Cert – 12, Run-time – 2 hours 7 minutes, Director – Jaume Collet-Serra

Avid explorer Lily (Emily Blunt), alongside brother MacGregor (Jack Whitehall), enlists the help of boat skipper Frank (Dwayne Johnson) to take them down the Amazon, in the hope of finding a tree with petals with advanced healing powers.

As explorer Lily (Emily Blunt) gently cruises down the Amazon river, gazing at the many sights and colours on display, she comments to boat skipper Frank (Dwayne Johnson) that “it’s like drifting through the Garden of Eden”. While this isn’t quite the look and feel that Jungle Cruise creates for the viewer it certainly captures the theme park ride essence and spirit that inspired it. You can’t help but get caught up in the scenery which feels as if it could be directly taken from the long-standing Disneyland attraction. There are certainly plenty of moments, particularly within the film’s first act, where sequences of constant action, escapes and close calls give the impression that the film is trying to give the audience a feeling of being on a ride, with constant thrills and little room to properly breathe in-between them.

However, as things slightly calm down and the crew, which also consists of Lily’s much posher brother MacGregor (Jack Whitehall), the narrative is put further in place. Frank has been recruited to take the siblings down the Amazon so that Lily can find a mysterious petal known as the ‘tears of the moon’; said to have complete healing powers, which could revolutionise medicine. Unfortunately, the trio aren’t the only people searching for the petals. Hot on their tails, equipped with missile-launching submarine is German Prince Joachim (Jesse Plemons), who desires to use the petals to win the ongoing First World War. Tracing the steps of doomed 16th century conquistadors in hope of fulfilling his seemingly self-set mission.

There’s a lot going on in the film, and it certainly fills up the 127 minute run-time that it holds. Yet, focus does sometimes seem to shift every now and then from the core story and the various characters involved in it to a focus on an apparent connection between Lily and Frank. While Blunt and Johnson play convincing friends, where the film feels most comfortable with the characters’ relationship, when a romantic interest begins to come into play things slightly come apart. It’s not that their performances are bad – although Johnson, despite his ever-present charisma, doesn’t quite feel like the right choice for his role as a fraudulent and deceptive boat captain; certain moments come crashing down when revealed to be one of Frank’s elaborate setups – simply that the romantic line the film wants to create for them feels less preferable to the simply friendly bond that’s initially set up between the two.

It’s evident that Jungle Cruise had a big budget (around $200 million). It shows in much of the scenery, and some of the spectacle. And while, as already mentioned, there’s a certain visual flair to the piece the spectacle doesn’t always fully engage you. There’s not always a chance to properly drink it in as the camera cuts and changes so frequently – particularly during action sequences – and often doesn’t appear to have a proper focus, creating a dizzying distance from the film and the unfolding action at that moment.

Much like the narrative certain elements appear to have been seen before and don’t quite grab the viewer as much as the the cast and crew would perhaps hope. The film as a whole isn’t exactly bad, and there are certainly some watchable moments; it simply feels rather weak at certain intervals, and often feels as if it’s packing a bit too much in in certain scenes and sequences. The visual nature alone is simply not enough to keep you engaged within the exotic environment that surrounds the boat for large portions of the run-time. While the theme park look is a plus for Jungle Cruise, the occasional attempted style isn’t. Causing many moments to feel too chaotic and dizzying as you try to keep track of the action, and then the rather familiar plot on top of it.

Amongst the better films based on Disney theme park rides, Jungle Cruise both benefits and falters because of its theme park stylings. The performances and look are good, but the action and narrative often lack engagement.

Cert – 15, Run-time – 2 hours 21 minutes, Director – Edgar Wright

Documentary looking at the career of Ron and Russell Mael, the minds behind the songs of Sparks.

In many interviews for the documentary of their careers Ron and Russell Mael, the titular Sparks Brothers, have claimed that the only person who could properly capture their style and music in a film is Edgar Wright. On seeing the 25 album spanning documentary it’s hard to argue with this. Throughout the intentionally pointed-out visual gags that introduce the literal window in the somewhat mysterious lives and workings of the central duo, and indeed the film as a whole, there’s a shared sense of humour and respect from director to band, and vice versa. Wright credits himself as a “fanboy” of Sparks, delving deep into their songs and discography throughout the almost two and a half hour course of the film. There’s a lot to get through within the diverse selection of albums and tracks that the film, and its various talking heads, gives time to.

