Just A Little Bit Random

Alternative Christmas Film Advent Calendar 2021 – In The Good Old Summertime

Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.

After the last couple of days of looking at family relations and charitable goodwill in and out of the home at Christmas today’s calendar entry jumps back towards the start of the week build-up to Christmas by taking a look at a growing workplace romance. A (slight) musical remake of previous calendar entry The Shop Around The Corner, 1949’s In The Good Old Summertime.

As has already been deduced, due to it appearing on the Alternative Christmas Film Advent Calendar, the title of The Good Old Summertime is somewhat deceptive. While the bookend opening and close take place at the height of summer the majority of the narrative takes place in the build up to Christmas. It’s a time when plenty of people are buying presents for their loved ones, however they all seem to be avoiding the harp-filled music shop of Otto Oberkugen (S.Z. Sakall). It’s all well and good being able to walk in and hear a song performed live on piano by store-favourite Andrew (Van Johnson) and sung by new employee Veronica (Judy Garland), however not everyone can read sheet music or play an instrument.

Yet, amongst the slight chaos and disorder of what’s being sold there’s a tight unit amongst the floor staff who have built a close bond over the years. One which, for most, isn’t disturbed with the addition of Veronica, who is employed after a chance, somewhat negative, encounter with Andrew earlier on. The relationship between the two becomes as frosty as the increasingly cold weather outside, particularly as they begin to compete for the affection of both the customers and their boss. However, behind the scenes; without either figure knowing, they’re months-long pen pals having written numerous poetic, romantic letters to each other discussing art, literature and many other in-depth, serious, intellectual topics that the other just couldn’t even begin to comprehend in real life.

The film makes the most of the Christmas setting through the standard seasonal kindnesses that are on display by various characters, and the standard workplace hopes for Christmas promotions or good bonuses, but also to boost the romantic relationship, and also lack of it, between the two central figures. The feeling runs throughout with other potential love interests, an only slightly referenced beat or two involving Buster Keaton’s lightly-seen Hickey, and the more prominent inclusion of Marcia Van Dyke’s Louise Parkson; and other seasonal relationships playing into the narrative with the boost of Christmas adding a spring into a number of the characters’ steps. Especially when attending a party of various festivities – not to mention the distractions and missteps.

As Christmas gets ever closer and the situation of the shop, and its employees, becomes more uncertain the sense of unity amongst the staff grows stronger, particularly as at least one or two of their futures in the workplace become a matter of question. Perhaps it’s an idea further pushed by the decorations which spread throughout the store, the tree with all its ornaments by the piano where so many of the musical ‘rivalries’ and bites have taken place. Either way by the time the finale arrives, truly putting the context of Christmas on full display, there’s a true festive romance within the wintery confines of In The Good Old Summertime.

In The Good Old Summertime can be watched in the following places:
Amazon
iTunes/ Apple TV
Google Play
Chili
YouTube
Or, you might have a physical DVD (maybe even Blu-Ray, VHS, Betamax or LaserDisc – if availably on such formats) copy somewhere that you can watch. To see if there are any other places where the film is available, particularly to buy, rent or stream in your own country, I recommend checking it out on JustWatch.

The Matrix Resurrections – Review

Cert – 15, Run-time – 2 hours 28 minutes, Director – Lana Wachowski

Influential video game creator Thomas Anderson (Keanu Reeves) finds himself unwillingly creating a new instalment in his ground-breaking Matrix trilogy, however he begins to re-discover the technological reality hidden in his games.

Keanu Reeves has become an iconic figure for his wistful, almost poetic views and statements on life. He’s also become one of the world’s favourite action stars thanks to his titular role in the John Wick franchise. Therefore, it’s slightly weird to see him returning to his other iconic franchise pottering around a bit like a confused old man. It’s certainly not something that runs throughout the entire film, but it does feel like famous video game creator Thomas Anderson is often just drinking in information with little else to add. Much of The Matrix Revolutions is told through the words of those around him as he is brought into the world of his smash-hit video game trilogy.

After almost being forced to create a fourth addition in the series, particularly pushed by his money-focused business partner (Jonathan Groff), Thomas begins to experience what he believes to be flashbacks to his fictional world; seeking the help of a therapist (Neil Patrick Harris) to help him distinguish such visions from reality. However, it’s not long until Thomas discovers that the Matrix was never just something from his mind as the figure of Morpheus (the ever-welcome presence of Yahya Abdul-Mateen II), fresh from what appears to be a shopping spree, brings him back in to a newly assembled team.

