, feeling more at home with a selection of third act inclusions, or at least points in the latter half of the piece, where things are introduced with little time for further mention, or development. Feeling present to simply add to the worries and stresses certain characters face, not always properly connecting with the audience.

They stick out in a film that otherwise feels mostly focused on its core narrative of the Operation Mincemeat arc. There are occasional points for an underused Johnny Flynn’s Ian Fleming – whose screen-time largely revolves around the idea of him getting inspirations for his series of spy stories, a successful running gag involves it seeming as if everyone is currently working on a novel of some kind. The ensemble nature of the film, with a handful of British acting stars, does somewhat bring about the feeling of a standard British behind-closed-doors World War II drama, something which is present during a number of moments within the unfolding narrative. It mostly arrives in the second half as various twists and turns are explored late on, and Jason Isaacs Admiral Godfrey begins to play more of a part, although more in discussion than actually being seen.

With such points coming into play at this stage the film begins to show its run-time, although as it begins to come to a close. Perhaps this is pushed by the feeling that it wants to close at a handful of stages, and builds to what feels like an ending, but continues so that the whole story is told, as it needs to be. It forms a slightly jumbled feel to the third act, which while still relatively on track and engaging does carry a fair bit more weight than the rest of the film before it; where much of the references have simply been that, referenced points with not as much emphasis or push until now. Despite this late stage set of additions there’s still enough focus on the main unfolding operation to keep the audience engaged and interested in the way things pan out, particularly for those unaware of the events. It’s a good British war drama that generally keeps its flow throughout and is helped along by a set of good performances from the ensemble cast.

Slightly overstuffed towards the end Operation Mincemeat still keeps focus on its titular operation to keep the viewer engaged and interested within the well-acted events as the unfold over the course of the, slightly lengthy, run-time.

Cert – 15, Run-time – 2 hours 17 minutes, Director – Robert Eggers

When his father, the king (Ethan Hawke), is killed by his uncle (Claes Bang) a Viking prince (Alexander Skarsgård) spends years vowing to track down the murderer to exact his revenge.

While it may not be in the horror vein, co-writer (alongside Icelandic novelist and poet Sjón) and director Robert Eggers conjures up just as much terrifying atmosphere within his latest, The Northman, as his two previous features, The Lighthouse and The Witch. It comes in the relentless noise of animalistic rituals, dances and battle cries. The camera crawls towards Alexander Skarsgård’s once-prince Amleth as he stomps and writhes and howls, releasing his inner wolf and the fury that comes with it. Screaming his pain and anger into the fire in front of him, harbouring years of rage towards his uncle (Claes Bang) for having killed his father, the king, (Ethan Hawke) and kidnapped his mother (Nicole Kidman). His stance and viewpoint has changed little since he managed to escape as a child (the younger Amleth played by Oscar Novak). The phrase throughout the trailers “I will avenge you father. I will save you mother. I will kill you Fjölnir” echoes across the film as Amleth tracks down Fjölnir, stowing away as a slave, and preparing to kill him.

As mentioned, the atmosphere flows thick throughout the course of the narrative. There are hints of Eggers’ fantastic debut The Witch when it comes to the lingering threats and tension at play as Amleth plays with his uncles mind, and attacks those in the small Icelandic clan he has formed, in the build up to killing him. Such feelings are mixed in with tones that feel reminiscent of The Revenant when it comes to the brutal attacks. Blood sprays, splutters, spurts and pours across the wet, cold and muddy landscapes showing anything but a clean battle. There’s no denying the gory nature of the film, adding to the intense feel on many occasions, and at times the fear factor that a handful of moments hold. The detail which helps bring you further into the world which Eggers, and his creative team, have so cinematically created. Add to that the roaring sound blared from the cinema speakers and you’re forced into plenty of the moments, up close and right in front of the characters as they attack and below with their vengeful fury.

