Cert – 12, Run-time – 2 hours 2 minutes, Director – Robert Schwentke

Having sought to find his father’s killer for many years tough-fighting Snake Eyes (Henry Golding) finds himself brought into a potentially deadly ninja training scheme after saving the life of clan heir Tommy (Andrew Koji).

While the events of Snake Eyes’ third act appear to happen over a somewhat short amount of time the sky appears to indict the rapid passing of day, night, morning, evening, etc. It’s something that happens frequently throughout the film, the changing amount of light from scene to scene, as events are seemingly meant to take place so close to each other. It’s not exactly a distracting element, more one of the few things that you’re able to focus on during the chaotic action scenes. The camera moves with almost as great a speed as the editing meaning that it’s hard to actually focus on and keep track of what’s going on in the moment. Creating a sense of disconnect with the viewer as they become disengaged with what is going on in the film.

There are elements of the plot that feel almost just as confusing as we see Henry Golding’s Snake Eyes caught between good and evil. After saving the life of Tommy (Andrew Koji), the heir to a proud Japanese clan, he finds himself recruited to take part in strict ninja warrior training, having to take part in three potentially deadly trials to prove himself as more than just a tough fighter. However, he has other intentions. With links to the yakuza, Snake Eyes finds himself trying to steal a precious jewel held by the Arashikage clan, The Jewel Of The Sun, for leader Kenta (Takehiro Hira). All while caught between his own personal mission of wanting to track down and kill the man who killed his father many years before. It’s a busy film and there’s seemingly a lot to get through, at least in terms of all the characters that fill up the just over two hour run-time, yet the plot still manages to feel somewhat thin.

By the time that the third act arrives, and Samara Weaving’s Scarlett – whose entire performance can be seen in the trailer for the film – and Úrsula Corberó’s Baroness get close to something to do for themselves, which is still almost nothing. They certainly feel like the two most pushed aside figures, like a number of others simply forgotten about for extended periods of time. Many actors feel completely wasted in the film with very little screen-time, only being present to build-up to sequels and further films in the G.I. Joe movie universe. The majority of the film’s final stages is spent simply teasing what might come (but perhaps may not arrive) instead of focusing on this first origin story – which already holds the feeling of being two or three different stories at once, jumping back and forth between Snake Eyes’ multiple affiliations- as a whole.

While Snake Eyes certainly fulfils the idea of an origin story, it’s one for multiple characters. Building them up for more in the future instead of focusing on telling one contained story with the possibility to lead to more later instead of a nearly ‘part 1’ style affair. A large proportion of the run-time feels like build-up to the third act. Simply seeing Golding’s character go through various trials and divisions with story thrown in to alternate scenes. All before a not-so-busy third act that also has an in and out feel, unfortunately not a satisfying one. Instead Snake Eyes leaves you with little response due to the disconnect that you’ve had throughout it. While you might eventually be able to keep track of it and all the different characters it’s still hard to concentrate on the action due to the constantly moving nature of the camera and editing that makes them, almost like the story, difficult to focus on.

Snake Eyes falters from being a very busy film, both in terms of story and action. Wasting characters to build up to future sequels instead of fleshing out this film.

Cert – 15, Run-time – 1 hour 37 minutes, Director – Jack Clough

Pirate radio team turned musicians Kurupt FM travel to Japan to gain a record deal when one of their songs is featured on a hit game show.

Nearly silent member of pirate radio team turned musicians Kurupt FM, Decoy (Daniel Sylvester Woolford) appears to be the only figure who realises the true reality that he and his collaborators find themselves in. Flown to Japan in the hope of achieving a record deal after one of their songs becomes popular on a colourful, Total Wipeout style studio game show. Decoy rolls his eyes at the misunderstandings and antics of the rest of the group as they stumble through the busy Tokyo streets under the guidance of their penny-struggling manager Chabuddy G (Asmin Chaudhry). Yet, while Decoy’s grounded nature certainly provides amusement the audience never quite feels the same as him. There’s a great deal of amusement to be found as the other members of Kurupt FM; gradual frontman MC Grindah (Allan Mustafa), family and business-minded escapist DJ Beats (Hugo Chegwin) and drug-obsessed Steves (Steve Stamp), put into action their misunderstandings of Japanese culture – taking off their shoes before entering a room being a frequent one.

