Cert – U, Run-time – 1 hour 24 minutes, Director – Toni Garcia

A young dog (Tomás Ayuso) sets out from his village to the heights of Paris in the hopes of joining the muskehounds, uncovering a plot to overthrow the King (Julio Perillán) in the process.

The world of Dogtanian And The Three Muskehounds is one perhaps unlike any other. While claiming to be set in Paris, one which looks more like a village loosely based in the time of The Three Musketeers (and the 80’s Dogtanian series), the film is filled with a fair share of oddities. Mice which are somehow nearly half as tall as dogs one minute and then magically shrink the next, people run into fights proclaiming “have you any sausages!?” and nearly every character sounds like an odd Nicolas Cage impression. There are plenty of oddities throughout what should be the short 84 minute run-time of the film, and they certainly raise a lot of questions throughout, but not quite enough to distract from the overall quality.

What plot there is sees the titular Dogtanian (Tomás Ayuso) setting out from his small village life to Paris, where he dreams of becoming a member of the acclaimed, honourable muskehounds. All in the hope of restoring his father’s disgraced name. It’s not long until he finds himself arranging battles with three of the best swordsmen in the city. After proving his skills Dogtanian finds his partnership with the three growing as a plot to overthrow the King (Julio Perillán), led by Cardinal Richelieu (Stephen Hughes). It’s easy to tell who the bad guys in the film are due to the fact that they almost always appear in darkly lit rooms with only a couple of candles and speak in slightly deeper voices to everyone else. Plus, the fact that none of them seem to have proper names, only nicknames or titles. And what’s their evil scheme? They’re going to steal the Queen’s (Karina Matas Piper) diamond jewellery that the King wants her to wear so that he doesn’t trust her!

It’s evident from this that Dogtanian is certainly aimed at a very young age group. This is made even clearer by the tone of the humour. From a fart/ poo joke in the opening five minutes to very, very basic character types, one character seems to use “lunch” as their personality and punchline in almost every sentence, and repeated animated slapstick designed for its target audience. The effect is something highly unengaging and unentertaining, perhaps even for the seeming target audience, which doesn’t even appear to be able to fill the short 84 minute run-time. Dream sequences and flashbacks appear, not really adding anything, in 2D form. Pushing the idea that the writers of the tiring screenplay simply thought of ideas which led to ‘how do we get out of this idea?’, and ‘now how do we get out of this idea?’ And when having run out of ideas they simply fade to black and cut to the villain in what seems like a video game cutscene. All of this would certainly explain why the main plot isn’t properly introduced until what feels like roughly 25-30 minutes in.

By the time it finishes Dogtanian And The Three Muskehounds is an animated film that raises many questions about many of it’s, sometimes questionably animated, details. Details which simply seem slightly absurd and are slightly more interesting to think about and question than the film that they’re a part of. The core, and perhaps only, audience for this adaptation is certainly very young viewers. There’s little there with the very lengthy 84 minute course for anyone else to take away or enjoy within its various switchings between ideas.

Feeling like a jumble of ideas used to escape other ideas Dogtanian And The Three Muskehounds is a long and tiring animation only for very young viewers.

Cert – 12, Run-time – 1 hour 43 minutes, Director – Paul W. S. Anderson

A group of soldiers find themselves transported to the middle of an endless desert inhabited by deadly, towering monsters.

When it comes to the scaly, fire-breathing beasts of Monster Hunter the big screen absolutely helps emphasise their towering nature. It adds to the ensuing action and certainly benefits the film during such moments. Unfortunately, where the big screen can’t help is when it comes to the narrative of Paul W. S. Anderson’s latest video game adaptation. After pretty much her entire team is picked off in rapid succession in the first 15 minutes soldier Artemis (Milla Jovovich) is determined to find a portal back home, out of the mysterious, endless desert she seems to have been transported to without explanation. However, the various monsters that inhabit the landscape appear to be the one thing standing in her way – particularly as, for the most part, we largely see her battle one monster.