This isn’t to say that the film is all brutality and shouting. There are plenty of quieter narrative based moments as Amleth builds up his plan, involving the slaves around him; including the young woman he begins to form a relationship with, Olga (Anya Taylor-Joy). On plenty of occasions what brings you in is the tactical execution of some of these plans, executed (sometimes in more ways than one) in the middle of the night while others are distracted. The camera tracks the characters almost like they’re in a spy thriller, yet never detracts from the dark drama that’s at play. One which knows how to use mythology and elements of folklore to progress and deepen the narrative while never allowing it to feel bogged down. Perhaps not led as much as his two previous features by such content there’s still plenty within The Northman to enhance a lingering sense of mysticism about the piece – and not just when relating to the idea of riding to Valhalla.

The night is often separated from the daylight, questioning whether certain elements are dreams or reality. What is a genuine foretelling and what is in Amleth’s mind, it comes in the almost black and white nature of his encounter with a seeress (Björk). The image isn’t completely in black and white, simply drained of colour, adding to the strange, otherworldly nature of the moment that while sticking out from the brutality of what surrounds it works perfectly in progressing the narrative and further heating up the central figure’s burning want for revenge. Aside from perhaps the final stages where the film begins to slightly show its run-time there’s plenty of consistency that keeps you in place for the duration of the film and allows for a work of true cinematic spectacle, that may even improve upon rewatches. Just make sure to see this big and loud, much like the impact of the film, for the true thundering effect that Robert Eggers and his team have conjured up. Perhaps not something of the mainstream, but for it to have been released to mainstream cinemas is just another item on the list for the boldness of The Northman.

Brutal, loud, gory, violent, intense, terrifying, cinematic; there’s plenty to love about the visual and audible atmosphere that runs throughout The Northman. It may slightly begin to show its run-time, but the elements remain intact throughout for an almighty roar of a Viking experience.

Cert – 12, Run-time – 1 hour 52 minutes, Directors – Aaron Nee, Adam Nee

When she finds herself kidnapped by a billionaire (Daniel Radcliffe), adventure-romance writer Loretta Sage (Sandra Bullock), alongside her cover model (Channing Tatum), finds herself exploring an island to find the treasure featured in her most recent book.

There have been plenty of comparisons made between The Lost City and the likes of Romancing The Stone and Jewel Of The Nile. The film certainly occasionally acts as a throwback to such adventure-romance flicks. But, while displaying such throwbacks it doesn’t ever feel stuck in the past. There are plenty of moments, not just when it comes to the tone and style of a handful of gags, that allow it to avoid delving into feeling dated or of another era. Perhaps some of this comes down to the casting of Sandra Bullock and Channing Tatum – particularly Tatum playing cover model Alan, a true himbo figure trying to prove himself as a worthy hero to the writer of the adventure-romance novels which he lends his face, and body, to the covers of.

That writer happens to be Bullock’s Loretta Sage. Since the passing of her husband five years prior her workflow has dwindled, and seemingly so has the quality. Her latest book, The Lost City Of D, has been met with lacklustre reviews in terms of both the adventure and the adventure shared between the two central figures throughout the novel. However, the book has captured the attention of billionaire Abigail Fairfax (Daniel Radcliffe) who has located the lost city and believes that Sage can help him to find the treasure at the centre of the novel, the crown of fire, based on the expertise she has shown from having written so much about it. Therefore Bullock, with Tatum attempting to come to the rescue, finds herself stranded on a strange island with little clue of how to escape; being forced to go on an adventure much like the ones she has written about for years – just without the “pages of coital reverie”.

