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.

Cert – U, Run-time – 1 hour 55 minutes, Director – Malcolm D Lee

LeBron James must team up with the Looney Tunes to take on a group of superpowered basketball players in order to free himself and his son (Cedric Joe) from the Warner Brothers server.

Since its release in 1996, Space Jam has become something of a cult classic. Like its website the film has become a portal-like staple of the 90’s. now, 25 years on a quasi-sequel to the sporting hit finally hits screens, with LeBron James taking the place of Michael Jordan. After a failed meeting with Warner Brothers, James finds him and his son, Dom (Cedric Joe), transported into the studio’s server – led by Al G. Rhythm (Don Cheadle). Quickly he finds himself with little time to prepare a team for a basketball game that will determine not just his fate, but his son and thousands of spectators.

As if superpowered opponents aren’t enough to deal with, the NBA player, after much nudging, winking and proclaiming of ‘hey, we own this!’ from Warner Bros., discovers that his teammates are none other than the Looney Tunes. Despite his specifically laid out tactics, Bugs Bunny (Jeff Bergman) and co. insist on wreaking havoc. Undeniably the best moments of the film lie within these characters simply being let loose and being allowed to get up to their usual antics, in fine largely 2D animation. Whether interacting with Warner Bros. IP in their own on-brand style, or something as traditional as Wile E. Coyote trying to blow-up Road Runner, there’s plenty of – during one particular montage laugh out loud – humour to be found over the almost two hour course of the film.

After 20 minutes of, what feels like, unknowing cliché, we finally get to the meet the Tunes. The entertainment value of the piece instantly gets a much needed jumpstart as the studio catalogue is finally put aside. References to Harry Potter and Game Of Thrones are slightly less frequent and just there for the sake of showing the titles under the WB banner. There may still be a handful of unsuccessful meme call backs, but gradually the film approaches its key basketball event.

The lines followed are similar to those of the original film. It gives an air that this is more of a remake than a proper sequel. Giving the feeling that this is perhaps a take on Space Jam for a new generation. Like the original is a product of its own time, Space Jam: A New Legacy, with its video game notes and style, could; in years to come, act as something very much of the moment when revisited by this new generation in years to come. The plot may not be the most subtle, but that’s not exactly what this film is likely to be turned to for. Like the original work this is a slice of entertainment, and it succeeds in being that in all its, often brightly coloured, silliness.

The Looney Tunes taking on aliens at basketball with the help of a professional NBA player is absurd in itself, exactly as something with these characters should be. There are plenty of moments where this sort-of-sequel is just as absurd; and that’s all thanks to the array of iconic animated characters who have, once again, been unleashed onto the screen. Helped by an understanding of what makes them such enjoyable company.

Yes, you may want to see some more training and less build-up when at the actual game. But, once the heavily-CG sporting action starts there’s a real buzz of entertainment surging through the piece. Forget the overdone extras dressed like knock-off Halloween costumes of Warner Bros’ backlog (at least the Animaniacs get a brief appearance!). There’s plenty to enjoy within the silliness of every explosion, clang, stutter, backfired plan, rabbit season – duck season debate, and “What’s up, Doc?” that this new legacy has to offer.

Once the flashiness of the shouting Warner Bros. catalogue has passed, Space Jam: A New Legacy’s strengths lie in the humour of the Looney Tunes’ antics. Forming a genuinely entertaining part-sequel, part-remake for a new generation.

Cert – 18, Run-time – 1 hour 50 minutes, Director – Leigh Janiak

A group of teenage camp leaders are terrorised by a possessed killer (McCabe Slye), further linking to a long-lasting witch’s curse on their towns.

By opening with the words “previously on Fear Street” Leigh Janiak’s second instalment in the trilogy based on R.L. Stine’s teen horror book series further poses itself as something more alike to a TV series. The teen drama tone is certainly still there, in fact it feels more present in this follow-up than in the first instalment. However, there appears to be a more rounded story present within this film as we see the counsellors, and campers, of Camp Nightwing terrorised by a possessed killer (McCabe Slye). The story is told to us in a flashback by Cindy Berman (Gillian Jacobs), reciting the story of her survival to the two remaining from the 1994-set events of the first film, teenagers Deena (Kiana Madeira) and her younger brother Josh (Benjamin Flores Jr.).

The siblings are trying to find out how they can stop the witch’s curse that infects the local area, possessing people and turning them into mindless killing machines, however need Cindy’s reluctant help. How did she survive? Barely. Especially amongst the high body count that this film boasts. Boasts being the key word. The extent of the various killings, slashings, hackings and more – all mostly caused by the same axe wielding victim – is shown on screen with a fair deal of dark red detail. And yet, this level of violence, similarly, feels unwarranted. Not properly built up to or as if it doesn’t quite suit the tone that the film has set before things finally start to kick off. Moving away from poorly scripted town rivalries and teenage sexcapades into poorly scripted screaming and teenage sexcapades.

For the most part we follow Cindy’s (the younger, 1978, version of Cindy played by Emily Rudd) bullied outsider sister Ziggy (Sadie Sink). Already split away from every familiar face in camp as she begins to form a connection with counsellor Nick (Ted Sutherland), especially as her ex-boyfriend, Tommy, of two hours ago is now a crimson-stained axe murderer, Ziggy is left abandoned and alone in the dark woods of the camp. Many other characters find themselves in similar looking locations meaning that often the film jumps back and forth from person to person, while also remembering that it apparently needs to kill someone else and making sure to get that out of the way before going back to the lack of progressions that the central figures are making. It all makes for a long film, the almost two hour run-time is felt. Plenty of scenes feel far too busy, and yet somehow lacking in substance. Loosing your attention and while feeling more like a rounded feature providing the feeling that this could easily be cut down into something more like a TV special.