Unable to do this by herself she begins to form a quiet partnership, mostly due to a language barrier, with Tony Jaa’s Hunter. For the most part the film is a two hander, and with the lack of conversation between the pair there doesn’t seem to be room for long amongst of time spent properly focusing on them as characters not in a fight for survival. Quieter moments don’t properly click and simply feel like brief intervals in-between action. Even during such quieter moments a casual fight appears to break out between the pair just so there’s some form of action occurring on the screen. Even in the second half of the film, as the narrative makes some bigger progressions, the film feels as if it’s adding scenes and ideas simply to push the run-time to that of a feature length. At 103 minutes, including credits, it feels far too long and never properly manages to engage you because of its drawn out style, where we never properly get to engage with the characters.

During some of the bigger combat sequences Anderson appears to attempt to get across a video game style into the action. And there are certainly a number of shots that look and feel as if they’ve come from Capcom’s successful franchise. However, these begin to add up and remove some of the flair by making the film look, and feel, like an extended cutscene, an issue which is widely brought up when it comes to video game adaptations. The further effect is simply that of an increase in disengagement with the film. The scale of the threat is only shown in its size – again, pushed by the effect of the big screen – in comparison to Jovovich and Jaa’s heavy gunfire and homemade swords taller than themselves – and therefore many of the action scenes within Monster Hunter lack tension, particularly because of the film’s fairly predictable, and generally thin, nature.

Seemingly not wanting to focus on characters for very long Monster Hunter simply looks and feels like a drawn-out cutscene.

Cert – Recommended for ages 15+, Run-time – 1 hour 44 minutes, Director – George Gallo

Two failing film producers (Robert De Niro, Zach Braff) stage a disastrous film production in order to use the insurance money to pay debts owed to a mob boss (Morgan Freeman).

Miracle Pictures’ apt slogan runs “if it’s good it’s a miracle”. After their most recent feature is a flop due to protests over its controversial nature they find themselves owing a lot of money, specifically to mob boss Reggie Fontaine (Morgan Freeman). With a strict time limit put in place producers Max (Robert De Niro) and Walter (Zach Braff) come up with a Producers style scheme where they can make more money from not making a film than by releasing a hit – all stemming from the realisation that if they kill off the insured star they can keep the, hopefully, excessive budget and insurance money from the unfortunate incident, pay off their debts and have money left over. Of course, they can’t kill off any major stars, and so in comes washed-up Western star Duke Montana (Tommy Lee Jones).

However, as expected, the various elaborate ways in which the pair try to kill their leading man all go disastrously wrong and production goes ahead as unplanned. There’s an almost cartoon style to the ideas behind most of the ideas that appear during the film. While this might not come across in the execution it certainly causes the mind to throw back to ideas seen in the likes of Tom And Jerry and Wile E. Coyote shorts. Even the narrative brings about thoughts of other works where other, very similar, ideas have been seen before. It pushes the generally repetitious nature of the film, something which is boosted even more by the fact that the majority of time is spent showing small chunks of De Niro and Braff’s hapless producers desperately trying to see their plan succeed.

It appears that the film, however, doesn’t realise how recognisable it is. How accustomed viewers have become to stories such as this – the narrative is set in 1973, by this point we’d have already seen a handful of films and shorts along these lines. Throughout scenes are lined with a forceful score, loudly pushing the fact that is meant to be a comedy, and we’re meant to be laughing. Even some of the performances appear to be saying this, De Niro appears to be giving a performance as overdone, and perhaps even dodgy, as his character’s hair and distracting moustache (and not the good kind). Unfortunately, such elements add up to create something that feels almost too in-your-face to make anything properly amusing, the laughs are barred from coming through due to the obviousness in the delivery.

