Cert – Recommended 18+, Run-time – 1 hour 53 minutes, Director – Mimi Cave

After a series of bad dates, Noa (Daisy Edgar-Jones) strikes up an intimate relationship with doctor Steve (Sebastian Stan). However, it’s not long until she discovers his hidden cannibalistic attitudes.

Just before its awards success truly started to take off Twitter decided, for a brief while, that the thing Drive My Car should really be celebrated for was the fact that its opening credits didn’t arrive until 42 minutes in. Well, with a run-time just over an hour shorter than Drive My Car, Mimi Cave’s feature directorial debut, Fresh, introduces its opening credits 33 minutes in. Just as the tone snaps into something more sinister and central figure Noa (Daisy Edgar-Jones) discovers some dark truths about her potential partner Steve (Sebastian Stan). Everything they’ve built-up over the somewhat quick development of their relationship in these first stages is shattered as it turns out that doctor Steve’s charismatic exterior lies on-top of cannibalistic attitudes and behaviours. Otherwise known as, he likes to eat human.

There’s no denying that Stan appears to be having a good time playing a slightly-knowing, not-quite-dead-pan villain. Enjoying a number of dance-like moments as he shares his palate-related tastes with various high-class figures who can afford the steep cost of properly prepared human flesh. There’s very much a sinister nature carried around the character with the casual way in which he discusses his life and tastes, which come as a fearful shock to Edgar-Jones’ Noa. While Stan is certainly the support when it comes to this film he’s often placed in focus as Noa’s circumstances, gradually learning more about the man she has become intimate with, somewhat restrict her at various points throughout the film. While there’s certainly a good performance put into the character it does feel somewhat reined in by the situation and focus on Steve and the impact that he has more than anything else.

Much of the events of the remaining 80 or so minutes after the opening credits are carried along in a similar style to those beforehand, although undeniably with a general change in tone. This well-captured by Cave’s direction as the film meanders relatively well through its various elements, introducing one or two more along the way to bring out some of the intended suspense and mystery. While this does end up extending the final stages a bit, feeling drawn out in trying to bring back and resolve such points which are referenced every now and then for what feels like a simple reminder for the viewer. While such points don’t quite feel inserted to simply push the run-time they do eventually end up circling to that feeling in the latter stages of the third act.

Yet, there’s still plenty to be interested and engaged in over the course of the film, particularly when it comes to what we learn about Steve, and how Noa reacts to her situation and their relationship. It’s undeniably the strongest part of the film and while it occasionally stalls to make way for other points its soon drawn back to and knows what to do to generally keep you in place, helped along by the two central performances and Cave’s direction. It may not always feel entirely like its title, but there’s certainly enough within such factors to keep the film going and the viewer interested for the time its on.

While not always focusing on its best elements, within the relationship between Stan and Edgar-Jones’ characters, there’s a well caught sinister air within Fresh which helps it along its sometimes meandering course.

Cert – 18, Run-time – 1 hour 46 minutes, Director – Ti West

When a group of young people hire an out-of-the-way Texas shack to make a pornographic film, the elderly couple who own the building begin to take against their actions, with murderous outcomes.

Over the years there have been plenty of sex-based reasons for killing sprees in slasher flicks. However, perhaps the viewpoint of elderly killers Howard (Stephen Ure) and Pearl (Mia Goth) lies towards the slightly odder end of the scale. The idea that young people shouldn’t have sex because old people can’t. Perhaps it’s not as plain and simple as that, perhaps it’s a matter of frequency and openness; either way, they take against the actions of the group of (mostly) young people who are hiring out the shack just down from their own home as the group use the area to make their own pornographic film. One which will, at least in the eyes of director and cameraman RJ (Owen Campbell), blur the lines between porn and art film, and for older producer Wayne (Martin Henderson), could rival Debbie Does Dallas.

For much of the film we see the group, primarily future porn starlet Maxine (Goth), go about making their film. Occasionally encountering the disgruntled neighbours in-between loud and unashamed sessions of (hopefully) artful adult actions. The build-up is certainly lengthy and takes up most of the 106 minute run-time. However, there’s enough present to keep things going and hold your interest. The visual style and flare of the piece certainly puts you in the 1979 setting, while also helping to capture the feeling of classic 70s slashers. Largely this is down to the strong cinematography of Eliot Rockett, and West’s direction. While the opening puts in mind the obvious calls to the likes of The Texas Chain Saw Massacre there’s luckily enough within X to draw a distance between the two and allow it to not feel like a remake of such.