Taken from tight-knit activities of watching The Fast And The Furious at the exact same time on two different plane screens to the divisive exercise of rehearsing dance routines rifts are gradually formed between the group as they build-up to a major concert that will help establish them in the country. While they would rather simply MC, overtaking corporate manager Taka (Ken Yamamura) changes the look of the group and attempts to turn them into a more mainstream boy band. Through this a more conventional standard story begins to form, particularly coming into play in the second half of the piece. Yet, the story certainly isn’t the main draw of this adaptation of the hit TV series – which started out as a series of comedy sketches. Much of the narrative is formed around the interactions that the characters have with each other and Japanese culture – avoiding the feeling of being offensive and mean-spirited; this is an observation of the characters and their lack of understanding and behaviours in their new surrounding.

It’s the characters who make the film as enjoyable as it is. Providing plenty of laugh out loud moments throughout, particularly within the first half – their great company for the 97 minute run-time of the piece. Even if you haven’t seen the series from which this film continues on from it’s, easy to connect with the on-screen figures and want to see where they lead themselves overtime. It takes a while for the title to actually appear on-screen, yet this never actually comes to mind as you get caught up very quickly within the brief background and context of Kurupt FM. There’s a lot to enjoy about the characters and the comedy that they produce, both of which feel as if they’re directly taken from the TV show; untampered with and very much in the hands of the actors, providing plenty of engaging content as the film makes itself up with them in plenty of scenarios on their trip to the Japanese capital. What follows is a quick story with plenty of humour and amusement throughout, even if things do get somewhat conventional as they develop.

A great continuation for fans of the series and an-easy-to-engage-with, if fairly standard, story for newcomers to this group of seemingly untampered, laugh-out-loud funny characters.

Cert – 12, Run-time – 1 hour 52 minutes, Director – Dominic Cooke

British salesman Greville Wynne (Benedict Cumberbatch) is recruited by MI6 and the CIA to interact with Soviet source Oleg Penkovsky (Merab Ninidze) to deescalate the threat of nuclear war.

Benedict Cumberbatch has become known for playing smart character who know exactly what they want to do and how to go about it. While they might not always initially succeed you’re sure that they eventually will and a smart resolution will be found. There’s a different flavour to his portrayal of British businessman Greville Wynne. Certainly comfortable in his element – around a table with potential customers, some good food and a couple of glasses of whatever will further relax the conversation after a casual round of golf – he finds himself thrown into the much harsher, colder and increasingly tense environment of Soviet Moscow; at the height of the Cold War.

Sent by representatives from MI6 (Angus Wright) and the CIA (Rachel Brosnahan) Cumberbatch’s mild-mannered family-man finds himself working closely with Russian official Oleg Penkovsky (Merab Ninidze). Penkovsky has been secretly providing the British and American governments with top secret information relating to Russia’s nuclear programme, and increasing links to Cuba. Greville goes from his easy-to-play role of knowledgeable tradesman to an out-of-depth courier between the two parties. His aim: To reduce the threat of nuclear war.

Frequently away from home his wife, Sheila (Jessie Buckley), begins to fear that her husband is having an affair. It’s a shame to see Buckley already reduced to the ‘Concerned Wife’ role, however, she does her best with what she has and, as expected, gives a strong performance – in a film which holds many good performances. There are a handful of other slight clichés within the course that the film travels, but it certainly never feels dull. A feeling that its beginning to run its course between the final 15-20 minutes of the almost two hour run-time does begin to settle in, but there are still points to be interested in that hook your engagement and keep you invested within the unfolding narrative.

