feyipuk Reviews

Kung Fu Panda 4 (2024)

Kicking butt and taking names, and this film sadly lacks names

[6/10 · 30 March 2024]

Before the film begins, you have the boy in the moon animation for Dreamworks. Shrek, Madagascar, How To Train Your Dragon, The Croods, etc, reminding you of the pedigree this studio has. KFP4 keeps the same animated wonder of the previous films, the thumping sound track (I've had the film version of Crazy Train on my commute soundtrack for weeks) but - possibly due to the strikes in Hollywood - lacked the heart the last films had with it's casting, leaving Po a lot more isolated than integrated.

He's now been the great Dragon Warrior for 16 years, yet they still have him asking why, and rather than developing him, they have him developing others. He can kick butt, he has the staff from KFP3 (as seen in the posters), yet what else has he taken from the other outings ?

The quest - cos there's always a quest - is a telegraphed setup for the final reveal, that gave me Zootopia vibes, not helped by Po's walking partner being a sneaky fox.

The main villain is a sorceress chameleon, capable of great change on the outside, but seemingly not so much on the inside, which never really gets unpacked. Is it all just for show? She can become whomever she wants, sound like them, yet isn't them. The first two films had villain motivation front and centre, this needs more walking to find.

We watched the action in 4DX. The extra meta was fun; you get tossed around in the fight and chase scenes, you get wet in the water scenes and the puffs of air as things fly past, yet compared to Elementals, it lacks the subtly in scenes; at times being a Panda to the face.

One big take away; my kids really want to see Shifus back story. Maybe a break from the Panda could get the world back in line.

The Marvels (2023)

Colourful emotions to try and develop past stories and introduce new ones.

[6/10 · 21 February 2024]

One of the best aspects of the MCU has been its consistency in world building storylines that linked all the characters together; you don't need to spend time in a new film or show explaining something that viewers have seen in an older film or show.

This also means if viewers haven't seen those other stories they might be a bit lost about certain details that have been covered elsewhere, but also the writers of those characters need to be more aware of what those characters have done before.

The Marvels is a fun film - reuniting the two Captains, adding Kamala and her family, throw in some Freaky Friday shenanigans, old scores that need settling and, of course, a Flerkin - bundled up with bright shiny graphics (watching other recent productions - Percy Jackson - dark and moody is great, but actually seeing the action is so much better) and a thumping sound track.

The tone just undermines the other MCU, notably Secret Invasion, stories. Captain Marvel is a sentient Infinity Stone and needs the other two to be rounded, yet despite her contact with Nick Fury, she doesn't seem aware about the outcome of that show, but needs this film to deal with her past. Captain Rambeau is still working on her powers, her own personal grief, and much of the film involves Kamala trying to come up with a super hero name for her. The bad Kree in this film seems like a perfect creation from the original Captain Marvel film, who would seem like someone who would have monitored the aspects of Secret Invasion, and has both the power and motivation to create major chaos, yet her actions seem more full of holes than her means of destruction. And Nick Fury, enjoying life in the stars aboard SABER, who was a main character in Secret Invasion, is also a lot more jovial here; maybe because less beings are shooting at him, maybe because his wife has gone back to earth to carry on her work.

Those factors aside, having watched the Ms Marvel series - notably all Kamalas rejected ideas for her AvengerCon costumes in episode one - I did laugh at the ocean planet scene where they had Captain Marvel in one of those situations.

And that feels like The Marvels reason for being; to help Kamala become part of the main Avengers line up. The Endgame team have pretty well gone (Falcon is set to appear in his own Captain America film next year) and the writers are moving on with new teams. The post credit scene is a huge setup for the next phase.

If you've watched all the other MCU stories, you'll watch this just so you're not lost when the next ones come out. If you haven't, then just enjoy the popcorn moments.

Percy Jackson and the Olympians (2023– )

Wish they'd given the master bolt to who ever was lighting this

[2/10 · 7 February 2024]

The minotaur in the room is adapting a book to the screen is never going to result in the same feelings for those who read the books. An author could pour pages into description, dialogue and character development that just would get lost on the screen. Yes, it's odd that having described Annabeth and the other daughters of Athena as having blonde hair and grey eyes, the show has gone a different direction, that doesn't take away from how well the Leah Jeffries handles the smart girl part. What is annoying is that the episodes are so short you don't get much of chance to see her being that smart, which considering how much source material they have to go on, is a waste.

