Cert – 12, Run-time – 2 hours 31 minutes, Director – Patty Jenkins

Diana Prince (Gal Gadot) secretly acts as Wonder Woman, stopping or preventing small crimes, however she has to use all her power to stop business-owner Maxwell Lord (Pedro Pascal) from gaining world-threatening power.

Is Wonder Woman here to save 2020? Perhaps. However, the person more responsible for having cinemas backs may potentially be Patty Jenkins. Having initially fought for a summer release spot for her sequel to 2017’s Wonder Woman, facing multiple delays of almost over a year since the initial release date, Jenkins ended up fighting for a proper cinema release – with a simultaneous theatrical release and opportunity to stream on HBO Max available in the States. Her plan is clearly set out in Wonder Woman 1984, a film that tries to show traditional hope through heroism. Perhaps its how heavily the film is infused with it’s 80’s setting but there’s a feeling of Christopher Reeve Superman films that. In one of the opening scenes we see the leaping figure of Gal Gadot’s Wonder Woman stopping a theft in a shopping mall, alongside other accidents in the nearby street. Her stances are clearly set out, rolling her eyes as she disapprovingly states “I hate guns”. Yet, all of this happens while her alter-ego Diana Prince lives an almost happy quiet life.

A quiet life which is soon interrupted when struggling business owner Maxwell Lord (Pedro Pascal) finds a way to vastly increase his power, to a world-threatening degree after having a wish-granting stone fall into his possession. Pascal is having great fun throughout the film, truly capturing the classic-superhero-flick honouring villain he’s portraying. In fact, it seems as if the entire cast is having fun being a part of this feature, however perhaps the person most people were looking forward to seeing is Kristen Wiig’s Barbara Minerva. Initially a shy, nerdy Smithsonian worker over the course of the film she gains a dark confidence that flips her initial friendship with Diana to a selfish antagonism on her side. This kind of role is something different for Wiig and she pulls it off well, especially during the earlier changes of her character.

With all this going on plot-wise there’s still room found to explore Diana’s relationship with Steve Trevor (Chris Pine), somehow making an unaged return, despite his arc in the previous film set during World War One. While the arrival of Pine’s pilot does bring in some comedic attempts – some more successful than others – the focus is certainly shifted to his bond with Gadot’s Amazonian warrior. Taking away from her trying to investigate and track down Pascal’s increasingly powerful threat before his parallel madness leads the world to destroy itself, and even the development of Wiig’s sometimes sidelined figure. At one point the pair are meant to be rushing somewhere as fast as possible to avoid life threatening consequences and yet they take a moment to slow down and admire conveniently placed 4th July fireworks. It almost feels at times as if the film is nearing being put on pause to show something different, or as if a sub-plot to show Diana’s emotional pain takes major priority over the potential end of the earth, instead of being more woven into it. While she may feel in such a way the impact on the audience is unfortunately not quite the same.

At 2 and a half hours this is a long film. Partly because it frequently tells and repeats information instead of simply showing it, meaning that when action does kick in it sometimes takes a second or two to properly realise it in the later stages of the film. There are certainly third act issues, feeling somewhat more like a conventional/ mid-2000’s superhero flick than the rest of the film, as was the case with the first Wonder Woman feature, which at just over 2 hours and 20 minutes felt somewhat lengthy. This isn’t to say the action is bad. There are certainly a number of thrills to be found within this film – particularly in a number of close-combat fights and a particularly brilliant car chase sequence; which is excellently captured by Jenkins direction.

Yet, despite its slight flaws, this is ultimately a film or hope and heroism. A respectful look back to the classic Superman films that shaped many childhoods. Those which inspired a generation. And this Wonder Woman may likely have the same effect on a new generation. The character is very much still DC’s guiding light, thanks to the collaborative force of Gadot and Jenkins who have worked hard to create a character that people can be proud of. Strong yet not without their flaws, sometimes becoming a key focus over the narrative of defeating evil, and one who shows emotion – rarely do we see a hero actually display sorrow, loss or upset in a way that isn’t anger or revenge.