There’s certainly a rather meta and self-aware feel to this latest instalment in the franchise, nearly twenty years on from the original trilogy. Both of which are made points of in the initial build-up to our big re-introduction to the world. However, such feelings appear to be dropped as the narrative moves on and the film focuses on bringing back old faces to the new functions of this familiar world. After seeing a familiar face in a coffee shop both Thomas and stranger Tiffany (Carrie-Anne Moss) feel they’ve met before but have no idea where, putting it down to just seeing each other most days by the counter waiting for their respective drinks. This is much of their relationship throughout the film, not much else is done with it as we mainly focus on Reeves’ gradual discovery of his abilities within the coded world. It’s an often long road with various segue-ways and tangents for the sake of familiar elements, and lengthy discussions between characters. What’s formed is a rather rambly piece that loses the attention of the viewer as the majority of the piece feels like build-up.

Not even the action manages to properly grab you as it jumps between fights and figures in the same place. Showing the battle from multiple perspectives and angles instead of being more concentrated, engaging and in general less distracted. It pushes the lengthy run-time – which begins to be felt beyond the halfway point of the film where much of the content and conversation still feels like build-up and context to something much bigger than what we actually get.

The finale certainly holds some decent content, like one or two patches throughout the nearly two and a half hour course of the film as a whole, yet it begins to dive again as it either feels too extended or as if it’s building up to something else as a whole. In general a number of key moments in the third act feel as if they could have been placed halfway through a narrative with what feels like bigger stakes; and giving Moss more to do – although she certainly seems to be enjoying the brief bursts of action that she gets.

The Matrix Resurrections feels like something different from the rest of the series, and not always in the best of ways. Not completely bringing anything new to the table its biggest issue is that it largely feels like a lengthy build-up to something not overly satisfying. As we watch characters react with confusion to the lengthy conversations and explanations of those around them. While there are one or two moments that catch your interest in the unfolding events they come somewhat later in the day and don’t manage to connect and bring the otherwise uninvolving and disengaging nature of the film up.

After dropping the different, more meta and self-aware content early on The Matrix Resurrections loses its audience with lengthy build-up to lacking action. Its rambling nature feels unengaging and it simply doesn’t provide enough in its worlds to get truly brought into either of them.

Just A Little Bit Random Audience Best Films Of 2021 Vote

2021 was the year where the big screen truly came back. The cinematic experience was celebrated and relished once more with a whole flood of worlds to be immersed in. However, it’s also been a year where the more independent awards hits have had a consistent spotlight shone upon them. Now, as usual at this time of year, it’s time for you to have your say as to what you thought the best film of the year was.

All you have to do is vote via this poll by 6pm on Wednesday 5th January with what you thought was the best film released in 2021. The results will be announced just after 7pm on the radio show on this same date, with an article here on the website afterwards.

While 2021 saw the return of major blockbuster franchises such as the MCU (seeing four cinematic releases this year!) and Bond it shouldn’t be forgotten that the smaller films that made up awards season – such as Nomadland and The Father – also proved to be box office hits. Even films from streaming platforms such as Netflix and Amazon managed to still have plenty of word-of-mouth love shown towards them. From those with brief cinema releases; Tick, Tick… Boom! and The Power Of The Dog, to those which helped get us through the lockdown: The Mitchells Vs. The Machines and Promising Young Woman.

Whatever your personal favourite is it should be included in the poll. All films featured are done by UK release date. Hence why titles such as Nightmare Alley, Belfast and Licorice Pizza (all of which, at time of writing, have release dates for early next year) aren’t listed, and Another Round, Spontaneous and Sound Of Metal are.

A huge thanks to everyone who votes, shares the poll or both. It’s all very greatly appreciated. As mentioned, the results will be announced on a review of the year show on Somer Valley FM on Wednesday 5th January, starting at 6pm. With a piece being posted here on the website not long after.

Alternative Christmas Film Advent Calendar 2021 – The Lemon Drop Kid

After spending Christmas at home and in the workplace let’s take a further shift with this year’s calendar as we look at the spread of festive goodwill in the open streets in 1951’s The Lemon Drop Kid.

