Cert – 12, Run-time – 2 hours 40 minutes, Director – Baz Luhrmann

Biopic following the career of Elvis Presley (Austin Butler) and the way in which it was controlled by his manager Colonel Tom Parker (Tom Hanks).

When it was announced that Baz Luhrmann was going to be tackling an Elvis Presley biopic my main interest in the project was always in regards to how one of cinema’s most maximalist directors would tackle a life story. Well, the answer is in his usual style. By throwing a few bucketloads of showbiz at the spinning camera. Once again, Luhrmann shows himself to potentially be quite a hit-or-miss director. However, as with a handful of his films, if you’re able to get past the intensity of the first 20 minutes – where much of the glitz and glamour is condensed – there’s a fair deal to like about Elvis.

Perhaps it helps that, at least for the first half, the film focuses on the showmanship of the King of Rock and Roll (Austin Butler). Depicting just what drew people to him and his music, and indeed those to protest it and his apparent dance moves and stage persona – furious headlines spread across America calling him ‘Elvis The Pelvis’. However, despite the uproar being about Presley it feels odd that the titular figure feels almost like support in his own life story. Instead the events are remembered by his manager Colonel Tom Parker (Tom Hanks – an understandably criticised performance which feels like his turn in the Coen Brothers’ The Ladykillers turned up to 11 and in a fat suit, it might take some getting used to but it’s certainly not dreadful) as he finally finds the show and act that can make him rich – “he was a taste of forbidden fruit… He was the greatest carnival attraction I had ever seen”.

However, as the film moves along, reaching it’s second half, Butler’s performance takes more of a centre stage as the focus also shifts onto Elvis’ own thought process and set of actions. Beginning to try to break free from the overall control of his played-as-villain manager. It takes a while to truly realise just how good Butler’s performance is due to the fact that the spotlight appears to not always be on him for so long, but when that light is finally placed upon him the strength of his performance shines. It allows for you to engage with the film, and its central figure, on a further level above the initial display of showmanship.

The highlight comes in the form of the surprise performance of If I Can Dream in the ’68 Comeback Special. Little is added to the moment as it largely focuses on Elvis singing. Allowing the song and moment to speak for itself a forceful punch of emotion is created as the song swells creating a powerful ‘wow’ moment, free from the flashiness of the rest of the film. It’s these moments where Elvis is the core focus where the film works best and engages you the most. Dropping the visual display around it and allowing certain points to exist in and speak for themselves. This isn’t to say that the surroundings don’t work, as the film charts Elvis’ Vegas residency there’s certainly a push from Luhrmann’s style – one which helps keep you engaged as the nearly two and three quarter hour run-time begins to show.

As a whole the film begins to near its conclusion you can feel it beginning to slow down and wanting to wrap up as the run-time starts to be felt. There are still elements that it wants to get in and check before the credits begin to roll, and it does them well enough but still with the lingering feeling of a slightly pushing run-time, despite the still engaging nature that it mostly manages to hold fairly well throughout – allowing for its head to be held above water. The idea of showmanship comes back round every now and then, mostly as we look through the eyes, or mind, of Colonel Tom Parker as he’s told that his “sideshow is a jackpot”. When the film leans this way it’s clear that it’s more about what people loved about Elvis rather than Elvis himself. However, when looking at the man himself, particularly thanks to Austin Butler’s strong central performance, and allowing moments to just exist as themselves – which there are a number of – the film is at its strongest. While this might be another hit-or-miss film from Luhrmann, if you can get past the spinning catharsis of the opening 20 minutes, there’s enough to enjoy and engage with to make for worthwhile, if not always in-depth, viewing.

When not throwing everything at the camera and looking more at the man himself, finely performed by Austin Butler, instead of his showmanship Elvis is at its best. The surroundings are fine and still manage to engage you, however the feeling lies that that’s perhaps what pushes the run-time.