It’s during this slight tonal shift that arrives during the slightly rushed events of this point that a more sinister side of the film is shown – while still being kept within the boundaries of a 12 certificate. All after a long build-up with a handful of tense patches during various montages, night-time discussions in quiet, shaded streets and attempts to escape the country – particularly in the far-from-easy case of Penkovsky. Such moments help to keep the viewer’s attention and help to hold up the standard narrative of this British spy drama. You do wish that there could be perhaps more time spent observing the effects on Greville of what he is being put through as the film seems to want to draw to a close. It feels as if it has more to say, and it shows some of it, however it knows that its at risk of going on for too long. Perhaps if around 15-20 minutes of the lengthy build-up were removed the fluidity of the piece would feel that bit more relaxed and help with the viewer’s engagement and connection to the central character as the film nears the final stages.

Yet, overall, The Courier mostly manages to avoid dips and blandness thanks to its political shades, threats and reminders of just what is at stake for the characters. Both in terms of the consequences if they’re found out and what could happen if they don’t succeed. There are plenty of scenes set in darkened archive rooms, government offices with hidden possessions and drawers, stalking agents and questioning KGB members. The reminders are ever present throughout the film, and they help to keep a consistent tone throughout, establishing the tension during some of the later escape attempts and montages, as the film prepares to come to a drawn out close. Much like its main character its consistently comfortable for the most part, although with some rough edges, but begins to get a bit bumpy when moving into different territory.

While holding a slightly overlong, occasionally conventional, narrative, The Courier holds enough interest and intrigue to have some effective tension and character moments that make it an engaging, if fairly standard, British spy drama.

Cert – 18, Run-time – 1 hour 38 minutes, Director – Rodo Sayagues

Blind former Navy SEAL Norman Nordstrom (Stephen Lang) finds himself having to prevent his adopted daughter, Phoenix (Madelyn Grace) from being kidnapped from a gang of home invaders.

There are plenty of horror franchises and sequels that take a shift to focus on the villain of the previous film/s. While there may eventually have been a more comedic edge we still knew that what the new protagonist was doing was wrong. Now, in the case of Don’t Breathe 2, the actions of former Navy SEAL Norman Nordstrom (Stephen Lang) are seemingly forgotten about, left behind for the audience to hopefully not throw back to either, as he attempts to redeem himself by protecting his adopted daughter of eight years, Phoenix (Madelyn Grace). The pair are under threat when a group of home invaders attempt to kidnap Phoenix, who has lived most of her life in relative isolation, under the protection and survival training of the blind man she believes to be her real father.

“It’s not me you need to be afraid of” claims one of the gang “but the man standing next to you”. Throughout we see Lang’s character’s previous combat experience put to further effect in true gory style. There’s a bump from the 15 rating of the previous film to an 18 here, and its understandable why due to some of the more detailed bloodshed depicted on screen. All while you ask yourself at various intervals whether the film wants you to sympathise with its protagonist or not – it’s certainly difficult to knowing what happened 2016’s original surprise hit. When not pondering this question, focusing more on the action, there’s a fair deal of thrills to be found.

Director Rodo Sayagues, who co-writes the film with returning partner and first film director Fede Álvarez, makes the most of almost one location for a large period of time. The majority of the film is set in Norman and Phoenix’s home, as they use the various different floors to escape, rapidly plan and sometimes attack the trespassers, who it’s unknown why they truly want Phoenix. With all the gunshots and shattered windows it’s certainly convenient that the house doesn’t have any neighbours. While not all of the goings on create a true sense of tension there’s still an engaging nature to the selection of sequences as they play out, pushed further by the idea that they are all in one location. A location which never feels restrictive and still provides the characters, and the film, with enough places to move and hide so that hope for freedom is still glimpsed a within the sense of worry and entrapment that each figure feels.

As things progress and the plot continues its home invasion theme, although with increasing revenge details, it becomes clear that his is very much a different affair to the first film. More in terms of the supporting cast that grows overtime as more people are brought in to fight against the strength of the skilled man who poses such a threat to them. It’s clear that Grace’s character simply can’t catch a break. It’s with her that much of your sympathies lie, constantly caught in a spiral of threat and negativity. Wishing for freedom of some kind, only being met with things being shattered, falling down around her. The horror tones are felt throughout, particularly within the levels of bloodshed and body horror that line plenty of the fight and action sequences. Yet, as the narrative progresses a thriller sensibility is brought further into play, and for Phoenix as she discovers more about herself there’s an occasional slight dramatic beat that manages to land a similarly slight effect on the viewer.