As Bob Hope and Marilyn Maxwell strolled through the busy, snow-covered New York City streets, past various false-bearded charity collectors, singing Silver Bells I found myself feeling a sense of Christmas spirit that I haven’t felt for a long, long time. The scene coincidentally occurred just as midnight of December 1st had arrived – perhaps boosting the effect of the moment. It comes in a moment of calm where everything appears to be going right for Hope’s titular Lemon Drop Kid (although ‘Kid’ might not always fit Hope’s lemon-drop-lacking Sidney Milburn, especially as he was nearing 50 towards the release of this film). In fact, the successful charity collectors are largely collecting for him. Under the guise of raising money for an old people’s home, Milburn is secretly trying to collect the thousands of dollars he owes to a local gangster (Fred Clark) who he caused to bet on the wrong horse in the build up to Christmas.

Already owing money to various other figures Milburn assembles a team to go along with his scheme so that he’ll have what he needs before his Christmas deadline. However, as more figures are brought in to the piece, mostly in aide of helping a local old woman they all appear to have a connection to (Jane Darwell). The kind-hearted spirit of seasonal helpfulness increases and runs rife throughout the film as a bigger effort is put in and the money shifts from being raised for Sidney’s scheme to actually being used for the retirement home that everyone has their hearts put into – named after their mutual connection, The Nellie Thursday Home For Old Dolls.

In general the film increases and spreads the Christmas spirit it holds as it travels along its path. Through the humour that comes from the efforts of Hope’s character, as his heart too becomes set on more charitable causes, and the work other characters are, initially with suspicion for what the Kid really wants, putting in there’s plenty to get hooked on in terms of festive cheer and warmth. It’s certainly a film to take you by surprise when going in to it, particularly if you know nothing about it. All simply adding to the overall tone, style and feeling as an unlikely group comes together to dress as Santa, ring bells, sing carols and raise money for those in need. It’s perhaps a traditional Christmas path and theme now, but it’s still effectively put together throughout The Lemon Drop Kid. Maybe it’s down to Hope’s central performance, and maybe it’s just the increase air of festivity and goodwill throughout. Either way, there’s a sense of warmth to the film that catches you up in its lack of cynicism, without feeling overly tacky or sentimental.

The Lemon Drop Kid can be found in the following places:
Amazon
Microsoft Store
Or, you might have a physical copy of the film available to watch. To see if there are any other places to watch the film, and to see where it’s available to buy, rent or stream in your country, it’s always best to take a look at the film on JustWatch.

Alternative Christmas Film Advent Calendar 2021 – The Great Rupert

After yesterday’s look into an unwanted house guest in The Man Who Came To Dinner, today let’s take a glance at a different kind of Christmas guest, that of the entirely unknown one, as the Calendar presents 1950’s The Great Rupert.

The titular Great Rupert is a squirrel (taking both live-action and stop-motion animated form) living in the walls in-between the house of wealthy Frank Dingle (Frank Orth) and into the cramped living space of the Amendola family, who are renting, with increasing prices, from Frank. The fortunes of the Amendolas begin to turn around when the rarely-seen Rupert rains Frank’s money – hidden in the walls of his house – from the ceiling, although the family are unaware of the source of the money and the squirrel, they simply view this as an act of God; answering their Christmas prayers.

Soon the poor family, led by former circus performers Louie (Jimmy Durant) and Mrs Amendola (as Queenie Smith is simply credited as), come into increasing fortunes and begin to help out struggling businesses in the nearby town. While baffling Frank, who finds the Amendola family a disturbance to the calm routine of his life, he’s certainly happy with the money that’s coming in for him – particularly when it appears as a form of present on Christmas Day, with extra added on. Yet, cares are largely forgotten about on the big day as the two families, despite their differences, gather around he piano to sing and perform. Durant particularly puts on a vaudeville persona as the film almost becomes something of a variety show. Echoing TV of Christmases past with a more traditional feel and one act moved swiftly on into the other. Such a feeling arises a number of times throughout The Great Rupert, yet there’s a jovial feel to each one as the cast, particularly Durant in the lead, appear to relish the opportunity to perform in this way and show off their skills.

Such moments also allow for Amendola daughter Rosalinda (Terry Moore) to further spark a gradual relationship with restricted Dingle son, and aspiring composer, Pete (Tom Drake). After first meeting when the family move in, rather promptly, after an old performing friend (Jimmy Conlin) of theirs has been kicked out so close to Christmas after not being able to afford rent due to the money he’s put in to his new act (Rupert the, occasionally-kilt-donning, dancing squirrel – this being where the stop-motion comes in to play, with a look and effect which still manages to hold up over 70 years on).

