Cert – 15, Run-time – 1 hour 40 minutes, Director – Alex Garland

When her violent husband (Paapa Essiedu) commits suicide, Harper (Jessie Buckley) travels to a small village in the country to find some peace, only to be stalked by a group of eerie locals (Rory Kinnear).

There have been plenty who have compared the feeling of the enclosed village in writer-director Alex Garland’s Men to the faces and oddities of Royston Vasey. However, an equally present nature introduces thoughts of the darker side of Hot Fuzz. Although, instead of attacking those who make the place look ‘untidy’, and causing hassle for the new officer in town, the various west-country-accented male faces (all played by Rory Kinnear) torment Jessie Buckley’s Harper as she simply looks for peace and calm after the suicide of her violent husband, James (Paapa Essiedu).

Despite the increasing eeriness of the small village and its residents the first instance of terror appears in a flashback argument between the married couple. They shout and scream at each other, tension building up as we fear that James may lash out and harm Harper – she’s seen at the start of the film with a bloodied nose as he falls to his death in front of her. The anger in his voice, that in hers; alongside fear, creates a real sense of naturalistic terror that brings you further into the film and what it may have to offer in terms of horror. Up until this point we’ve largely seen Harper exploring the grand house in which she’ll be staying in for two weeks. Receiving the ‘grand tour’ from landlord Geoffrey. Geoffrey certainly doesn’t seem like someone to be fearful of. Yes, a slightly awkward fellow not without his eccentricities, but there’s an element of humour to him and the various lines and jokes that he reminisces: “M4: Dreadful chore”. Even in the local pub, full of scowling, mistrusting faces, his simple participation in a crossword slightly relaxes you, before his actions simply make everyone else’s presence a source of greater unease.

It’s as we discover other similar faces that things become sinister. Harper entrusts the thoughts in her mind with the local vicar only to be met with questioning as to whether she feels guilt for having led her husband to suicide. “Do you prefer for things to be comfortable or true?” she’s asked as the weight and themes of the film begin to truly settle in amidst this conversation, particularly after the crashing sound of “men do strike women sometimes, it’s not nice but it’s not a capital offense”. At this utterance, as a brief yet lasting thud of silence hits the viewer, the cart the film travels in begins to glide towards its ending. There’s a way to go yet, and plenty of horror and tension to be experienced, but the film in no way feels 100 minutes long.

Amongst the more natural tension and fear throughout the film at the creepy comments and actions of the figures shown, all helped by Kinnear’s excellent central performance and Buckley’s clear terror and pain, the more fantastical elements that are introduced never distract from the flow or feelings that are created. They help to push things, assisted by initial suggestions and thoughts that crop up at certain points, slightly preparing you for what might be to come – although never fully – so it doesn’t feel entirely out of the blue. Such elements keep you involved and engaged as Harper’s plan to get away and find peace provides her with anything but. It allows for much of the horror to be natural, lingering suspense for just what the various men in the village will do or say next. Certainly there’s uncomfortable viewing during one or two key moments, translated well by Garland into tension thanks to everything that’s built up over the course of the film.

By the end there’s certainly a lot to unpack. This feels intentional as the film wants you to sit and reflect on it during the credits. It’s likely to have a lasting effect with many points and moments lingering in the mind afterwards – and perhaps warranting a second viewing, even if just to watch it again because it’s great. What’s evident from one viewing though is that the transitions from naturalistic horror in the flashbacks to the shudder-inducing actions and statements of Kinnear’s collective to the effective sprays of gore are all handled well by Garland, Buckley and Kinnear. Creating, alongside the rest of the cast and crew, a truly eerie horror that works because of just how much you discover about the main character in so little time in the opening stages, and indeed flashbacks. It’s a fine piece of work that clicks early on and runs well with its themes and ideas. Keeping you both in place and suspense, but definitely away from a dreadful chore.