Present is a true celebration of the way that Sparks never leaned into what was truly popular at the moment, they simply continued to do their own thing (while experimenting with certain forms and genres – often meaning that they were ahead of the curve). If they did create something for the mainstream it was self aware and jokey – a dance track called Music That You Can Dance To is a highlight amongst a soundtrack full of earworms. Whether you’re already aware of Sparks, or; as many viewers may be, completely unaware of them, there’s likely to be plenty of songs going around your head for days to come after watching the film. The infectious heart and spirit of the siblings (who undeniably look wonderful for their ages!) filling each one. Never do any songs or albums feel rushed or skipped over. The run-time certainly allows for Wright to give enough time to the creations of his subjects, capturing the passion that there is for them and what makes them so unique.

There’s a point made that there could be hidden meanings and points within each song, and this is pointed out through dictionary definitions provided for words in the titles, which appear in bold, towering letters. It pushes the idea of the elusive nature of the band – something which made them wary of having a documentary made about them for so many years. The brothers themselves, while looking back at their career and a number of their songs and interactions with various band members, continue to have an air of mystery around them. Lyrics are looked into and recited, and yet it’s not so much for analysis, more amusement and certain figures saying how much they enjoy certain lines, even if they don’t always make sense – or simply how certain figures have interpreted them themselves. And with such a range of personalities, ranging from the likes of Beck, New Order and Duran Duran to Mike Myers, Jonathan Ross, Adam Buxton and the legend that is ‘Weird Al’ Yankovic, there are plenty of thoughts and opinions to hear. Yet, none are ever louder than others or appear to take precedence, while also not allowing the film to feel too busy.

With the interviews being shot in black and white, Wright allows for the brightly-coloured music videos, performances and brief animated segments to truly pop on the big screen. Further showing the imagination and creativity of the band. Bringing you further into their world, and perhaps even slightly their minds. It’s an interesting dive, and one that will certainly expand your playlist. Easing people in, no matter what their familiarity with Sparks is, for an entertaining, engaging and interesting look into who are described as “your favourite band’s favourite band”. All part of a documentary that celebrates identity and expression, both creatively and in life. Through a selection of unique songs, plenty of which were clearly ahead of their time, there’s plenty to enjoy about being in the company of Edgar Wright and the Sparks Brothers for this 141 minute ride.

There’s plenty to get through within The Sparks Brothers, and none of it fights for attention or space within this detailed and entertaining dive into a wholly creative band that, 50 years on, maintain their unique mystery.

Cert – 15, Run-time – 1 hour 48 minutes, Director – M. Night Shyamalan

A group of holidaymakers find themselves trapped on a beach which causes them to age rapidly.

The trailers for M. Night Shyamalan’s latest gave the impression that it could be very hit or miss. Something highly creepy and unsettling, or where the concept is pushed too far making for an overambitious watch. In actual fact the released product is something in-between the two. Based on the graphic novel Sandcastle, the film sees a group of holidaymakers escape the confines of the luxury resort that they’re staying at to spend the day on a secluded beach. However, it appears that once on the beach there’s no way of leaving – instead the characters find themselves trapped in the fearful state of rapid aging, seemingly caused by their new permanent environment.

While the discovery of a dead body creates some mystery the real kickstart to the fear and panic that the group experiences is the dramatic change in central couple Guy (Gael Garcia Bernal) and Prisca’s (Vicky Krieps) children, Trent (Nolan River) and Maddox (Alexa Swinton) – seemingly having aged by 5 or 6 years and taking the form of Alex Wolff and Thomasin McKenzie respectively. While this family unit forms the core of the film, we see most of the events through, or close to, their eyes, there’s no escaping the inevitable changes that everyone else on the beach faces. There’s little room for comment on aging and what, for some people, comes with it. There are mentions and slight moments hinting at dementia or physical or sensory debilitations, however there’s not much else. In fact, much of the film appears to be just what it shows on the surface level as the group of largely strangers attempt to escape the beach and find help, despite what appears to be an unnatural force keeping them there.