Cert – 15, Run-time – 1 hour 43 minutes, Director – Scott Derrickson

After being kidnapped and trapped by ‘The Grabber’ (Ethan Hawke) 13-year-old Finney (Mason Thames) receives calls on a disconnected phone from past victims, trying to help him escape.

Co-writer (with C. Robert Cargill) and director Scott Derrickson’s The Black Phone appears to have been largely sold using the figure of Ethan Hawke’s central antagonist The Grabber and his selection of devil-like masks. It therefore comes as some surprise, although not entirely a bad one, that his screen-time feels quite limited. He’s used as a looming reminder of the threat faced by 13-year-old Finney (Mason Thames) as he finds himself trapped in a soundproof basement after having been kidnapped by the until-now-faceless figure who has been terrorising the streets of his mid-70s neighbourhood. The film follows him trying to find ways to escape, helped by what appears to be previous victims of The Grabber on the other side of a disconnected phone in the basement.

From the very start, as we witness the tensions in Finney’s own home where he lives with his younger sister, Gwen (Madeline McGraw) – a young girl with a mouth that could put a drill sergeant to shame – and abusive alcoholic father (Jeremy Davies), there’s an easily established slow pacing to the film. It draws out its themes and ideas in the build-up to Finney actually being abducted by the disguised figure in the black van. While some elements have a slight impact on the narrative, such as his being constantly bullied at school, there’s often not a completely investing nature to the film as a whole. While you’re able to sit there and watch the events unfold, and gradually become more engaged once the core plot kicks in and Finney’s escape attempts begin, the fear factor isn’t quite present.

It’s once we finally meet Hawke’s eerily soft-spoken criminal that an air of creepiness begins to enter the piece. When he’s on screen, his face largely covered up by masks meaning his eyes are conveying an effectively heavy amount, tension begins to waft in through the otherwise shut door leading to the potential staircase to freedom. An early claim of his to Finney lingers in the mind throughout whenever he appears: “I won’t ever make you do anything that you won’t… like”, the pause perhaps acting as one of the most effective pieces of suspense in the film. With the occasional reminder of Hawke and what Finney is potentially trying to prevent, detailed to him by the victims on the other side of the phone.

Yet, the true horror of the film comes in the more unexplained almost supernatural details. Not quite Gwen’s dreams where she can see details of previous victims kidnappings and where they might have been taken, but more in the presence of such figures when Finney talks to them. There are certainly a couple of effective jump scares placed here and there throughout the film. They pair up well with the more unexplained elements, which don’t really feel as if they need further expansion due to the creepiness provided from the relative unknown about them. As such moments play out a different side of the film is shown. While it certainly differs from what surrounds it, and indeed sticks out a bit, there’s no denying that some of the most effective, and engaging, content is held in these moments, although could be slightly expanded or used more so as not to feel as out of place, or from nowhere, as they occasionally do.

As things build up and get closer to the third act there’s enough within The Black Phone to gradually bring you on board and eventually involve you in the piece. It particularly occurs as the third act pans out and the tension and fear for what will happen to Finney is properly detailed. Even with Hawke simply sitting in a chair upstairs his posture and general nature – still with a mask on – raising the tension of the final stages, and allowing for any potential and actual interactions to have more effect – the speed of the final 15 minutes or so picks up from the rest of the film with a successful impact that helps to keep you in place and more engaged with the proceedings. While it might take a bit to become properly interested in the film, instead of simply just watching it unfold, once it does kick in things begin to grow and there is an occasional fear factor which works in its favour, not just thanks to Hawke’s performance and effective limited presence. It’s certainly an overall interesting film in the way that it goes about itself, it’s just that the actual content isn’t always as interesting and engaging, particularly in the build-up.

While it might take a bit of time to properly get going The Black Phone does pick up, thanks to a mixture of Ethan Hawke’s sparingly used performance and the more unexplained elements of horror. While not everything quite completely gels together there’s enough present to make for watchable and engaging enough viewing.