Over it’s short run-time the film generally emits a feeling and tone of seasonal goodwill, particularly as the Amendola family’s situation turns around and things vastly improve for them over such a short amount of time. When the vaudeville elements are mixed in there’s a very traditional feel to the film in terms of not quite Christmas films, but generally performances and maybe TV specials, of the past. It’s a slight throwback and reminder to them, while still managing to capture a rather enjoyable tone within such sequences and moments, often thanks to Durant’s energy and style as he’s in his element behind the piano, or whenever generally performing. There’s a very traditional nature to The Great Rupert, shown in the general simplicity that it holds, and more often than not it manages to push the kind-heartedness of the good-natured central family and the festive spirit which they appear to emit and hold closely.

The Great Rupert can be watched in the following places:
Amazon
iTunes/ Apple TV
Google Play
Plex
YouTube
Or, you might have a physical copy of the film somewhere. To see if the film’s available in any other places, or to see where you can buy, rent or stream it in your own country, it’s best to check JustWatch.

Alternative Christmas Film Advent Calendar 2021 – The Man Who Came To Dinner

After taking a glance at the workplace and getting ready for time off for Christmas let’s take a step in a different direction with today’s potentially forgotten classic Christmas film. Let’s prepare for the inevitable guests and family members by taking a look at 1942’s The Man Who Came To Dinner.

Sheridan Whiteside (Monty Woolley – providing gift enough with his smashing facial hair alone!) is perhaps the worst kind of guest you would want taking up the entire downstairs floor of your home, particularly if you’re then excluded from it. It’s the fate that Ernest (Grant Mitchell) and Daisy (Billie Burke) Stanley find themselves meeting when the famed New York radio personality slips on ice outside their home before a publicity meal with the pair. Threatening to sue them otherwise he commands the house with his authoritative voice as if it’s his own and transforms the festively decorated living room into his own personal office and work space; with the help of his eye-rolling, yet confined, assistant Maggie (Bette Davis).

While providing plenty of excellent, often uncaring, asides and insults – “my Great-Aunt Jennifer ate a whole box of candy every day of her life. She lived to be a hundred and two and when she had been dead three days she looked better than you do now” – it’s clear that the brilliantly performed, and now wheelchair-bound, Whiteside is far from a pleasant character. He creates a very civil kind of havoc within the Stanley’s home, creating disorder and a change to the standard dynamic that seems to have been so peaceful and orderly up until now. Particularly when it comes to the young adults who come in and out of the place, thinking about their own futures and feeling somewhat restrained by their father. The place almost begins to feel like an unrecognisable luxury zoo, and not just because of the penguins running around.

In some respects there’s a slight vein of good within Whiteside and his actions and the effects that they have, although in most cases only initially. Yet, his mind is firmly set on his own status, reputation and gain, particularly in the build-up to his annual Christmas message broadcast. A heightened affair which he clearly relishes for the attention which it gains him, boosting his reputation at this most charitable time of year. His ‘public’ persona throughout the film is very much one of faux seasonal goodwill.

Throw into the mix Maggie’s growing relationship with newspaper owner Bert (Richard Travis) one or two other blossoming festive romances there’s plenty of standard Christmas conventions on display when it comes to such relationships. It contrasts with Whitehead’s views and attitudes where he seems intent on keeping Maggie working for him as long as possible, doing what he can to stop her from quitting, simply because of how much work she actually does for him. There’s a clear divide amongst a number of the characters, and clearly one that goes beyond just the Christmas season. Conflictions are obvious and it certainly creates cold tensions between various figures to match the weather outside the house, which caused Sheridan’s injury in the first place. It may reflect out worst-case scenario feelings and ideas about friends, family and general guests over the Christmas period, or it may make us very thankful that we simply don’t have to put up with anyone quite like the inflated celebrity personality of Sheridan Whiteside.

The Man Who Came To Dinner can be watched in the following places:
If you don’t have a physical copy of the film available/ anywhere then it’s always well worth checking JustWatch to see where the film might be available to buy, rent or stream in your country.