Led by two excellent central performances from Buckley and Kinnear, Men easily conjures up an eerily suspenseful style that keeps you engaged throughout its fast flowing run-time. Capturing you in the shocks of both the more out-there horror and that which leans towards more naturalistic territory, which sometimes provides more unease, panic and uncertainty.

Cert – PG, Run-time – 1 hour 42 minutes, Directors – Loren Bouchard, Bernard Derriman

While a sinkhole outside their burger restaurant causes more stress about loan and rent payments for owners Bob (H. Jon Benjamin) and Linda (John Roberts), it provides their children with an early-summer murder-mystery to solve.

For anyone like myself who’s never seen the hit adult animation series Bob’s Burgers there’s an easy way in to the feature adaptation. Even before the unexpected, yet undeniably welcome, opening(ish) song begins there’s a simple string of gags bantered between the central Belcher family within their burger restaurant. While parents Bob (H. Jon Benjamin) and Linda (John Roberts) worry about their upcoming meeting at the bank about their loan repayment the kids sit behind the counter before school, poking fun at their dad – who displays a hand-drawn “smelliest man award” above his grill – and coming up with their own musical instruments made of spoons and napkin holders. The jokes and personalities fly thick and fast amongst the grouping with little time spared for silence. It’s a welcoming early dose of humour to establish the tone and style that the film will be travelling across for its fast 102 minute run-time.

Amongst the various verbal gags the film and its screenwriters (show creator, and co-director – alongside Bernard Derriman – Loren Bouchard and Nora Smith) appear to take delight in the occasional written or background gag – a shop that sells wool lingerie is brilliantly called ‘Sensu-wool’. There’s plenty happening on screen at one time to likely reward multiple viewings of the adventure that plays out for the characters. While Bob and Linda worry about their loan and rent payments, particularly when business is halted from a sinkhole opening up right outside their restaurant, their children attempt to solve a murder when they discover a body in the hole. Led mostly by youngest, nine-year-old Louise (Kristen Schaal) as she tries to prove that she’s brave and not a baby, as she’s teased for being by people at school for the pink, bunny-eared hat she’s always wearing. It’s a different personal challenge to older sister Tina (Dan Mintz) who wants to prove to herself that she can ask out fellow student Jimmy Jr. (Benjamin). Meanwhile, brother Gene (Eugene Mirman) simply wants to get on with revolutionising modern music as the leader, and sole-believer, of his band.

Yet, none of these personal challenges and arcs overly get in the way of the central narrative at the heart of the film. Instead they act more as personality traits and elements that can provide occasional gags to be played with during certain scenes. The more certain details are played with and pushed the funnier they can become within the realms of the film where a number of characters are played with a slightly dead-pan, matter-of-fact nature. It’s what links many of them, particularly within the Belcher family and patriarch Bob (not the lead, although his name is above the door, instead blending in amongst the ensemble of characters), and helps to further involve you in the world as its nature and figures are established so clearly and easily so early on. By the time the short and few musical numbers do come around you can’t help but have a big smile spread across your face as you feel the summer joy that the film encapsulates within its handful of landscapes, primarily the street on which the family live and work and the carnival pier at the end of it – owned by eccentric landlord Calvin Fischoeder (a hilarious Kevin Kline).

As the third act arrives and the narrative begins to present its closing elements there’s still plenty of laughs to be had. Jokes are placed frequently throughout, worked into the scenes and narrative to never drop the tone of the film. It makes for one of the most entertaining, and funniest, villain confrontations and explanations possible. A pure joy to see unfold through the tears in your eyes. Smith, Bouchard and indeed the entire cast and crew understand the hints of silliness within the structure of the world and characters and play with them for full effect. Not creating something bonkers and outlandish to separate from the nature of the characters, but pointing out the more ‘absurd’ elements and making that into a joke too. It plays with such elements for comedic potential and very often hits to the effect of frequent bursts of laughter and chuckles throughout its run-time. All while still managing to keep and reference the different family relationships within the titular business throughout.