Cert – PG, Run-time – 1 hour 47 minutes, Director – Angus MacLane

After stranding himself and his crew on an unknown planet space commander Buzz Lightyear (Chris Evans) dedicates himself to completing his mission, spending years trying to find a way home.

“You. Are. A. TOY!! You aren’t the real Buzz Lightyear, you’re an… Oh, you’re an action figure! You are a child’s plaything!” was once the only case for the big screen figure of space ranger Buzz Lightyear, however now we get to see the film that apparently inspired that particular toy, and the imagination of its owner, Andy. Yet, instead of leaning into the idea of pastiching mid-90s sci-fi blockbusters, Lightyear has a generally direct nature. As we see Buzz (Chris Evans) and fellow space commander Alisha Hawthorne (Uzo Aduba) fail to escape from an unknown planet, they find themselves, alongside their expansive crew, stranded and lacking the ability to get back home. Therefore, whilst battling living-vines and rarely-seen bug-like aliens, Buzz takes it upon himself to complete the mission and find a way to get everyone off the planet, despite lacking the required formula to properly reach hyper-speed.

There’s an enjoyable nature to the first act of the film as we see multiple attempts by Buzz to single-handedly save everyone. There’s an entertaining feel to the big sci-fi blockbuster stylings of certain action sequences, helped by the stunning animation, and as a whole the film works better during its more direct and serious moments. When it attempts to crack a joke things more often than not fall fairly flat. Yes, there are a couple of chuckles here and there – particularly relating some references to Toy Story, which luckily die down just before they get too much – but most of the time the humour appears to break into the stride that the film is making in terms of the lighter dramatic side of itself.

Humour is worked more into the film as Buzz finds himself trapped out of Star Command’s makeshift city, and having to fend from giant robots that prevent anyone from leaving the planet. Equipped with companion robot cat SOX (Peter Sohn) – who luckily doesn’t play out as much of a frequent comic relief figure as might initially seem to be the case – and unprepared trainees Izzy (Keke Palmer), Darby (Dale Souls) and Mo (Taika Waititi), the titular figures mission gains a few extra steps. As the film begins to travel down this course you can feel and see the scenes and elements that construct the narrative being stretched out. Things slow down as the film begins to feel overlong, particularly during the third act, thanks to the extra elements and details that appear to be added from point to point within the plot. It simply results in the feeling that things are both, as mentioned, a bit too long and also generally meandering within the rambling construction.

It’s a shame for something that starts out with so much promise and intrigue. The initial set up and action elements mixed with the spectacular animation and general style genuinely set this up to be something amazing. There’s a lot of hope that it will capture something of a throwback feel to great sci-fi blockbusters, with the feeling of being one itself. However, overtime this fades as things begin to slip into feeling slightly more generic and leaning away from these grand sci-fi beginnings. While the film as a whole remains watchable and still has some pretty good ideas and moments it does become a bit trying at times, particularly in regards to the run-time and the narrative which feels as if it’s occasionally repeating itself. Beginning to leave it slightly stranded instead of properly taking off.

While starting off with plenty of grand sci-fi spectacle, Lightyear begins to devolve into a somewhat generic stretch, slightly dampened by its attempts at humour which break into the stride of the enjoyable action at play.

Release Date – 17th June 2022, Cert – 15, Run-time – 1 hour 38 minutes, Director – Sophie Hyde

Retired RE teacher Nancy (Emma Thompson) hires young sex worker Leo Grande (Daryl McCormack) in the hope of finally discovering the sexual freedom that has been missing for her life for so many years.