By leaning further into Phoenix’s side of things there’s a chance for the film to form a better connection with the viewer, or at least engage them a bit more within the events that are occurring on screen. You may not be able to feel the same for Lang’s character – despite providing plenty of good action moments and the efforts that he puts into saving his long-hidden adopted daughter – and that further makes the decision to gradually form him as a means to save and protect Phoenix, emphasising her bond with him more than the other way around, one with both its pros and cons. Nonetheless, while there may be some issues in terms of the film’s choice of protagonist, there’s still a decent enough – if not always tense – home invasion horror here. One that occasionally feels more in a traditional vein, yet not without its heavier inclusion of gore.

Amongst uncertainties to whether you should sympathise with Don’t Breathe 2’s core protagonist, there’s still an engaging and gory, if not always tense, home invasion horror in place.

Release Date – 13th August, Cert – 12, Run-time – 1 hour 55 minutes, Director – Shawn Levy

An NPC (Ryan Reynolds) discovers that he is living inside a video game, which he must help reveal contains stolen code before it is shut down.

The most exciting thing in Guy’s routine life, aside from his pet goldfish Goldie, is the fact that he works at the bank. Ryan Reynolds announces this fact with a sense of wonderment, as if nothing could be better – not even the same cup of scolding hot coffee he gets every morning. While he’s working various sunglass-donning “heroes” of Free City burst in to rob the bank. The sunglasses indicate that these are players attempting to complete missions in a video game, however, Guy is unaware of this until being led away from his programmed course by stranger MolotovGirl (Jodie Comer).

Actually called Millie, the advanced player is attempting to investigate Free City in the hope of discovering what she believes is code that was stolen from her. However, with her fellow creator Keys (Joe Keery) working for Free City owner Antoine (Taika Waititi) she finds herself going it alone before the upcoming launch of Free City 2: Carnage. And thus, Guy – with his newfound knowledge that he is actually an Non-Player Character – begins to help his potential romantic interest, still unaware that he’s simply a digital character, while becoming a worldwide phenomenon in the process. There’s a world of glitches, powerups and plenty of streamer cameos ahead of them. The film certainly gives a good impression of an open-world video game and the explosive goings on that can happen within them.

However, such elements are little used over the near two hour course of the narrative. Often they’re only glimpsed at to further show how unaware Guy is of what his life actually is, or to show Antoine’s staff, namely Utkarsh Ambudkar’s Mouser, trying to prevent him and Millie from revealing that there is stolen content in the game. Items are deleted and landscapes change, but largely most things seem to happen in the moment and for plot convenience, although the film still manages to have a feeling that it’s perhaps around 15 minutes too long. Yet, such things aren’t huge issues when watching the film, what does get in the way is the lacking response to the attempted humour. Once again, Reynolds seems to be slightly riffing on his Deadpool character. While not completely, you can’t help but hear slight hints of the character in lines such as “it’s like losing my virginity” on tasting the same old cup of takeaway coffee – but perhaps this is also down to just how associated Reynolds has become with the character.

Some gags feel as if they fall somewhat flat from repetition, or a slightly uninspired. However, most of the time they just don’t seem to properly click. There’s an occasional feel to a couple of scenes and lines of dialogue that things were revisited and pieced together overtime, made up in the moment in a way just beyond improvisation. The general narrative survives and comes out fine – if not always completely landing an impact, although you only really want to pick up on certain details a little while afterwards – just the laughs never quite properly land. Over the course of the run-time there are a handful of amusing moments dotted around, and a number of flashy appearances likely to gain a big response from audiences. Where the film largely falters is in terms of its humour – which is often seemingly supposed to be the film’s main tone and draw.

For the most part Free Guy is a relatively harmless film. It passes by and certainly has some amusing moments that prevent it from feeling bland and unexciting. It’s a generally fine piece of work, not awful and not brilliant. However, it mostly falls, despite a cast of actors each putting in a good effort, because of the lack of effective humour. Creating the feeling that the film has had the reins pulled in on it a bit. As if it wasn’t able to be quite as free with its gags as it perhaps might have wanted to be.

