*NEW* STAR WARS: THE LAST JEDI REVIEW *NEW*

The last hurrah?

Rey (Daisy Ridley) develops her newly discovered abilities with the guidance of Luke Skywalker (Mark Hamill), who is unsettled by the strength of her powers. Meanwhile, the Resistance prepares for battle with the First Order.

After repressing the belly laughs from spotting Vivien from The Young Ones as a First Order officer, I was thrown into the chaos as the Resistance unleashed the mayhem.

The special effects were brilliant. The action was intense. I loved the cockpit panoramic camera work as Dameron maneuvered the X-Wing.

Speaking of which; someone must have read my Force Awakens review. The one new face writer/director Rian Johnson made sure to have plenty of screen time was Poe Dameron. Oscar Isaac was brilliant. Highly comical and entertaining. His hazing of Hux in the opening sequence was cheesy but well played. Reminded me of a young Solo.

After commending Domnhall Gleeson for his stand out performance as Hux in Episode VII, I felt his delivery this time around was almost pantomime. He was dreadfully OTT and annoying. Whether they realised Emo-Ren was lacking that sinister edge, I’ll never know.

Adam Driver was very good as Kylo. A much more sombre turn that worked a lot better for the character and he got rid of that ridiculous helmet!

Ren’s conflicted conscience continued to tease throughout. Had he truly turned to the Dark Side? Was there any hope left for him?

I loved how the old faces mixed with the new ones. Andy Serkis got to feature a lot more as the creepy Snoke. The CGI and detail on the super Sith (Seriously how tall was that guy? Was he even a guy?) was impeccable.

Carrie Fisher delivered a sterling turn as Leia. There were a couple of question marks about her character that surprised but also annoyed me. BUT don’t FORCE me to spoil anything. I respect the team for keeping the finished scenes after her tragic passing BUT I can’t help but feel that it might cause problems for the next installment.

However, her appearance allowed for a wonderful reunion that (I’m not going to lie) plucked at the old heart strings.

BB8 stole the show yet again. Delivering the laughs in this super serious saga.

BUT there was one face I was happy to see return and that was the man himself. Luke “Robo-Hand” Skywalker.

Hardly a spoiler as we left Rey presenting the miserable Jedi with his old lightsabre. I was surprised at how comical Hamill was BUT it added an extra humanity to this flawed veteran. A man defeated and desperate to avoid the call to action once more.

I loved the bitterness. Ridley and Hamill were a fantastic duo, which made the dynamic work that much more, as Luke reluctantly helped the stubborn Rey channel the Jedi within.

Ridley still carried the film where it counted. Her Force telepathy conversations with Ren were intriguing.

I loved how Johnson and co. brought so many new creatures and wonderful set designs to life. The nun toads and the PORGS (My God. Those PORGs are going to be the next craze fo’ sure) being particular highlights.

There were a few surprises and twists along the way. Plenty of fitting nods and references to keep the new SW and (the long suffering) old fans happy.

The only problem with focusing on particular characters and bringing in new faces was that some had to face the cut. Chewbacca, C-3PO and ol’ R2 were pushed into the background far too much.

Well, maybe C-3PO was the right decision. Don’t get me wrong, they stole the show whenever they had the opportunity BUT I wanted more.

At the same time, that showed confidence in the new faces that it wasn’t too much of a concern. I was a little worried at how Kelly Marie Tran’s Rose Trico was going to fare. Her initial irritating introduction had me wincing BUT the loveable rogue soon grew on me and I was actually rooting for her by the closing act.

She worked well with Boyega and allowed an increasingly absent Finn get back into the fold.

I have to say I enjoyed TLJ a lot more than FA (Force Awakens). FA had a stronger first half but withered out with a retread of A New Hope while TLJ got better and better and made the story its own.

I expected so much worse after the Twitter hate BUT was pleasantly surprised. It wasn’t perfect. The pacing was a little testing in places and some scenes were a little hokey. The casino sequences at Canto Bight were a little . . . strange.