And not being able to see is my biggest bug with the series. They've used StageCraft by Industrial Light & Magic, a set of high definition video walls arranged 360 degrees around the actors, rather than using green screen. Rick Riordan even said "The story of Percy Jackson has such an epic scope. I am over the moon that we have forged such a great relationship (with ILM) to give this show such a cutting-edge look and feel." And yet many of the scenes are so dark and flat, it was impossible to see any epicness going on when watching on a tv or computer monitor. Fortunately we have a projector, otherwise we would have given up a lot sooner. I get that this technology enables them to keep the budget in line - I doubt Argus the hundred eyed will be making an appearance in any following series - but each episode still cost $15 million and is skipping along so fast we found ourselves rewinding to figure out what was going on. Rather than building up Percy (Walker Scobell) and having him explore those weird powers he's had but not understand, it's a constant run from one action scene to another, interspaced with dull, drawn out talking scenes, that loses the pace of Percy.

I'd hoped to see more of Jason Mantzoukas and Glynn Turman, yet as it is, if I was Mr D here, I'd be calling Mr Jackson by a different name too.

Nandor Fodor and the Talking Mongoose (2023)

Seeing what you believe

[5/10 · 13 November 2023]

Having driven through Dalby on the way to Niarbyl beach (famous from Waking Ned), I've heard the story of the Dalby Spook and it's unproven nature a few times. An island that has a bus announcement when you go over the Fairy Bridge, and many other folklores, a talking mongoose believed to be a spirit by the family of comeovers and a few of the locals. It did seem strange that it's filmed in Yorkshire - Simon Pegg and Minnie Driver sat on a little motor launch getting to the island as though they're crossing Malham Tarn - though the lighting and set design is impeccable, with some of the in house shots having theatre like quality.

The cast is a tight knit group of well known actors. That they have Sir Ben Kingsleys son (yes, I'm sure that's how he wishes to be known), Edmund playing a none speaking part, while many of the critical lines are spoken - but not on screen - by comic book legend Neil Gaiman, is telling of how the story is laid out. It wasn't until the very end that I could see what Nandors intentions where. He starts the film in a tv studio, chain smoking, as he he's asked does he believe in ghosts, and his response is to say what he sees, which isn't what everyone else can see. And yet, when someone asks his assistant what she believes, she says Nandor has taught her to believe in science, what you can prove, etc.

Likewise, you have the Irving family, led by comedy stalwart Tim Downie. At no point do I find him serious. He has literally moved his family to another country, to start farming, encounters a talking mongoose that could well be real, but the way he's acting it could be his wife with a sock puppet and his daughter the ventriloquist. There seems no motivation to fool or know if they're being fooled. Throw in long time Eastenders actor, Gary Beadle whose beliefs are equally unknown, and if you're hoping for a Scooby Doo style adventure, then this isn't for you.

Sometimes the mystery is more entertaining than the solution.

The Lost King (2022)

A straight forward film about looking

[8/10 · 28 June 2023]

Based on the true archaeological mystery of where the remains of Richard III ended up, this is more a British Indiana Jones story; no whips and spike pits, the Nazis here are paper pushing bureaucrats, trying to derail Philippa Langley - Sally Hawkins - from her mission of rectifying what she's sees as a character assassination of Richard III and ultimately return him to his place in English history.

Hawkins does a good job, as the ME suffering lead; balancing a family with her divorced husband - a pretty restrained Steve Coogan - sharing parenting duties for their sons, while he also goes out on dates. Harry Lloyd is suitably regal as Richard III, while the members of the Richard III society act as a counter to the more straight laced achademics of Richard Buckley, RR Lawrence and John Ashdown-Hill.

The film makes a big deal about being judged. Her ME is a recognised disease. Richards Scoliosis (well, should that be Kyphosis?) is not a sign that he is evil, etc. Yet, the University of Leicester still had to put a "Setting the record straight" announcement about their real involvement in events, while the real Richard Taylor (Lee Ingleby) is considering legal action over how they made him look.

"No University of Leicester staff were interviewed for the film," said a spokesperson.

In a film that sets out how Richard III's image was ruined by Tudor propaganda, subsequently enshrined by Shakespeare, Mr Taylor sounds like he's been set up as a modern day Plantagenet king.

The Flash (I) (2023)

A good work out in 4DX

[6/10 · 28 June 2023]

I have been a fan of DC series since Arrow, but DC films have been really hit and miss. The series have long running story lines that develop a character, while the films (least the ones that stick in the mind) go back to their origins. We all know Batman lost his parents. Here, the Flash figures out one of his greatest powers; time travel and how he can use it to try and correct one of the biggest issues in his life.

The annoying part is, that while the TV series has Barry as a grown up CSI, Ezra Miller seems more like lost kid. Give him the long hair and he looks like Alan Rickman, but looks are the only thing. Having Derry Girls Saoirse-Monica Jackson as one of his work colleagues doesn't really make him any more grown up.