The video game elements of Free Guy are well done, and create a number of amusing elements in its world. However, the majority of gags don’t feel as free and unfortunately falter despite the efforts of the cast.

Cert – 18, Run-time – 1 hour 26 minutes, Director – Janicza Bravo

Pole dancer Zola (Taylour Paige) finds herself trapped in an increasingly dark and exploitative road trip, after being invited by a relative stranger (Riley Keough).

There’s an air of mistrust around almost everything in Zola. While the Twitter thread based story acknowledges that there’s a fair deal of fiction thrown into the mix, deciding what’s true and what isn’t doesn’t cause this feeling. It’s created by the various characters that central character Zola (Taylour Paige) encounters on her road trip to Florida. Invited by relative stranger Stefani (Riley Keough) after the two discover, while Zola is waiting Riley’s table, that they’re both exotic dancers, there’s a sense of unease as Zola is crammed into a car that feels as if it could be heading anywhere. And often that is the case. Co-writer (with Jeremy O. Harris) and director Janicza Bravo often places the camera as if it’s at the front of the car, barrelling down empty streets in the middle of the night – giving the impression that there truly is no way out once Zola finds herself trapped in an increasingly uncomfortable world. A feeling pushed further by the occasional use of Mica Levi’s haunting score.

After having just signed up to dance she finds herself being sold for sex by Stefani’s nameless pimp (Colman Domingo – often referred to as her roommate). Although often standing aside and refusing to engage in anything, instead seeing Stefani go through everything, there’s a fear that negative repercussions will emerge. There’s a fierce sense of darkness within Domingo’s performance. His character is prone to snapping at any moment, losing his temper and effectively holding the two young women prisoner. He’s the complete opposite of Stefani’s awkward, stammering boyfriend Derrek (Nicholas Braun); a character who himself shows his own fear in the situation that he finds himself inadvertently – yet somehow often excluded from properly being – involved in.

As things progress over the 48 hours that the film covers, in a much shorter 86 minute run-time, they manage to engage you further. Once past the initial deception of a dance trip and the situations become increasingly uncomfortable, and indeed risky, there’s a truly dark world that’s uncovered over time. A slight fear factor for Zola is uncovered, her mistrust is shown to have been true. Even in early scenes when simply conversing with Stefani are there subtle facial twitches and changes within Paige’s performance that hint at her characters’ uncertainty towards her new, sudden alleged friend. It’s certainly as the true intentions and behaviour of Domingo’s exploitative figure are shown that things pick up and rattle along the tracks with a quickened pace, sense of depth and heightened ability to engage.

Playing with fact and fiction you don’t always know what to believe, but that’s a concern for afterwards. For the short, yet effectively used, run-time of the film you’re planted into the world that the characters are thrown into – some off-screen, others on. Everything is allowed to happen freely as you simply witness it all unfolding over time, often the same going for the titular character who often acts as the humorously opinionated narrator for the film. She speaks her mind and it’s clear that this is a film that is replaying in her mind as she tells it – living up to the promise that it’s “full of suspense”, particularly from her point of view. Things snowball into dangerous territory for many of the characters, and looking into the controlling and deceptive side of such scenarios – far from revelling in a sexualised nature, which it doesn’t go near or seem to consider. Once in it seems as if there’s no way out for Zola, and the film that shares her name puts this across, simply contrasting it with an eventually fast-paced, well-flowing hybrid of genres.

Once it seems the main character is trapped in the dark world she has been thrown into, Zola is an effectively tense mix of genres, fact and fiction that captures the spirit in which the story itself is relayed back to the viewer.

Cert – U, Run-time – 1 hour 35 minutes, Director – Kirk DeMicco

Kinkajou Vivo (Lin-Manuel Miranda) travels from Cuba to Florida to deliver an old love song from his owner (Juan de Marcos González) to a long-distant retiring musician (Gloria Estefan).