Despite the area being relatively small there’s still plenty of space for characters to wander off and be forgotten about while others demonstrate rising tensions. Particularly the untrusting form of Rufus Sewell’s doctor Charles, creating little developed racial tensions with famous rapper Mid-Sized Sedan (Aaron Pierre). It feels like there’s so much that Shyamalan wants to show that instead of a properly flowing plot he instead creates patches of ideas, like dramatic sketches with increasing and narrative progressing stakes and effects on the characters who appear in them. While the ideas and concept are certainly interesting and the film itself is largely watchable there’s something that doesn’t always sit right in terms of the execution. A toss-up between horror-thriller and tense mystery is in place and there’s a constant battle throughout the film for which one takes control. Especially when characters or eventual deaths are forgotten about and barely referenced again.

Again, the general idea of many points is good. It creates something that keeps you in place, even if you aren’t always properly engaged with the film as a whole. This is particularly in the case of the first half of the film where for the most part the majority of ideas appear to still be saying ‘look at how weird this is’ continuing to point out the obvious; that these characters are aging rapidly. In such a busy film it almost feels like a bit of a waste and begins to form an unsatisfying sense around what’s unfolding, or is still to unfold.

This is certainly a film where a lot surfaces to mind after having seen it. For the time that it’s on, however, there is something watchable there. You may notice some issues, but there are certainly some good ideas present that make for something decent for the time that it’s on. And, in fact, it does gradually get better as it goes on, mostly when out of the fairly lengthy build-up. But, once out of there Old presents something with some eerie moments and style. It helps to capture a specific mood that does help to push things along and keep your intrigue within certain elements that are at play over the course of the feature. It may not be a perfect film, and it’ll likely divide audiences, but at least you don’t feel yourself aging while watching it!

Far from perfect, there are some clunky moments within Old. However, as it goes on, there are some interesting ideas and moments to be found within its collection, making for an overall watchable experience for the course of the run-time.

Cert – 12, Run-time – 1 hour 57 minutes, Director – Ahmir “Questlove” Thompson

The nearly forgotten Harlem Cultural Festival is brought back to life through restored footage, relived through interviews with attendees, performers and organisers.

Still grieving the death of Martin Luther King, a year on, being undisturbed by America’s fascination with pouring money into the moon landing, overshadowed by Woodstock, the neighbourhood community of Harlem gathered together to celebrate. Celebrate life, identity, community and most of all the music that united them over the course of six weeks in the searing summer heat of 1969. The event that allowed for this to happen? The Harlem Cultural Festival. For 50 years footage of Nina Simone, Steve Wonder, Sly And The Family Stone, Gladys Knight And The Pips and more performing the likes of pop, blues, R&B, soul and gospel has remained sealed. An un-viewed time capsule that’s now been restored and brought back to life.

Director Ahmir “Questlove” Thompson welcomes original attendees, performers and festival organisers to relive the event, talking about their memories and what it meant to them. “We needed something to reach out and touch us. We needed that music”. There’s a true sense of unity throughout the film. As you witness the connection that the artists have with the growing crowds, who on a number of occasions are performing just as much as those on stage. And that effect comes across to the audience in the cinema. You can truly feel the heat of the sun, yet the cool breeze that the event creates. Yet, the power of just how much this means to the Black community present at the time is proclaimed. Images relating to the large racial pressures and tensions of the time are backed by the infectious music, further demonstrating the effect that it had. Questlove truly shows the power that this event unlike any other had.

As Nina Simone sings To Be Young, Gifted And Black you can’t help but lean forward and pay as much attention as possible. Her voice coming through the speakers landing as much impact now as it must have done there. You feel as if you’re present at the event. A profound sense of unity washing over you and whoever else may be watching the film at the same time. This is a true big screen audience experience. Both in terms of those in the cinema and those at the Harlem Cultural Festival. All with an appreciation for what it all stands for and the music as a whole. In fact in the second half of the piece things slightly shift from the political nature that was at hand – the Black Panthers were security at the event supported by the “liberal Republican” mayor of New York, who made an appearance during the festival – to the workings of the music. The styles and techniques that an individual musician or artist used and the passion that they showed in their work.

Yet, the emotional backgrounds are still there. A personal and powerful dedication to Martin Luther King is observed and, as with many elements throughout the fast-flowing two hour course of the piece, dwelled upon for a solid amount of time so that it has a real impact. Even when cutting to interviews to flesh out just how much this long-forgotten festival meant the power of the music is still present. It keeps you placed within the crowd, yet connected to those who were so integral to making the event, and this film, as powerful as it was. It’s a true summer experience to watch. Focusing on the positive side of the unity and the music that helped bring it about. The way people interacted, their thoughts, feelings and the expressive freedom that they felt. Summer Of Soul involves the viewer in a revolutionary celebration of powerful identity. With his debut feature Questlove not only helps recreate and relive, but creates a powerful mixture of heat, cooling and revolution in response to tragedy, upset, anger and a cry to have voices heard, all translated into the effective music proclaimed from the stage.