And there were a few plot holes. *Cough* Light speed chase *Cough* BUT there was enough fun, adventure and drama to keep things gripping, riveting and entertaining. I would have no qualms watching this again.

I can’t wait for Episode XI and any other spin-offs (that we already know are on the way) if they can continue to maintain this standard.

3.5/5

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*NEW* BLADE RUNNER 2049 REVIEW *NEW*

Blade Runner 2049 minutezzz long

If we are lucky enough to get a director’s cut; I’d like to see the running length CUT.

A young blade runner’s (Ryan Gosling) discovery of a long-buried secret leads him to track down former blade runner Rick Deckard (Harrison Ford), who’s been missing for thirty years.

Now I wasn’t the biggest BR fan. I remember watching it for the first time, and thinking, “Is that it?!”. It was only through numerous re-watches (Thank you BA Film Studies) that I grew to love the 1982 cult classic. Not the first to say that, I’m sure.

Essentially, BR was a generic cyber noir about a disillusioned cop tracking down some killer robots. BUT what stood out and made BR so much more was the question of self and identity. Who were the real monsters? The replicants or their creators?

Hampton Fincher’s brooding social commentary on corporate capitalism (Again thank you Film Studies) spoke volumes BUT it also asked the biggest (and most important) question of all: was Deckard a replicant?!

Now 35 years on (What?!) . . . And Ridley Scott decides to make another sequel to another one of his movies.

To be honest, the opening had me from the get go. The Nexus 6 prologue, that opening shot of the burning flames in the iris of an eye, and that iconic Vangelis theme (teased meticulously by Wallfisch and Zimmer) blaring through those 17 Dolby Super Screen speakers. Goosebumps.

Roger Deakin’s breath-taking cinematography (You could do an essay on that alone and I’m sure people have).

Needless to say, the BR nerd in me was hook, line and sinker!

I remember watching Only God Forgives and denouncing Gosling. Screaming to the movie gods, demanding why this guy kept getting big Hollywood movies. BUT after stellar turns in La La Land and The Nice Guys, I was intrigued to see what he would do.

And he did not disappoint. A charismatic performance. He carried the film for me. Sorry Deckard. I was transfixed and happy to soak up the slow burning tension.

I will dispense a warning. There may be spoilers. So read ahead at your peril.

The character ‘K’ (Gosling) was a welcome addition to the BR universe. The fact he was openly a replicant changed the whole dynamic of the piece. He almost made the story his own.

The romantic subplot with Joi (The beautiful Ana de Armas) was a nice touch and I actually felt for them. A forbidden romance restricted in the cyber and the real world. Do androids dream of electric sheep? Can a robot fall in love with an erotic hologram?

All the little nods were there. Those origami unicorns, Edward James Olmos! The old faces working well with the new.

For the first hour or so, I was content. But then I realised there was another 100 minutes left.

This was where things went wrong for me. And as much as it pains me to say after praising Deakins’ amazing cinematography and set design. A feast for the eyes. Nice shots does not a good movie make.

If you’re looking for answers, you won’t find any. Now the question mark around Deckard was always the fun debate. The ambiguous ending a talking point for years to come. I didn’t care about getting an answer on that old chestnut (Do you? I’m not saying)

Some questions are better left unanswered. One of the appealing and infuriating messages of this film. A double edged sword.

BUT what disappointed me the most was what our hero Deckard was doing for 35 years. All that build up and promise. A welcome return for Harrison Ford. All the theories and questions about what the cyber-sleuth had been doing and the answer . . . Sweet nothing apparently.

Ford’s reactions reflected much of mine during the film. He really didn’t know what was going on or why people were seeking him?

The pace dragged and I found myself struggling to stay interested.

Robin Wright had potential as K’s superior officer Lieutenant Joshi BUT never really got the chance or the screen time. The same can be said for Dave Bautista. That guy continues to impress. Even in such a minute role.

Sylvia Hoeks was impressive as the resilient adversary Luv. A mercenary replicant on the heels of K’s quest for answers.

Despite the best efforts of the supporting characters, it lacked something.

