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.

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.