Cert – PG, Run-time – 1 hour 47 minutes, Directors – Sarah Smith, Jean-Philippe Vine, Octavio E. Rodriguez

After spending too long at school as the only person without a B*Bot, Barney (Jack Dylan Grazer) finally gets his own (Zach Galifianakis), only to discover it damaged and not properly programmed to be his best friend.

A panicked, frustrated tech director exclaims “it’s like Mad Max meets Sesame Street livestreaming” as he watches one of his company’s products cause havoc in the streets of a small American town. In a number of ways this line of dialogue is perhaps one of the best ways to pitch Ron’s Gone Wrong – the debut feature from Locksmith Animation. Capturing the chaotic charm that comes from titular B*Bot Ron (Zach Galifianakis) as he learns how to be lonely schoolkid Barney’s (Jack Dylan Grazer) best friend out of the box. He should come with this ability already, however after being damaged and bought cheaply – Barney’s dad (Ed Helms) and grandmother (a delightfully surprising reveal in the credits, a Bulgarian-accented Olivia Colman) can’t afford a brand-new one in the Bubble store; a disproportionate Apple store meets McDonalds soft play – Ron comes without the code that the B*Bots of every other kid at Barney’s school comes with.

Therefore it’s up to Barney (or as Ron initially calls him Absalom), with his wall of post-it notes in the chicken coop in the back garden, to teach Ron how to be his best friend. All in the hope that he’ll finally be able to survive middle school. There’s a rather charming connection that grows between the two, much of it helped by Galifianakis’ voice performance. After 2019’s Missing Link the actor has perhaps begun to find something of a home voicing charmingly hilarious characters. He brings to life Ron’s glitches and robotic innocence as he strives to try and please Barney and achieve his goal of being his best friend, first of all learning how to be a friend.

However, as Ron’s glitches and breaks against coding become more noticeable as he roams the streets putting up poster friend requests for his owner word gets back to the high-ranking officials of the Bubble company. While creator Marc (Justice Smith) is fascinated at how this has been achieved and the connection that the pair have, actually becoming friends as was the intended use for the B*Bot, fellow owner Andrew (Rob Delaney) is worried about how the havoc Ron creates will affect sales, income and the views of other stakeholders. In his mind Ron must be destroyed in the nearest Bubble crusher as soon as possible. As Andrew begins to play more of a role in the narrative it’s clear that there are comments being made about social media and privacy. Just how much we rely on technology and digital media today – it’s clear to see why there have been a number of comparisons between this and earlier 2021 release The Mitchells Vs The Machines.

As the tech company begins to play more of a role, and Ron’s lack of coding begins to impact other B*Bots near him, with not best results for Barney’s fellow students, there begins to be more to wrap up in the third act. It slightly extends the run-time of the film, which would perhaps be better suited towards the 90 minute mark. The laughs, while still present, do slightly die down as the narrative attempts to wrap up each of its various arcs, which it manages to do rather well if sometimes shifting into more generic fashion. The film doesn’t exactly lose steam, but it does feel as if we’ve seen some of its second half – particularly third act – elements before as laughs do begin to fade away to focus on the plot. Yet, there’s still something enjoyable to be found here for all ages. An entertaining, consistently funny; mostly within the first half, look into the relationship between the boy and his best friend out of the box. There’s enough charm within that central pairing, much of it down to the frequent laughs from titular voice performance, to carry things through and make for an interesting and enjoyable debut venture from Locksmith Animation, who have certainly put more than a firm foot into the door as a new voice in mainstream animation.

While the third act begins to feel somewhat lengthy with its more generic leanings, there’s plenty of laughs and charm within the characters of Ron’s Gone Wrong to make it delightfully worthwhile.

Cert – 15, Run-time – 1 hour 37 minutes, Director – Andy Serkis

While trying to live with each other’s differences Venom and reporter Eddie Brock (Tom Hardy) must take on the murderous force of serial-killer Cletus Kasady, and new symbiote Carnage (Woody Harrelson).