The use of studio backlot sets and the style of some scenes involving Jones’ former star avoiding death do have some slight style to them. Certainly not anything overly unique but it does prove that there is something watchable here within the repetitious nature of the piece. We may have seen this plenty of times before, and that does mean that a light feeling of tiredness sets in at some point and hangs over the remainder of the piece, but this certainly isn’t an overly bad film – it’s more simply weak. Where it mostly alters is in the forceful nature of a number of elements that either appear to not have enough face in the film as it is and the repetition that begins to make The Comeback Trail feel longer than it should be. If some of the more overblown elements were also taken out there could at least be a slightly more satisfying return to the intentional disaster/flop gone wrong style of comedy.

More weak than bad, The Comeback Trail falters because of its often overblown, repetitious style making gags and sequences too obvious to be properly enjoyable.

Cert – U/ Recommended for ages 6+, Run-time – 1 hour 36 minutes, Director – Enrico Casarosa

Best friends Luca (Jacob Tremblay) and Alberto (Jack Dylan Grazer) leave the world of the ‘sea monsters’ to take part in an annual race in a small Italian town.

Pixar have undeniably become known for their layered storytelling. Narratives that work in different ways for different audiences. However, with their latest, Luca, they travel not just to the sun-soaked shores of Italy, but to a much simpler plot. For the most part we follow fast friends Luca (Jacob Tremblay) and Alberto (Jack Dylan Grazer). Luca’s life is much secluded in the relative depths of the ocean, avoiding humans who brand his glowing green fish form as that of a ‘sea monster’. However, on encountering Alberto he finds that on land he can take the form of a human. Alongside this he discovers the wonder that is the Vespa, and soon the pair set to work on trying to find a way to own one.

It’s as this element comes into play that Luca’s simplistic narrative gets a jump start. Beforehand, as we witness the early developing relationship between the two central characters, scenes feel more like connected short films and ideas rather than that of something building up to a proper narrative. However, when finally on land and discovering the existence of an annual race in a small Italian village, deeply rooted in anti-sea monster culture, with a cash prize that could win them their much desired Vespa. Looking to be more accepted in the area so as not to raise suspicions the two grow close to somewhat outcast Giulia (Emma Berman), who has, until now, competed in the three-man team race on her own. The bond that the three form creates a certain level of charm that brings you into the bright and breezy look and tone of the piece – some character designs seem to be shared with director Enrico Casarosa’s quietly charming 2011 Pixar short La Luna.

Of course, there needs to be someone on the tail of the three, not everything can be easy for them. Luca and Alberto risk being found out as sea creatures at many a turn, particularly when local rich-‘kid’ Ercole (Saverio Raimondo) – one of the only characters in a largely American cast with an outrageous Italian accent, Gino D’Acampo receives a two line cameo – is involved, dedicated to preserving his title to buy even flashier new toys and accessories. Meanwhile, Luca’s parents (Maya Rudolph, Jim Gaffigan) have also appeared on the surface in order to find their son, although they don’t quite know what his human form looks like, t take him to spend the rest of the season in the deep sea with his odd Uncle Ugo (Sacha Baron Cohen – a memorable scene-stealer in his one scene. Cohen apparently improvised so much that there was content that could be put to use later in the film, make sure to stay to the end of the credits!) Through much of this there’s plenty of light cartoon-style humour added in to keep things going throughout the fairly short, nearly 90 minute, run-time.

Luca’s simplicity does mean that it feels as if it could be slightly lost amongst Pixar’s strong catalogue in the future. But, it does appear as something different amongst the often highly-held titles. Something much more restrained and far less deep-thinking than more recent films such as Inside Out and Soul. But, that just makes it all the more enjoyable, and easier to escape into. It shows a new side to Pixar. Avoiding acting as a kind of palate cleanser (as the decision to release this for free on Disney+ might suggest to some, the feeling that an opportunity was missed not releasing this in cinemas is certainly present at times) Luca is a light, charming and enjoyable celebration of summer friendships.

Showing that simplicity is no bad thing, Luca’s more relaxed narrative, once it finally gets going, adds a layer of charm to its entertaining characters and sunny environment that brings about joyous summer friendships.