The casting of Radcliffe as the traditional British villain certainly feels intentional and he definitely appears to understand the character and what the film wants him to be – his baffled delivery of the line “why are things exploding?” is one of the highlights of the film. Throw in a publicist (Da’Vine Joy Randolph) doing everything she can to reach her friend to get her back on track with her book tour and you have a handful of traditional figures for this kind of film. It appears that the writing team for The Lost City are very aware of this and have tried to craft something within a more traditional vein, again with some more modern jokes and references for the cast to deliver – helped by the various points of action which mix both slight parody, mostly in the form of Brad Pitt’s brief screen-time, and simple comedic action. A cast who all seem to be having fun making this film. And while the fun doesn’t always entirely come across it does help to lift the tone in a number of scenes and gives the film an overall breezier feel. While there may be some slight jumping from perspectives with characters in different places there’s not quite a sketch feel to the film, or one that’s overall too jumpy and constantly flicking back and forth, avoiding little time being given to follow what’s happening at one point or another.

Overall, there’s plenty to like throughout The Lost City, helping push it along and keep you engaged throughout the run-time. Although, perhaps the moments that work best are those simply allowing Bullock, Tatum and Radcliffe to have a good time in the flow of the adventure-chase narrative. Almost as soon as the villain appears on screen and takes the acclaimed author to the titular lost city on his private jet you know what you’re in for, and luckily the film keeps a consistent style and tone. Maintaining a slight throwback style while avoiding a dated feel there’s plenty to amuse and enjoy within the traditional arc that the film travels across. Perhaps not as thrilling as the supposed Lovemore and Dash adventures are made out to be in Sage’s books, but still entertaining nonetheless.

The cast of The Lost City are clearly having fun in the breezy flow of this adventure-romance, heightening the amusement factor to be found within the slightly updated comedic action and adventure notes.

Cert – 12, Run-time – 2 hours 22 minutes, Director – David Yates

With Grindelwald (Mads Mikkelsen) now free, with a growing legion of followers, and attempting to take supreme power over the wizarding world, Albus Dumbledore (Jude Law) enlists the help of Newt Scamander (Eddie Redmayne) and co. to stop him from launching a war on the muggle world.

It’s been said by many that Fantastic Beasts: The Secrets Of Dumbledore, the third in the Wizarding World prequel series, could be the film that solidifies the fate and future of the franchise. Up until this point the previous two entries have been somewhat underwhelming (including somewhat when it came to the previous entry’s box office performance), although they do have their fans, providing little development; previous instalment The Crimes Of Grindelwald ending in very much the same place we arrived at the start of the first film. While this third entry does continue the idea that this franchise is two, maybe three, films stretched into a planned five there is at least some slight development across it and something more of a narrative arc gradually formed throughout – even if we do arrive at the inevitable dead-ends and circling again.

With Grindelwald (now taking the form of Mads Mikkelsen) now free his followers grow, putting him in good stead to seize the upcoming election which could give him supreme power over the wizarding world, being able to launch war on the muggles. While he can’t do anything himself in attacking and effectively taking down Grindelwald, due to a blood-bound spell, Albus Dumbledore (Jude Law – who truly rocks his character’s hat, and occasionally coat, and beard) enlists the help of returning Newt Scamander (Eddie Redmayne). Alongside Newt are returning faces such as ministry-working-brother Theseus (Callum Turner), Professor Eulalie Hicks (Jessica Williams – who brings a welcome deal of charm to her few scenes), muggle Jacob Kowalski (Dan Fogler) and more – a number of whom feel like new faces due to the faded memory of the previous films, an event which may happen again due to the little screen-time such figures get here.

In many ways The Secrets Of Dumbledore plays out like the previous two films, although sending its various characters in different directions of different locations in order to confuse the future-seeing villain. The narrative certainly feels somewhat stretched with a handful of tangents and extended sequences that don’t overly have a great deal of effect. This being said there certainly feels to be less sequences of could-be-silent ‘action’ dotted here and there. Dialogue appears to play more of a part within this film and the course that it takes, mostly coming into effect and prominence in the second half once the elements have been properly built up towards – it certainly makes for a third act that flows rather well with the progression that it displays compared to the rest of the story. Perhaps this is down to the fact that J.K. Rowling, who penned the previous two films alone, is joined on this screenplay by Steve Kloves – who wrote the screenplay for each of the Harry Potter adaptations, excluding Order Of The Phoenix. Pushing the dialogue forward, particularly as the film goes on, and simply adding that built more detail to the narrative.