Venom: Let There Be Carnage is a film of many unexpected surprises. In fact, that itself may be one of the unexpected surprises. Back in 2018 Venom worked in its third act after embracing its ridiculousness and having fun with its events. From the off the sequel runs with this by being a full-on buddy comedy between the titular symbiote and reporter Eddie Brock (Tom Hardy), whose body he still inhabits. The two bicker about rules and what can and can’t be eaten. Eddie feeds Venom on a diet of chocolate and chicken – except for two specific ones, Sonny and Cher, which Venom insists “are best friends” – however, the alien craves more. The heads, or even full bodies, of criminals who the pair put a stop to.

As Venom clutters Eddie’s apartment while making breakfast to a destructive, rumbling rendition of Let’s Call The Whole Thing Off I found myself marvelling at the fact that this could perhaps be one of the best films of the year. A five star film that embraced a buddy comedy, bordering on rom-com, nature with laugh-out-loud hysterical results. It’s certainly an odd feeling to have had, but the entertainment factor is undeniably there within Venom 2. All thanks to the fact that screenwriter Kelly Marcel appears to have pinpointed the dynamic between the central pairing, had fun with it and ran. The same goes for director Andy Serkis and the cast and crew, particularly Tom Hardy. Even Woody Harrelson (and his wig) as the main antagonist of the piece appears to have understood the tone of the film and what he should be aiming for. Chewing up the scenery whenever he gets the opportunity.

Harrelson plays imprisoned serial-killer Cletus Kasady, intent on escaping to reunite with super-powered fiancé Frances Barrison (AKA Shriek, AKA an underused Naomie Harris). When, after an encounter with Hardy’s Brock, Kasady becomes connected to his own murderous symbiote, Carnage, he manages to free himself with the intent to destroy Brock and Venom before moving on to more around him. It’s around this point that more seriousness appears. Of course, it’s present within the somewhat intense and dark-bordering action, however this begins to take over as the core tone. Particularly as we reach the third act the action becomes the dominant factor, which while not being a bad thing does mean the initial tone that brings you into the film in the first place is pushed aside and barely referenced for much of the rest of the run-time; where the seriousness occasionally feels out of place in comparison to what has come before it.

Admittedly, it is nice to see a third act where the stakes aren’t to the extent of city-shattering, world-ending peril. It’s simply a not-always-friendly, neighbourhood not-quite spider-man trying to stop a villain (albeit one with advanced symbiote assisted superpowers) from leading on to further gradual death and destruction. With this in mind it helps that the film is a relatively short 97 minutes (the 2018 film was 112 minutes), both allowing for things to pass by quickly and not feel overlong and also slightly boost the initial comedy feel of the piece. The fights have their moments, although the CG still isn’t always best – The Telegraph’s Robbie Collin’s statement in regards to the first film that Venom “looks like someone drizzled with Creme Egg filling onto a bin bag” still stands – but the feeling that they verge on going on for slightly too long is certainly present in the film’s latter stages. As if Carnage hasn’t been fully developed amongst everything else and therefore his full potential and range of threatening abilities still needs to be scanned through.

Luckily, by the end Let There Be Carnage manages to step back up and remember its original comedic tone and style. Just about leading towards an ending with that same buddy-comedy-cum-rom-com feel. It feels aware of its nature, and certainly embraces the ridiculousness of its premise and scenarios on many occasions throughout the film. Making for a very enjoyable, highly funny first half where the cast and crew clearly understand what they’re making. It’s more in the second half as the more standard comic-book fights of perhaps a few years ago come into play where things slightly drop. However, there’s enough oddly hilarious bickering flatmate bromance between Hardy’s characters to carry things through and not want to entirely call the whole thing off.

While slightly dipping for the action of the third act there’s a lot to like about the frequently funny humour and central dynamic of Venom: Let There Be Carnage and the way that the cast and crew embrace its ridiculousness, particularly in the first half.

