Cert – PG, Run-time – 2 hours 5 minutes, Director – Simon Curtis

While Lady Mary (Michelle Dockery) and the staff oversee a film shoot at Downton Abbey many of the other faces and residents travel to the south of France, to a villa mysteriously left to Dowager Countess Violet (Maggie Smith).

With such an extensive range of characters, both within and out of the wealthy Grantham/ Crawley family, you would expect a film adaptation of Downton Abbey to have a lot to cover within various different strands. However, when the first feature adaptation of the hit television series was released in 2019 it turned out to tell the story of the house preparing for the king and queen to come and stay generally rather well. At least that’s what it was for those who have never seen the series before. For those who had there were a great many elements to dive into and keep track of continuing from the show. Legacies, hidden romances, a secret gay relationship, marriages, illnesses and so much more. Meanwhile, the sequel feels both much lighter and somehow busier. While many of the staff in this apparent new era – it’s noted by Lady Mary (Michelle Dockery) that the house wants to “enter the 1930s with out heads held high” – are dealing with a film shoot occurring within Downton, many of the key faces and residents are sailing down to the sunny landscapes of the south of France, to a villa mysteriously bequeathed to Dowager Countess Violet (Maggie Smith – the straight and sarcastic humorous highlight of the film) from a gentleman she had a one week romance with in the 1860s.

Certainly the latter element is along the lines of the more general British small-to-big screen adaptation in sending the characters on holiday, it also has the bigger displays of wealth and stiff-upper-lip manners that you would expect from a period drama such as this. Yet, there’s a fair deal of build up to get to this point, and indeed the filming. With so many characters there’s plenty of jumping back and forth from scene to scene of brief conversations in grand halls and stairwells. It’s frustrating that you can almost see and hear the joins between each scene, the director shouting ‘action’ and ‘cut’ at the start and end of each take as you can pretty much see the start and end of each scene, with very little to bridge them together. It all revolves around potential build up to the core two strands of the film, both generally unrelated, although this isn’t necessarily a bad thing, yet provides little to hook you in due to the somewhat lacklustre construction.

However, as the cameras start rolling in the Abbey and film stars begin to show up – primarily Dominic West’s Guy Dexter and Laura Haddock’s Myrna Dalgleish – things begin to properly move along. The production of The Gambler is halted, however, when the true threat of the talkies on the silent film industry is revealed. The sweeping effect of sound in film, which causes great agitation to director Jack Barber (Hugh Dancy), is certainly dealt with with a fair deal of obviousness and heavy-handedness, but, as with before, once the apparent build-up of another idea is out the way and production shifts to involve sound there’s some interest and engaging enough moments created in the narrative to somewhat bring you in. Certainly nothing overly challenging is produced, as is likely expected from a product such as Downton where half the film involves a number of characters having gone on ‘holiday’ to investigate the matriarch’s “mysterious past”. The revelations and conversations are somewhat thin, but do just about enough to move things along.

Much of this comes before the second half where amongst the progressions of the two core strands more is introduced. More to do with hidden relationships and returning loves, quiet illnesses, etc. Most of this content appears to be for those who have followed the series, especially when it becomes dominant in the lengthy final half hour of the film, where it feels like things are constantly coming to a close before something else needs to be wrapped up. It’s likely that this moment will appeal and engage the original TV audience more, especially with the followed threads being more in their knowledge, perhaps. Whereas for those coming to this afresh, or even just based off of the first film, it may likely seem quite drawn out, although there are still some amusing and engaging moments throughout to keep interest held – and things don’t quite dive back into the stop-start nature of the opening stages.

The overall feel of this apparent new era of Downton Abbey is that while the opening and closing stages lead to the 2 hour plus run-time being felt – although the closing stages do have more to be amused by – the mid-section helps it along with enough content and lightness to carry things through. It might not be the tightest of films, but thanks to some of the chuckles along the way, and a handful of points of interest to keep you engaged once things properly kick off this half-return to Downton is serviceable viewing for those who have never seen an episode of the series, and for the fans a likely enjoyable (seeming) conclusion.

The start and end may be somewhat drawn out, the latter to wrap up loose ends and bring a likely enjoyable conclusion for fans, but within the two core strands of Downton Abbey: A New Era there’s enough to like and be amused by to lightly pass the time well enough before things begin to get slightly overstuffed.

Release Date – 29th April 2022, Cert – 12, Run-time – 1 hour 42 minutes, Director – Nabil Ayouch

Through the help of their teacher (Anas Basbousi), a group of teenagers at a cultural centre learn how to overcome the shackles of politics and tradition through the expression of hip-hop and rap.

Shortly after the idea enters the mind that Casablanca Beats has links to the likes of School Of Rock a poster for the film appears in the background, on the classroom wall. A wall filled with its fair share of colours, posters and graffiti – just some of the ways in which the teenage students are introduced to a safe space in which they can discuss and express themselves. It’s a box from the outside world where they learn about rap and hip-hop from their teacher Anas (Anas Basbousi) – perhaps a former rapper himself – using the music and lyrics which they create to express themselves and release their anger and stresses over the politics and traditions in their country through the attitude in their delivery.

While not quite a film that has the students standing on their desks reciting “O captain, my captain” the focus isn’t quite on the effects that Anas has, but more the effects that rap has, Anas acting as more of a catalyst and support. It comes across in the relatively plotless nature of the film, instead detailing the change and development experienced by the handful of teenagers in the class. The way in which they are impacted by the music and their lives change due to them trying to take more control and action – sometimes through the expression of rap itself, one key scene involves young teenager Nouhaila (Nouhaila Arif) pouring out her feelings through her rhymes to her controlling older brother. There’s a brief strand for each of the central figures, depicting their repressive home lives and what their own lyrics are fighting against. These don’t exactly create any form of narrative, although show an individual arc of sorts for each figure, and perhaps because of this there’s an occasionally disjointed nature to the piece with its scene-by-scene nature.