It’s not often that I find myself watching a film and almost instantly really looking forward to writing, or speaking, the review afterwards. However, in the case of Good Luck To You, Leo Grande there’s so much unlocked in the mind thanks to the conversations that it glimpses and encourages that the mind swirls with thoughts, and ramblings, long after the brief credits have flashed by. There’s a lot to unpack, evolve and discuss from what the film manages to get in to just 98 fast-flowing minutes. Which, to a fair extent, is slightly incredible to think seeing as, as many people have likely already stated in regards to this film and many other products covering similar themes, it’s 2022…

Earlier in the year when reviewing Ti West’s horror film X I claimed that the core motives of the killers appeared to be “young people shouldn’t have sex because old people can’t”. The idea of late-life sex appeared to be worked into scenes of horror more than anything else. However, ailments got in the way of murderous couple Howard and Pearl’s hopes of continuing sexual freedom. Although, this appears to have been no problem for sex worker Leo Grande’s (Daryl McCormack) oldest client, at the age of 82. Far from bordering on that age, retired RE teacher Nancy (Emma Thompson) hires the “aesthetically perfect and apparently nice enough” Grande in the hope of experiencing the sexual freedom she was never able to feel during her long marriage to her two-years-passed husband.

“There are nuns out there with more sexual experience than me” she claims while pacing around the hotel room in which nearly all of the film’s drama takes place. There’s worry and anxiety from her about so many different things. From body image to whether she’ll be good enough for the man whose company she has hired. Katy Brand’s excellent screenplay taps into such themes with thought and eloquence, helped by Thompson’s typically thoughtful styling and mannerisms – particularly in a project that she clearly cares about and knows what it means, plus that seems to mean a lot to her individually.

While there’s plenty discussed between the pair in the quickly familiar hotel room, from their families to their lines of work and morals of what they’re doing – leading to an excellently unexpected ‘your mum’ joke that fits in perfectly to its surroundings – what truly rounds off the themes of the conversations is in the brief, but precisely crafted, moments of sensuality between the pair. As the barriers are gradually taken down for Nancy as she attempts to reclaim herself and her sexual identity of years of unfulfillment a snap is created within the floating music that gently sweeps into the background of these pivotal moments. Wonderfully captured by Sophie Hyde, whose fantastic direction shines throughout and brings the piece to life, helping to avoid a stage-like feel, which could so easily happen in a largely one-location two-hander such as this. All combining to seemingly perfectly round off the themes and ideas of what has been discussed in the interactions prior, before moving on to further develop things in the next meeting between the pairing.

Whilst so naturally delving into its themes of female sexuality, simply posing and exploring points for discussion without any provocative proclamations, the film also opens doors for points about male body positivity, alongside shared views and worries. While Nancy prepares herself in the bathroom, Leo looks at himself in the mirror, scanning his body, thoughts clearly rushing through his mind. Such shots are filled with subtleties in McCormack’s fine performance as his character hides plenty of personal details – he claims to tell his potentially distant mum and brother that he works on an oil rig instead of as a sex worker. Again, such elements are simply posed as natural facts. Things that happen.

There’s much power within what the film displays and the way in which it goes about showing certain details. It’s not in the matter of fact nature, but the way in which the characters discuss, behave and act when noone else is around, before gradually opening up to each other. Hints and moments of tenderness, both personally and jointly intimate – “it’s not vain to enjoy your body, to love it” – which are subtly dotted throughout the key details of the characters and their behaviours. It adds to the feelings of thought and care that have clearly gone into making this, and it allows more for the mind to ponder while simply being caught up in the entertainment of the film.

It shouldn’t be ignored just how funny Good Luck To You, Leo Grande is. From the initial hesitation and anxieties which create a slight air of awkwardness, although never entering cringe-comedy, to Thompson’s shocked blurtings and increasing desires to explore different positions there’s a lot to delight in in terms of the humour that’s presented. Frequently laugh out loud funny the chemistry between the central pairing, and the fine screenplay which they add effectiveness to, you easily believe in the on-screen figures and find interest and amusement within their ventures. The lightness and humour make those snaps – as if you can literally hear the click of the finger, or the cord to the lightbulb – all the more poignant. Allowing for a moment not to pause, but to reflect on what’s been seen so far, what’s happening now and the points which the film poses and discusses, again in 2022. Like the characters grow to be, the film is unashamed about what it is and what it poses to the audience. It’s a film for natural openings of conversation that will likely be highly effective in doing just that, doing so in a wonderfully entertaining way.