Rutger Hauer was outstanding as Roy Batty. A charismatic and engaging turn and made this seemingly cyber punk android so much more. His “Time to die” speech left goosebumps. I felt more for the replicant than the protagonist.

Jared Leto? What the hell was he on? His performance as blind tycoon Niander Wallace was dreadful. His mind numbing monologues nearly put me into a mini-coma.

He fell short of Joe Turkel’s Tyrell (Bishop to King 7!) by a country mile. I mean, those glasses were iconic enough. Instead we get ol’ White eyes whispering and dithering away. If it wasn’t for one unexpected twist in the final act, I would have deemed him unnecessary.

It seemed like 2049 set things up for another and tried to tease that ambiguity that made the original so appealing but it didn’t work for me.

I just wasn’t as engrossed. It delivered all the nods and tried to make it on its own but it felt like a pale (albeit beautifully and bolder) imitation of the original.

Despite my nitpicking and disappointment, I do want to watch it again but somehow I don’t think I’ll fall for it as much as I did the original. I went in not expecting much and was rewarded with a mixed bag. No character of Batty’s calibre? No somersaulting Daryl Hannah (What?)

I could take the existential angst and themes of identity but it just wasn’t enough. In a way if Deckard wasn’t thrown into the mix, this might have fared better with just K.

Watchable by all means. It’s just a shame that a breathtaking opening first half was dragged down by poor pacing and a dithering plot line.

2.5/5

*NEW* THOR: RAGNAROK REVIEW *NEW*

Just as ridiculous as the film title but bloody good fun all the same.

Imprisoned, the mighty Thor (Chris Hemsworth) finds himself in a lethal gladiatorial contest against the Hulk (CGI’d Mark Ruffalo), his former ally. Fighting for survival and racing against time, Thor must prevent the all-powerful Hela (Cate Blanchett) from destroying his home and the Asgardian civilization.

When I first heard the director’s name (Taika Waititi), my first thoughts were: “What a strange name” and then I actually did some research and couldn’t believe my luck.

Count Viago from What We Do in the Shadows?! (A heavy recommendation if you haven’t seen it already). I should have known what to expect.

One mad rollercoaster ride of hilarity, neon, colour and 80s fusion, of course.

Marvel have really hit their stride (*cough* DC *cough*) and seem to have a winning formula.

To be honest, I wasn’t really impressed with the first Avengers movie or Captain America (What?! Sorry) BUT I loved Kenneth Branagh’s introduction of Thor. The Shakespearean King Lear melodrama between the feuding brothers. Hiddleston, Hemsworth, Hopkins, Portman. Perfect.

Thor: The Dark World was a mixed bag. Failing to deliver the right balance of laughs and drama. I was intrigued to see what tone Thor’s third outing would take. The more comical route did have its flaws BUT I was too busy having fun.

And there were still some touching moments (as well as revelations) to be had between Thor and his father Odin (Sir Anthony Hopkins).

Even if it was a little sillier and the story line a tad predictable, Waititi and co made up for it with memorable characters, stellar turns, humour and heart.

It’s hard not to mention one actor, in particular when praising supporting characters. I’m sure you’ve seen the endless memes, gifs and tweets.

Jeff Goldblum.

You can’t help but smile at the guy. His larger than life bohemian approach fitted the role of the Grandmaster perfectly. My only grumble? He wasn’t in it enough.

Tessa Thompson was fantastic as the embittered Valkyrie. Disillusioned and drinking her sorrows out of a bottle. Her stubborn demeanour worked well off the confused Thor.

Cate Blanchett lapped up the role of Hela with aplomb. Despite being pushed into the background far too much; she still managed to make a stern adversary to the Viking god.

Karl Urban (An underrated actor) was hilarious as Skurge. Just wait until he introduces his accomplices Des and Troy. Brilliant.

I was getting a little fed up of Loki and Thor’s fractious fraternal relationship. But this latest foray forced the pair into an uneasy alliance and somebody must have heard me because there was even a gag in which Thor tells Loki that he’s waiting for the next betrayal. A running gag that delivered in buckets.