Over multiple series everyone involved has clearly whittled and crafted a clear style and formula that they’re dedicated to; one which has successfully transferred to the big screen. It may start out with the feeling of an extended episode, but that’s never a distraction thanks to the hit rate of laughs. The run-time passes by quickly, feeling like something closer to 90 minutes or under than the 102 that it is. From start to finish Bob’s Burgers proves itself as a successful transition to the big screen, creating a joyous kick off to the summer with plenty of laughs, gags and hidden jokes to warrant repeat viewings. A simply excellent piece of consistent entertainment to really sink your teeth into.

The Bob’s Burgers Movie may just be one of the biggest surprises on the year. A successful small to big screen adaptation packed with heaps of humour that revolve around the finely-whittled characters who still maintain their day-to-day worries. Surely one to reward revisiting, it’s a hilarious way to start off the summer.

Cert – 12, Run-time – 2 hours 11 minutes, Director – Joseph Kosinski

Test pilot Pete ‘Maverick’ Mitchell (Tom Cruise) is called by the US navy to teach a group of the best pilots the US has to offer in order to train them for a deadly and fast approaching mission.

Back in 1986 one of the key praises that was directed towards Top Gun was celebration of it’s various flight sequences. Shot in a distinct Tony Scott style the sequences very much still hold up today and continue to act as a key draw into the film. That flavour still exists today with the sequel simply increasing your engagement with such spectacles as you’re placed directly into the fighter jets with the characters. Close in in the confined space as they soar and roll and train for the deadly mission at hand. With just how close you and the cameras are to the characters, particularly on the big screen, the feeling of risk and danger is certainly increased as Pete ‘Maverick’ Mitchell’s worries act similarly.

After spending most of his life as a test pilot, helping build the planes of the future, Maverick is called back by the US navy to teach the pilots of the future how to execute the destruction of a uranium storage facility. Staying low, weaving through enclosed valley terrain, avoiding enemy aircraft and landing missiles on the smallest of targets are just a selection of items on the agenda of just three weeks. Yet, perhaps the biggest challenge that Maverick faces is trying to get his sparring team of some of the best pilots the US has to offer to work together. While some are cocky and certain of their leadership (Glen Powell’s ‘Hangman’) others have their own personal histories with their new teacher, namely Miles Teller’s ‘Rooster’ – the son of Maverick’s former wingman ‘Goose’, an element which truly clicks once you see the resemblance in a key shot in the latter stages of the film.

As the mission grows closer and progress staggers the tension certainly increases. It comes through in the flight sequences, which visually still contain a slight Tony Scott vibe from director Joseph Kosinski and cinematographer Claudio Miranda, and the dangers which they present to their pilots. Yet, visually, there’s still a particularly flare to the film throughout it’s 131 minute run-time. There’s no denying the style that’s on display and the generally strong look of the film. It helps bring a consistency to some of the more tangential elements of the piece.

Much like with the original Top Gun where the relationship between Maverick and Kelly McGillis’ instructor Charlie perhaps wasn’t the most compelling element (and felt like it was dropped about halfway through) the sequel takes time to look at a rekindling romance between Cruise and new character Penny (Jennifer Connelly). While Connelly’s character is certainly fun, particularly in scenes set in the bar which she owns, with its various amusing rules and consequences, her screen-time is somewhat limited and certainly feels slightly on the backburner compared to the core mission at hand. Val Kilmer’s brief returning appearance as Admiral Tom ‘Iceman’ Kazansky (where he truly makes the most of his screen-time) feels slightly more fleshed out and impactful – although is wound more into the main narrative.