Cert – 12, Run-time – 2 hours 43 minutes, Director – Cary Joji Fukunaga

James Bond (Daniel Craig) finds himself forced out of retirement and back to MI6 when his past, and that of his partner (Léa Seydoux), comes back for another attempt on his life.

15 years ago Daniel Craig’s debut as James Bond, in Casino Royale, marked a new; darker, grittier take on the character for the 21st century. Furthermore, gone are the days of: save the day, cheeky joke, fade to black, off to bed. Craig’s Bond has seen further emphasis on his relationships and the way that they have impacted the character. Such elements come to the fore in his fifth and final outing, No Time To Die – a feature which acts as a fond reflection on just what has made this iteration of the classic spy so different to all that have come before him, alongside being his most traditional too.

We see Bond’s past come back to not just haunt him, but attempt one final attack on his life; which he’s happily spending globetrotting with Léa Seydoux’s Madeline Swann (who we also previously saw in Spectre). Gradually secrets and danger catch up with the pair and we quickly see them split and divided. It’s during these opening 30-45 minutes, as things are still gradually building up, where character is perhaps most at the centre of the film. It’s the core element of the action that occurs and causes scenes during this opening portion of the film to feel slower than what is to come. As the lines of character and action are blended later on in the film – during a number of strongly well shot and staged sequences, particularly in the third act – things become more engaging and enjoyable. Going in hand with the fact that the narrative clears up, generally feeling less busy, and is easier to follow.

As things move along and become clearer Craig’s performance is allowed more space to shine. It’s a strong portrayal of the character, one who has developed over the five films he’s led and the relationships that they’ve brought about. Returning to MI6, he finds his classic 007 title now belongs to Lashana Lynch’s Nomi. Lynch gives a great slightly-sparring performance against Craig, as his former-agent discovers just how much has and hasn’t changed in the 5+ years he’s been out of active service. It’s a shame that even in the nearly three hour course of the film that she doesn’t get more to do. In fact, the same goes for nearly all of the supporting cast. The likes of Moneypenny (Naomie Harris), Q (Ben Whishaw), M (Ralph Fiennes) and new figure Paloma (a delightful, if one-sequence, Ana de Armas) all land an impact in their handful of scenes, however do sometimes feel slightly underused – even if this is Bond’s film, and the big farewell to the actor playing this ground-breaking version of the character.

However, perhaps the most side-lined figure is the main antagonist himself; Rami Malek’s Safin. Throughout much of the film we see very little of the occasionally three-quarter-masked villain, however when he becomes more of a focus in the third act this adds up and causes him to feel rather weak. Landing little impact due to a lack of detail Safin almost feels like an afterthought in the later stages of the film rather than a complete villain. His exchanges with Bond lack the punch and intrigue that are present when the spy confronts old nemesis Blofeld (Christoph Waltz) in a confrontational scene that acts as one of the true highlights of the film – thanks to being led by two great performances.

However, at the end of the day it’s the blending of character and action that are central to the events of the third act. Things come together to create an enjoyable, entertaining and slightly enthralling conclusion. It, much like most of the events before it, firmly establishes just what has made Craig’s iteration of Bond so different, while still paying a fine ode to the more traditional elements of Bond’s gone by. Things move by quickly, and not without their hints of tension. Allowing the supporting cast to have just as much of a moment as Craig’s bond who binds a fond and excellently done farewell to the character he has both solidly brought into the 21st century and very much made his own over the last 15 years.

While things take time to build up, once the narrative is clearer and more direct the lines between character, plot and action blend together well to make No Time To Die a fitting reflection on Daniel Craig’s well-performed James Bond.

Cert – 15, Run-time – 2 hours 10 minutes, Director – David Lowery

Sir Gawain (Dev Patel) sets out on a long journey to the Green Chapel, where he will receive the same treatment he gave to the Green Knight (Ralph Ineson) a year before, having his head cut off.