It helped that Hiddleston and Hemsworth worked well together yet again.

BUT the main duo I was interested in was . . .

Only kidding. Well, not entirely. Waititi even managed to give himself a little cameo as the bumbling bouldered bad ass that was Korg. He had me in stitches. Stealing every scene he featured in.

Anyway, the real duo that made it for me was Thor and Hulk. I loved the dynamic between them. I haven’t really rated Hulk’s multiple reincarnations (Sorry, Team Bana all day) and was unimpressed with Ruffalo. THAT WAS UNTIL Ragnarok.

He nailed Banner and brought a little character and humanity to the green giant.

The only problem with bringing new characters into the mix was that somebody had to take the hit. The absence of Portman and Dennings was missed and Idris Elba was reduced to measly filler sequences. Don’t get me wrong, he still bossed it BUT a waste of a character and an actor.

I will commend how all the silly little clips, that hardcore Marvel fans have endured begrudgingly through endless credits (thanking everyone from the make up assistant’s make up assistant to the chap who brings the coffee), have finally come into play. Most notably with a caped dimension bender (Probably not the best description).

This installment has certainly kept things fresh and fun and spiced things up for the upcoming projects.

Despite my nitpicking, I wasn’t bored. It was entertaining, if a little silly in places BUT had everything you could expect from a big superhero movie. Mad action, fantastic effects, great characters with the right injection of fun.

3.5/5

*How could I forget to commend the soundtack?! I will amend that error by leaving this classic track that welcomed our favourite Norse God to the mix. Enjoy!

 

*NEW* DETROIT REVIEW *NEW*

Tense, riveting if a little long at the tooth.

Fact-based drama set during the 1967 Detroit riots in which a group of rogue police officers respond to a complaint with retribution rather than justice on their minds.

The animated opening credits sequence about African migration during WW1 and WW2 was a little disjointed. The important issue was the overcrowded African American ghettos in the 60s.

The focal point of this piece. The growing frustration and rocky tension captured perfectly during a botched raid at an unlicensed nightclub.

You could have cut the tension with a knife as the white police officers tried to prevent unrest by arresting suspects away from the Main Street.

An attempt that proved pointless as the crowds gathered and the violence began. I loved how director Kathryn Bigelow and writer Mark Boal looked at both sides to this disheartening affair.

You supported the forces during the initial looting and rioting. BUT by day two, they completely mishandled the situation. Beating and shooting looters for stealing food?

And let’s not forget, the trigger happy military looking for any excuse. Shooting at a child in a fifth storey building after mistaking her for a sniper. Horrendous.

I was really surprised and impressed at the British/Irish talent involved; Jack Reynor (Sing Street), John Boyega (Attack The Block) and Hannah Murray (Skins).

BUT Will Poulter stole the show for me. He played the shady Krauss brilliantly. The Son of Rambow star has come a long way. A complete change in direction from the comedy circuit and a mature performance.

Hell, those brows made him look evil. As a side note, if there is going to be a solo Joker movie (without Leto); this guy deserves a look in, surely?

Krauss’ decision making and inability to accept blame was frustrating, to say the least.

I loved the contrast between Krauss and Dismukes (Boyega). One going out of his way to cause destruction, the other doing his best to keep the peace.

Dismukes was an interesting character. A man just trying to do his job and avoid bloodshed. Branded an “Uncle Tom” of the streets for not rising up.

Crossing between the bordered up store fronts and military barricades to offer assistance where he could. I just wish there was more of that.

As much as I enjoyed the Dramatics’ Motown music and felt for them as they missed the gig of a lifetime due to rioting, the pace did test. The only thing I found Bigelow movies (of late) suffering from.

The middle act was where I could feel my interest wading. Don’t get me wrong. The cast involved with the Dramatics were brilliant and Algee Smith (Earth to Echo) had a fantastic voice!

I just felt the motel mingling, Coltrane talk and white power discussions meandered the piece. That was until a silly prank with a start-up pistol set off so much more.