Wonder Woman continues to be something different amongst DC’s current catalogue, and a number of recent increasingly large-scale features from other studios. Venturing into new bright and hopeful reaches, while managing to capture the unmistakable feeling of classic 80’s grit-free heroism throughout, not just through the setting, but the style and character of the piece too. Don’t go for a huge superhero blockbuster with insane budgets, epic fight scenes and masses of visual effects, go for a true big-screen tale of good overcoming evil.

At times more Lester than Donner this is a well-told tale of good vs evil. There are some sidetracks that choose to tell rather than show, but this is still an enjoyable and mould-breaking flick. Holding well-captured action and most of all a character of hope powered by a united force, led by the passion of Jenkins and Gadot.

Cert – 12, Run-time – 2 hours 12 minutes, Director – Ryan Murphy

A group of struggling Broadway performers (Meryl Streep, James Corden, Nicole Kidman, Andrew Rannells) team up to better their image by helping a young girl (Jo Ellen Pellman) excluded from her prom because of her sexuality

The movie musical has very much made a full comeback over the last decade or so, however nothing has been quite like The Prom. Based on the Tony nominated musical of the same name this is an energetic, glitter-filled dance mob, spontaneous musical number belting MUUUUUSSSSIIIICAAAALLL! One where, to quote one of the film’s songs, it truly does “give it some zazz”. This is a film about struggling Broadway actors, whether pushed back to the chorus, struggling to get work or simply starring in successive flops the four central figures core problem is that their narcissistic personalities have got in the way of their careers. Therefore they search for causes they can get behind to make it seem like they care, to boost life back into their public personas. After browsing Twitter the quartet discover a story about high school student Emma (Jo Ellen Pellman), who has been excluded from her prom by the PTA because of her sexuality. ‘Outraged’ by this the group travel from Broadway heights and lights to rural Indiana, where the hotels don’t even have spas.

For much of the duration the one joke is the fact that these characters only think of themselves and their believed high-lives – Meryl Streep’s Dee Dee Allen shows off her two Tony awards in the hope of securing a non-existent hotel suite. It wears thin at times but there are still one or two laughs to be found along the way. This single gag even takes up some of the earlier songs in the film, including one called It’s Not About Me. And yet, amongst it all there’s something rather enjoyable about a number of the musical numbers. Overdone, overpowered and overflowing with lights, colour, glitter and dance it’s very much a direct Broadway adaptation – although featuring some added elements and camera movements/ trickery to warrant the film format. For the most part it’s some of the musical numbers where the feeling of ‘this almost feels like a stage recording’ is in play.

It does feel as if not much has been cut out from the original stage productions. At 2 hours and 12 minutes the film does feel somewhat lengthy. Particularly as the songs die down and the plot comes more into play in the second half the run-time begins to show. Other characters, aside from James Corden’s Barry Glickman – (proudly describing himself as “as gay as a bucket of wigs – A bucket of them!” – while Corden does seem miscast, and his labelled ‘gayface’ has come under fire, although having been defended by castmate Andrew Rannells, begin to get more screen-time during this period as Corden appears to act as the ringleader for much of the run-time. And yet, the film tries to keep in frame, as much as possible, the character of Emma; who simply wants to be able to take her girlfriend, Alyssa (Ariana DeBose) – who hasn’t yet come out – to the prom. However, Alyssa’s Mum (Kerry Washington) is the head of the PTA, who said that all dates must be of the opposite sex, coming up with multiple rules simply to prevent Emma from being at the prom.

While the Broadway stars belt out powerful energetic numbers Emma and Alyssa’s songs are much more reigned in. Not quite ballads but gentler personal songs to themselves and each other. Revealing themselves instead of powerfully trying to better their own image for those around them. You feel their connection and it simply boosts the overall traditional musical feel of the film. Not just this, but it also provides good breaks from the heaps of exuberance in all other scenes of the film – which if held throughout could potentially become tiring, especially with the run-time that the film holds. However, for what it does do, despite seeming a bit long, there are some great moments of energy within this full-on Broadway musical. It spreads an infectious smile and you can’t help but go along with it, being amused by the actions of these characters who are so obsessed with themselves that at times the only possible joke is just how out of place they seem in this small town in Indiana. Yet, with that are some good chuckles and laughs and enough to make for an entertaining song-belting prom that eventually gets round to celebrating people recognising each other and coming together.