Summer Of Soul is a true big screen, audience experience. An absolute summer hit of revolution, soul and proclaiming music. All relived and brought further to life through well inserted personal interviews, images and news clips.

Cert – 18, Run-time – 1 hour 53 minutes, Director – Leigh Janiak

Deena (Kiana Madeira) finds herself transported back to 1666, witnessing the birth of the witch’s curse that haunts her town, in order to bring it to an end in 1994.

The finale to Netflix’s Fear Street trilogy ticks many of the boxes that were otherwise left blank by the previous two entries in the narrative. By throwing central character Deena (Kiana Madeira) back to 1666, the time of believed witch Sarah Fier (Madeira, with a brief turn from Elizabeth Scopel) a sense of darkness truly comes into play. Because of this the gore that’s present actually has an effect, helped by the fact that it doesn’t feel too in-your-face either. Religious fervour is strong within the settlement of Union, meaning that if discovered Sarah’s relationship with pastor’s daughter Hannah (Olivia Scott Welch) would likely lead to severe consequences for the pair. Mix that in with rapidly spread rumours of witchcraft and things soon spiral into chaos for the central figure within this particular setting in the narrative.

While Part 2 in the trilogy felt somewhat like a lengthy flashback there’s a fair deal of 1666 that feels largely relevant to the story and proves itself thanks to the reveals that it offers. While some elements could be cut down, and placed as a flashback in a shorter, largely 1994 based story, these are largely in the latter section of this part of the story. When things begin to loose steam, becoming something more rambling and slightly generic. Diluting the sense of darkness as things shift back to life in Shadyside, with Deena, brother Josh (Benjamin Flores Jr.) and curse survivor Ziggy (Gillian Jacobs) all trying to end the curse and bring Deena’s girlfriend Sam (Welch) back to normality.

The 90’s course that this final instalment takes offers what was missing from the first film; a conclusion. It finally allows for a complete feeling and ending. While the idea that this could easily be set in the modern day and doesn’t quite feel like the 90’s is once again present this doesn’t get in the way as much due to the nature in which the events pan out. There’s enough going on to carry things through and engage you that there’s never really any time to stop and think about the actual setting, especially during an extended shopping mall showdown. The second third act to the events of the first film finally arrives and thanks to the interesting reveal towards the end of the historical vision there’s a further sense of engagement. Something clearer with a more visible goal forms and allows the film to move fairly quickly, making for something more satisfying and engaging.

It’s a fine conclusion to the incomplete feeling that’s been present throughout much of the trilogy. One that makes the most of the supernatural forces that are at play – particularly when it comes to the antagonistic presence of the possessed killers who are used well in the key set-piece that culminates the plot strands that have been building up to this point. There’s plenty of amusement, and the horror elements, while different to the darker nature of the first half of the film, are used well enough, and feel less like a standard teen drama. It might have been a bumpy ride to get here – and one that could have certainly been made a fair deal shorter – but at least there’s finally a satisfying supernatural slasher conclusion to this slightly experimental horror trilogy.

Even if it gets quite rambling, the historical nature of Fear Street’s trilogy-closer finally warrants the gore thanks to its darker tone, before jumping back to the completing 1994 setting with some engaging action and a target to work towards, it’s an enjoyable finale to a generally uneven trilogy.

Cert – 15, Run-time – 1 hour 28 minutes, Director – Adam Robitel

After venturing into New York to gather evidence on the Minos corporation, Zoey (Taylor Russell) and Ben (Logan Miller) find themselves trapped in another series of deadly escape rooms with other past survivors.

As you think early on in Escape Room: Tournament Of Champions that you’re ahead of the characters, and might very well be for much of the film’s course, it’s soon revealed that, much like the characters in their New York subway carriage surroundings, you’ve been brought into something of a false sense of security. As the ‘game’ begins and the deadly consequences are once again settled in the tension manages to rise up as it seems that escape is almost impossible. The carriage, lit up only by raging lightning strikes of electricity that surge throughout it, has dislocated from the rest of the train, abandoned in what looks like an abandoned turning of the underground. The passengers, after a sinister announcement, realise what’s happening to them and desperately rush to both survive and escape the first of what turns out to be many rooms.