It’s undeniably the central mission where the central draw towards the film is. The action that pulls you in and the style which keeps you in place, and as things are properly enacted out bring you towards the edge of your seat wit the growing levels of tension. Once again, the flight sequences are the core draw, and often the main focus of the style and action, and they are certainly the best stuff within the film. They bring about the most thrills and entertainment and absolutely make the most of the big screen. Placing you directly in the plane with the characters, up close and personal so you can see the fear, or joy, in their eyes at any one moment. Placed in the middle of the roaring engines, the blast of the explosions and slightly muffled speech and communications. Truly placing you in the danger zone (something which they film revisits right from the opening stages). While certain strands and elements might feel a bit tangential, and contribute to the run-time being slightly pushed, there’s no denying the hook of the spectacle flight sequences and the engagement and entertainment that they provide. While the side elements work well they perhaps don’t quite fly as high as the strongest content within the central narrative of the main mission.

Undeniably strong in terms of visuals and spectacles when Top Gun: Maverick focuses on its main mission there’s plenty of thrills and tension to be found, while the side elements still work they aren’t quite as engaging as the stakes of what surround them.

Cert – Recommended ages 9+, Run-time – 1 hour 37 minutes, Director – Akiva Schaffer

Faded from the limelight, former duo Chip (John Mulaney) and Dale (Andy Samberg) reteam to track down their kidnapped co-star, Monterey Jack (Eric Bana), before he’s reanimated to star in bad knock-off movies.

Perhaps with its landing directly on Disney+ you would expect a Chip ‘N Dale: Rescue Rangers movie to be a potential nostalgia trip for those who grew up watching Disney’s chipmunk duo and their assorted team growing up. However, instead of travelling down initial mystery lines we find the team, particularly the titular pairing, broken up and pursuing their own lives and projects. After a falling out, Chip (John Mulaney) now works as an insurance salesman, while, thanks to new surgery, the CG-ified Dale (Andy Samberg) is constantly attempting to cash in on his former fame at fan conventions, to little success when sharing a stall near the likes of Ugly Sonic (Tim Robinson) – a character who appears much more than you would expect with humorous effect. However, when their old co-star Monterey Jack (Eric Bana) is kidnapped the pair find themselves reteaming to track him down, and save him from being reanimated and shipped off to star in cheap, direct-to-DVD Disney rip-offs.

Yet, before much of the adventure kicks off we spend plenty of time exploring the cartoon-live-action world in which the events unfold. From stop-motion and standard 2d animation to CG and references to motion capture there are plenty of different animation styles on display. While some fear of clashing, at least between the two styles that make up Chip and Dale, may have arose from the trailers, with the way we’re introduced to the world and shown all the different varieties that make it up worries are soon removed. Yet, perhaps the element which draws you in most is the hugely self-aware nature that the film takes. Not just in referencing as many different products as it can, featuring an insane amount of cameos (and not just from Disney products, Randy from South Park makes a brief appearance), but in forming a generally meta picture that could perhaps give the Animaniacs a run for their money.

From Squidward having a star on the Hollywood Walk Of Fame to the general concept of the consequences of encountering the villains of the piece there’s plenty of meta references and occasional fun-poking within this feature length outing for the central pair. There’s a risk, as with anything that runs with this kind of idea, that things might get a bit too much. It might feel like the only form of substance within the world. However, in the case of this film the references and images feel more a part of the world than anything else. Yes, they don’t quite act as background gags, at least not with the prominence with which a number appear on screen, but, especially as the film reaches its second half, they don’t act as the core focus and source of content. While things do slightly slow down as the plot is brought more into focus at the start of the second half gradually some form of blend between the two points is found and there’s an enjoyable enough flow to the film while still managing to provide a number of chuckles along the way.

Something like this does certainly feel unexpected from Disney, especially when it comes to all the aforementioned non-Disney titles mentioned and seen throughout. It doesn’t quite bring about an overall fresh feel, but it undeniably clicks and makes for enjoyable viewing. Not just for spotting what you recognise or various hidden jokes, but simply because it works as part of the world that the film has created. One in which Chip and Dale have slightly faded from stardom, although one consistently looks for new opportunities of a reboot. This appears to work fairly well for this version of these two characters, and the ‘rescue ranger’ mission that unfolds over the short 97 minute run-time, particularly in the second half. Much of the amusement coming from the fact that the meta elements that are made a part of the narrative are blended well so that they actually fit and feel like a proper part of the piece instead of being crowbarred in for another joke – often not overly being played for laughs at a specific point in time. Although, perhaps the biggest surprise of the film is that as a whole it actually works! Generally things go rather well together within this updated outing for the Rescue Rangers, much like the new take on the pairing of Chip and Dale.