Cert – 15, Run-time – 1 hour 48 minutes, Director – Ben Wheatley

A scientist (Joel Fry) and park scout (Ellora Torchia) find themselves attacked and abandoned by unseen forces in the woods while taking essential equipment to a research base.

Since cinemas have reopened here in the UK highlights have been ones of spectacle. From the visual delights of Demon Slayer The Movie: Mugen Train to the audience-benefitting thrills of Nobody. Now, Ben Wheatley throws his latest, In The Earth, into the ring. Wheatley returns to low budget horror with a true visual, and audible attack. Following scientist Martin (Joel Fry) and park scout Alma (Ellora Torchia) on a two day trek through the woods in order to deliver essential equipment to a research base, led by Hayley Squires’ Olivia, trying to find a cure for an unnamed pandemic.

However, the pair find themselves attacked and abandoned in the middle of the night by an unseen force. It’s just part of the fear of the unknown that Wheatley conjures up in his latest mind-melting build-up. Pagan folklore runs throughout the narrative, started by stories of the demon Parnag Fegg, alongside discussion of the belief that the woods are connected. The plant life is all one active mind. This idea is pushed further when the two are rescued by Reese Shearsmith’s terrifically dead-pan Zach, a man who appears to have been making do just fine living in the woods for an uncertain amount of time. As the pair encounter their initial saviour Wheatley camera techniques take a much more sinister turn. Simply effects such as slight wobbles or the camera being placed at an angle at a distance, in the bushes, makes it appear as if someone is watching the pair.

While we never see any sign of a force beyond that of the other human characters a true fear of the woods is created. In The Earth’s tagline could have very easily been ‘just when you thought it was safe to go back outside’. Wheatley truly manages to convey a sense of being lost in an unidentifiable expanse while also pushing the idea of claustrophobia onto the viewer. Building up to a real twisting third act that, thanks to the plot elements that come beforehand this doesn’t feel out of place or unprepared for. One that’s as striking visually and bright as the blaring, ringing of panic in your ears is. All working together, ramping up the tension from the film’s eerie chills, for an even grander impact. An impact on both the two central characters and the audience, as both find them questioning their sanity, what’s real and what’s just fiction. Things aren’t helped as the environment becomes particularly hazy and confusing.

The psychological nature isn’t the only thing that puts the audience at unease. There’s plenty of slight body horror that adds up to a great impact. Botched self-surgery using whatever’s been lying around in the woods leading to much more gory effects, all escalating bit by bit with as much effect. Wheatley proves that sometimes you don’t need heaps of detail to get a response – there’s certainly plenty enough within this feature, though. The blends of horror work well with the low-budget nature of the film and truly help to form a sense of spectacle within this pandemic venture, the film was shot during lockdown. Spectacle which deserves to be seen, was made to be seen, big and loud! A true welcome back for horror on the big screen, In The Earth will certainly make you wary about leaving the indoor confines of the cinema.

All building up to a well-executed third act mind-melter In The Earth is a true audible and visual experience. A blend of chilling tension, body horror and cinematic storytelling it’s Ben Wheatley at his finest.

Cert – PG, Run-time – 2 hours 23 minutes, Director – Jon M. Chu

In the middle of a heatwave a group of hardworking dreamers find themselves longing from escape from their Washington Heights neighbourhood, however find it hard to leave their close community.

“Our neighbours started packing up and picking up, and ever since the rent’s went up. It’s gotten mad expensive, but we live with just enough”. It’s the loop that the residents of Washington Heights appear to have been stuck in for years. Each with their own dreams of escape, but stuck to the same block because of money and, the bigger factor in play, the connection they have with their neighbours. They keep each other going while their dreams appear to be placed on a prominent backburner. Bodega owner Usnavi (Anthony Ramos), the core focus of the film, dreams of returning to the Dominican Republic. He idolises going back to his homeland to rebuild and run his late father’s bar – El Sueñito, little dream. He believes the best days of his life, all eight years, were spent there until moving to the US where he’s been chasing return; and hopeful fashion designer and beauty salon worker Vanessa (Melissa Barrera), ever since.