After the fizzing energy of this summer’s In The Heights Lin-Manuel Miranda returns to power another film’s musical soundtrack in the form of Sony Animation’s latest, Vivo. Miranda, who has formulated the idea for well over a decade, takes on the titular lead role of a Cuban kinkajou, happily spending his days singing and dancing in the streets with his elderly human counterpart Andrés (Juan de Marcos González). However, despite the close bond between the two that fuels their crowd-drawing performances Andrés has a musical past that Vivo is unaware of. It comes calling him back when former romantic interest Marta (Gloria Estefan) writes from Florida asking her former collaborator to perform in her farewell show. Andrés views this as a sign to finally deliver a years old love song he wrote when the pair parted, him unable to express his proper feelings towards her all those decades ago when the opportunity of success and bigger audiences arose for Marta.

Despite initial protests Vivo finds himself travelling to the much busier suburban streets of Tampa. Separated from his friend he instead finds himself in the company of unruly and enthusiastic child Gabi (Ynairaly Simo). Preferring to do anything but spend time selling cookies with the other, much more passionate, Sand Dollar Scouts (a trio of which are the source of many of the film’s best jokes), Gabi takes it upon herself to assist Vivo in travelling the four hour plus journey to Miami to deliver Andrés’ song to Marta before it’s too late. Along the road, or rather throughout the jungle-like environment in which they find themselves drifting into, there’s plenty of musical numbers and brightly-coloured characters within the Roger Deakins assisted world to keep things moving, each providing a decent amount of amusement in their own way. Alongside avoiding giving the film a slightly episodic feel around the mid-section when briefly; and often conveniently, popping in and out of the proceedings.

It’s obvious that Miranda is behind the soundtrack. The songs have a distinct style and feel to them that, especially when he performs them himself, pulse with his energy. Yet, personally, nothing completely stands out as potentially memorable. The tracks are certainly good for the time that they’re on, but none properly grab you or bring you further into the world or unfolding journey. What starts and ends as a film with music as a core point doesn’t exactly push it aside, but perhaps somewhat dims it in exchange for more focus on the story. Although, the songs aren’t forgotten about and are certainly still present throughout. The majority seem to be somewhat forgettable and appear to be moved on from rather quickly, not leaving a great deal of impact afterwards. And while the film itself might not leave a great impact on the viewer it’s certainly a good source of entertainment while it’s on. At a short 95 minutes it certainly doesn’t outstay its welcome and provides decent enough mid-summer family streaming fare.

Like the musical numbers, Vivo’s perhaps not going to be the most memorable, however it’s amusing mid-summer family content for the time it’s on.

Cert – 15, Run-time – 2 hours 19 minutes, Director – Tom McCarthy

An American father (Matt Damon) searches France for the man his daughter (Abigail Breslin) claims committed the murder that she has been falsely imprisoned for.

Much like Matt Damon’s central character, Tom McCarthy’s latest, Stillwater, wastes no time in rushing straight into its narrative. You’re thrown straight into the middle of it, almost feeling that perhaps a detail or two has been missed, as Damon’s Bill meets with his daughter, Allison (Abigail Breslin), who is serving a nine year sentence for the murder of a collegemate who she was in a relationship with at the time. It’s a long journey from Oklahoma to the Marseille, however he makes it regularly to check in on how she’s doing, especially as she claims to have been falsely imprisoned. On discovering further details about the murder and the events that led up to it Bill steps away from lawyers, judges and his own daughter’s wishes and begins to investigate himself. Trying to find the man who Allison claims did commit the crime.

All thoughts that something may have been missed out are quickly dispensed of and you find yourself almost unknowingly being tightly gripped by the film as it travels across its narrative. A tone alike to a neo-western thriller is established as Damon finds himself diving further into unknown and uncertain territories looking for dark answers in dark places. And yet, this isn’t an entirely dark film. Yes, there are moments of tension and slight chase-adjacent action, and certainly there are some dark character moments throughout, but co-writer (with Marcus Hinchey, Thomas Bidegain and Noé Debré) and director McCarthy ensures some lighter moments are dashed throughout the frantic investigation.