Powered with energy and a cast that truly can belt out a numbers of songs The Prom isn’t without its more refined moments, saving it from feeling a bit too much during its rather lengthy run-time.

Cert – 15, Run-time – 56 minutes, Director – Rob Savage

A group of friends find themselves attacked by angered spirits when a Zoom séance goes wrong.

It’s undeniable that at some point a horde of films are going to drop relating to lockdown and the pandemic – Ben Wheatley is already preparing to release one. Host – the directorial debut of Rob Savage – was one of the first to drop earlier this year on streaming platform Shudder, becoming a quick hit it now finds itself with a cinema release – plus pre-recorded Q&A, due to the short run-time. Taking a similar line to the likes of 2015’s Unfriended all the action takes place on a screen, throughout the border of a Zoom call surrounds the frame. What starts off as an amusing night for a group of friends soon turns into terror as they find themselves attacked by angered spirits.

It’s impressive that the practical effects of the film were all setup by the cast in their individual homes during a pandemic. But, more impressive is the fact that they’re genuinely scary. As the film goes along the spirits that attack – due to one member of the group lying about a ghost communicating with them – seemingly get more and more enraged. Tormenting the central group. Through jump scares, tension and the occasional haunting Zoom filter and background the piece becomes more and more intense as it goes on. 

You feel the genuine fear and tension of the girls, all relatively new actors who give great performances, who initially just wanted to have a fun evening and instead find themselves fighting for their lives restricted to their homes. While only 56 minutes long Savage wastes no time when the horror properly kicks in. This is a rare film where you’re left wincing, hiding behind your hands, you won’t trust anything close to you afterwards, in terror at what might happen next. Meanwhile, at other points you find your eyes glued to the screen in pure, seat-clutching fright.

You know jump scares are coming yet they’re still effective. Otherwise the film subverts expectations, with a bigger impact from somewhere else. All acts become a worst case scenario as you too feel trapped and helpless, trapped on the screen of a Zoom call. A feeling pushed even further by Savage’s finely tuned pacing, never missing a beat throughout. Add to the mix a fairly realistic feel, the film plays out in real-time, and a bit of humour at the start as the film settles itself in and it feels uncomfortably genuine. Boosting the scare factor and making for the scariest film of 2020, and a strong contender for one of the best of the year.

Savage turned this film in, from short film to finished product, in 12 weeks. 12 weeks to make a film that has all the marks of a finely crafted, carefully thought-through, layered horror. It’s tense, terrifying and will leave you wary of everything around you long after the credits, which have their own unsettling feel, are over. 

Cert – 12, Run-time – 2 hours 11 minutes, Director – David Fincher

Alcoholic screenwriter, Herman J. Mankiewicz (Gary Oldman) finds himself bedbound with 60 days to write a screenplay for Orson Welles (Tom Burke), which would go on to become Citizen Kane.

“He likes the way you talk, not the way you write, the way you talk!” Herman J. Mankiewicz (Gary Oldman) finds himself being shouted at late in David Fincher’s Hollywood throwback Mank. He’s a charismatic screenwriter jumping through the studio system of the 30’s and 40’s with a wry wit. Fincher’s film, written by his late-father Jack Fincher, is about words and the relationships and reputations that they can form or destroy. Through elections, scripts and disagreements with studio executives there’s a lot to unpack within Mank.

The core of the film sees a bedbound Herman – with a broken leg as a result of a car accident – with 60 days to write a screenplay for a 24 year old Orson Welles (Tom Burke), who has just been given free reign over a motion picture project of his creation by RKO Pictures. A film that would turn out to be Citizen Kane. Oldman’s drunken writer dictates his screenplay to Lily Collins’ Rita Alexander as his past, which inspires much of what would become what many regard as the greatest film ever made. The narrative taking a form much like Kane in that it jumps back and forth to flashbacks and back – typewriter text spelling out when and where we are at each point. While becoming a part of the heap of bedsheets he’s a part of a sea of partially crumpled paper surrounds the central figure as gradually realises that he’s writing something more like an opera than a standard feature film.