Usnavi finds his longing to return to his home island heightened even more by the summer heat. A strong heatwave is occurring and it seems to strengthen everyone’s passions. Salon ladies Daniela (Daphne Rubin-Vega), Carla (Stephanie Beatriz) and Cuca (Dascha Polanco) are moving to the Bronx, after other recent shop closures. Preventing full closure, taxi company owner Kevin Rosario (Jimmy Smits) has sold part of his business in order to fund his divided daughter, Nina (Leslie Grace), through college. Meanwhile his employee Benny (Corey Hawkins) is trying to achieve bigger career heights, while watching all his friends and family struggle. And how do they all release their stresses and passions? Through rap and song! Originally a Tony award winning stage musical by Lin-Manuel Miranda (who appears in the small, yet scene-stealingly joyous, role of a Piragua seller – stay to the end of the credits!) there’s plenty of grin-inducing numbers throughout.

The opening number itself leaves you speechless. Not just with the introductions and build-up that it creates but the passion and power that comes across in the performances. The scale of the increasing dance number that culminates in the towering block letters of the title appearing on screen is grand and is only out done later in the film. While you do wish that there could be less cuts during big scale dance numbers, the crowds of bodies rapidly moving in unison is certainly impressive however you do wish that some shots of them had more space to breathe to add impact instead of just showing it from a different area or angle. Yet, many of the numbers are loud, bold and joyous. One particular swimming pool setting is used to colourful effect for even more of an energetic visual treat. Proclaiming summer joy from the screen and into the eyes and ears of the audience. By the last beat of the big finale you can truly feel one final heart pound caused by the electrifying energy that runs throughout the film.

It’s testament that the joy and excitement that such numbers are able to conjure up is matched by the emotion that the same musical outpourings are also able to create. A lot of this is down to the performances as restrained characters cry out in song. Abuela Claudia (original Broadway actress Olga Merediz) is very much the emotional core of the film, connecting the characters as a caring grandmother figure. As she finishes proclaiming about her childhood and her difficulties growing up and living in America it’s hard to fight the urge not to stand up and applaud. Meanwhile other songs simply have so much power in the delivery or even simply the execution and choreography that you become emotional because of the force they have. Some songs might push the run-time a bit, but for the most part they all work, and the nearly two and a half hour course of the piece is rarely felt.

Outside of the songs there are plenty of wonderful character exchanges to keep your interest. This is a film about the relationships of the community that has resided on this block for so many years. They’ve supported each other and become a family (this may be the big-screen alternative for those not wishing to see Fast And Furious 9 this summer). The connection comes across in the efforts of the ensemble cast. Everyone is eager to leave but resisting the urge in order to not leave their friends and the people they can identify with in a proud largely Latinx community. These exchanges are what help make the film the proud slice of entertainment that it is. Allowing the musical moments to burst open and flourish in the glare of the summer sun that oversees the heatwave that causes many elements of the lives that we’re witnessing to boil over. Whether for better or worse. For the viewer it’s for the better. Boosting their connection with the array of entertaining characters and enhancing the overall impact of their often ecstatic, enthusing musical celebrations.

While the dance sequences might occasionally have a few too many cuts it’s still easy to enjoy the celebratory summer musical numbers burst out by the infectiously enjoyable ensemble of In The Heights, just about gotten away with, run-time.

Cert – PG, Run-time – 1 hour 53 minutes, Director – Euros Lyn

The members of a small Welsh village unite to raise and train a race horse.