The narrative as a whole doesn’t completely develop much, neither do many of the elements, but at least it feels as if something happens within this film. Those elements may not have much to do with the alleged secrets of Dumbledore, Albus or – as we learned at the end of the previous film – Aurelius (AKA Credence Barebone, AKA Ezra Miller), or even Aberforth (Richard Coyle), but they at least allow for a brief, singular arc for this film to unfold, particularly in the later stages where some of the best content lies, because of the feeling of flow that’s introduced. Otherwise, it is the titular beasts that somewhat steal the show. They offer brief moments of silliness – particularly an extended moment involving mimicking, scorpion-like creatures – that stick out from the sometimes lacklustre drama that the rest of the piece attempts to conjure.

There’s a mixed bag within The Secrets Of Dumbledore. Three films in to this series and there still feels like little overall development, but at least within this particular outing there’s something of a slight arc, particularly coming into effect in the engaging flow and movement of the third act. It perhaps comes down to the more present dialogue that puts into effect the unfolding set of situations, and the Grindelwald-based one that’s most core to the film, or at least seems to be. It may still suffer from the slowness and tangents of the previous two films, but at least there’s still something relatively serviceable and watchable before the more entertaining bursts and strand leading up to this latest non-bookending.

Certainly displaying more of an individual arc than before, Fantastic Beasts: The Secrets Of Dumbledore still has the extended tangents that have lengthened this series so far, but is slightly lifted by the more dialogue-led nature which helps form the effectively engaging flow of the third act after another slightly middling outing.

Cert – PG, Run-time – 2 hours 2 minutes, Director – Jeff Fowler

When Dr. Robotnik (Jim Carrey) returns to Earth, with newfound ally Knuckles (Idris Elba), Sonic (Ben Schwartz) must learn to team-up with fan Tails (Colleen O’Shaughnessey) to defeat the pair before his powers are stolen.

Back in the early stages of 2020 I gave the then recently-released Sonic The Hedgehog one star. Since then I’ve thought back to this review and consistently thought that I was too harsh on the film, at least in terms of the star rating. Having revisited it the night before watching the sequel I believe that while I’m not on board with the film it’s certainly not a one star affair. However, whilst watching Sonic The Hedgehog 2 there were times when my mind began to wonder whether I was right the first time around. Perhaps there was an unconscious cynical layer within that line of thought that simply wanted to have been ‘right’ instead of accepting a changing opinion or viewpoint. Yet, as the film progressed while, for me, it contained many of the same flaws as the first it eventually feels like something of an improvement.

We re-meet Sonic (Ben Schwartz) living a calm life in the small town of Green Hills, having settled in with police officer Tom (James Marsden) and wife Maddie (Tika Sumpter). However, when Dr. “Eggman” Robotnik “Jim Carrey) returns from the distant reaches of The Mushroom Planet, with super-punch echidna ally Knuckles (Idris Elba – who appears to frequently switch between British and American accents mid-sentence), the titular hedgehog finally has an, albeit seemingly impossible, way to prove himself as the hero he wants to be. Teaming up with fan Tails (Colleen O’Shaughnessey), who has been observing Sonic’s actions from some time, the pair need to find the all-power-giving Master Emerald before their rivals do, both wanting to destroy Sonic and, in the case of Robotnik, take his power.