By not focusing directly on the meta moments and references, and blending some in with the narrative Chip ‘N Dale: Rescue Rangers creates an enjoyable set of laughs and surprises – both in terms of references and narrative elements – throughout its fairly easy run-time.

Release Date – 20th May 2022, Cert – 15, Run-time – 1 hour 57 minutes, Director – Eskil Vogt

A group of children who appear to have telekinetic powers begin to experiment with their abilities, however some find themselves less able to control their minds than others.

Back in 2008 British horror film The Children explored the idea of child minds being corrupted or possessed by an unseen force, causing them to go on a killing spree of their parents in an isolated house where they intended to celebrate the new year. It’s not a film I can claim to be a fan of, however it came to mind a handful of times during writer-director Eskil Vogt’s telekinetic horror drama, The Innocents. We follow a group of children around the age of 9, particularly Rakel Lenora Fløttum’s Ida, as they spend the Norweigian summer in and around a group of closely huddled tower blocks. It appears that Ida is the only child in the area who isn’t able to communicate with others through her mind, or do anything such as move objects. Instead, she uses her older, non-speaking autistic sister Anna (Alva Brynsmo Ramstad) to do this for her.

While initially Ida seems to resent her sister for getting more care and attention from her parents, often leaving her alone, there’s some form of care shown towards her once the idea of her powers comes into play. It also acts as another turning point for Ida as her personality up until this point appears to almost be completely dropped. An early shot sees her stamping on a worm, mostly just to make sure that it is dead after the initial stomp, just because. Another sequence, where she gets to know the angered figure of Ben (Sam Ashraf) shows the pair dropping a cat down a stairwell – again, just because it will hurt and injure the cat. It places in mind the thought that this film might simply be kids being cruel to animals, and eventually each other with no real other force behind the events or actions apart from the fact that they appear to get a kick out of these cruel and malicious actions.

However, once they congregate, alongside fellow tower block resident Aisha (Mina Yasmin Bremseth Asheim) the film shifts to focusing on the group experimenting with their powers. What they can do, and how far away they can interact from. It creates a sense of build up and gradually begins to hint at the darker thoughts within some of their minds, particularly Ben who is posed as an antagonistic figure throughout – largely due to his isolating homelife which we discover later in the piece. Much of this is delved into in the third act. Certain elements are introduced, or at least finally expanded, to form a resolution and slight narrative arc within this act. It certainly feels like the segment packed with the most content and detail, but overall causes the run-time to be felt, particularly after the different tones of the stages beforehand.

Certainly, there’s something interesting in the film and the way it explores the darker powers at play and the ways in which the children control, or in Ben’s case doesn’t control, their anger and minds. It helps that things aren’t played out for overall horror. While the early stages lean this way gradually the film swings towards a more dramatic tone with one or two horror elements and perhaps comes out better for having made that decision. If just swinging for horror then there’s a chance things may have been bogged down in hopeful darkness and the kind of actions we see on display at the start.

It allows for the exploration of the powers to be placed front and centre later on. And while this causes the core development of the characters to be left until late in the film once everything has been referenced and looked into there’s still a level of engagement and interest within the drawn-out proceedings. Helped by the fact that the idea of malice for fun is dropped after a short while in the opening stages the film may feel drawn out and hindered by the different focuses and tones in each act, but while as a whole it may be pulled in different directions it’s solid enough, if conflicting, viewing for the time that it’s on and does leave a mild impression on the mind.