There’s a mild, warm smile that forms on your face as things begin to come together for the small, Welsh village of Cefn Fforest. It’s one of slight wonder as their small dreams of owning and training a race horse are seen escalating into ecstatic successes. As the group throw their initial contributions to the fund into the ring bar owner Gerwyn (Steffan Rhodri) states “if there’s gonna be a circus in town, may as well have a ringside seat”. Which is very much what the viewer gets as the ‘based on a true story’ events of Dream Horse play out.

For the most part we follow shop employee by day, bartender by night Jan (Toni Collette). Along with her husband, Brian (Owen Teale) she tends to a number of injured animals that reside near to her home, mostly ducks. She trudges each day in the same circle of events through a seemingly half-abandoned village. The clock appears to have been stopped a long time ago amongst the grey scenery and graffiti. Looking for more excitement she makes the decision, spurred by a conversation she overhears involving former race horse owner Howard (Damian Lewis) to breed a race horse. She’s told repeatedly that this is likely to be an easy disaster, a waste of money that could put her into even further financial ruin. However, with Howard’s eventual help and the gradual formation of a syndicate involving the various members of the town Dream Alliance becomes a big part of the lives of the members of the village, and an even bigger dent in the profits of the local betting shop.

Within the fairly conventional markings of the Brit-com narrative there’s a quietly engaging nature to Dream Horse. Amongst the mild-chuckle inducing humour created by the various characters that pop up – Karl Johnson’s village-drunk Kirby is certainly an entertaining highlight – there’s also a fair deal of effective race sequences. It’s perhaps these moments that truly show your involvement with the film. While not anything particularly tense you certainly find yourself willing the figures on scree, and their horse, on; wanting to see them succeed. As they battle with richer horse owners – including Peter Davison’s (a presence very nice to see) Lord Avery – who doubt and then try to buy the efforts of the close community, tensions somewhat raise within the syndicate when it comes to arguments about what happens to the horse, what brings money in the moment and more.

It may have its clichés and predictable elements, but thanks to the performances that line the piece and the generally quaint line that the narrative travels across it forms a light connection with the viewer through the more entertaining character beats and quirks of the screenplay. The cast themselves appear to have had a good time making the film while still wanting to tell a good story and that comes across in the tone and overall effect that Dream Horse has. It’s an entertaining Brit-com with a fine cast that help get across the humour to put it a stride or two ahead of the rest of the pack.

It might have its clichés and conventions, but Dream Horse has a fine cast that help bring about much of the character based humour that engages you within the quietly entertaining nature of the film.

Cert – 15, Run-time – 1 hour 40 minutes, Director – Patrick Hughes

Bodyguard Michael Bryce (Ryan Reynolds) is taken out of a peaceful break from work where he’s paired with con artist Sonia Kincaid (Salma Hayek) and her husband, former client, Darius (Samuel L. Jackson) to take down a Greek billionaire (Antonio Banderas) planning to take down Europe.

As Ryan Reynolds’ Michael Bryce sits peacefully reading a book on a sun lounger in a sunny resort it’s evident that the character is having a nice time. In fact throughout Hitman’s Wife’s Bodyguard it seems as if the whole cast, particularly the central trio of Reynolds, Salma Hayek and Samuel L. Jackson, are all having a great time in the Italian settings of the feature. It comes across in their performances and the comedy of the film, a lot of which feels heavily improvised. Perhaps this explains why, once again, the central cast appear to be playing caricatures of the stereotypical characters they appear to have become associated with. Reynolds makes the occasional wisecrack or becomes the butt of his own joke, Jackson shouts out a two word phrase beginning with m and f that isn’t melon farmer and Hayek bursts out in anger before a joke is made about her breasts.

It’s very much the formula that made up the first film, although in this instance with much more presence from Hayek. And one that’s likely to be just as forgettable. Reynolds’ character finds himself reteaming with Jackson’s hitman, and former client, Darius Kincaid alongside, his wife, con artist Sonia (Hayek). Throughout we see the three roaming through Italy after being recruited to help take down Greek billionaire Aristotle Papadopolous (Antonio Banderas) who plans to wipe out all of Europe’s electricity, putting hundreds of millions of lives at risk in the process, because of the lack of help Greece has received when it comes to their struggling economy. It feels as if a lot of content with Banderas has been cut out of the film in favour of chaotic action sequences, backed by very on-the-nose musical cues, and attempted comedic beats with the three protagonists. There are plenty of moments where you begin to forget about Banderas, or what the mission the characters are even on is.