There’s a highly traditional feel to writer-director David Lowery’s latest feature, The Green Knight. Not traditional in a filmic sense, but in terms of a medieval folktale. The look and feel of the piece is deeply rooted in its setting – both visually and in terms of the way the story is told. We see Dev Patel’s Sir Gawain, nephew to King Arthur (Sean Harris), venture out into the world to find the Green Chapel. It’s here that he will reencounter the towering, tree-like figure of the Green Knight (Ralph Ineson), to receive the same treatment that he gave to him a year ago in Arthur’s court as part of a challenge – to be beheaded.

Throughout his slow-burn journey he comes across thieves, lords and a talking fox. The film feels as if it knows that it’s constructed with an episodic nature. And while this does heighten the detail of the film it does cause certain elements to slightly drag; and the need to adjust from scene to scene, or rather location to location, element to element. There’s some interesting elements dotted throughout, however because of the generally slow nature of the two hour plus run-time the film doesn’t manage to properly grab your attention without you gradually drifting away. In the end the style prevents the true dramatic extent of multiple scenes from properly coming through.

This clearly isn’t a film full of high-stakes drama – although the dread and fear of Patel’s character is clearly shown throughout – and action, that’s not the aim in any way. But, the want for at least a bit more excitement or slight flair within this world does begin to arise. It’s evident that The Green Knight is perhaps not intended for a mass audience, which isn’t necessarily a bad thing. There are clearly plenty who have loved it. But, there are likely to also be those who are put off by the slow and episodic pacing that helps to further establish the tone and detail, alongside the detailed visual nature.

As the film finally begins to properly build-up to the next encounter with Ineson’s titular threat things also slightly pick-up. Lowery begins to explore the darkness and fear that Gawain has felt throughout the film in various different ways. From his increasing trepidation to his fearful build-up to the actual event he’s been worrying about over the course of his days-long journey. It’s perhaps the highlight of the film as everything is finally solidified and begins to be rounded off, after a quite lengthy and not always fully engaging journey.

You don’t quite wish for Terry Gilliam to turn up with two coconut halves, but The Green Knight could do with a bit more excitement and flair, aside from the detailed visual nature, to prevent it from being a not completely engaging, although atmospheric, slow-burn.

Cert – 15, Run-time – 2 hours, Director – Alan Taylor

‘Dickie’ Moltisanti (Alessandro Nivola) finds his life in organised crime turned into a tumultuous set of betrayals when his father (Ray Liotta) comes home with a younger Italian wife (Michela de Rossi).

For those wary of going into The Many Saints Of Newark without having seen, the series to which it acts as a prequel, The Sopranos it’s very much not the exclusive Tony Soprano origin story that much of the advertising seems to have suggested. Instead, throughout the film we see the figure whom Tony seems to idolise, ‘Dickie’ Moltisanti (Alessandro Nivola). In 1960s and 70s Newark he lives a relatively comfortable life within the confines of organised crime. However, when his father, ‘Hollywood Dick’, (Ray Liotta) returns home with the surprise of young Italian wife Giuseppina (Michela de Rossi) things begin to heat up within the family, and Dickie’s own personal life.

Much of the early tensions are set during the 1967 Newark riots. We see Leslie Odom Jr’s – a welcome presence as always – Harold McBrayer divided when it comes to his relationship with the Moltisanti family, delivering violently picked up bets to them, and the events in the city that surrounds him. It all makes for a busy first third as the film goes from character to character trying to establish everything and everyone around Dickie – not quite including a ten-year-old Tony (William Ludwig) whose main function during these early stages is simply to see things going on. As the film goes on and the plot shifts into a more singular centralised focus, Dickie’s growing relationship with Giuseppina and the troubles that it causes in his personal life, we see Odom Jr’s character somewhat fade into the background.