That does change the tone of the film. It's funny. From the roadside fans at the start, the hospital rescue, through to other scenes along the way, it's enjoyable on a MCU level. OK, the story is hokey, but the real kicker (literally) for me was watching it on a 4DX screen. The speed scenes where awesome, the fight scenes brutal and there is something to be said for flying scenes with wind and swooping.

Would I see I see it again at home; unlikely. The main attraction would probably be Michael Keyton reprising his role and all the little cameos (I laughed a bit too loud that the Bills afro cop, Karl Collins plays a lawyer) from other actors listed on here.

But if you can see it in 4DX, then do.

Inside Man (II) (2022)

Could this result in the biggest collective orgasm since Meghan met Oprah?

[2/10 · 17 May 2023]

I was expecting this to be a straight forward murder mystery, with the twist being the detective is stuck behind bars. But sadly it's not.

Janice (Dorothy Wells) is a maths tutor, who travels by train to teach Ben (Louis Oliver), the music festival loving son of Revd Watling (David Tennant) and his wife Mary (Lyndsey Marshal) at his house in the suburbs. Something she's seemingly done more than once. Based on the first scene of the series, I'd have thought she was going to be the main heroine in the series, rather than Beth Davenport (Lydia West), with some pretty "ballsy" work. Instead, the rest of the story is pretty contrived and cringe worthy. At one point Janice says she doesn't want anyone to make decisions in a hurry, and yet by that point it feels like everyone has already done plenty of that to get themselves somewhere that could have been avoided. Rather than keeping her as the smart thinking protagonist, she just ends up dragging the story down.

And running alongside this craziness is Jefferson Grieff (Stanley Tucci); a seemingly highly educated, crime professor, stuck on death row, yet with some arrangement with the warden to give him access to the outside world.

Yes, the cast is pretty stellar; David Tennant, Stanley Tucci, Dylan Baker. I spent the first episode trying to place Tilly Vosburgh (shows how long it's been since I watched Eastenders). While Dillon Kempton (Atkins Estimond) makes for a smiley compatriot to Tucci, allowing for some interesting conversations.

It's just a waste of their talents. I mean, for example, the title of this review is a line from the show!

If anything, this is as much a tale of a lack of social care. Of Edgar the verger, living at home with his controlling mum and the hell that he goes through without the help he needs. Of the other mysteries Jefferson Grieff deciphers from his cage. Of a sad, lonely, maths tutor. Who knows, they may make a second series. But let's not make decisions in a hurry.

The Super Mario Bros. Movie (2023)

More Easter Eggs than the whole of April, but could sound better

[8/10 · 17 April 2023]

As nostalgic filled fan service, this film ticks many boxes. There is a massive baskets worth of Easter Eggs to keep long time Mario fans happy; from the fact Mario wasn't always a plumber - Spike was the main antagonist in the classic NES game Wrecking Crew, and now appears as his former boss - to the Arwing fighter on his tv set, the long Mario Kart sequence, complete with Kart selection process and other visual treats.

For me, where it falls down is the sound. With so many recognisable Mario themes, they have peppered them through out the film; even including the Plumber Rap from the late 80's Super Mario Brothers Super Show. So why the need for the 80's power tunes? Looking at the movie soundtrack, there's a theme from Donkey Kong Country called "Driving Me Bananas", that would seem to make more sense for the monkey karting scene, but instead we have Ah-Ha, Take on Me, which seems more in keeping with the 80's dress of the ape, than with the in game feel.

Wider than that, I found it jarring listening to to the A list main cast playing such iconic characters. Bowser isn't the evil villain of countless malicious plots; it's Jack Black, and Jack Black can't be anyone but Jack Black. Generally that's a good thing, with his rampant energy and musical flair; his take on Gulliver's Travels makes it stand out. Here, it's absolutely no surprise to know the song "Peaches," - and the whole musical concept for Bowser - came from Black himself. The film's production notes didn't include Bowser's musical background in the first draft of the movie's script, and I can well believe he pushed that idea through after reading the script. I mean, for a film that has crammed so much Mario history in to a short period of time, it's kind of sad that what reviewers are calling the funniest part of the film is not based on the gaming back story, while other aspects of his life - like the Koopalings - don't appear at all. It also jars against the redirection of having Luigi be the kidnapped damsel in distress, while Princess Peach is more adept at running, jumping and stomping Koopas than Mario. You can't adbuct princesses because you love them, but a plot to try and melt her heart with song is fine.

A lot has been written about Crisp Ratt voicing Mario without his usual accent - with comparisons to the "Ugly Sonic" seen in the early Sonic The Hedgehog film - but with large parts of this film taking place in the real world, it makes the references, such as casting Charles Martinet as Marios dad, stand out more.