While perhaps a bit too long, and certainly rather jumpy with its flashes back and forth in time, there’s plenty to like about the detail of this piece. No expense has been spared on creating an authentic look and feel – even a black dot appears in the corner at the end of some scenes as is the case with a number of old prints of films when the reel had to be changed. However, it’s Oldman’s fantastic central performance that acts as the biggest connection to the viewer. Oldman initially suggested to Fincher that he should wear heavy make-up to make himself look more like Mankiewicz, however Fincher decided against this in the hope of showing a more personal, human story – allowing for a greater connection with the protagonist. Thanks not only to Oldman’s brilliant lead performance but by those of the supporting cast too – including the likes of Amanda Seyfried, Charles Dance and Tuppence Middleton, all capturing the flair and feel of the workings of a classic Hollywood studio system.

As Mank clashes with the studio executives of MGM and Paramount, and battles with Welles and John Houseman (Sam Troughton) about his screenplay. While feeling a bit long around the 100 minutes mark there’s enough in the detail to enjoy – especially within the performances – within this ode to classic Hollywood, even if a number of elements aren’t quite shown in a good light, and perhaps a personal one from a son honouring the work of his father – this has been in the works in some form or another since the late-90’s. Yet, even with the grand style and feel of the piece – all finely tuned and crafted for the best possible effect – the thing that works the most is the way that the film uses language. Whether for argument, reason, humour or persuasion the clever use of words is impressive. Some moments may be more entertaining than others, particularly punchier walking-talking scenes – backed by Trent Reznor and Atticus Ross’ fantastic score – but there’s certainly enough coming through David Fincher’s vision to make this a large-scale tale of classic Hollywood filled with the ins and outs of the studio system that all led to Citizen Kane.

While its jumpy nature pushes the feeling of the run-time, Mank delights in the words of its screenplay. Brought to life by an array of great performances, especially Oldman – likely to be in Oscar contention – this is a (if sometimes overly-) detailed piece that takes delight in the world of classic Hollywood.

Cert – 15, Run-time – 1 hour 55 minutes, Director – Yeon Sang-ho

A group of survivors are sent back to a zombie infested South Korea to find a truck holding $20 million in cash

For my money the opening to 28 Weeks Later is one of the greatest film openings ever. Robert Carlyle furiously runs away from a zombie attack in a countryside house, leaving his wife behind to be overcome by the infected. The score swells with rising tension, getting louder and louder, as do the sounds of the hoard of attacking undead. It’s tense, emotional and deeply unsettling, if not terrifying. There’s a feeling in the opening scenes of Train To Busan Presents: Peninsula – the sequel to 2016’s fast-paced horror hit – that a similar emotional punch is being aimed for. Soldier Jung Seok (Gang Dong-won) watches his sister and nephew become infected when it turns out that a safety ship out of South Korea is carrying a man who turns into a zombie on the way to hopeful freedom from the devastating outbreak that got out of control within hours.

Set four years after the events of the first film this is a loose sequel – likely the reason behind the decision to simply put “Presents” in the title instead of calling the film Train To Busan 2. The only major links are the fact that the initial infection is that the action mostly happens in Korea and Busan is mentioned once or twice. Instead of fast-paced zombie attacks we’re introduced to an almost post-apocalyptic world, like Mad Max with zombies. Gangs have been formed, some for survival, others for entertainment. The various members of the central group – including Jung Seok and his brother-in-law Chul-min (Kim Do-yoon) – are sent back to South Korea, by a gang in Hong Kong, where they have been in safety since the infected struck, to find a truck holding $20 million in cash.

However, the group quickly find themselves either split up or killed. Jung Seok is taken in by a family who have managed to survive on the streets while trying to find some form of radio help out of the country. Meanwhile Chul-min is captured and entered into various trials where he faces off with other victims in battles against the undead. Initially starting out as a heist film before changing into something more of the survival and then action genre the horror tone isn’t quite there – distancing this more from the original. And this isn’t necessarily a bad thing. Where the film does fall in this respect is the fact that its jumping between characters, locations and ideas makes it feel rather clustered. As if there were so many ideas thrown around at a meeting that the writers (returning director Yeon Sang-ho and solo-writer of the first film Park Joo-suk) decided to go with multiple instead of one or two direct potential narrative points. Because of this jumping back and forth the film does occasionally feel as if it stops, or takes a step back every now and then to reacquaint the viewer with certain films. Add to the mix the more westernised feel to the film – there’s certainly a fair deal more speaking of English during a handful of patches over the course of run-time.