And yet, an older Tony (Michael Gandolfini) is still very much a somewhat small side character. It feels odd when he’s focused on, mostly in the first two acts, and made the centre of a scene simply because he’s clearly not the main character of the piece. Nonetheless as we follow Nivola’s central figure, as he further falls into a world of partly unnoticed darkness and risk, things do move along almost surprisingly quickly. There may be some occasional bumps, shifts and changes in focuses on characters throughout, but there are undeniably some interesting scenes and interactions. Dickie frequently visits his father’s imprisoned brother (also Liotta) and often these quieter scenes where Liotta acts as some form of detective-therapist hybrid have the most impact. Perhaps because it focuses most on the characters and their hidden feelings and anger rather than the way that their reactions to plot points and the way the narrative impacts on them.

Even some larger dramatic moments are sometimes slightly conflicted. They work and have an impact, but sometimes they seem to be more controlled by plot rather than completely by character – which is perhaps much the case with the film as a whole, although it’s certainly not a character study. This being said it is the characters and their interactions that act as the main source of engagement when it comes to The Many Saints Of Newark. It’s not compulsory to have seen The Sopranos to get on with this film – although it’s perhaps likely to heighten engagement. This is very much Dickie’s story, the tensions created within his own personal life and how it impacts his life in the mob, and those around him. It’s the scenes that focus on this that work the best and keep you interested in what’s being shown. Preventing you from completely feeling like Tony Soprano in the earlier stages of the film, simply there to stand and silently watch what’s happening.

Once out of the busy opening stages, The Many Saints Of Newark shifts focus to Alessandro Nivola’s interesting central character, even if it does leave some other behind as it occasionally slightly conflicts between plot and character.

Cert – 12, Run-time – 1 hour 55 minutes, Director – Jonathan Butterell

16 year old Jamie (Max Harwood) dreams of becoming a drag queen, however his exploration into the world of performing begins to collide with many major events in his school life.

Sat in a careers class, encouraged to think about what he wants to do in the future after leaving school, 16 year old Jamie New (Max Harwood) scrolls through images relating to drag performance on his phone. He’s miles away – which his teacher Miss Hedge (Sharon Horgan) doesn’t seem to have much a problem with – as his interest in the world of drag is further lighting up. Soon, after receiving a pair of glittering red heels for his birthday, he makes the decision to go to his prom in drag – which when found out his teacher, having a sudden turnaround from the first scene into an utterly hateable (and unprofessional) figure, does have a problem with. Needing the confidence to do so he finds himself receiving help from costume shop owner Hugo (AKA Loco Chanel, AKA Richard E. Grant, who is clearly having a wonderful time being a part of this film) in building up performance skills, attending a local Sheffield drag show and, most importantly, coming up with a stage name.

As Jamie begins to delve further into the world of drag, his own personality and that of his stage persona begin to merge. Yet, the musical numbers that line the film, taken from the hit West End musical of the same name, kind of remain the same. They largely feel restricted to not just one setting, but also in the general way in which they pose themselves to the viewer. It feels that some songs are wanting to be belted out with shining, full-scale musical numbers. However, they come across not exactly as bland, but feeling as if they’re craving more freedom and space. It’s similar to the feeling that comes across in the more dramatic elements of the piece. Moments which don’t want to get in the way of the lighter tones that the film carries.

Jamie’s absent father (Ralph Ineson) rejects his son for not being conventionally ‘manly’, his mum (Sarah Lancashire) trying to make up for this by making up excuses and faking presents. This all happening while her son, who simply believes that his dad is often busy, is subject to frequent homophobic bullying at school, where his priorities appear to not be his exams. These points occasionally appear to be rather quiet throughout the film, mostly coming to the front in the final stages of the piece where everything begins to fall in on itself. The mix between the drama and the lightness collapses and things simply feel immediately tired and cheesy as the film rushes to wrap things up, yet not get across its final points too quickly.