It’s as the actual killing spree begins that things begin to somewhat dip. Pearl’s murderous streak grows as her husband is unable to meet her sexual wishes and desires due to a heart condition. Therefore killing those who can openly commit such depraved acts – the kind of which is severely frowned upon by that nice, very passionate, preacher on the television – and remind her that she and Howard can’t, is the only option. Much of the spree feels as if it happens all at once. Yet, the feeling of being slightly drawn and spaced out is also present due to the fact that each instance has its own build up and interaction beforehand. The general feeling of the third act is something slightly underwhelming with a number of the key eventual slasher moments feeling as if they just kind of happen and then move on to more build up for another kill.

Despite a good build up, with some effectively ominous suspense every now and then, there’s generally an underwhelming nature to the third act slasher nature of X. Perhaps it’s down to the slightly odder (although certainly nowhere near ridiculous or outlandish) motives of the killers and the scarce proper interaction they’ve had with the central group of aspiring porn-makers up until this point, or even the conflicting drawn-out yet (almost) all-at-once nature of the spree itself. Either way, it causes a dip in your engagement with the film as it goes on. And while luckily it doesn’t form the overall bulk of the piece it certainly feels as if it lasts a little while, particularly as the on-screen screams increase and a handful of inevitable stupid-ideas-in-a-horror-film come into play. Even the visual style kind of falls down as much of the intended horror plays out in the dark of night. And while there’s still a generally watchable nature your attention isn’t held as much as it is in the gradual suspense of the hour or so build-up.

With a strong visual style and ability to lean away from obvious references such as Texas Chain Saw you’re able to engage within X’s gradually unfolding build up. However, as the killing spree begins things dip as substance is lost and the piece slightly goes in circles.

Cert – 12, Run-time – 1 hour 45 minutes, Director – Shawn Levy

12-year-old Adam (Walker Scobell) finds himself trying to save the world and change the future when an older version of himself (Ryan Reynolds), from 2050, crash-lands in the wrong year attempting to find his missing wife (Zoe Saldaña).

Even if you know nothing about The Adam Project going into it, it’s obvious from the early stages that Ryan Reynolds is going to be in this, and exactly who he’s playing. This isn’t just because he’s in the opening scene, but because the younger, 12-year-old, 2022-based version of his character, Adam (Walker Scobell) makes plenty of the same wisecracks he’s become known for in much the same way when being confronted by the usual group of bullies he faces almost every day. It’s clear he’s playing Ryan Reynolds and it sets in something of a worry that Reynolds will also be playing himself, providing the usual schtick which is perhaps beginning to wear thin after the past few years. However, luckily, while there are such moments, which don’t overly fit well with the rest of the film, for both figures – more prominently from the younger – there’s plenty else aside to cause it to not be the core focus and drawing point of the film.

The reason that the two are meeting is due to time-travelling 2050 Adam (Reynolds) crash-landing in the wrong year when trying to both save the future and find his missing wife (Zoe Saldaña). As the idea of time travel is explored we get a narrative that jumps back and forth, mostly back, to various times and locations where the birth of time travel itself within this world is explored. How can it be changed to save the future, and what does it have to do with Adam’s father (Mark Ruffalo) who passed away in a car accident a few months earlier. As the film tries to explore such points it travels along relatively standard lines, especially as it jumps around in time and shifts to a slightly new focus within each new setting. It causes certain points to not feel quite as developed as they perhaps could be and slightly brings the film down when it comes to its narrative focus and detail.

Yet, perhaps the most engaging points in the film are the action sequences. While not all quite grab you and bring you further in to the piece there’s a certain style and flair to them that catches your attention and helps to heighten a fairly well-established tone throughout. There’s something about the film which throws back to family sci-fi flicks of the 80s, perhaps helped by director Shawn Levy’s work on TV series Stranger Things, and while the feeling isn’t always strong; occasionally providing more of a dated feel than that of a throwback, it’s certainly present in the second half of the film and somewhat helps to lift things up, particularly some of the set-piece moments in the third act.