Yet, all comes together in full-class debates and conversations regarding politics and beliefs. Thoughts and opinions flying around the room in extended sequences. While some feel a bit lengthy, the film itself gets out just before it feels like it may go on for a bit too long, there’s still enough interest in what’s being discussed to keep you engaged in the moment. Perhaps the most interesting point is that such conversations are being held in what feels like a fairly family-friendly film (albeit one with a couple of f-bombs). The BBFC 12 rating is certainly justified, but there still feels like a relatively universal (maybe not quite for the younger kids, though) feel to director Nabil Ayouch’s film, and his screenplay co-written with Maryam Touzani, once again bringing about that School Of Rock connection. It helps to further bring to life what the students are facing, and to some extent Anas as he tries to fight against parents perceptions of what he is teaching – and at times the heads of the arts centre he is teaching at.

Things come together to create an interesting and engaging film that works because of the way it focus on the effect of rap on the students over anything else. Showing them opening up and beginning to attempt to take more control of their own lives amidst the restrictions of their families and country’s traditions. While the occasional glimpses into these separate family lives does create something of a slightly disjointed feel to the film there’s still plenty to like, and a slight connection formed with the figures on screen – even if not quite on an individual level. Things move along rather well and you’re generally well-engaged throughout with your interest in the development of the characters, shown in the conversations and debates which they engage in with increasing confidence – moving from the classroom to the streets to the potential of the stage. It works well in its vein, allowing the music and lyrics to speak for themselves and help move things along at the character’s pace, simply adding another layer to the nature of the development.

There’s an interesting nature to the School Of Rock-esque feel of Casablanca Beats, while allowing the rap to move and develop things within the scene-by-scene nature of the occasionally disjointed narrative. Holding your involvement and interest for the most part, particularly when it comes to the growth and change of the central class.

Release Date – 22nd April 2022, Cert – 15, Run-time – 1 hour 47 minutes, Director – Tom Gormican

Considering retiring from acting Nicolas Cage (Nicolas Cage) is offered a million dollars to attend a wealthy fan’s birthday party, however when Javi (Pedro Pascal) is revealed to be the head of a major cartel Cage is recruited by the CIA to help take him down.

Over the years, after having been made into so many memes, Nicolas Cage has perhaps warped in the eyes of some into a meme himself. It would be so easy for The Unbearable Weight Of Massive Talent, where the actor plays himself, to be filled with references and jokes to his career, a self-aware film filled with memes, and yet it doesn’t. It almost feels as if the lead could be any actor playing themselves, or an actor playing a fictional actor. Yet, there’s something rather clever about the idea of Nick Cage playing Nick Cage, particularly within this film. Allowing for a celebration of both his career and him simply being him, while managing to provide a couple of gags along the way.

Here we find the fictional version of Cage considering retiring from acting, after a series of bad auditions and readings for parts. This all going against the wishes of a 90s version of himself, loud and highly energetic – donning a Wild At Heart t-shirt and a leather jacket – a figure which screams the famous appearance the actor made on Wogan where he backflipped in and kicked the air. He’s in serious debt to the hotel he’s been staying at and the thing that could make that all go away is the offer of one million dollars to attend the birthday party of a wealthy fan, Javi (Pedro Pascal – having a lot of fun playing a complete ‘silly character’). However, not long after arrival Cage discovers from CIA operatives Vivan (Tiffany Haddish) and Martin (Ike Barinholtz) that Javi is the head of a major cartel who have kidnapped the daughter of one of the candidates in the upcoming Catalonian presidential election in the hope of fixing it. Soon he’s recruited by the pair to both get answers and track down Maria (Katrin Vankova).

A series of good performances, particularly Cage who is great as the fictionalised version/s of himself, help to bring about much of the comedy throughout the piece. While slightly prodding at action film conventions there’s generally plenty straying away from such a nature which helps the overall piece along. Allowing it to not feel tired or reliant on both knowing Cage’s career (although also featuring enough for fans of the actor) or a completely self-aware nature. It’s certainly a respectful screenplay for the actor from co-writers Kevin Etten and Tom Gormican – the latter also taking on directing duties – where narrative is put as at much of a core focus as the lead star. While this narrative may feel somewhat crammed into the third act, due to the jokes and scenes of the budding friendship between Nick and Javi – which provides plenty of laughs and chuckles throughout as the core focus of many scenes – what comes before is undeniably entertaining and at least drops some build up to it instead of forcing everything all at once towards the end in the hope of forming some kind of last-minute arc.

Yet, what makes the film click is the way in which it looks at and discusses the central figure of Nicolas Cage. The career which he has had, and will have. He’s cleverly used and cast in the film, with a different actor this would be very different, this has, of course, been tailored to Cage but in such a specific way that still manages to avoid feeling cliché or obvious. It helps to bring you in to the various scenes and moments of this fictionalised version of him, trying to be better while coping with a career breakdown. There’s so much the screenplay could easily dive into and yet it manages to avoid it all by remaining direct with its narrative, the friendship at the centre of the piece, never overinflating Cage or his presence in the film – he is as much a player/ character in this film as everyone else – and making an entertaining piece of work with plenty of laughs throughout. And it works because it looks at Nicolas Cage instead of a potential comedic perception, making it all the better for having done that.

The Unbearable Weight Of Massive Talent works because it avoids a self-aware feel. Leaning into Nicolas Cage the actor instead of the meme. Cage is great in the leading role with a supporting cast who help bring about many of the laughs. The third act may feel somewhat busy, but there’s still plenty to enjoy throughout, especially within the central friendship.

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.