Yet, despite such clashes which happen throughout the film there’s still some interest in the content as a whole. While it feels that there are a handful of moments which are reined in there’s still some amusement to be found within some of the musical numbers. Although, perhaps the biggest drawing factors come in the spoken scenes in-between, when things seem to have a bit more space and generally come across with a bit less visible restriction – Horgan performs one song while doing not much else other than walk down a school corridor. Much like its central character, Everybody’s Talking About Jamie wants to express itself, but doesn’t always have the freedom or ability to be able to do so in the way in which it seems to want.

There’s some interesting and likeable elements within Everybody’s Talking About Jamie. However, this adaptation does sometimes feel limited and reined in from fully bursting out during musical numbers and drama.

Cert – 15, Run-time – 1 hour 54 minutes, Director – Navot Papushado

After betraying her firm, assassin Sam (Karen Gillan) must protect herself and eight-and-three-quarter-year-old Emily (Chloe Coleman) against an elaborate criminal world.

There’s a sketch by Australian comedy group Aunty Donna in which the three main faces of the team refer to and treat books in a library as if they’re drugs. Secret whispered exchanges amongst the shelves occur in reference to just how many pages a particular book might have. “Pages? There’s no way of knowing. They’ve not found a way to do that” responds the librarian, pointing to the number in the top corner. It’s a sketch that came to mind a handful of times during a selection of ‘library’ scenes throughout Gunpowder Milkshake. As Karen Gillan and Carla Gugino discuss ‘books’ – a slight pause just before each mention of the disguised term for guns – at the far desk of the expansive room you can’t help but begin to wonder whether the obviousness is coming across in just the delivery or whether the dialogue itself seems almost forceful. As if it doesn’t think the audience will get the point.

This moment contrasts greatly to the later scenes set in the same ‘library’. As forces charge down the open space between the door and the desk Gillan, Gugino, Angela Bassett, Michelle Yeoh and Lena Headey do serious battle. Guns, hammers and axes blazing! In fact such fights take up a large part of the film’s second half and yet pass by with ease due to the enjoyment to be found within them. It’s during such moments that co-writer (alongside Ehud Lavski) and director Navot Papushado allows his film to breathe. During the first half of the piece as we see Gillan’s Sam turn her back on the firm she works for in order to save eight-and-three-quarter-year-old Emily (Chloe Coleman). Very quickly she finds herself being hunted down by Paul Giamatti’s other contract killers and henchmen, alongside a large range of figures from an elaborate criminal underworld.

It’s an underworld with so much potential, shown lightly in scenes set in the ‘library’ and a spotless underground doctor’s surgery. It’s a fascinating world that you want to see and know more about, grabbing your attention in a way similar to that of The Continental in the John Wick series. However, particularly in the first half, Gunpowder Milkshake seems so focused on having each scene simply focused on plot and moving things on that there’s little room for much else. Even brief action sequences, infused with the neon visual flair of the piece, seem somewhat cut down – and perhaps overpowered by the music used in the background. As things shift into the second half the piece the style slightly shifts to focus more on the action, letting it have more space and flow a bit better alongside becoming more the main focus. Events occurring through that rather than the various conversations and slight actions of characters.

While you do wonder why the rest of the film couldn’t have quite been like this, it’s still watchable beforehand, the second half certainly has its high entertainment value. Things feel less in-your-face and slightly steadier as the cast are allowed to unleash stylish (although of a different sort – more about the wider elements of the piece rather than primarily the look/ lighting), and undeniably violent fight tactics all in order to protect Coleman’s occasionally amusing, completely innocent character. Coleman, while not always getting a great deal of lines and having to compete with a lot of established acting talent, does well to not get drowned out and helps with some of the film’s lighter moments – continuing after the positive surprise of last year’s My Spy. This particularly showing her skill when the few, scattered attempts at humour throughout the film don’t always land.