While it might be fairly forgettable after viewing, for the time that it’s on there’s a watchable nature to The Adam Project. It doesn’t completely act as a throwback to 80s-style sci-fi features, but it certainly manages to move along relatively well, particularly when focusing on action rather than narrative. Reynolds and Scobell work well together and manage to avoid entirely doing the usual Ryan Reynolds routine and in general that alone kind of helps the film along too as they primarily lead the piece with the supporting cast getting quite little to do, despite some big names amongst them. Yet, they manage to lead the film well, helping it along its course and making for decent enough (12-rated) family viewing for the time that it’s on.

A slight throwback that never fully manages to capture the tone and feel of what it seems to try to throw back to, The Adam Project might not quite hit all the right notes throughout its time-jumping narrative, but it hits enough to make for watchable amusement, with some good action sequences, for the time it’s on.

Cert – PG, Run-time – 1 hour 40 minutes, Director – Domee Shi

13 year old Meilin (Rosalie Chiang) is going through the standard changes that come with growing up, however her outgoing confidence is shattered when a generational ‘blessing’ causes her to turn into a giant red panda whenever she gets emotional or overexcited.

As we’re introduced to the unashamedly herself Meilin Lee (Rosalie Chiang), it’s clear that the 13 year old protagonist of Pixar’s latest is overflowing with confidence. An outgoing personality who is ready to take the challenges and effects of growing up head on, it’s all part of her plan. Yet, despite containing a couple of dashes of humour – “and I will not hesitate to do a spontaneous cartwheel if I feel so moved” – the outgoing declarations of Meilin’s pride and confidence in herself in this introduction began to bring to mind thoughts of whether this attitude can be stretched over 90+ minutes without wearing thin and beginning to get somewhat irritating. It echoes a style that was contained within the trailers for this film, one which certainly gave me some initial concern.

How glad I am to have been proved so wrong so quickly. It appears that this was all part of the plan of the film. As co-writer (alongside Julia Cho) and director Domee Shi – who was behind the studio’s wonderful short Boa a few years ago – explores Meilin’s world shattering around her when the changes in life bring about a generational blessing turned “inconvenience” in the form of her transforming into an eight foot tall red panda every time she gets emotional or overexcited. It’s something that can easily be reversed, but in a month’s time with a ritual under the next red moon. Until then Meilin must learn to stay calm and control her inner panda, while riding the perilous tracks of crushes, her favourite boyband performing in town and school bullies. It’s a hazardous road and one which can easily be driven off, especially as Meilin tries to do her won thing in defiance of her usual family dedication, worrying and angering her concerned and uncertain mother (Sandra Oh) at each turn.

As a studio Pixar have become noted for their use of animation and fantastical elements and worlds to translate various themes and ideas to audiences of all ages – Inside Out and its point about necessary sadness is perhaps the biggest standout here – and while Turning Red certainly contains this it also tackles certain themes much more directly. Topics such as periods and mood swings are clearly displayed and simply treated as a fact of life, and indeed help to emphasise the ideas and points about growing up that the film holds so high. The narrative itself is fairly simplistic, following Meilin as she tackles with her panda form and the blessings and curses that it brings to her at this stage in her life, yet it all allows for the themes to lift the piece up and draw the viewer in to form a connection with the piece.

All helped further by the humour that is derived from a number of situations. While you certainly feel the shock and pure embarrassment of certain moments – particularly an early scene where Meilin’s mother confronts a seventeen year old convenience store worker her daughter appears to have a crush on, as if noone else is in the shop – there’s no denying just how much comedy there is throughout the film. This is perhaps Pixar’s funniest film to date, holding plenty of laugh out loud moments in most scenes and montages.

Yet, perhaps the thing that speaks mostly loudly about Turning Red is just who it appears to be speaking to. While Pixar have always catered to a family audience and worked on different levels for different ages – again, see Inside Out – here there are plenty of scenes which are clearly speaking directly to those of Meilin’s age. As if saying to them that it will indeed be alright in the end both individually and with family, even being set in 2002 – acting as something somewhat semi-autobiographical for Shi, although perhaps she didn’t literally turn into a giant red panda as part of a centuries old family (initially) blessing – helps push this idea. Although, none of this is ever shouted.