The loose plot begins to weight heavily on the viewer. In hand are the increasingly felt clichés. When it comes to the conventions that lie within the film it could easily be possible that the course that the narrative walks along is intentionally traditional; as if feeling like an homage to classic slasher flicks of around the era in which the film is set – although it, once again, feels as if it could almost all be set in the modern day. However, as things progress this feeling slips away and the clichés begin to properly get in the way. There’s a lack of connection, and therefore response to much that happens, between the viewer and the film. As things become increasingly ridiculous and somewhat overblown in the final stages of the film you simply find yourself realising just how disengaged you are with the piece as a whole. By the end it repeats the feeling that it’s simply building up to the next, and this time final, instalment in the trilogy. Albeit an unsatisfying one with little effect. Luckily, the preview just before the credits does a good job of building up interest.

While feeling like a more rounded film, Fear Street Part 2: 1978 is a long and lacking slasher, more focused on raising its body count than developing an unsatisfying narrative or dialogue.

Cert – 12, Run-time – 2 hours 14 minutes, Director – Cate Shortland

With government agents trying to track her down Natasha Romanoff (Scarlett Johansson) confronts her past by seeking to take down dark forces who continue to manipulate and torture young girls into soldiers.

It’s been a long road to a solo big screen outing for Scarlett Johansson’s Nathasha Romanoff; and not just because of a pandemic. A Black Widow film has been rumoured and talked about for years, since the first Avengers film, and now she’s finally been given a solo outing. While many may have wanted to see the much-discussed, and referenced in this film, Budapest mission with Jeremy Renner’s Hawkeye this film places Johansson’s tough-fighting spy just after the events of 2016’s Captain America: Civil War. She’s on the run from government agents trying to bring her in for going against the Sokovia accords. Living a quiet life outside of a remote Norwegian town she’s forced to directly face her past after an explosive encounter with a masked fighter tracking down a series of mysterious vials.

Romanoff’s past has been briefly mentioned throughout the Marvel Cinematic Universe in the past, and initially it feels as if this prequel is going to look into just that. However, once the film finds it’s footing and has more certainty in what it actually wants to do with Natasha, instead she finds herself stopping it from repeating for other victims of Ray Winstone’s Dreykov. For decades he’s taken young girls and manipulated and tortured them into becoming mindless killing machines. “Weapons with no face that he can just throw away”. Assisting Dreykov is the unknown robotic figure of Taskmaster. A figure who appears to memorise their enemies styles and tactics, using them against them and also future enemies.

Yet, these two villainous forces are somewhat pushed aside to focus on Natasha’s distant family. Sister Yelena (Florence Pugh) takes the spotlight most of the time, and often feels like the co-lead – it’s clear that she’s being built up to have a bigger future in the MCU. Meanwhile father figure Alexei (David Harbour) is wistfully remembering his glory days as the Red Guardian, making up history with Captain America, and maternal Melina (Rachel Weisz) has been spending her time researching and developing various pieces of tech and training pigs. Both are over the moon to see the return of their daughters, the dynamic between the four is clearly felt and each actor puts in a good performance that certainly helps bring about some humour every now and then. However, when it comes to latter stage fight scenes (of which there are many in the somewhat lengthy third act) there feels like a number of characters and events to keep track of.

It’s evident throughout the film that once it gets going there’s a lot going on. Initially things are somewhat simplistic, but as the family elements becomes a greater force and is delved into more over a long dinner-table scene themes, elements and ideas are added and the overall film begins to feel busier. The balance of the drama with action is well-handled and for the most part the action scenes work rather well. They might feel somewhat chaotic, often holding too many cuts to be able to properly follow. However, when there is a firmer hand on what’s being followed there’s certainly an entertainment factor to see Johansson embracing the kicks and punches as she finally headlines her own solo film after over a decade of playing the pivotal title character. Which makes it even more of a relief when the plot finally begins to kick in, after a lot of set-up and jumping back and forth to introduce and get to certain characters, perhaps the reason why we see so little of Dreykov and Taskmaster. Because of this the villains simply feel like slight barriers rather than fully-detailed bad guys, they appear to pose little threat.

Yet, the spirit still largely remains with Johansson and Pugh. Weisz and Harbour provide good entertainment with their interactions and relationship, and also give and take plenty of punches themselves, yet the focus is truly on the former pairing. This is certainly an introduction for Pugh, but certainly not a handing over of a baton. There’s an almost refreshing nature to the lack of send-off that Johansson receives here. No bittersweet tones or teary goodbyes. We know her story continues after this film, and so does director Cate Shortland with her treatment of the character in the latter stages of the film, and indeed throughout it. This is simply another, if rather personal, mission for Natasha Romanoff. One that acts as a subtle detail adding build-up to her continuing, from this film, arc in Infinity War and Endgame.

The villains certainly don’t feel like much of a threat and while slightly uneven Black Widow works as a fine, balanced character-building bridge for Scarlett Johansson’s entertainingly clever, tough-fighting title character.