The way the plot’s treated very much feels as if it’s been taken from the 2000’s, outdated and lacking in any overall engaging style. It’s not as if it feels as if the hearts of those involved aren’t in the project, and unlike the first feature this doesn’t feel as an in-between Deadpool project for Reynolds. It just feels as if many of the ideas, and indeed characters, have been seen so many times before that the film as a whole is too hard to engage with to make it anything enjoyable or worth watching. The comedy falls flat and the action bursts that appear throughout simply feel too chaotic, with too many cuts or too much movement of the camera meaning there’s no focus to properly follow during such moments.

It matches the feeling of the overall narrative of Hitman’s Wife’s Bodyguard. One that lacks focus and feels too lacking to be able to properly follow. You simply find yourself watching the cast having a great time in largely sunny Italian landscapes. “Boring is always best” is a line said early on in the film, unfortunately this isn’t the case for those watching this sequel, the original film itself wasn’t best, while it’s on. At least afterwards this allows the film to be easily forgettable wants it’s over, even if it feels like it takes quite a while to get through the clichés and seemingly heavily improvised caricatures to reach that point.

The cast of Hitman’s Wife’s Bodyguard all appear to be having a great time throughout the film, unfortunately this leads to it feeling largely improvised and lacking in both laughs and detail within the rather loose narrative.

Cert – N/A, Run-time – 53 minutes, Director – George A. Romero

An elderly gentleman (Lincoln Maazel) finds himself segregated and abused by the staff and visitors of an amusement park.

If you’re wanting to make a relatively friendly public information film then, of course, the person you want to direct is the name behind such horror films as Night Of The Living Dead. When George A. Romero submitted his film designed to bring awareness to ageism and mistreatment of the elderly to the Lutheran Service Society of Western Pennsylvania they refused to do anything with it due to it being too horrifying – or as the late Romero’s wife, Suzanne Desrocher-Romero, has put it “a little edgier than they would have liked”.

For the most part the film, initially made over the course of three days in 1973, is relatively plain and simple. We see an elderly gentleman played by Lincoln Maazel, roaming around an amusement park, dressed in a white suit which gets increasingly bloodied and dirtied over the course of the film, simply trying to spend a day enjoying the thrills of a number of the rides. However, it appears that most of the attractions are off limits to the elderly, many restrictions are put in place that don’t specifically ban them by name, but still prevent them from boarding. Those that are open are dilapidated haunted houses of abuse and swindling – extensive tokens are plucked straight from older patrons hands for minimal return.

There are plenty of moments throughout that echo as slightly absurdist takes on the way older people are treated in society. Many moments play out like a silent film, minimal dialogue and the viewer simply observing the exaggerated actions of the ideas that the film poses. Through this also comes evidence that this was clearly made as a public information film, made to encourage volunteering. Maazel appears at the start and end of the short piece to state that this is indeed a film made to encourage volunteering to help, or just be kinder to, the elderly.

The ‘scares’ certainly aren’t anything strong, in fact this doesn’t exactly appear to be a film with the intention of being anything horrifying. The Amusement Park acts as an interesting set of perspectives that mostly manage to just about engage thanks to Romero’s vision and the angles he chooses to add. Brief inclusions such as sudden appearances and disappearances of grim reaper and zombie like figures in the middle of scenes certainly add something, even if slightly, to the piece.