Each figure on board the carriage is a previous survivor of the Minos corporation’s one-champion escape room challenges. It’s this corporation that leads Zoey (Taylor Russell) and Ben (Logan Miller) have returned to New York City to gather evidence on. However, before that they must survive a series of grand-scale set-piece challenges. Each with elaborate designs, clues and puzzles. There’s little time between each new room meaning that the tension is simply driven forward and things become increasingly intense. From an expansive bank setting to a faux beach scene there’s plenty of cleverly written deciphering, mixed in with panicked rushing as the clock ticks and the surroundings completely fall apart. Director Adam Robitel creates within this environments a dark fantastical nature, increasing the sense of unease and tension. As brief glimpses of cameras watching the contestants fight for their lives push the idea of a dark, otherwise unseen presence.

Of course, as with the pleasant surprise that was the first film, there’s likely to be a handful of losses along the way. Those who don’t manage to make it out of each room. There are some interesting choices here and there and a slight sense of immediate impact after some deaths; although those that are lingered on don’t quite have the lasting effect. In fact how far some characters progress certainly holds your interest as the film builds up to a potentially big reveal style ending. Yet, as the ending nears it appears that the screenwriters realise just how many characters they have left and begin to unsatisfyingly dispense of them in quick succession. One after the other. It leads to the formation of an ending which feels as if it’s wanting to build up to something more, and yet knows that it can’t be dragged out too much. Choices and reveals don’t quite land and end up feeling somewhat clunky.

It feels somewhat anticlimactic compared to the well thought through detail and undropped tension that’s been present for much of the previous 45 minutes. A shame for something which otherwise manages to make a highly entertaining, if very tense, experience through the continuation of the core idea from the first film. The characters may find themselves in large rooms with a couple of puzzles, yet because of the context and how the film smoothly travels across its set of events the entertainment factor is boosted and a truly thrilling feature, with some horror elements, is created. Unfortunately, a bit like the train at the start of the film, it slightly comes off the rails a bit meaning that you’re behind the film, but in this case because you haven’t quite had the build-up; with reveals feeling somewhat forced and out of nowhere. A slightly disappointing final solution to what is otherwise an intense and largely enjoyable escape room venture.

While sandwiched in-between some somewhat slow and clunky elements the core escape room course of Escape Room: Tournament Of Champions is an intense, highly enjoyable set of cleverly laid out set-pieces. Throwing you directly into the expansive, tension-lined puzzles.

Cert – 15, Run-time – 1 hour 43 minutes, Director – Everardo Gout

Racial tensions rise in America as the relaunched annual purge goes beyond its 12 hour limit. Leaving many people to flee to the Mexican border before it closes in just a matter of hours.

Since first appearing in 2013 the government warning system and sirens marking the start of the annual purge have become a distinct and recognisable sound in horror cinema. Even five films into the franchise they still have a somewhat eerie effect. However, something lingers beyond the alarms to signal what should be the closing of the purge in this latest entry. As the title suggests this is The Forever Purge. A racially motivated uprising is beginning and what initially seems like some small groups committing crimes beyond the legalised limit of 12 hours is soon revealed to be a much darker display of racist nationalism.

Finding themselves living in what is described early on as “The United States of Hate” are married couple Adela (Ana de la Reguera) and Juan (Tenoch Huerta). They’re living a quiet life in the Southern States, close to the border wall through which they arrived less than a year before. However, when the country plunges into fiery chaos, with entire towns and cities being taken over by purgers, they find themselves fleeing for their lives to the Mexican border before it closes in just 6 hours to anyone who survives the journey.

Unlike previous films in the Purge franchise this entry doesn’t blend the fight for survival and purge elements as much. There’s much more focus on the fight that the characters are going through – alongside Juan and co-worker T.T. (Alejandro Edda)’s employer Dylan (Josh Lucas), who has a somewhat tense, antagonist relationship with his employee that mean he must set aside their differences, his wife Cassidy (Cassidy Freeman), and sister Harper (Leven Rambin). This is more alike to a survival thriller set during the Purge than the previous titles in the successful Blumhouse horror franchise, although there are one or two attempted jump scares present within this latest piece. This is about as far as the story goes. It’s relatively simple and travels along its course showing itself as what it is, not trying to be anything else or have multiple different meanings.