In fact most of the supporting cast don’t get a great deal of screen-time but still just about manage to have an effect at some point, perhaps because of the star-power they exude during a handful of scenes. Put to good use during the lengthy library fight with its escalating action that continues to hold your attention and keep you situated within the piece. It acts as an engaging set-piece that while seeing wave after wave of villains pour through the door with a rainfall of bullets and blood manages to avoid an overly repetitious feel. It’s perhaps the highlight of the film, especially coming after the heavily plotted first half. Definitely a film of two halves, the elements, style and focus appear to change throughout them. While the overall product is decent viewing it does sometimes seem as conflicting as the idea of a gunpowder milkshake itself.

To get to the entertaining set-piece action, where the film finally gets chance to properly breathe, you do have to get through the heavily plotted first half of Gunpowder Milkshake. And while you’d like to explore the criminal underworld more there’s amusement enough in this occasionally conflicted actioner.

Cert – 12, Run-time – 2 hours 25 minutes, Director – Liesl Tommy

Biopic following Aretha Franklin (Jennifer Hudson) from her early days singing in her father’s (Forest Whitaker) church, trying to assert her own style and voice against the input of those around her, including her abusive husband (Marlon Wayans).

It seems odd to think about it, but Aretha Franklin often feels like the support in her own biopic. Not just because in some scenes the men around her appear to hold the power over her career, putting there side of things across rather than letting Franklin speak her mind. Sometimes it’s the case that the film appears to focus more on those around Franklin, or the things that happen to her, rather than her responses and own personal thoughts and feelings. There’s clear respect for the iconic figure within the piece, however sometimes this gets caught up in just what’s shown. Certainly things don’t feel wholly sanitised (definitely not in the way Bohemian Rhapsody was), but the film does sometimes feel as if it shies away from depicting a fuller extent of her battle with alcoholism, and especially her abusive first marriage to also-manager Ted White (Marlon Wayans).

With Franklin sometimes pushed to the side, or a point being made about how she was silenced, Jennifer Hudson’s portrayal of the Queen of Soul doesn’t always get chance to truly emerge. You don’t realise just how great she is when only given two or three lines of dialogue. However, when given a larger slice of detail, or simply being allowed to belt out a tune you realise the true extent of Hudson’s performance. It’s reasons such as this why scenes in various music studios are the highlights of the film. As Franklin and the musicians around her mould and work on the structure on songs such as the titular Respect so that they have her own distinct style. It’s these moments that work the best in terms of engagement and keeping the viewer in their place.

The rest of the film doesn’t exactly feel like a textbook biopic – this tone feels just about avoided. And certainly things are fairly watchable throughout, even if you would like for them to be dwelled upon slightly more. Such a feeling stops the film’s nearly two and a half hour run-time from being felt, managing to pass by well enough without ever feeling overlong. And perhaps much of this is down to the effectiveness of Hudson’s performance when she’s given the room and opportunity to truly shine. When reaching the Amazing Grace finale there’s a real chills-down-the-spine, lump-in-your-throat feeling as she belts out the song with a real passion. It’s a passion that’s there for most of the songs that feature in the film, even when used as slightly in-your-face anthems (Think).

“Music’ll save your life” Franklin is told in a formative moment at the piano in her childhood. And that certainly appears to be the case for Respect. It’s the music and the way it comes across that definitely helps the film. There are some good supporting performances throughout, particularly from Forest Whitaker as Franklin’s father and they further help to keep the film going and the viewer engaged. There’s enough present within the piece to carry it along well when it doesn’t quite let Hudson take the centre stage that her portrayal of Franklin should be getting. There’s an odd feeling to such scenes, which border most on a textbook styling. However, when it comes to the musical sequences that act as the real highlights of the film, it allows for Aretha Franklin’s style to truly emerge and shine, picking Respect up and that for the central figure herself not quite getting in the way as much as in the more serious scenes of the piece.

Respect for Aretha Franklin breaks its way into her story making the much more serious elements of her life appear somewhat sanitised. However, when exploring her musical style, and allowing Hudson to give a great performance, the film begins to hit, even if sometimes leaning towards power-anthem stylings.