Bill soon finds himself residing with theatre actress Virginie (Camille Cottin) and her young daughter Maya (Lilou Siavoud). For the most part the relationship is a close and friendly one. There’s an almost family dynamic to the relationship, at least between Bill and Maya – she teaches him French, while he speaks English which she pretends to understand – a bond that he’s perhaps missed over the years with his real daughter having been in prison in another country for so long. However, as slight romantic tones are brought in part way through the second half of the film things begin to slightly crumble. Initially the shifts in tone feel well done, especially as this isn’t a huge tension-filled thriller, however as more elements are brought in towards the close of the film the run-time is pushed on and it begins to feel overlong. At 139 minutes there’s a lot going on in the final stages and some of it does feel as if it could be dialled down to avoid the slight dip that begins to appear. It leads to an ending that feels unsure of itself. In terms of where it should end, when and how.

And yet, before all of this, there’s a large proportion of the plot that is perhaps unaware of just how good it is. There are occasionally tones of hopeful-outsider-Oscar-contender within Stillwater, and yet they never scream or shout and beg for awards style attention. And perhaps that’s because of the western-thriller tone and the way that it brings you in and engages you within the personal search that Damon’s often dead-pan central character embarks on, in the hope of freeing his daughter from prison four years early, justice for the allegedly wrongly convicted five which she’s already served. A narrative that holds your interest and intrigue, while managing to throw in some dashes of evenly balanced tension and darkness within the drama, and lighter elements of bonding between Bill, Virginie and Maya.

The main issues come in the fact that it becomes aware of everything it hasn’t done that it’s wanted to do and either rushes or it briefly mentions points in the latter stages of the piece, making it feel somewhat rushed and overstuffed itself. Once again, by the time it gets to the ending, the film feels overlong and unsure as to where to go or what to do when to wrapping up its story. It’s a gradually declining nature to what had become an engaging, and at times thrilling, drama. It’s a shame that, like Matt Damon’s character in his research throughout the streets of Marseille, what begins to work so well was perhaps that way because it held off certain details until a rushed panic towards the end.

After being thrown into it, Stillwater takes time to grip you with its engaging tone and style. However, it then rushes its other ideas and plot points at the uncertain end of an overlong film.

Cert – 12, Run-time – 1 hour 49 minutes, Director – Augustine Frizzell

While researching for an obituary, journalist Ellie (Felicity Jones) unveils a series of unrelated letters telling the story of a lost love affair.

There’s an almost dreamy nature to the idealistic portrait of a picturesque 60s love affair in this adaptation of Jojo Moyes’ 2012 novel of the same name. As Shailene Woodley’s Jennifer and Callum Turner’s journalist Anthony meet in the Southern French heat a spark is formed in their initial debates, apologies and insistent tours of the area. The lengths of their relationship only skyrocket from there with plenty of very steamy moments for what is a 12A rated film. It differs greatly from the grey array of flings that we see modern day London-based journalist Ellie (Felicity Jones) wake up to after breaking up with her boyfriend of eight years – only seeing him in early pictures towards the start of the film. There are two distinct tones established and it does sometimes lead the film to feel like two different films entirely.

This is even with the links between the two stories. Ellie, while researching for an obituary, uncovers a mysterious letter between the two lovers and begins to delve deeper into their affair – Jennifer is married, although with little connection, to wealthy industrialist Laurence (Joe Alwyn). Jennifer herself is piecing together her own experiences, after suffering memory loss due to a car crash we’re almost experiencing a flashback within a flashback. It appears that we spend the majority of time in the mid-60s settings, with their brightly coloured costumes and scenic views it’s often like looking a ta holiday brochure from the time, and this is certainly where the film’s strengths lie. It almost feels as if just this story could run on its own and provide amusement enough – all before Jones’ near subplot comes more into play and effect in the second half of the piece, when things begin to balance out more with less jumping around.

Once out of the restrictions of just five minute segments with a somewhat cliché modern rom-com style – Ellie finds herself getting close to her paper’s archivist Rory (Nabhaan Rizwan), a relationship which doesn’t quite match the flare of Woodley and Turner’s; perhaps due to less screen-time – the narrative of the modern day based events is able to flow with more ease. They certainly pick up more once given more time to breathe, and the interactions of the cast, particularly the two central characters in this time, are advanced beyond the basics. Jones appears to feel more at home in the character, initially feeling slightly out of place due to being underused in the first half of the film where she’s given little screen time. However, as things begin to properly balance out and Ellie’s research and personal life begins to wrap around the unfolding and increasingly risky affair Augustine Frizzell’s film truly shows itself as one of two halves.