Lastly, it was poetic to advertise the new Teenage Mutant Ninja Turtles film, from "permanent teenager Seth Rogen", before the film, given that's pretty much the character he plays here. They've made Donkey Kong to be Cranky Kongs son, rather than grandson (ignoring Donkey Kong Jr); and he does come across as a petulant teen, out to stomp anyone in his way. Given Mario was Jumpman in Donkey Kong, before gaining his famous name in the subsequent Donkey Kong Jr, you could excuse that petulance towards the hero.

This is a standard video game to film adaption; seeming to pull out fan favourite features from the forty plus years of Mario and building a story around those bones.

First Blood (1982)

Good action that could have done with a little less cutting room activity

[8/10 · 26 February 2023]

When I started to watch this action classic, something seemed off. I get that as a Vietnam veteran, parts of America didn't like Rambo, and Sheriff Teasle makes a point that "You know, wearing that flag on that jacket, looking the way you do, you're asking for trouble around here, friend." He's more than just a vagrant, he's an overt symbol of something society didn't like. The rest of the film could be seen as what happens when a group of officious police push the wrong person and they push back. A seasoned professional, suffering with his own mental baggage, raging against symbols of a society that didn't give him the respect they should.

The film is heavy on action, and light on dialogue, and reports say the original film was actually over three hours and a complete train wreck, while the eventual ninety minute release started the action movie era. I think part of my issue; most of Stallones dialogue was cut. They have a brief scene regarding Teasles involvement in Korea, but otherwise all we get from him is disdain for a guy who needs a hair cut, his colleagues aren't used to much having anyone answer back (and tracking deer, not someone who shoots back) and even the national guard aren't shown in the best light.

A classic film that wouldn't be filmed in the same way today, with some recognisable faces (David Carusos red hair is noticeable, Bruce Greenwood is a bit more of a blink and miss him) at the starts of their film careers.

Die Hart (2020– )

Could be a Kevin James film

[4/10 · 26 February 2023]

Dwayne "The Rock" Johnson is a action super star, who can easily move between violence and humour. His physical size has been repeatedly used as a central joke; at six foot five, he's over a foot taller than Kevin Hart - Dwayne literally has Kevin in his lap in Central Intelligence - with the resentment between the two being a central part of their multiple films.

And this film is supposedly the result of Kevin constantly being cast as that side kick and needing to prove himself as more of an action lead, resulting in plenty of jokes at his expense, particularly coming from Travolta, as the hard assed action star coach in a role (reminiscent of Gabriel Shear in Swordfish). He puts Kevin through his paces so that he can land a role with famous director Claude Van Der Velde (Jean Reno).

But it feels like a sketch (or rather a series of sketches) stretched out into a film length series. The jokes are telegraphed and once you know the secret the story becomes even more predictable. The only head scratcher is what actually happened to Josh Hartnett, given the end of the film...

National Treasure: Edge of History (2022–2023)

Could have made a good film plot, but weekly format dilutes it

[6/10 · 25 February 2023]

A film has a flow; puzzles can be slowly unpicked over time, characters be in medium danger throughout, and ultimately there's a reveal.

Sadly, episodic series - like this - with film like story lines, suffer the same faults as each other; problems/obstacles/puzzles appear and are solved in one episode - "this puzzle has stumped academics for centuries, but you solved it in ten minutes" - main characters should regularly be in mortal danger and somehow escape without a scratch (if Scotty Evil from Austin Powers was on board, this would be a much shorter series), and each episode needs to move the plot forward a set amount while illuminating the characters lives too; the viewer may not remember minor childhood interactions, but remembering them is often the differences between life and death.

And this ticks all those boxes. The characters were engaging, though no where near as much as the talented Nicholas Cage. At times it was more Dora the Explorer meets Scooby Doo, with the modern MacGyver thrown in. The filming locations were suitably historic for each set piece, with the animation that's required for illuminating how the protagonists mind is unpicking the puzzles walking the viewers through each section and traps that make you wonder how did their creators built them in the first place. While on the other side, the bad girls and guys are so clueless at times you wonder how they got to be such global forces.

A decent enough series that will likely get renewed for a sequel.

Puss in Boots: The Last Wish (2022)

Other half preferred a shaven pussy

[7/10 · 4 February 2023]

Dreamworks have been delivering colourful, funny and insightful films for decades. Shrek, Dragons, Madagascar, and recently my kids have been enjoying the Puss In Boots series. Even at its darkest, it maintains that feeling of brightness.

Yet here, they seem to have missed a beat with the wolf. The anxiety levels of my youngest went up the first time he saw him and got worse through out.