Better off for not leaning completely into horror, or cruelty for fun, The Innocents may feel pulled in different directions with the focuses of each act, but there’s enough interesting content in regards to controlling anger and the effects of not doing so that things eventually pass along fairly well, if for a bit too long.

Cert – 15, Run-time – 2 hours 19 minutes, Directors – Daniel Kwan, Daniel Scheinert

Whilst attempting to file her taxes Evelyn (Michelle Yeoh) discovers that she is the only person who can save the multiverse from a dark force from another world.

2016’s Swiss Army Man is perhaps, almost certainly, one of the most bonkers films in recent years. Featuring Daniel Radcliffe as a talking, farting corpse with a phallic compass it still manages to holds its fair deal of absurdity. Yet, within that film there’s plenty of heart and warmth when it comes to the central relationship between Radcliffe and Paul Dano’s central characters and the narrative which they follow.

Now, writer-directors Daniel Kwan and Daniel Scheinert (more commonly referred to as Daniels) reach much wider than a desert island in taking on the multiverse for their latest feature. However, despite the infinite possibilities and worlds which we could discover, everything that the multiverse has to offer, we largely follow Evelyn (Michelle Yeoh), a woman who is simply trying to file her taxes with little hope and success. When a man who claims to be her husband (Ke Huy Quan) from another universe tells her that she is the only person who can save the multiverse and stop a dark force which is trying to kill her – giving her the ability to unlock the skills and knowledge of versions of her in many alternate realities – her response is to simply say that she’s very busy for the day.

Yet, this is a film which features both the most existential everything bagel possible and worlds where people have hot dog fingers. It’s opened up as pretty much everything is opened up and expanded for Evelyn. While still in the confines of the tax audit office – where once the scariest thing was Jamie Lee Curtis’ brilliantly played auditor – she begins to discover what her life could have been like if she had just made one or two small, yet pivotal, decisions and changes. Through this something of a thoughtful, emotional drama begins to play out; particularly in the chaos of the final stages. Taxes aren’t the only stress for the central figure as she tries to steer herself through a potential divorce, trying to prove herself to her father (James Hong), attempting to keep a relationship with her potentially distancing daughter (Stephanie Hsu) and getting ready for a Chinese New Year celebration at her laundromat. It all comes through in Yeoh’s excellent central performance which leads a strong ensemble cast.

Much of this is blended with the finely pieced together action, tracked well by Daniels’ camera and the overall editing of the action sequences. There are multiple layers of amusement to be had with a number of action moments thanks to the humour that’s injected into them and the creativity which spawns it. It simply further shows the creative force that Daniels are through the intense originality of their latest feature. Admittedly, when everything has come together and we reach the ‘all at once’ of the piece things can begin to get a bit much. While we’re still largely in the one central location in our universe we’re jumping back and forth between events in others – progressing the central familial themes that the film subtly holds and develops overtime. With so much going on in these final stages a feeling of overload is neared as a slight feeling of intensity starts to arrive. It doesn’t cause the film to go off the rails, instead it simply feels a bit much ‘all at once’, even if that is the intention.

But, this doesn’t stop the enjoyment from being completely sucked from the film. There’s still plenty to like and be amused by as everything begins to be wrapped up in one gloriously over the top – and yet still fitting and accepted within the world(s) that the film has created – set of events. There are plenty of absurd moments, yet none of them become the central focus of the film. Instead such points are used to progress the narrative and add further detail to the various different worlds of the multiverse, with some simply allowing Evelyn to think about her life and family – and, again, what it could have been like, if only… It’s all well mixed together to allow everything to blend well when it comes to the all at once of the film, even if that does sometimes feel a bit much it doesn’t entirely disconnect with you from the piece. Further helped by the strong performances of the ensemble cast Everything Everywhere All At Once truly shows that Daniels are a strong creative force with plenty of heart within the madness of their features.