The next hour, I was shocked and transfixed as Krauss’ team made one gruesome mistake after another.

The pressure mounting as they struggle to find a suspect or a gun. I will always commend Bigelow for delivering nail-biting suspense; Zero Dark Thirty, The Hurt Locker, Point Break (What?)

Regular Bigelow stalwart Barry Ackroyd’s grainy cinematography certainly brought a little more realism to it BUT the shaky cam (Like The Hurt Locker) was incredibly disorienting and erratic in places.

There was only so much yelling, swearing (and dropping of the N bomb) and gospel singing I could take as the hold-up reached breaking point.

The sick interrogation tactics had me on tenterhooks. Putting knives near the “suspects” as a ploy to use the “act of self-defence”. Horrifying.

Hannah Murray was surprisingly good. I’m used to seeing her playing drugged up or gormless protagonist.  You felt for her character as she was accused of being a prostitute for having no standards for sleeping with black men.

I didn’t expect to see Anthony Mackie (Captain America: Civil War) pop up in this as Krauss’ “prime suspect”. A war vet who escaped one war zone to join another. The punishment he received was mortifying. Desperately goading him into reacting.

The pace did test BUT the main thing I was disappointed with was Boyega. He is a great actor BUT his character grew increasingly passive as the film reached its shocking conclusion. His presence fading further into the background.

If not for a gruelling police investigation (A mockery in itself) after the Algiers Motel, I would have deemed his character unnecessary. Another bystander.

BUT the aftermath of The Algiers Motel was where it hit home.

The court scenes were infuriating. The injustice of it all as the cops strolled out the court house smirking. The legal system taking the side of the ones who were supposed to be protecting NOT abusing it. Regardless of the facts and accounts.

The abrupt finale went out with a whimper. BUT that was kind of the point.

I couldn’t believe the post-credit titles at what happened to the people involved. The case never really given true justice.

I can’t say it’s a good film (in the context of what it was about) BUT it delivered an atmospheric thriller with substance that is worth your attention.

3.5/5

*NEW* AMERICAN MADE REVIEW *NEW*

Poorly made? Or silly fun?

A pilot (Tom Cruise) lands work for the CIA and the cartel as a drug runner in the south during the 1980s.

Imagine if Pablo Escobar hired Top Gun’s Maverick to export his drugs and you’re pretty much there.

Cruise does just enough to make this mad biopic entertaining.

I know his latest efforts have been mixed (to say the least) BUT it was true what the movie said, “He’s the gringo that always delivers”.

The opening quickly set up the monotonous daily routine of the unfulfilled Barry Seal (Cruise). Frustration reaching breaking point as the airline pilot playfully switched off the auto pilot just to take control of something in his life.

Thankfully it wasn’t long before the mysterious ‘Monty’ (Domnhall Gleeson) made his introduction.

Domnhall Gleeson has got to be one of the best supporting actors going at the moment. He almost stole the limelight from Kylo Ren in The Force Awakens. BUT I digress . . .

He played ‘Monty’ brilliantly. Slick and cocky. Playing up to Seal’s desires and offering him the job of a lifetime. A new plane. A new life. BUT, of course, at a price. Always at a price.

The only problem was that once Cruise was set on his way, Gleeson was pushed into the background. A missed opportunity as ‘Monty’ was a lot shadier than we were led to believe.

Cruise’s Dukes of Hazzard story telling was a little too silly for my liking. Don’t get me wrong, it was very watchable and had an easygoing comical feel to the piece. Very much like Charlie Wilson’s War. BUT I like my crime biopics a little more gritty and hard hitting.

If these events (Accepting “Hollywood”‘s retelling) actually happened, I’d be smirking like the protagonist!

The pace was patchy and dipped in and out of places BUT I wasn’t bored. If anything, I was engrossed into seeing how far this madness went as Seal crossed enemy lines to initially to do some air reconnaissance.

Accepting all the risks with no assistance or recognition if captured or killed. Ridiculous.