The three bears and Goldi were probably better antagonists in this tale of finding what is your one wish, even if I was expecting Daddy Bear to start quoting me odds on reaching the end of the quest.

Burrito stole the show, particularly with his potty mouth and heart wrenching back story.

It's a much darker Shrek - blink and you'll miss him - story, with some good humour moments, some tear inducing moments and plenty of action scenes.

Just glad Puss's beard doesn't last.

Long Shot (2019)

Decent satirical romcom

[7/10 · 16 January 2023]

It's an age old romcom story of a relaxed slacker getting together to a straight laced high flier and how the former rubs off on the other, though here atleast the is a nice twist at the end.

I think my biggest issue with the film is that Seth Rogen is the central figure here. I mean, it's good to have the power relationship reversed, but when the film starts by giving you this news reel highlight of how amazing Charlize Therons politician character is, how she's kicking ass at the highest levels of the political sphere, she seems muted for most of the scenes, over shadowed by his presence. I get it's a romantic comedy, and there are some funny moments - particularly physical humour, with Rogen at the centre - but I wish stage five of the romcom (The Turning Point) came sooner and they could have spent more time on stage six (The Crisis) to deal with him and how they will balance their relationship.

The other characters are supporting players in the main two actors wake. Andy Serkis is practically unrecognisable as the slimy Parker Wembley, while Bob Odenkirk is suitably odious as the inept President Chambers.

With some beautiful locations and standard set pieces - you know just as soon as Charlize cuts loose there'll be a major emergency and she'll deal with it in a less uptight manner - it's a decent film, with feel good moments and a strong message about politics, environment and being true to yourself running through.

The Unbearable Weight of Massive Talent (2022)

This isn't Paddington 2, but still a master piece of story telling

[8/10 · 16 January 2023]

Nicholas Cage may have only one Oscar, but he has so many memorial roles through out his career (not to mention all his antics outside of acting) that makes him the perfect actor to be in this rollercoaster of a ride; a mix of over acting, action and homage to a legend.

Pedro Pascal makes a great buddy for Cage; he plays the giddy fanboy with the same wide eyed amazement that belays the more sinister turn that the film devolves into. It's more than just a clip show of old Cage films, though it seems he has been given freedom to be let off the leash, and while it seems an odd mix to cast Sharon Horgan as his wife given the amount of energy he brings to the screen, it would have been good if Sharon Horgan - playing his daughter - had had more screen time to work through the family issues. Adding Neil Patrick Harris to the equation as Cages agent also works, even if NPH is toned down too.

Spenser Confidential (2020)

For a comedy, it's short on laughs, heavy on action

[7/10 · 15 January 2023]

Netflix have this in their Comedy queue, alongside My Spy and Angry Birds 2, but with a description that says Spenser (Mark Wahlberg) is out to uncover a sinister conspiracy tied to the death of two police officers, it doesn't shout comedy. If it was Jackie Chan, then maybe it's strong visual humour, but while Wahlberg gets hit a lot, there's no humour to his fights. The suitably giant Winston Duke could be seen as comedic, while Alan Arkin is always good value, but with comparisons to Batman and Robin being mentioned, this is more Christian Bale than Adam West.

Featuring some good set piece action scenes, some decent continuity and a few graphic scenes that might not be my missus's cup of tea - she's a cat lover - it's a decent story, with interesting characters that could have legs for at least one sequel.

Triple Frontier (2019)

A very important message

[4/10 · 15 January 2023]

Santiago 'Pope' Garcia (Oscar Isaac) has been working to track a drug dealer for years, with little success. Deciding to take matters into his own hands, he recruits some old comrades - each with chequered pasts and reasons to go - to take him down and make some money in the process. Needless to say, the plan goes wrong and the team have to deal with the consequences.

With a well assembled group of expendables, and filmed around some beautiful South American locations, it ticks the boxes for a buddy crime caper. It's just that while we should like the main characters for their reasons, they lack the depth to show themselves more than set piece actors, as though in a video game; like getting shot in one scene and then being perfect in the next.

The part that got me the most was a lesson I've been trying to teach my kids: it's safer to make two or more trips than risk everything in one. My grandmother tried carrying too much up the stairs, lost her footing and ended up breaking her hip because her hands were too full to hold the handrail. Make a plan to put things down and then come back for them!

Glass Onion (2022)

Among us

[6/10 · 12 January 2023]

If I'd seen this in the cinema, I'd have probably missed quite a bit racking my brain for the easter eggs. Between the cameo appearances - I'm sure I recognise that off screen English accent in the scene we first see Benoit - deciding if the strange words Edward Norton uses are real/buzz words/some other underlying ruse, and trying to decipher some of the other obscure references, it was definitely useful to have a second screen handy to fill in some blanks (the first one can either be seen on IMDB or just wait till later in the film). And RIP to a couple of the cameos.