Holding a fair deal of absurdity, particularly in the final stages where the ‘all at once’ begins to get a bit much, the madness within Everything Everywhere All At Once is never put centre stage, simply blended as a multiversal element. Allowing for the heart of the finely performed, especially by Michelle Yeoh, familial themes to come through instead.

Cert – 12, Run-time – 2 hours 6 minutes, Director – Sam Raimi

After encountering a young girl (Xochitl Gomez) who can travel across the multiverse, Dr Stephen Strange (Benedict Cumberbatch) finds himself travelling through various universes to stop the Scarlet Witch (Elizabeth Olsen) from destroying them.

If Spider-Man: No Way Home was the ignition for the latest set of expansions within the Marvel Cinematic Universe then there’s no denying that Doctor Strange In The Multiverse Of Madness is the explosion that will lead to the effect. As the title, and previous films, would suggest this sees Benedict Cumberbatch’s spellcasting hero travelling across the ranges of the multiverse as he attempts to protect the universe-jumping America Chavez (Xochitl Gomez) from capture. However, hunting her is the darkening force of the Scarlet Witch, AKA Wanda Maximoff (Elizabeth Olsen). Her power travels across the various different universes – most of which are explored in a quick sequence, which does leave you wanting to spend more time in the more visually amusing concepts – and threatens to destroy them, with the chance of them beginning to somehow crash into each other.

While not the villainous leading figure of the piece, in the way that Thanos was in Avengers: Infinity War, Wanda certainly gets a fair deal of screen-time throughout this film. It likely comes as an effect of everything that has been built up to for her so far within the MCU, and in some ways this brings a slight level of confliction to the character. She’s being posed as the antagonistic figure of the piece, however with everything that has come beforehand in mind there are, of course, sympathetic leanings which occasionally conflict or get in the way with the moments that want to solely pose her as a villainous threat consumed by her own pain, and interactions with dark forces that have begun to consumer her. Such dark forces are played with throughout the film, particularly as an element for the base of the narrative, and certainly bring about a slight Sam Raimi style, as the director returns to that role on the big screen for the first time in nearly ten years.

Multiverse Of Madness comes with many of the distinct Raimi tropes, including an excellent Bruce Campbell cameo. It’s unmistakeably been directed by him. This helps lean into one or two of the more horror related elements as well. While not a horror film itself there are hints and tones of the genre dotted here and there throughout the film, particularly the more fluid second half, which act as a point of interest, even if you do wish they were more up front and slightly bolder. You can occasionally feel the Marvel reins being pulled in during such moments. Perhaps for now it’s the studio further experimenting with genres in their films, or what they can play with in the future when it comes to the plans set out for their next phases – Kevin Feige has said he’s planning the next ten years for the studio.

If this film is a launching pad of sorts, or as mentioned earlier the explosion to lead to the effect, then it certainly feels like it at times. Much of the first half of the film feels very expositional and as if it’s simply acting as build-up to more things to come outside of itself. When working with the various different characters and the locations they find themselves in – alongside Strange, Chavez and Wanda we also spend some time with girl-that-got-away Christine (Rachel McAdams, with a bit more to do this time around) and legendary Sorcerer Supreme Wong (Benedict Wong) – there’s a lot of jumping back and forth, providing and eventually quite jumbled feel to things. It causes certain moments – including one particularly major sequence – to strike a wavering tone that feels almost uncertain of itself; is it supposed to be an intense piece of dramatic action or more along the lines of something in James Gunn’s The Suicide Squad?

Yet, much of this appears to arrive as the multiverse is still being explored in the first half of the film. Once things calm down, somewhat, and begin to focus more on the core targets of the film, instead of expanding certain elements and planting seeds for future films, there’s more to enjoy within the better flow that picks up. There’s more enjoyment to be found within certain scenes as there’s less jumping between characters and locations, particularly in the same sequence when we’ve had some longer moments just before. Generally as the film progresses and begins to become more concerned with its narrative and directly progressing things it finds itself working to a much stronger degree to when it moves from place to place in quick succession. There may still be some flaws present, but for the most part there’s an enjoyable nature to the slight madness that the multiverse has to offer, particularly when it comes to the spell-based action that’s on display. Further helped by the directorial style of Sam Raimi, even if some of his and screenwriter Michael Waldron’s ideas do occasionally feel reined in. As the film travels along its various courses things come together and begin to flow with more ease. Keeping you in place and making for a better, less chaotic, time within the apparent multiverse of madness.