The thrill-seeking pilot inevitably becoming the CIA’s golden goose for information. The gringo that always delivers. However, despite providing Grade A intel, it wasn’t long before Seal’s financial woes piled up. The CIA scrimping on providing an adequate salary. Shocking.

BUT ‘Monty’ has a solution as Seal’s aerial skills are required for a bigger and more dangerous mission. Smuggling drugs for the Colombian cartel!

This is the second Escobar influenced biopic I’ve seen in the last year (The Infiltrator). Now, I know he was only a passing figure in Seal’s mishaps BUT why did they make the big guy so weak and lifeless?

Clearly the film is riding on the Narcos hype; so why didn’t they watch the show and take some pointers?

There were still tense moments as Seal attempted to take off a mock jungle runway with a top heavy plane full to the brim with cocaine. The PoV shots had me wincing as the plane wrestled with the tree tops.

BUT the characters could have been fleshed out a lot more.

The stunning Sarah Wright (21 & Over) didn’t do too bad a job as Barry’s long suffering wife. BUT her character was still tragically weak. Even if she wasn’t just accepting Barry’s answers and decisions as their family were reallocated across the country.

Caleb Landry Jones (Get Out) played the airhead brother in law JB well. A walking disaster if ever there was one. Alarm bells ringing early on that the dimwit will be a problem for Barry’s operation.

I was expecting Fargo’s Jesse Plemons to do more as Sheriff Downing. He was completely irrelevant as the events unfolded. I’m sure that was supposed to be a lazy statement on Seal’s ever-growing power BUT that could have been done without the Chief Wiggum-esque antics.

Lucy: “Honey, there’s money flying around in the back yard”

Barry: “I’ll rake it up in the morning”

More money than sense as Seal’s operation continued to expand. His smuggling became so lucrative that the hay in the stables was embedded with cash!

The silly humour and quips didn’t really work as well as they should have. It breezed over a lot of facts and picked the “sexier” bits of the story.

I actually got a little bored as Seal lapped up the high life. That was until his dealings took a murkier turn. Cutting through all sorts of crazy political red tape as he used the Iran-Contra affair to his gain.

Instead of supplying guns to the Contras, Seal sold them onto the Colombians while they smuggled Escobar’s drugs shipments back to Miami! I know, crazy!

Seal wasn’t just portrayed as as a money grabbing adrenaline junkie. Especially as the noose inevitably grew tighter around his neck as pressure continued to mount from Escobar and the CIA.

The final act was surprisingly dark and tense as Seal was inadvertently “made”. The error in itself was a joke.

The dark ending felt completely disjointed from the rest of the film as Seal went into hiding, fearing the wrath of the Colombians.

I actually enjoyed this a lot more than I thought I would. BUT just like Gold and The Infiltrator, the producers have had to rely on a big leading performance to drudge through a patchy and mediocre affair.

Although it lacked depth, American Made still highlighted the hypocrisy of the CIA’s antics during the 80s and Cruise still delivered a watchable popcorn movie. Seriously, the Missouri plane chase was hilarious and action packed.

BUT the tone, mismatched humour and weak characters spoiled something that could have been so much more.

Narcos, it ain’t. A fun time filler worth a gander.

3/5

*NEW* MOANA REVIEW *NEW*

Easygoing fun.

In Ancient Polynesia, when a terrible curse incurred by the Demigod Maui (The Rock) reaches Moana’s (Auli’i Cravalho) island, she answers the Ocean’s call to seek out the Demigod to set things right.

Typical Disney. But it still hit the spot.

The animation was stunning. Beautiful to look at. I just wanted to dive into those clear blue waves. Yes, I know they weren’t real! BUT that’s how good the visual effects were.

The opening song numbers weren’t too bad. They set up the story and established Moana’s background perfectly.

Torn between exploring the world and fulfilling her duties as the new Chief of her people.

The running theme of identity and personal being was an intriguing one as the deviant Moana opposed her father’s numerous attempts to keep her on the island.

The Hawaiian folk lore and supernatural guff was entertaining enough. The cheesy singing and mad journey was fun.

BUT I was a little disappointed with the songs. They weren’t really that memorable.