It’s through this line that we begin to get three different strands running through the film, also viewing Tom and Maddie in Hawaii at the wedding of her sister (Natasha Rothwell) – still not a fan of Tom. With so much going on the film feels slight busy, yet it’s perhaps testament that the lengthy looking – at least for a film like this – two hour run-time isn’t really felt. The gags as a whole may not take off, many relying on having seen the first film or simply coming across as quite laboured and predictable, but the more the film goes on the less trying it becomes. Yes, the fact that characters narrate pretty much everything that is happening or has happened instead of allowing the film to just show events and have the audience simply understand from that is still present (alongside Sonic occasionally coming across as a non-fourth-wall-breaking, child-friendly Deadpool figure – the words “if I die don’t look in my closet” don’t quite feel right coming from him). Yes, there are some slightly outdated instances – Jim Carrey’s Eggman flosses, Carrey, the highlight of the first film, doesn’t quite seem as manic here and gives a slightly hammier performance. Yes, there’s a slightly odd dance battle set to Uptown Funk, after some pretty cool Russian dancing. But, as such elements die down in the build-up to the third act there’s a better flow to the film as a whole that’s easier to get on with.

During more action-based sequences where dialogue feels less key to what’s unfolding on screen, and not everything is pointed out, the film properly begins to feel as if it’s coming off the ground and picking up pace. Again, the third act contains some of the best stuff in the film, but unfortunately the big final battle comes into play a bit too late to properly turn things around. But, it does mean that the film as a whole does leave off on a good(ish), if slightly obvious, note, and perhaps creates some hope for the inevitable third film. Generally, while still somewhat flawed throughout, some of the issues with Sonic The Hedgehog 2 are shed throughout to create a slightly more even, less trying piece of work that while certainly not great appears to gradually find its strengths and footing in its more planned-through sequences.

An improvement on the first film, but still not great, Sonic The Hedgehog 2 has many of the same flaws that occasionally make for slightly tedious exchanges. However, when focusing on action, particularly in the third act, the flaws begin to shed to create something gradually more bearable, and even engaging.

Cert – 12, Run-time – 1 hour 37 minutes, Director – Richard Linklater

After building the shuttle for the Apollo 11 mission too small NASA decides to embark on a secret mission with the same aims with a child (Milo Coy) going to the moon instead.

“It was easy to be swept up in the thought of the future” reminisces the older voice of central figure Stan (Jack Black) as he looks back on his childhood, specifically the summer of 1969, as NASA was preparing to send man to the moon. It also appears to be easy to be swept up in the thought of the past thanks to the highly nostalgic nature of Richard Linklater’s latest rotoscope feature. Placing you directly into the childhood of the late 60s thanks to the warm, nostalgic tones of Black’s narration lining pretty much the entire run-time of the piece. There’s a solid 40 minutes+ where he looks back at his childhood and the various different things that made it up, from music to film to simple games involving firing fireworks at people using bin lids as shields. It very much creates a feeling of a film of two halves – perhaps two similar short films – one a piece of nostalgic childhood flashback, the other a tale of the space race (mostly).

Early on we see Stan (Milo Coy) taken in by two NASA agents (Glen Powell, Zachary Levi) after particular skills are noticed within him. They explain that the Apollo 11 shuttle has been built too small and so they want to send a child on a secret pre-11 mission to see how it will pan out. However, we see little of this actual mission. Instead, Linklater pairs it up with rotoscoped footage of the actual Apollo 11 venture, with Stan watching alongside his family, flashing back to his own space venture every now and then. It slightly contrasts within the wonderment that’s created in the opening stages when the undiscovered expanses of space, and the moon, are discussed, the other-worldly feel pushed by the animation style, by the older Stan as he recounts tales of being “the last of the ‘duck and cover’ generation”.

As the narration continues in the childhood recount the overall style does begin to lose something. As we get lists of TV shows and music at the time it simply feels like more of a delve into what life was like rather than a direct narrative film. Rather, it feels like something more suited to a documentary than a film of this kind. Even when returning to the child in space themes for the second half there’s still a largely narration-led structure to the piece that while not overly removing you from it does begin to feel like the personal nostalgia of writer-director Linklater rather than the something shared with the viewer as in the opening portion and beginning of the late-60s throwback, even for those born nowhere near/ well after the era. It’s a style and format which would perhaps work well in the space of a short film, or, again, more direct documentary.