The end credits include the Beatles song Glass Onion (and also includes Blackbird), which must have cost them a lot to get to the rights too.

The acting talent on display is high, though the characters are not especially taxing for them. Bautista as an over confident, gun totting, bike riding, media influencer seems quite on the nose. As one of the co-founders of active wear Fabletics, you hope Kate Hudsons character isn't drawn too closely from herself. And with Kathryn Hahn set to reprise her role in the MCU as Agatha Harkness, here she lacks that devilish twinkle in her eye.

Ed Norton shows suitably hippy behaviour for an extravagant billionaire, though with his short hair cut and dress, there were times I was double taking if it was Tom Cruise up there. And Daniel Craig shows suitably campy brilliance as the highly observant detective in his loud clothing and impeccably tied scarves, though it is Janelle Monáe who possibly has the most changes in character, culminating in rather impressive composure involving a bottle of Jeremy Renners special sauce.

The setting is grand and cleverly contrived to fit the story, reminiscent of detective stories of old, with the Greek blue skies and seas amplifying the nature of the group. There are some flashy props that might get more screen time in a film with less star appeal, and ultimately could be seen too make the plot too contrived.

Not as good as the first film, but entertaining enough to enjoy to the big reveal.

Andor (2022– )

Joining a Rebellion isn't just for the ideological

[8/10 · 14 November 2022]

There's a shot in one of the middle episodes of series one where Andor is being flown towards a building surrounded by water, surrounded by other buildings of a similar design. They're pretty nondescript and functional.

Yet through out the screen time for that building, the shadow of the Empire looms large to the viewer, and Cassians motivations towards it (rather than directly at the Empire) are obvious; he just wants to survive.

Cassian isn't some ideological fighter - he's not engaging in light sabre duels with the Emperor or downing Tie Fighters - but his actions result in a more immersive Star Wars galaxy that can seem slow and monotonous at times, building to scenes punctuated with frenetic activity. As a prequal to one of the most famous cinematic plots, Cassian is really a pawn of the great games of state. Compared to the other Star Wars series and films - that focus more on Generals (like Skywalker and Obi Wan) - here most of the characters lead grubbier lives, eeking out an existence. We also get to see the ISB, the Imperial intelligence division, working through the overly bureaucratic world of keeping the Empire running and there differing approaches to that position. Yes, you do get to see Mon Mothma in her gilded Senators cage, but there isn't a huge amount of CPAN worthy content here.

The graphics are slick and not overly flashy, as befits the atmospheric appeal. The music moves the track along, and doesn't need the theatrical flourishes that it's more cinematic kin employ.

A good story that swishes its way through the Galaxy Far Far Away.

Interceptor (2022)

Cliches and tropes aplenty

[3/10 · 29 July 2022]

The opening blurb tells us America has two bases designated to stop inbound nuclear missiles from Russia. One is a military base in Alaska, no doubt guarded by plenty of heavily armed soldiers, plenty of security counter measures to stop people getting in and teams of backup in case of any problems. The other is a precarious floating rig, with a handful of missile batteries, that doesn't appear to have any defences or counter measures, and the nearest support is an hour away. From that set up, the bad guys we see in the film have really over complicated their plans. All they want to do is disable the interceptor rocket batteries, yet are stoic in following through their own plan, which is guarded by Captain J. J. Collins (Elsa Pataky), who is equally single minded in her objective, in the standard lone action hero way.

More bizarrely to all that, we have Chris Hemsworth providing comic interludes. Did the mildly simmering tension really need that?

Not really. The scenario is a claustrophobic set, resulting in intense and brutal fights, with basically the one goal that's in the title. Forget any notion of checking to see if the rest of the ships crew are alive (we told you we used nerve gas and shot them all, but maybe we didn't...), she has one mission and will carry it out. Tim Wong (who's also the films fight coordinator) as Zhang and Ingrid Kleinig (who's also the films second unit director) as Kira are most known for their stunt work, so it's no surprise that they are involved in some of the more physical acts. Steven A. Davis as Nikolai is also the films assistant fight coordinator, though he's not that active in fighting. Emotional support comes from Mayen Mehta as Corporal Rahul Shah playing the introverted subordinate soldier - a turtle owning family man - while Rhys Muldoon as Lieutenant Colonel Clark Marshall fills in the emotional back story about how the Captain has suffered in her career, with Belinda Jombwe as Ensign Washington giving a brief motivational speech . That seems to be the take away from the film; all the main characters feel/should feel wronged by the system, and it's how they deal with those feelings that separates which side their on.