For fans of The Purge franchise there’s likely to be some entertainment factor here. The usual display of excessive gun use and chaos on the streets of poorer regions of America. While some of the action is a bit hard to follow due to multiple cuts and quick camera movements there’s certainly enough there throughout the just over 90 minute course of the film to hold your interest. Where the film succeeds is by further exploring exterior environments during the purge. The winding streets and dark alleyways all having a sense of danger, even when lit up by fire and explosions. The outdoor environments are certainly pushed a fair deal more than previous films, and are made the most of when it comes to the progression of the story and the forces that the characters encounter at various points in their journey to the border.

As for the political commentary it’s once again clearly on display, as it has been throughout the last couple of films. There are clearly a number of points being made in regards to racial attitudes within America – the plot, obviously, revolves around an attempted racial uprising and racial supremacy. It might seem a bit clunky at times and at others very much in the background, yet somehow the general narrative and panicked escape attempt of the central figures is still kept in focus and acts as the main push and drawing point of the film. The film flows well enough and while by the end it may very well be easily forgotten, for the time that it’s on The Forever Purge acts as serviceable amusement. Perhaps not on the strengths of other entries in the franchise, which by now has been said to have had about two or three final films, but it certainly plays to some of the better elements of them.

The Forever Purge feels like a film strongly impacted by delays, due to its themes more suited for release a year, or even two, ago. Yet, it’s likely to still please fans and some casual viewers for the watchable, yet forgettable, time it’s on.

Cert – U, Run-time – 1 hour 36 minutes, Director – Joel Crawford

When it seems that the family may be on the verge of splitting up Stone Age family The Croods encounter the more advanced Bettermans.

The Croods does for prehistoric animal hybrids what Cloudy With A Chance Of Meatballs did for food monsters. Throughout this return trip to the world’s first family – the first all the way back in 2013 – we witness the likes of chicken-seals, moomoths and punch monkeys. All well animated and broadening the often colourful, imaginative nature of the Stone Age world which is being created. However, the Stone Age is perhaps close to an end as the pack encounter the more advanced Bettermans. With odd contraptions such as mirrors, man-caves and sandals there truly seems to be “emphasis on the ‘Better'”.

Despite the idyllic life in the safe confines of a towering wall, father Grug (Nicolas Cage) finds it difficult to get on with this new way of living. Preferring to still sleep in a pile with his family instead of in whatever a ‘bed’ is. His family’s acceptance of this style of living is further proof to him that the pack is breaking up. He overhears daughter Eep (Emma Stone) discussing with partner Guy (Ryan Reynolds) the idea of them starting their own life together, away from the family – something which is somewhat encouraged by Phil Betterman (Peter Dinklage) and wife Hope (Leslie Mann), but with the prospect of old family friend Guy getting to know their daughter Dawn (Kelly Marie Tran) better.

It’s all rather simplistic and yet it seems to barely last any time. It feels as if the team of writers stretched this idea as far as possible before realising something else was needed and adding it as an almost second short film to boost what they had over the 60 minute mark, let along the 90 minute one. Going from jumping from scene to scene with little room for things to breathe to the film almost feeling as if it’s pandering for time. Offering repetitive jokes – it seems that Crood son Thunk (Clark Duke) has little more to do than be obsessed with the phenomenon of ‘Window’; a recurring joke, which essentially becomes the character’s personality, about TV-addicted kids. As this gag is displayed more and more times the film as a whole simply begins to feel increasingly tired and disengaging.

Despite the quality of the animation and the high levels of creativity that have clearly gone into the design and look of the piece there’s simply not enough in place in terms of story and humour to make this film properly work. Elements that make up the rising tensions between the two families of different worlds and eras have been seen in different places before and while there are some good ideas and points throughout these mostly lie within the setting of a scene and the way it’s started instead of where it goes, leads the story and develops the characters. Once again it almost seems to be down to the design and look of the animation, which while strong isn’t enough to distract from the heavy convention of the almost two-plot feel of the film.

Despite a strong creative look The Croods 2: A New Age feels like something of years gone by due to its conventional narrative, feeling almost like two short films, and unsuccessful, repetitive humour.