Naturally and positively unashamed, Good Luck To You, Leo Grande feels like an original breath of fresh air. Funny, thoughtful and excellently executing its ‘snaps’ to round of its themes, there’s a lot to like. And the conversations sprouted from it may be as interesting as the film itself.

Cert – 15, Run-time – 1 hour 57 minutes, Director – Jeremiah Zagar

Desperate to make it as a coach, basketball scout Stanley (Adam Sandler) believes that he has found the next major NBA star in street player Bo (Jauncho Hernangomez).

Often what makes a great sports movie isn’t in the sporting action itself. It’s in the connection that formed with the characters. If you care about them you’ll more than likely care about what they’re trying to achieve in their respective sports. It’s one of the reasons why I (a person who has no interest in sports) consider 2017’s Borg Vs. McEnroe to be the best film of that year, working as an excellent character study above anything else.

While new-to-Netflix Hustle isn’t quite as in depth a character piece it does present a likable figure in the form of Adam Sandler’s Stanley Sugarman. As his career finally appears to be developing with the opportunity to make it as a basketball coach for the Philadelphia 76ers the team’s owner Rex Merrick (a fleetingly brief Robert Duvall) passes away. Son Vince (Ben Foster) is quickly brought in to lead the new co-ownership, alongside sister Kat (Heidi Gardner), whose presence fluctuates throughout the film, and decides to keep Stanley as a scout, unless he can find the next star player for the team.

Cue the discovery of Spanish street player Bo (Jauncho Hernangomez), a potential star in the making who instantly casts a light on Stanley’s personal career hopes, and simple wants to finally be able to be at home for his teenage daughter’s (Jordan Hull) birthday for the first time in nine years. However, as the pair begin training together it’s revealed that while Bo’s skills are impressive he needs to learn to control himself, in particular his anger and the way he reacts to other players. It’s perhaps a strong cliché and convention that we’ve seen done a number of times before, yet because of the energy which flows throughout the film it’s easy to remain caught up in the unfolding events and progression of the two central characters as they both get closer to their NBA dreams and ‘making it’. Much of this energy is created during the various montages and training sequences which line the film. It’s easy to be caught up in them, and in particular the slight warmth of the central relationship between Sandler and Hernangomez.

This is another dramatic-leaning role for Sandler, where he has shown himself to excel in the past, yet there’s no denying the humour that’s present within Hustle. It’s an early effective device which helps to initially bring you in to the world and the characters no matter how familiar you may or may not be with basketball, especially if you don’t recognise all the cameos which are revealed in the credits. What further allows the humour to work is that the spotlight isn’t always being shone on Stanley, the light, fairly natural, gags are spread out amongst the cast, demonstrating this not to be a piece just about Sandler and his character. It’s a key element to how you engage with the film as a whole, and allows for the various relationships within it, and the characters individually, to feel more investing and generally enjoyable.

Yes, there may be a handful of familiar elements within Hustle, however with how engaging and enjoyable the film is it’s fairly easy to look past these and simply get caught up in the story that’s being told at the centre of it. Sandler and Hernangomez lead a solid cast well as two figures you want to see achieve their hopes of progressing in their careers and proving themselves to major figures in the world of basketball. This adds an extra spark to the moments of gameplay thanks to everything that has been built up over the course of the film and the skills that we’ve seen on display up until this point. It’s easy to get caught up by Hustle and the not-quite-underdog tale that it tells so well. It’s a relatively light, if slightly familiar, story that at least uses the former to a strength, increasing the film’s overall ease and energy, and making for highly enjoyable viewing.