Yet, you still manage to get caught up in some of the feelings the film conjures up. There are nerves and a rush as you watch the landing recreated in the animation format, the family crowded round the TV to watch it. A sense of interest is conjured up when briefly looking at those who were against the idea of the moon landing for financial reasons, with a number of black people living hungry and in poverty – linking well to ideas brought up in last year’s Summer Of Soul. While you wish that the film had dealt more with perhaps the most creative and futuristic/ fantastical element in the form of the kid-in-space narrative there’s still enough to conjure up interest within the unfolding events and reminiscences that Apollo 10 1/2 has to look back on. Not all of it may be felt by the viewer, but there’s certainly enough to keep you in place in this authentic space-age throwback. Using the animation to simply push such feelings further and wrap you in the mind of those who saw it all happen (and in terms of the secret mission not happen) at the time.

Using the animation to push the futuristic space-age wonderment there’s a fine sense of nostalgia conjured up within Apollo 10 1/2. While it might dampen into personal nostalgia as the piece goes on there’s still enough present within the memories on display to keep you engaged and interested.

Cert – 15, Run-time – 2 hours 6 minutes, Director – Judd Apatow

The cast and crew of Cliff Beasts 6 experience rising tensions amidst an extensive pandemic-shoot, especially when bubbling together in a hotel.

It feels like Judd Apatow’s The Bubble was one of the first films to be announced in response to the pandemic and yet it feels like it’s taken quite a while to finally arrive and drop on Netflix. Perhaps something which slightly matches one of the biggest feelings that the film itself creates, a point echoed from a number of Apatow films, that at just over two hours it’s that bit too long. There’s no denying the amount of famous faces and cameos, and awkward TikTok dance sequences, that are crammed into that 126 minute space, however after a while it begins to feel like the film is simply involving such figures for the sake of it instead of giving them something funny to actually do. A frustrated cry of “I don’t like movies, they’re too long” can somewhat be felt part way through – well, the latter part can – as the various running gags begin to show weary legs.

Aside from the famous faces that pop up throughout for the most part we follow actress Carol Cobb (Karen Gillan), returning for the sixth instalment of the hit Cliff Beasts franchise – although it’s made to feel like these are becoming direct-to-DVD ventures led by unheard of first-time directors (Fred Armisen) – after having missed out on the fifth to make the controversial Jerusalem Rising. With tensions already lingering in the cast for with this rift the frustrations can only grow higher as they put up with the various restrictions and limitations of filming during a pandemic. Or rather, not filming in a pandemic. With various illnesses and COVID cases striking the set the initial three month span of the shoot continuously extends, forcing the cast and crew into a constant cycle of self-isolation in their cramped luxury hotel rooms.

While we primarily follow Carol throughout the film we still get to see and understand plenty about the various other faces who make up the titular bubble. Mostly because the majority of them only really get the general personality that their running joke provides them with. Most of the cast try to do their best with giving their characters something a bit more, but with each figure being largely defined by a recurring gag it’s a bit difficult to do so. Lead actor Dustin (David Duchovny) finds himself increasingly frustrated with the script which he wants to re-write, while patching things together with on-again off-again partner/ wife Lauren (Leslie Mann). Meanwhile other recurring franchise faces include Sean (Keegan-Michael Key), who has written a book which has started a religion which isn’t a religion but also isn’t a cult, and Dieter (Pedro Pascal – who claims the highlight moment of the film while wielding a flamethrower), needs a fair deal of drink and drugs to get him through the shoot. Add in TikTok star Krystal Kris (Iris Apatow), who doesn’t know that YouTube is still a thing…, and you have a group of not only tired jokes, but people who are going to increasingly get on each other’s nerves, not to mention the hotel employees.