While it might occasionally feel conflicted and reined in, particularly in the jumpy first half, there’s still a fair deal to like and enjoy about Doctor Strange In The Multiverse Of Madness. Using the spells and magic effectively in action sequences there’s gradually a better flow, and therefore sense of engagement, to things.

Release Date – 13th May 2022, Cert – 15, Run-time – 2 hours 4 minutes, Director – Rosalind Ross

Boxer Stuart Long (Mark Wahlberg) turns his life to priesthood, after initially attending church in the hope of attracting the attention of prominent church figure Carmen (Teresa Ruiz).

When you think of a standard faith-based film you perhaps wouldn’t commonly think of putting Mark Wahlberg in the leading role, it also feels as if the original screenplay for Father Stu hadn’t overly thought of that either. As we follow Wahlberg playing real life pastor Stuart Long from his days a boxer through to finding faith the film weaves in and out of general faith-based feature conventions, mixed with the stylings of something made for Wahlberg to lead, although still not completely the kind of film you may commonly associate with him. When giving up on boxing, Stuart moves to California in the hope of getting into acting. However, when working at the meat counter in a supermarket his eye is caught by Carmen (Teresa Ruiz). On tracking her down to her church Stu takes it upon himself to put on the guise of loose faith to get closer to the devout figure he’s become attracted to, but gradually finds his own faith.

It takes a bit of time for this latter segment to happen, and as Stu and Carmen grow somewhat closer, although her somewhat reluctantly, the former’s actions begin to feel quite creepy and uncomfortable with just how far he goes to try and get a date with the unknown woman. Perhaps this isn’t helped by the fact that the character himself appears to change every couple of scenes to a slightly different personality style depending on what the focus of that particular moment is. As well as trying to get into this relationship and growing a connection with God he’s charting the course of a rough relationship with his cynical father (Mel Gibson) and the threat of a growing illness, which plays more of a part in the latter half of the piece.

Throughout much of this course the film appears uneven and unsure as to what it actually wants to be. At times the question comes to mind as to whether certain moments are meant to be funny, if the film is trying to be a comedy – if so, then it’s very rarely successful in raising chuckles. Yet, as it travels along its path and becomes more direct in its style and nature, focusing more on the drama and connection to religion within Stu’s life, things clear up somewhat. Yes, there may be elements of convention introduced, but the film becomes more watchable and slightly engaging for this. Feeling calmer and less imbalanced in both focus and style. It feels more alike to the kind of film we may have got if Wahlberg wasn’t in the lead – although it should be said that he gives a good performance in the central role – and the general tone was more along the lines of your standard faith-based film.

The overall piece does have a conflicting vein throughout it, particularly when it comes to what it wants to be and who the primary target market is. While this doesn’t completely disrupt the film it certainly causes a few stumbles every now and then, particularly in the crossing between the first and second half – when we begin to get certain shots which look like they could be part of a parody Christian music video, Wahlberg kissing rosary beads in thankfulness. There are undeniably some questionable moments within the tonal shifts and conflictions throughout the film as it tries to appeal to various different groups at once, and this occasionally causes the finished piece to feel uneven. However, as the second half arrives and the focus becomes more direct things even out and while more in the line of convention they feel more watchable due to being less busy in trying to appeal to a wide range of people, perhaps much like Stu himself inevitably becomes.

While conflicted as to its tone and style, trying to appeal to various different audiences, like the central character, Father Stu eventually calms down and finds a more direct path within the slightly faith-based leanings creating a more watchable piece of work.