While some elements within the narrative may be familiar Hustle works because it tells its story in an energetic and engaging manner. Helped by two strong central performances from Sandler and Hernangomez it’s easy to be caught up in this light and likable not-quite-underdog story.

Cert – 12, Run-time – 2 hours 27 minutes, Director – Colin Trevorrow

As dinosaurs and creatures with cretaceous DNA begin to wreak havoc across the world the risk of human extinction rapidly increases, with the cause linking back to a major genetic company Biosyn.

I recently read somewhere on the internet someone claiming that one of the reasons Jurassic Park works so well and creates such tension and fear in relation to the dinosaur attacks is the fact that Spielberg utilises a similar technique to Jaws in that we don’t see the creatures for a fair while, especially as threats, and even then they’re sparingly used. It’s an interesting and solid point. If this is the case then almost thirty years on in the case of Jurassic World Dominion we see so many dinosaurs roaming around the earth in the opening twenty to thirty minutes that we perhaps get so used to them that the threat level is diminished. There are only so many times that we can see characters ‘nearly’ be killed by dinosaurs, and in this case insects which have been spliced with cretaceous DNA, before all tension is removed from subsequent attacks and chases.

It makes for a slightly lacking feel when it comes to the globe-trotting adventure that Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard) embark on in this film as their lives of taming dinosaurs and stopping them from falling into the hands of poachers is halted when their adopted daughter Maisie (Isabella Sermon – whose pronounced British accent brings Keira Knightley to mind) is kidnapped by just that group. Much of their hunt links back to genetics company Biosyn, headed by Campbell Scott’s Lewis Dodgson, a company working with dinosaurs and claiming to protect them and use their DNA to help humans. And it just so happens to be this, and increasing swarms of giant locusts in the southern states, that returning faces Doctors Ellie Sattler (Laura Dern) and Alan Grant (Sam Neill) investigate, after being called by old associate Ian Malcolm (Jeff Goldblum).

With so much going on over the nearly two and a half hour run-time – which only really begins to be felt in the closing stages – it’s almost a good thing that there’s a fair deal to follow due to the fact that the characters themselves are far from the most interesting thing in the film. There’s a lot of plot and narrative to get through, explanations and revelations crop up in most scenes and this helps to distract from the fairly bland nature of the characters. It doesn’t completely help that some – namely Pratt and Dallas Howard – don’t quite gain any chemistry with those around them, and indeed don’t have the most thrilling thread of the piece. However, as the feeling of a two film narrative begins to meld into one things generally even out and make for more consistent viewing.

This isn’t to say that what comes beforehand is in any way ‘bad’ viewing. Despite the various flaws that crop up there’s still an engaging enough nature to make things watchable. This shows during one particular chase as Pratt races down a runway via motorbike with two particularly deadly creatures right on his tail, trying to reach a plane flown by the welcome addition of DeWanda Wise’s Kayla Watts before it takes off. At this moment focus is on just that, the moment. The chase. It leans away from the characters and their conversations, and, yes, fairly bland personalities, and simply shows the race and fight to survive and reach a certain point. It’s during such moments where the focus is on what’s unfolding instead of what’s going to happen later that Dominion works best.

During such moments the big screen is well utilised. In general the visuals are, as is to be expected, great; with plenty of animatronics on display to bring the world to life and you that bit more into it – even if some scenes, once again, do feature one too many dinosaurs leading to a lowered impact, as if seeing them becomes standard and expected. Yet, there’s still some tension to be found when the film focuses on its sequences and scenes in the moment rather than what’s to come, and indeed the characters within them. There’s a lot going on within the film and that certainly helps to keep you engaged throughout the run-time, which generally passes by fairly well. This is definitely something very different, and perhaps unexpected – even after the conclusion of previous entry Fallen Kingdom – from the Jurassic series, and while it slightly stumbles trying to plot itself out there’s enough within the narrative to keep you engaged and interested in the piece and the unfolding events which make it up. Not quite closing things with a roar, but certainly having an interesting crack at something new within the final film in this new trilogy.