Yet, despite this there are still some decent moments of action throughout the film. The CG featured in a number of scenes – particularly in the extended finale/s, none of which quite hit the emotional punch that the film aims to copy from the original – isn’t best, but it doesn’t completely distract from what’s happening in the scene. Tension certainly isn’t there, and there is something a bit basic about the more traditional apocalypse survival feel to some moments, but there’s still a mild entertainment factor. Despite the stammers, the pauses and the varying tones throughout there are some interesting points throughout – especially within the gang underworld and the various trials they put people through. It’s all a bit Mad Max at times, but there are points that just about click and work amongst the faults and flaws. Just about enough to keep the film’s head above the zombie swarm and keep the interest of the viewer for enough of the share of the run-time to make this worthwhile. And who knows, this could be a film that improves on re-watches. It feels like it has the potential to. But for a first viewing, it’s good enough – even if it does try to cater to audiences it might not have aimed towards the first time around, although this is a very different film overall.

Less express bullet train more traditional steam train that needs to occasionally stop for fuel and water. Different and a bit jumpy, but not without its moments.

Cert – 12, Run time – 1 hour 42 minutes, Director – Clea DuVall

Abby (Kristen Stewart) is visiting her girlfriend Harper’s (Mackenzie Davis) family for Christmas. However, Harper’s family don’t know that she’s gay.

Nerves often rise when it comes to meeting a partner’s parents. However, for Abby (Kristen Stewart) her nerves stem from somewhere else. Initially she’s calm and relaxed when her girlfriend Harper (Mackenzie Davis) invites her round for Christmas, to prevent her from spending it alone. However, on the journey to her family’s large, quiet home Harper reveals that her parents don’t know that she’s gay, and she doesn’t plan on telling them for a few more days. Her father (Victor Garber) is running for mayor, and any alleged rifts or controversies within his family could damage his campaign, especially at this festive time of year when everyone’s meant to be united. This family’s unity is something that all should witness, as his wife (Mary Steenburgen) seems to live by, documenting everything on Instagram; frustrated that she can’t get the perfect family photo.

The family, while trying to look perfect at various festive gatherings, seems far from it. They’re each distanced with their individual secrets and behaviours. Alison Brie’s Sloane tries to show her perfect family lifestyle and business success, but is often told by her parents to simply stand to the side and mingle. Meanwhile other sister Jane (Mary Holland – who also acts as co-writer with director Clea DuVall) allows her mind and energetic nature to often carry her away – when she’s not working on an extensive fantasy novel, often telling others of the various layers and details which it holds, making for a rather amusing running joke. Jane feels almost excluded from the rest of the family and simply wants to get some form of attention, or rather recognition; especially with more people in the house for Christmas this year. What is meant to be the happiest season turns out to be a rather stressful one of twists and secrets for everyone.

Harper and Abby’s relationship is tested as they try to keep it a secret, Abby herself living on a lie of being straight. However, things truly heat-up when ex-boyfriend Connor (Jake McDorman) arrives on the scene, still with feelings for Harper; which her parents support, thinking that they’re relationship would be good for the campaign and general look of the family to potential voters. Throw in the figure of Riley (Aubrey Plaza), someone clearly key to Harper’s past, although the relationship of which is ambiguous to Abby, and there’s a swirling pot of potential rifts and clashes. Throughout the film Stewart’s protagonist becomes increasingly uncomfortable with hiding herself, and seeing her partner do the same thing. She was planning on proposing on Christmas Day, but with her plans thrown into the air, and at times thrown aside as the people she was invited to spend the festive season with seem to be more concerned with publicity than anything else.