Alternative Christmas Film Advent Calendar 2021 – We’re No Angels

Just before we enter the week of Christmas let’s continue yesterday’s theme of workplace festivities by selecting a slightly different job-focused Christmas film in the form of 1955’s We’re No Angels.

While the title is perhaps more often linked to the 1989 Robert De Niro, Sean Penn starrer – a very loose remake of this particular film – the 1955 We’re No Angels features the faces of Humphrey Bogart, Peter Ustinov and Aldo Ray as Joseph, Jules and Albert respectively, a trio of escaped prisoners hiding in a small town, hoping to avoid the eye of searching officers after their recapture. However, instead of going back to lives of crime the two murderers and thief find themselves coming under the approaching spirit of Christmas by enacting upon various acts of goodwill. Particularly towards shop owner Felix (Leo G. Carroll), who finds himself delving deeper into financial struggle, heightened by the worry of the return of the shop’s owner (Basil Rathbone).

Initially fixing a hole in the roof of the shop the central three figures, gradually kitting themselves out with clothing slightly more fashionable than dirty prison garments, eventually find themselves helping to decorate the house on Christmas Eve, and indeed prepare (even if slightly stolen) dinner for the family who is putting them up. There’s a good and kindness seen in them as conversation and connections grow, especially when it comes to Felix’s daughter Isabelle (Gloria Talbott). Decorations may take a little bit of time to be put up, although certainly changing the look and warmth of the shop and home when they finally are on display, but once they are the spirit of Christmas is certainly present amongst the characters as they all appear to celebrate properly for the first time in a number of years. Forgetting their troubles and worries, until the eventual arrival of Rathbone’s Andre.

He’s a figure much like any Christmas-film antagonist. The complete opposite of the spirit of the season, and intensely focused on work and money. However, there’s an increasing sense of unity amongst those working in the shop – including the three fugitives – as they attempt to tackle the situation, each after having shown various kindnesses to the others from slightly different walks of life. What’s on display is not so much a redemption story, but simply one of seasonal goodwill; with the feeling that it may last beyond just Christmas. The film certainly carries its fair share of traditional Christmas feature elements and it’s easy to get caught up within them as the characters set out on their various acts of kindness, realising what they’re, almost naturally, doing more and more as the film goes on.

We’re No Angels can be watched in the following places:
Amazon
iTunes/ Apple TV
Google Play
Microsoft Store
YouTube
Or, you may have a physical copy available. To find out any other places the film is available, or where you might be able to buy, rent or stream it in your country it’s always well worth checking JustWatch.

Alternative Christmas Film Advent Calendar 2021 – Desk Set

To ease into this year’s calendar, and prepare for the nearing time off work, why not start the week building up to Christmas with the most recent of the forgotten classics? Going back to 1957 with Spencer Tracy, Katharine Hepburn led rom-com Desk Set.

Dread or await it in many places the eventual office Christmas party is inevitable. In Desk Set it comes alive as the otherwise divided up branches in the tower block offices of television network FDN (Federal Broadcasting Network) merge into one space to drink, sing and generally celebrate. It’s the festive core of the film which has been building up to that point – decorations gradually spreading across the research department, led by Katherine Hepburn’s Bunny. Throughout the rest of the year the phones ring almost non-stop with questions for the team of four women (including Joan Blondell, Dina Merrill and Sue Randall), who overflow with instant memorised knowledge from their expansive reference library.

However, there’s a coldness to the season as Spencer Tracy’s Richard Sumner unexpectedly turns up one day to transform the research department into one giant computer, leading to money saved for the network and job losses for the employees. Yet, despite the initial fear of a pink layoff slip instead of a gift, goodwill begins to spread; particularly as Bunny and Richard become better acquainted with the spirit of Christmas growing as the day draws nearer. It’s as the season becomes more present in the second half of the film, and key involvement of a present leads to the formation of one or two developments in the third act, that Christmas truly becomes more a part of the piece overall, it acts as the turning point for both better and worse when it comes to the fates of those in the research department.

Particularly for Bunny as she grows closer to Sumner, despite her years-long relationship with network executive Mike Cutler – although every time she’s been expecting a proposal she’s been knocked back more and more. It’s a common theme or plotline to be found in Christmas films and it’s certainly present within Desk Set, particularly as it nears the week of Christmas where, as mentioned, many of the pivotal moments of goodwill, and indeed knockback, take place; largely within the confines of the warmly-lit and highly festive research department, contrasting with the highly metallic nature of Sumner’s computer.