As the narrative finds its stride you begin to become more engaged with both stories that are being told – therefore forming a more effective impact when they finally begin to properly meet and develop together. There may still be some more conventional elements in place, but they don’t appear to be as obvious, and certainly don’t begin to remove anything from the film overall. It is perhaps proof that the lure of the 60s is the film’s biggest and best draw. Keeping the viewer in place to see how that pans out. However, there’s still amusement and engagement to be found elsewhere once everything is in play, and given more time to be explored. It just, much like the long-distanced lovers who tell their story through the various scattered letters, takes a bit of time for things to be explored and unravelled enough for this to kick in.

Certainly a film of two halves The Last Letter From Your Lover’s biggest draw is the picturesque 60s backdrop. Once out of cliché rom-com territory and given more time, the modern day segments help progress the story, even if its own relationship isn’t as strongly felt.

Cert – 15, Run-time – 2 hours 12 minutes, Director – James Gunn

A team of killers and villains is put together to destroy a sinister lab on a small South American island

As Michael Rooker’s Savant wipes a crushed bird’s blood from a ball he’s been throwing around his prison cell onto his trouser leg writer-director James Gunn makes clear that The Suicide Squad is an intensely different affair to DC’s 2016 misfire, Suicide Squad. Set as a standalone-sequel-reboot we see a similar formula of a taskforce of, some familiar, imprisoned killers and villains assembled to complete a deadly mission for the US government. In this case Task Force X (otherwise labelled the titular Suicide Squad) is sent to Corto Maltese, a small island in South America, to destroy Jotunheim, a mysterious lab run by The Thinker (Peter Capaldi) with a sinister experiment hidden inside the towering building.

With plenty of violence and fore within the explosive action Gunn never appears to cross a line with his film. Body parts fly across the screen – scene-stealer King Shark (Sylvester Stallone) can be seen casually gnawing on a human skull if he’s not proclaiming “nom nom” while eating a person whole – as characters often literally show off their skills and try to one-up each other. There’s a constant battle between reluctant member, and father, Bloodsport (Idris Elba) and over-patriotic Peacemaker (John Cena). Their feud demonstrates that Gunn recognises that despite the seriousness the characters are trying to display, they’re still characters in (often) odd, brightly-coloured costumes. It’s also nice to see the welcome return of Margot Robbie’s Harley Quinn – embracing and continuing her much more colourful, not to mention entertaining, egg sandwich loving Birds Of Prey side.

The Suicide Squad stands out from many other comic-book adaptations of recent years. It feels unique in its style. Amongst the action and humour – of which there’s plenty of both – there’s a sense of threat and darkness running throughout it. Much of it coming from Viola Davis’ returning Amanda Waller, who recruits and sends out the team in the first place. She runs with the extra detail her character is given in this feature, creating a dark, almost antagonistic presence; certainly one that creates a slight fear factor. An angered figure who asserts her authority at every possible second, eyes on the mission; without concern for others. It’s a tense, biting and, again, dark determination that contrasts greatly with that of the squad itself – who simply want to get their task over and done with, preferably alive by the end of it. Alongside a strong sense of mission within this film there’s also a clearer sense of a team unit, albeit one of people initially pushing others for the sake of their own survival. You find yourself forming a bond with a number of the on-screen figures, leading you to be further unprepared for the various twists and turns that the narrative takes.

Gunn has created a film where literally anything could happen to anyone at any time, and very often does. There’s a rush of excitement when it comes to the chaotic and unpredictable outcomes. All adding to the thrills and surprises that the film provides around plenty of its corners. It forms a truly unique piece of work amongst other blockbuster films of recent years. With The Suicide Squad, James Gunn, alongside his cast and crew, has created a bold achievement, the likes of which we might not see another of for a long time.

Bold, explosive, unpredictable and very gory and violent The Suicide Squad has a subtle yet sparkling dark streak within its action and humour. Never forgetting the fact that it poses not so serious characters in an explosively serious situation.