As this happens Riley becomes more of a recurring presence, Abby bumping into her in the street while shopping and simply spending the evening with her. There’s good chemistry between them, however you still feel the strong central relationship of Stewart and Davis which truly sells the piece. Even as the opening credits depict various different holiday scenes and their relationship growing through Christmas card style drawings you’re set up and ready to go, believing the authenticity of this relationship. From there the film settles you in, assuring you that there is a good time to be had over the next 100 minutes or so. There are a couple of chuckles along the way, never really at the expense of any of the characters or the situations that they find themselves in, and it wraps up rather nicely. Admittedly, some elements of the narrative do feel somewhat predictable, or at least as if you can roughly guess where they’re going, but for the most part that doesn’t get in the way of your enjoyment of the film. Hooking you early on with the central relationship, brought to life by two enjoyable central performances, and introducing you to an equally good supporting cast. Relationships and chemistry click, allowing for the laughs to be brought in and by the end it’s all been a rather good Christmas rom-com.

There are some points where you feel you know where Happiest Season is going, but there are also some pleasant surprises along the way. The central relationship clicks and works, bringing you in for an enjoyable time with some equally engaging supporting characters for a nice, mild festive feature.

Release Date – 4th December 2020, Cert – 12, Run-time – 1 hour 41 minutes, Director – Ryan Hendrick

Two strangers (Natalie Clark, Kenny Boyle), after breaking up in their relationships on Christmas Eve, find themselves stranded, miles away from home, in the Scottish Highlands.

There’s a point in Lost At Christmas where Frazer Hines’ character describes himself and Sylvester McCoy’s as “two rowdy old b*ggers, giving it loudly until we kick the bucket dancing”. They spend their Christmas sipping glass after glass of whiskey in the warmth of a hotel bar in a small town in the Scottish Highlands. This seems like almost luxury compared to the situation that Jen (Natalie Clark) and Rob (Kenny Boyle) find themselves. Not only have they found themselves spending Christmas alone – Jen has found out that her boyfriend is married, while Rob’s proposal to his partner is publicly rejected, not for the first time – but the two are stranded in the thickening snow of the mountainous Highlands. It’s Christmas Eve, in the middle of the afternoon, the snow has stopped all transport, which means they can’t both get back to Glasgow, and so somehow they set-off together in the hope of getting home for Christmas, even if they will be spending it alone.

With Jen’s belief that all men are “b*stards”, and Rob getting increasingly frustrated at her otherwise festive attitude – she dons an elf costume and multiple Christmas themed bags for a lot of their journey, quoting various Christmas songs; after all ’tis the season – the pair clash to say the least. Based on director and co-writer (with Clare Sheppard) Ryan Hendrick’s 2015 short film Perfect Strangers, apparently the initial title for the feature adaptation, the film travels along lines suggested by this title. You can roughly tell where this relationship is going to go, however for a number of scenes there’s a feeling that the film is aware of its clichés, even if this feeling does seem to fade away as it goes along.

They find themselves in a small, almost deserted hotel in the middle of nowhere, and in the opposite direction to which they need to go. Aside from the stressed-out manager (Sanjeev Kohli), the regulars (McCoy and Hines) everyone appears to be present to simply escape the festive season – to the dismay of Jen. We get to know one or two of these characters as the two leads interact with each one over an extended period of time. It’s in the bar/ restaurant area of the hotel where we seem to spend most of the film’s run-time, it’s also where most of the run-time is built up. Through the various interactions, the delays in the main conversation and each event a lot almost seems to be present to push the film beyond the 90 minute mark. It slows the pacing and while not everything is unwatchable or bland it certainly doesn’t all quite click as well as the film does beforehand.

When it comes to the chuckles that this Christmas rom-com produces there aren’t a great deal, one or two mild exhales of amusement throughout – one particularly at the sound of an entire crowd roaring with laughter when a taxi company is told that Jen and Rob want to get to Glasgow on Christmas Eve. But, the film certainly isn’t bad for the most part. The supporting cast, particularly Hines, McCoy and Kholi, help to bring in some of the amusement and push the piece along a bit – even if some exchanges seem to be a bit too long, and there simply to add a sense of people coming together at Christmas. It’s this that appears to push the length of the film a bit more. Much like the two central figures have to start with this is a bit of a stagger, there are moments and it’s certainly something you can appreciate, and for the most part it’s pretty good, however there are moments where the film feels slightly lost and a bit too long that hold it back – particularly towards the end – from being truly enjoyable.

There are plenty of good moments within Lost At Christmas, and it’s not really a bad film, it’ll likely find an audience. However, its flaws do show, including its run-time and extended ideas and scenes, particularly around the film’s midpoint.