As characters gradually warm to each other and put a stop to the workplace cold shoulders there’s an echo of plenty of other seasonal character shifts, relationships and changes for the better. It’s certainly in place here and makes for a traditional feel within Desk Set which captures the festive spirit; alongside the more joyful, communal elements of the key nearly-time-off office Christmas party.

Desk Set can be watched in the following places:
Amazon
iTunes/ Apple TV
Google Play
Sky Store
YouTube
Or you might have a physical copy of it available somewhere. To see other places where you can rent or stream the film, particularly in your country, it’s always worth checking JustWatch.

LFF 2021: The Lost Daughter – Review

Release Date – 17th December 2021, Cert – 15, Run-time – 2 hours 2 minutes, Director – Maggie Gyllenhaal

When another woman’s (Dakota Johnson) child goes missing, while on holiday in Greece, Leda (Olivia Colman) begins to be taken back to her early and troubled years of motherhood.

The Lost Daughter gradually opens its doors in a way that a perfect television series would run. With Olivia Colman on holiday. Quietly lying on the beach, bathing in the Greek sun while enjoying the occasional ice cream. One of the biggest delights that the film presents is her carefree, in-the-moment belting out of Livin’ On A Prayer. However, as feature debut writer-director Maggie Gyllenhaal further pushes the door open a past of emotional pain slowly creeps up on Colman’s Leda as she almost re-experiences what she views as her bordering-on-tragic early years of motherhood.

It all stems from the missing child of Dakota Johnson’s young mother, Nina. It appears that there’s something about this event which reveals a much more worried, troubled and at times oddly behaving side to Leda. We see her mind flashback to her life with two young daughters of her own (her younger self played by Jessie Buckley). And in fact without these flashbacks Colman’s performance and character as a whole may seem somewhat off balance and out of place, however with the jumps back to Buckley – while occasionally feeling like we’re seeing too much too early on – it feels more grounded and, obviously, contextualised. There’s a further air of drama to her character and when mixed with her excellent performance makes the film overall more compelling as it acts as a simplistic, yet effective character study.

While most elements feel stripped down and looking at the general basics it simply allows for character, particularly Leda and her behaviours and interactions as her potential failings as a mother come under increasing light, to take centre stage. Behaviour and responses move the drama along and hold a grip on you that only tightens as things progress. You don’t truly realise how caught up in the piece you are until your emotional responses, questionings and even shock create equal interaction with the film as Leda acts out. Going from something oddly compelling to a film of true dramatic weight, thanks to its simplicity and the central performances that bring everything to life.

There’s tension in the friendliest scenes. As Leda and Nina get to know each other, despite an initial heated interaction on the beach with the latter’s family, we almost worry that some of Leda’s actions, such as taking the doll of Nina’s child, will be found out; more for the dramatic stakes rather than the character herself. All while managing to avoid a general dislike for the central figure. Even scenes where Leda is hiding an affair which she discovers Nina is having, further echoing her life, the stakes feel high for herself. She’s almost put her life on pause by retreating, still to work, to a Greek island, yet it’s where her past truly catches up with her and is almost put on replay from a dual first and third person perspective.

You watch in interest and intrigue at how the course will develop, with a slight air of finely balanced tension and emotion during such moments and interactions. It’s emotion which lies in the background of plenty of scenes as you can see Colman reflecting on her life, the two grown daughters she doesn’t appear to have any contact with now. Information is fed to you piece by piece through performances, through small details in the dialogue and the atmosphere of each scene.

Yet, by the end, you can’t properly explain what about The Lost Daughter makes it so good. There’s just something about the general tone and atmosphere that quietly brings you in to explore the past of the troubled figure at the centre of the piece. One who clearly doesn’t always think about what she’s doing in the moment as she worries about her regrets of the past. Much of it comes down to a fantastic central performance from Colman, and a great supporting cast – particularly Johnson and Buckley – all of whom manage to lift the gradually growing emotional pan, tragedy, regret, tension and more; all of which becomes increasingly powerful as the actions, thoughts and feelings of the characters allow the narrative to progress. It’s a fine piece of work, perhaps one of the best of the year, that almost comes from nowhere, particularly if you go in knowing as little as possible about it, and it’s all the more impactful for it.