Jurassic World Dominion works best when acknowledging that its characters are not the most interesting elements. It helps itself by having a fair deal packed into the narrative to keep you engaged, alongside some occasionally tense dinosaur action, even if the impact is lowered by seeing too many too early on.

Release Date – 10th June 2022, Cert – U, Run-time – 1 hour 33 minutes, Director – Michaelangelo Frammartino

A group of cavers and speleologists explore unknown depths outside a small Italian village.

Having gone into Il Buco knowing nothing about the film aside from the title I found myself wondering part way through whether what I was watching was a narrative feature or a documentary. The lines are blurred through the highly naturalistic, almost silent, style which director Michaelangelo Frammartino brings to the piece. Instead of focusing on dialogue he allows nature and the environment to speak for itself in an almost calming manner. The light and greenness of the surface field, tended to by Antonio Lanza’s aging shepherd contrasts with the claustrophobic darkness of caves which are so key to much of the film. We see a group of cavers and speleologists (scientists studying caves and their formations) embarking on an expedition into unknown depths in a cave just outside of an Italian village, gently enclosed in the valleys. The gradual pacing and use of natural sounds in the opening stages sets in place the idea that this is going to be a fairly gentle film. It prepares your mind so that you don’t expect a proper narrative to begin unfolding and manage to get caught up in what the film is actually showing you.

Much of this is helped by the strong visual style of the piece. Thanks to Renato Berta’s cinematography both above and below ground the look of the piece keeps you in place throughout and helps to keep you engaged for much of the run-time, particularly when things become slightly slower in jumping back and forth between the cavers and the shepherd as he suffers from an increasing illness. Certainly the caving provides the most interesting elements of the piece, but nothing overall feels dominant in terms of focus as everything blends together in that documentary-like style. It’s a feeling further pushed by the camera often being a slightly distanced, observing force rather than up close and in the faces of the various figures who act out the points and moments that construct the slight arc of that the film runs across.

Perhaps due to the fact that we don’t completely get to connect with the characters one or two beats don’t quite have the impact they would like, but with something of this nature with its experimental leanings the involvement that we do have – even if at times thin – leads to an interest in what is happening in that moment in time. The slight fear that someone might get stuck in a cave, or the general intrigue as to how deep the cave really goes – the orange glare of burning magazine pages spiralling down to see how far the new drop travels is a recurring highlight in terms of the visual feast the film provides. During such moments brief glimpses of fascination, and perhaps wonderment, are created, simply thanks to the visuals which truly come to life on the big screen and help to keep you in the world that’s created, even if at times you are only simply watching instead of properly being involved.

But, alongside the views that are on display, perhaps the biggest thing that intrigues you about the film, is that for the most part it works and has you engaged in some way or another. It might begin to dip off around the hour mark when things begin to slightly stagger, but there’s still enough present to keep some interest in the cave exploration and, again, how natural everything feels. Maybe this is down to the moments of build-up and shots of the village near the hills and cave we spend so much time in, where the initial feeling is that this might be a film of everything and nothing – quickly moved on from once things are established. But, the 93 minute run-time generally feels like a natural fit, anything longer and things would perhaps feel more stretched and pushed. But, what we do have is an interesting piece of slightly experimental work. Using natural noise, images and style to create a wholly naturalistic picture, which helps to bring you in; particularly in the moments of cave exploration. You may not always be completely invested, but there’s often something to be interested or intrigued by, especially in terms of the impressive look which forms the core connection to this visual exploration.

Even when you’re not completely involved there’s a level of interest to be had in Il Buco, largely thanks to the highly naturalistic, documentary-like style which is further fuelled by the excellent visuals which bring the piece to life, and keep you engaged for the most part.

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.