While there are some chuckles here and there they largely appear in the opening half an hour of the film, when there’s still some steam in the tank. Afterwards things prove to be in some form of cycle, going over themselves again and again as the joke is made very clear. These actors are in a luxury hotel and working, but feel trapped despite their surroundings and circumstances. It’s pointed out by the film multiple times, it becomes a recurring point and is screamed and shouted by a number of the cast members. And then it becomes part of the apparent loose narrative, drawing it out that bit more. By the end The Bubble feels more like a bunch of ideas thrown in while filming instead of something formed from a polished script. There seems to have been little for the cast to actually run on – but at least they seem to have had a nice time making the film – meaning there’s little beyond the one-joke nature of many of the figures who pop up throughout. It quickly becomes overlong and bland. Providing little to hook onto and engage with, removing any other potential humour which could be found within and in the end clearly relying on its cast and cameos to do something with the weak and tired material.

Relying on a selection of famous faces to bring something to the one-joke characters there are a few chuckles in the early stages of The Bubble before it all wears thin in the lengthy run-time.

Cert – U, Run-time – 1 hour 40 minutes, Director – Pierre Perifel

Infamous heist gang The Bad Guys (Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos) attempt to go good before stealing the annual Golden Dolphin award for goodness.

Throughout the opening stages of The Bad Guys there are two things which help bring you in to the fast-paced world of the titular gang. The first is the bright animation style, carving out a cartoonish feel to the piece, at times a little bit Looney Tunes, with the other being the rush of entertainment and amusement that comes from the unfolding chaos of the on-screen bank job. Despite being able to just walk in and steal as much as they want – people cowering in fear at the presence of leading figures Wolf (Sam Rockwell) and Snake (Marc Maron) – an extensive police chase forms through the streets of the city chasing after the gradually growing gang members as the true plan comes into effect with each figure’s skills coming into use. Tarantula (Awkwafina) is an expert hacker, Shark (Craig Robinson) a master of disguise and Piranha (Anthony Ramos) a loud mixture of lookout, muscle and nausea-inducing flatulence.

When recently-elected governor Diane Foxington (Zazie Beetz) criticises the group as spineless and in denial they decide to steal the top prize of one of the city’s biggest nights, the Golden Dolphin award for goodness. However, when caught in the act they manage to wind themselves into lessons of goodness award-recipient Professor Marmalade (Richard Ayoade). Attempting to put on a guise of being good their intention is to build up to Marmalade’s big charity event to repair the part of the city destroyed by a heart-shaped meteor before escaping and never being seen again. However, things become slightly more difficult when leader Wolf begins to lean into the good life and the tingly feelings and wagging tails that it provides.

This particular release from Dreamworks Animation certainly feels mostly aimed at kids, particularly with the ways in which it discusses goodness and badness, however there’s still plenty there for the older audiences likely accompanying them. The first half of the film in particularly contains plenty of laughs and chuckles from the cartoonish style and many abrupt gags to enhance the rushing energy of the central group and the various plans and heists they try to pull off. It helps that many of the elements that we see forming the narrative are extended sequences. In fact that film as a whole generally feels made up of extended sequences with various elements playing out for the gang, and one or two figures around them.

While the second half of the piece brings around a slightly more obvious sense of the generic nature of the narrative it still manages to keep you in place and engaged as it pans out. The laughs may die down as the plot becomes more of a focus, but there’s still a strand of amusement and entertainment to be found. It’s provided in the car chases and heist gadgets on display during them, and the heists themselves; not to mention a literal sea of guinea pigs. While each member of the group doesn’t exactly get their moment, and there are clearly those much more prominent than others, there’s still a fair deal of humour from each figure and a distinct enough nature to each one to not make them feel bland or forgotten – helped largely by the voice performances that help bring the characters to life, matching the animation style well. Such elements generally help to keep the film going as its more noticeable basic points arrive. Yet, by the end there’s still been enough consistency in tone, style and energy to keep the film going, and your interest in it engaged. It’s rather pleasant, enjoyable viewing that’s not without its dashes of chaos.

While it might begin to show its somewhat generic narrative in the second half there’s still plenty of laughs and amusement to be had within the delightfully cartoonish energy that The Bad Guys creates.