While holding a selection of great performances, especially a weighty turn from Olivia Colman, The Lost Daughter succeeds most in its subtlety and gradual building of points and information. Offering an emotionally intriguing delve into the past and present thoughts and actions of the increasingly mysterious central character.

Spider-Man: No Way Home – Review

Cert – 12, Run-time – 2 hours 28 minutes, Director – Jon Watts

When his true identity is revealed Peter Parker (Tom Holland) turns to Doctor Strange (Benedict Cumberbatch) to cast a spell that will make everyone forget that he is Spider-Man. However, when the spell goes wrong it brings villains from other universes on the hunt for Peter.

Perhaps the elements that have stood out most from the Marvel Cinematic Universe’s past 26 outings are the action scenes. The cheer-inducing moments when some of our favourite heroes finally deliver the fan service we’ve all been waiting for, even if we didn’t know it. However, amongst all the action, what stands out most from Spider-Man: No Way Home is the fluidity of its narrative. In what could be a very busy film things feel well-contained to bring about a consistent sense of flow that keeps you in place throughout. Creating an almost unpredictable feel to the course of what is perhaps the best structured film to grace the MCU so far.

In previous, non-Marvel Studios, Spider-Man films when multiple villain narratives have been attempted they’ve felt busy and unsatisfying. However, where No Way Home succeeds is by having all it’s villains largely in one place at each time. Meaning that the film doesn’t jump back and forth between multiple characters and arcs that you have to keep track of. Everything is in plain sight and it encapsulates part of the thrill of watching the piece. As the likes of Alfred Molina’s Doc Ock, Willem Dafoe’s Green Goblin and Jamie Foxx’s Electro (who gets a form of redemption in this film after some mishandlings in 2014’s The Amazing Spider-Man 2) return to hunt down Peter Parker. However, Tom Holland’s not their Spider-Man, but he is the reason for them arriving in his universe. After causing Doctor Strange (Benedict Cumberbatch) to botch a spell designed to make everyone forget that Parker is Spider-Man – after his identity was revealed and falsely shamed at the end of Far From Home – villains from other universes are unleashed, all looking for their own destructive justice.

In some cases it feels like the villains get more to do here than in their previous appearances – Molina particularly feels more present than his brief patches of screen-time in 2004’s Spider-Man 2. It allows for the characters to feel somewhat more fleshed out, especially as they, if briefly, come to terms with not being in their own universes. When combined as a seemingly undefeatable force there’s a true sense of grand-scale threat. Allowing for plenty of thrills and spectacle to spill from the screen with often truly stunning visual effects that bring to life the chaos that ensues over the fast two and a half hour run-time.

Unlike previous MCU entry Eternals there’s barely any repetition within this time and things move on from one scene to the other with ease. As we see Holland’s Parker, and Spider-Man, grow and develop more than perhaps in any other film. Helped by the fact that this feels like much more of a personal journey for him, with Strange thankfully not taking a Tony Stark-like father figure role as some may have feared. Despite the villains that are in place this is solely Peter’s story and rarely do they break into it – although almost each figure manages to have their moment. In terms of humour, action and fan service. While the previous Sony Spider-Man franchises aren’t essential viewing (most other MCU entries, however, likely are) it certainly might help to heighten certain levels of impact within a number of sequences. Particularly a number of Sam Raimi-esque tints to the look and feel of some Green Goblin moments.

With everything going on in No Way Home it’s undeniably the biggest, boldest and most ambitious Spider-Man film yet. And thanks to its clear sense of direction, balance and excellent structuring a fluid narrative is laid out for the viewer to be caught up in. One which most of the time manages to effectively pull its various points and elements off, only occasionally leading to cause for slight worry. It keeps track of its characters as well as Parker does, and creates stability amongst the chaos and carnage of the various powers and evils on display. Most of which manage to avoid feeling flashy or especially there for the sake of pleasing fans. All helping to push the story along and develop the points and world that are being created and expanded. Everything contributing to the character development of Peter Parker who further steps into his own within the Marvel Cinematic Universe.

Amongst the spectacle of the stunning action and visual effects the biggest draw into the world(s) of Spider-Man: No Way Home is the structuring of the narrative, so well pieced together and avoiding busyness with overload of separate characters that it creates a sense of unpredictability which further hooks your attention in the development, and in some cases redemption, of the characters; none more so than Peter Parker.