The set is very minimal and the CGI reminiscent of 80's VHS stuff - it gets the story where it needs to go - while the soundtrack accents the vision; you can watch with subtitles and know something is going to happen by the "tense instrumental music".

IMDB also have Ali Kadhim as Dark Cloud (Japanese Sword Guy), yet he's not included in the films credits (and I don't remember him in the film). Maybe the producers thought that was one cliche too far?

A Day to Die (2022)

Too rushed to be good

[3/10 · 28 July 2022]

Open on a hostage situation; guys in camo gear, faces covered, big guns. Outside, Police Chief Alston (Willis) is getting chewed out by the mayor too keep the hostage casualty rate down. Luckily he has a group of tooled up Special Forces operators in the area that he can call on.... And yet the film never really unpacks its potential, and instead looks to have spent most of its budget on Bruce Willis's beard care. The most watchable character in the film is Tyrone Pettis (Leon); the dapper dressing drug syndicate boss who forces Kevin Dillons Conner Connolly to make reparations for killing one of his men. With a James Franco smile, he seems like a nice, community orientated guy, but hides malice like a steel fist in a velvet glove. They really needed more interaction between him and Willis.

Dillon just doesn't match up, not even looking comfortable giving his team mates a manly hug. He can throw a punch, take a hit, but he wears the same deer in the headlights expression for most of the film. In comparison, the attention to detail on Willis's beard means his grizzled appearance through out is statuesque, with him barely moving throughout to give maximum exposure to his facial hair. Frank Grillo is wasted here; getting a few good lines but very little in the way of showing off his action. And Brooke Butler as Candice Connolly, is a suitably wide eyed heroine, experiencing a mix of emotions as she's dragged along in her husbands wake. I actually felt more for Alexander Kanes 'Steven Rogers' - like a Redneck Captain America - than I did for the main cast, but maybe that was the over acting he put into it.

The filmography looks poorly put together (did they get shot or just spill their drink?), the sound track is a mix tape of rap songs, and the supporting cast - with possible exceptions for Curtis Nichouls as Spade - were barely there. There could have been more to this film, which would have made it more enjoyable.

The Gray Man (2022)

Fine action film trying to be a spy film

[7/10 · 28 July 2022]

Big bangs, big guns, Ryan Gosling, Chris Evans, Chris Evans moustache, Ana de Armas and Billy Bob Thorton, all wrapped up in some amazing locations and driven by a decent sound track.

In an age where we get spy films - covert operators - still end up with major collateral damage, Chris Evans Lloyd Hansen is crazy enough to make it work. Forget skulking around, this guy is willing to pour more and more guns into an area. He'd have been wasted in a spoof, given how maniacal he gets as the action heats up.

In comparison, Ryan Gosling is a robot in his delivery. I mean, at one point they literally call his character a robot based on how he acts. As befits this genre, he's pretty bullet/bomb/knife proof and goes from set piece action scene to set piece action scene, as he carries out his missions, alongside the prerequisite lucky and seemingly impossible escapes, that keep the film moving along. It may seem the same result, but in the big Prague scene, I was rooting for the bad guys to fail more than for him to escape.

Ultimately, I wonder if they've left enough at the end to make a second film (or maybe more), given there seems a few too many loose ends that could do with tying up (or just characters that need tying up).

Hustle (2022)

Show me the money!!!

[8/10 · 15 July 2022]

When describing this film, Jerry Maguire kept coming to mind. There a sports agent loses his job and has to put all his efforts into one client. Here, it's a well respected, but tired basketball scout, with aspirations of coaching, who has to suffer having his dreams pulled from him and ends up putting all his hope on one promising basketball player to change his life around. As a buddy movie, this is Sandler and Hernangomez butting heads to bring out the best in each other. In a film that has the comedic talents of Sandler and Latifah, this is a serious sports film, emphasis on the sport. Given it's produced by LeBron James and Maverick Carter, that's no surprise, and the court scenes play out like they should be on ESPN. Even Sugarmans (Sandlers) daughter Jordan (Alex) - a film school student - is able to shoot ball with amazing skill.

Probably the only character who feels wooden here is Ben Fosters Vince Merrick, who acts like a little child in a room of adults when watching the games. He's trying to prove himself, but in the fast paced action, it slows the action down.

If I had any reservation, it's that the chemistry between Sandler and Latifah is lacking compared to some of his comedy films. Given what happens to family man Sandler, she seems very restrained about his actions.

There are some big name basketball cameos, both playing and talking, adding in universe weight to the action. The sound track keeps the movement flowing, and helps with the inevitable montage scenes; every sports film needs training montages to show things progressing, and that's the best reason to watch this film.