It’s all conveyed within everything that the film provides and does with its themes and ideas, which help to lift it up and do the most speaking on the various levels that the film products. Still containing the family-leaning moments of fantasy brought to life by fine animation, as has become expected from the studio, especially after the last decade or so. There’s quite a bit being juggled amongst Turning Red’s slightly stripped-back narrative, but it allows for the themes to speak more, particularly with an interesting edge for Pixar of speaking more directly about certain points to certain audience members. And it manages to hit it out of the park rather well.

Perhaps the studio’s funniest film to date, Turning Red signifies Pixar talking in a more direct manner, amongst their usual fantastical-tinted story and message telling, to a particular audience. It works and provides a slightly new view and angle for them that should bring everyone in for a solid 100 minutes.

Cert – 15, Run-time – 2 hours 56 minutes, Director – Matt Reeves

A masked killer known as The Riddler (Paul Dano) begins to attack some of Gotham City’s most prominent figures, Batman (Robert Pattinson) begins to track him down through layers of unveiled corruption.

For years now it appears that people have been wondering when a live action Batman flick will take us back to the more detective-based roots of the character. Well, co-writer (alongside Peter Craig) and director Matt Reeves – off the back of the VFX heavy spectacles that were Dawn Of and War For The Planet Of The Apes – has managed to successfully conjure up a big-budget noir with a Detective Bat Man leading the investigation. His (Robert Pattinson) primary target is the highly-masked figure known as The Riddler (Paul Dano). A figure linked to the murders of a number of Gotham City’s most prominent and influential figures, particularly in the build up to the upcoming mayoral election.

This is a Batman who has already built up his tensions with the police, their antagonism towards him shown from his first appearance alongside them. As usual, it appears that only Lieutenant Gordon (Jeffrey Wright) is the only one on the side of the vigilante. They both appear to rely on each other’s brains as they try to deduce the various maps, puzzles and clues that have been left behind by an unknown figure bent on bringing down Gotham’s corrupt system in the wrong way. As more is uncovered we get a true sense of Pattinson’s Batman being a true defender of the city. The location feels detailed in terms of the places we visit and the shady characters who lurk there. On many occasions we’re thrown in to the scenario with only enough context so as to develop information alongside the titular hero – blurring the lines between himself and the somewhat little-seen billionaire Bruce Wayne, who has become something of a recluse over the last couple of years.

This is a Batman still to tackle his demons, afraid to properly confront them, and carrying that in the back of his mind as he goes about trying to locate the Riddler before he kills again. Much of the film is spent as a gradually paced investigation, already allowing for a tonal difference to more recent outings of the caped crusader. The elements combine to create something that feels rather fresh for the character, and simply brings you in for the ride. One which, thanks to the consistent tones of darkness that run throughout, never feels like the almost three hours that it actually goes on for.

Amongst everything at play there’s still time for beats of action. Plenty of heavy, swift punch-ups to truly show the power of this take on the character; not to mention an exhilarating car chase with Colin Farrell’s Penguin (Farrell seemingly having taken to some of De Niro’s classic mob roles for inspiration). There’s real violence and impact when it comes to the fights within this film, sparingly used to further add to the impact and the way in which this Batman’s mind works. He’s a mysterious figure himself, which simply helps to enhance the noir feel that lies in many scenes, alongside the visual style that certainly creates an engaging flare, trying to hide himself as much as possible – largely as Bruce Wayne – while getting on with saving the city. Pair him up with the bold and determined nature of Zoë Kravitz’s Selina Kyle, AKA Catwoman; never underplayed and matching up well to Pattinson’s central figure, and you have a fine mixture of characters who push the themes and story along with ease.

The narrative develops and flows with precision thanks to the finely edited nature of the film. Editing which you barely notice thanks to the flow which it creates and the consistent tone, meaning that your level of engagement only deepens as things unfold. It certainly feels the case that narrative has been put first, with the character’s being allowed to lead the narrative to further your connection with them and the piece. Interest and intrigue grow and develop as does the increasingly worried hunt for the Riddler; a villain who poses a true threat and sense of darkness that fits right into the world that Reeves and co have created. One which stands out from other live-action takes on Batman and Gotham City in its decision to be a punchy, slow-burn, character-led detective thriller above anything else. And much like being in a room with Batman himself, it both knocks you back and commands your attention.

An undeniably impressive achievement The Batman is a strong, character-led detective tale that commands your attention throughout its gradually paced narrative. Not forgetting equally engaging action, it flows with ease and consistency, never forgetting its streak of sinister threat and darkness.