The second half perhaps doesn’t click as well as the first, which perhaps feels slightly less forced at times than a handful of moments in the latter half of the piece. However, the short run-time – 53 minutes, including the intro, outro and credits – does help avoid this from being a major distracting factor. Perhaps the novelty that the film was considered lost for almost 50 years, after being rejected, does help The Amusement Park along. But, for what it does provide and the Romero-tinged points it has to make in its volunteering encouragement stance there’s enough to keep you interest within this somewhat unconventional public information film.

It might loose itself a bit in the second half, but for the most part The Amusement Park has enough absurdist public information points to keep you interested, mostly thanks to the hints of Romero’s style.

Cert – 15, Run-time – 1 hour 18 minutes, Director – Emma Seligman

While attending a shiva college student Danielle (Rachel Sennott) finds herself encountering many awkward interactions, including with her ex-girlfriend (Molly Gordon) and sugar daddy (Danny Deferrari).

Out of all places where you’d least want awkward, pressured into a corner, interactions a post-funeral gathering is perhaps towards the top of the list. It’s just the place where money-tight college student Danielle (Rachel Sennott) experiences almost every kind of social disaster possible. Her anxiety skyrockets, as does that of the audience, over the course of a tense 78 minutes as she encounters not just her ex-girlfriend, Maya (Molly Gordon) and her sugar daddy Max (Danny Deferrari), but every unnameable friend and family member possible. All of the latter asking her if she’s lost weight and is eating enough, while saying that she appears to have gained weight as soon as she’s walked off.

Writer-director Emma Seligman’s feature debut – adapted from her short film of the same name – plays out in what feels like real-time. This style heightens the anxiety and tension that rises throughout the short run-time of the piece and truly places you in the shoes of the suffering central figure as she tries to weave her way through the event with as little trouble, mix-ups and identity reveals as possible. None of which is helped by her parents (Fred Melamed, Polly Draper) who want to tell everyone about how well their daughter’s doing at college, which Max doesn’t know she attends. In tandem Danielle is unaware of Max’s business-minded wife, Kim (Dianna Agron), or the fact that the couple have a child together. Seligman manages to mix humour into the proceedings while also allowing for the awkwardness to come through at the same time, hand in hand with tension. A cocktail of effects that all have an impact on the viewer and never get in the way of each other.

Seligman’s fluid and clearly structured narrative is brought further to life by the fine performances that line it. All characters largely present in the cramped environment of a small front room. Sennott in particular, in the lead role, perfectly captures and gets across the internal panic and fear of her character as she fails to avoid conversation and all manner of awkward encounters. Ariel Marx’s score adds to this with rising strings that feel as if they’ve been taken directly from a horror movie. Truly adding to the piece and putting you near the edge of your seat with tension and anticipation, wanting to see how the unpredictable set of circumstances will pan out.

The build-up suggests that it could end any way, although mostly perhaps that it won’t end well for a number of characters with the amount of secrets that some are hiding, painfully discovered by others at various points throughout – the slight feud between Danielle and Molly turns into a battle with known secrets as weaponry. There’s not one moment or scene where full advantage is not taken to increase the heaped tension and humour that the film raises, alongside advancing characters with something to do that helps to advance the narrative, or rather dizzying awkwardness that the central figure is plunged further into.

Despite the tension and anxiety that runs thickly throughout Shiva Baby is still a hugely enjoyable watch. All elements come together to create a fine, entertaining blend that forces the viewer to take a centre seat in-front of the crowd of gathered mourners and gossipers. It’s far from the drama of something like Uncut Gems, but equal levels of tension are mixed in with the film’s finely tuned humour, boosted by an excellent ensemble cast and stirring score. There’s a lot to like with the anxiety-based endurance test that is Shiva Baby. Luckily it’s a brilliantly made debut feature and keeps you entertained rather than cringing over the course of the gripping, fast-flowing 78 minute run-time.

The real time feel is just the tip of the iceberg when it comes to the anxious tension that flows thick throughout Shiva Baby. Luckily, there’s plenty of effective humour in Emma Seligman’s excellent debut feature, brought further to life by a great ensemble cast.