Doctor Strange in the Multiverse of Madness (2022)

Is this the welcome mat to the next phase of the MCU?

[4/10 · 13 July 2022]

The MCU started off avoiding magic, as they thought it would alienate viewers. In Thor, the thunder god says 'Your Ancestors Called it Magic, but You Call it Science. I Come From a Land Where They Are One and the Same.' and that went through all the films, even the first Dr Strange. Kevin Feige talked a lot about how that was based on quantum physics, and they even had a university professor - Adam Frank - as scientific consultant. This film feels like it's destroyed all that for zombies and demons.

Cumberbatchs Dr Strange is practically the last grown up Avenger left, and as such has big responsibilities to the world. Here he's trying to protect a young, um, powered - for all we know, the MCU may class her as a mutant, given they now they have access to those characters - being, who is being chased down by demons for her powers. And that is the problem with this film; we all know that mutants, Fantastic Four, Deadpool and all the other former Fox properties are coming, and the multiverse gives an in universe way to get them there. It's a pretty big issue having the Illuminati - Patrick Stewart, Hayley Atwell, Anson Mount, Lashana Lynch, John Krasinski - in the film, because they couldn't all be there together before. They're just not the main characters, and like every other MCU solo movie title, it's that titular character whose job it is to be the closer.

As with every MCU film, the graphics are on the grand scale; from Kamar Taj to alien planets, to a montage of multiverse travel, it's all become expected. The soundtrack allows Danny Elfman to show his abilities, especially with one noticeable battle.

It's a Marvel film and you will likely see it for that reason. Comparing it to the original, this is a hot mess.

Thor: Love and Thunder (2022)

Top marks for Bale, less for the other

[6/10 · 13 July 2022]

Taika Waititi has a problem. In the wake of the amazing Thor Ragnarok, where does he take the franchise? Most of the original MCU Avengers have retired, yet the sparkles, the Lord of Thunder, is still putting in the work to change odd bod into god bod. Following all he has lost - parents, brother, friends, planet - he has a lot of issues that he needs to work out. And into this mix comes Gorr, played by an amazing Christian Bale, who challenges Thors strength and other emotions, with his own quest. And in the middle of this epic grudge match of god and god killer, steps Natalie Portmans Jane Foster, reintegrated into the Marvel fold following the falling out over Patty Jenkins, and given a much more beefed up role than just the scientific side kick and love interest. Her transformation is straight out the comics, and not to be questioned, though given all the space magic we've seen in previous films, it's good to see Kat Dennings asking some good questions.

But the main conflict comes from the Asgardian weapons; despite throwing Mjolnir to Captain America in End Game, it's obvious he still pines for the only object that properly pull him off and there is a lot made of that, to the point it does get juvenile. In fact, quite a lot of the script reduces the thunder god to a doey eyed hippy, which placed against the sinister Gorr - channelling a combination of Voldermort, Marilyn Manson, Joker and other creepy bad guys - makes the story leap from yelling goats and All Spice adverts, to shadow monsters and dead gods. Russel Crowes Zeus sounds like Borat, and while his scene is one of the better set pieces in the film, it does feel like it could have gone bigger.

Marvel have access to a vast array of computer generated content, and there are some amazing set pieces, space ships and battle scenes, though I was left wondering if they'd tried deaging Hemsworth and Portman, that left neither actor looking that great.

It was a fun pop corn film, with plenty of comedy and action, though tinged with sadness that Bale didn't get more screen time,.

Minions: The Rise of Gru (2022)

Tippy Toes, Tippy Toes, I don't see your Tippy Toes

[13 July 2022]

After three Despicable Me films and keeping the main character as Gru, it seems strange to headline this film as a Minions film. The main story line follows a young Gru - seemingly after the events of the Minions movie - and his ambitions to be a super villain. Keeping some of the characters from the previous films, only younger, it's more like flashbacks to the previous films for the viewers than a fully tied in prequel. It's a Minions cartoon; don't think too hard about it.

The Vicious Six - Grus favourite bad guy group, and no way ripping of the Marvel baddie group of the same number - are suitably 70's cliched, with the flares, the hair and the bad catch phrases. You can tell this is an Illumination film, with Alan Arkins Wild Knuckles having a close resemblance to Klaus Kickenklober from Sing 2, and the other members of the nefarious crew looking like they've come straight from Minions Villaincon. Given that headline is Minions, their role is similar to the Minions films; a small group of Minions off doing things, and ultimately using their basic childlike naivety to get the job done.

There are some genuinely funny scenes, and (fortunately) few tedious ones. Making the story both predictable and enjoyable at the same time.