It only takes somebody at work to say, “Let’s get down to business” and I have to fight the urge NOT to burst into the Mulan jam (Go on, confess. How many of you are right now?)

No?

Don’t get me wrong, they were easy listening gems and Cravalho has a lovely voice BUT I could only remember two tracks off the top of my head while writing this.

There was certainly plenty of humour and heart. A gag involving tweeting drew a guilty grin from me.

A predictable journey lifted with some fantastic supporting characters from Hei Hei, the special chicken to . . .

The Rock. My God. He stole the show as Maui. The guy is a demi-God. Let alone voicing one.

They must have had him in mind from the get go as the tattoo woven, bicep flexing, eyebrow raising (They even included the Brahma Bull’s brows) machismo.

His conflicted character had me in stitches. I loved his little tattoo. A Jiminy Cricket running around all over his body to let the big guy know when he’s making a big mistake. Brilliant.

And who knew the big guy could carry a tune?

Any WWE fan will know the Rock can sing.

I didn’t think I’d throw that into a review any time soon. You’re welcome. See what I did there?

Just when I thought the pace was beginning to lull and Moana was thrown into the water by Maui for the umpteenth time, thankfully there was a new challenge or foe to keep things going.

I didn’t expect Flight of the Conchord’s Jermaine Clement to appear in this. Applying his David Bowie-esque gravitas to the troubling Tamatoa.

Shiny, shiny! He was hilarious as the conniving crab.

As much as I was entertained, for all the hype, Moana just didn’t stand out.

The journey was all too predictable and normally I’m one for the ride NOT the destination BUT it just didn’t quite hit those highs for me like her Disney predecessors.

Moana was a resilient and resourceful heroine BUT her character seemed to get a little lost in the ever-growing Disney universe.

BUT this is coming from a cynical man reaching his thirties so make of that what you will.

It killed the time, the animation was amazing and the True Grit dynamic between Moana and Maui was a nice touch.

So despite my grumblings, this was still a charming little film that Disney fans will lap up a treat.

3/5

*NEW* DUNKIRK REVIEW *NEW*

The greatest war film ever made?

Not even close. BUT still a bloody good watch.

Allied soldiers from Belgium, the British Empire and France are surrounded by the German army and evacuated during a fierce battle in World War II.

Did hype hinder on Nolan’s latest endeavour? Isn’t that always the case, I hear you say? Scandalous!

The opening act had me on tenterhooks. It was tense, exhilarating and Hans Zimmer’s score. That score!

I loved how the lesser known faces took centre stage. Fionn Whitehead was superb as the exhausted Tommy. Desperate to get home. Evading gun fire and fighting for a spot at the port.

The crazy planning behind the withdrawal strategy was shocking. Sending only one ship at a time with a goal of securing a realistic number of men; “We need our army back!”

As much as you understood Commander Bolton’s frustration, Kenneth Branagh literally stood on a pier looking across at the cliffs of Dover. Really? He looked dashing doing it BUT was that it?

It was still daunting watching the troops wait in fear as the German forces knew they had the upper hand. The planes creeping in the clouds. The Jaws of the sky line. Waiting to strike. Picking off their prey.

The dread. Bombs flying, torpedoes slithering across the waves. Mental. I couldn’t imagine what I would do in a situation like that.

Nolan captured the claustrophobia of it all perfectly from the confined Spitfires to the overcrowded boats. Speechless.

I say lesser known, in the context of film, Harry Styles . . . Well, I can’t believe I’m saying this.

He was very good in the role. At first, I thought; “Oh God. Why is he in this? Gratuitous cameo, I see”. BUT the popstar actually had to do some acting. And he didn’t do bad at all.

It was the middle act where I felt my attention wading. The tension left to cook on the back burner. That score, that score!

Whether it was the cinema speaker system, it soon went right through me. Pounding against my head. It was almost comical. Seriously, I couldn’t hear what the characters were saying.

It felt like one of the soldiers was following the gang about with a giant drum! Come on, now. There was only so much the soundtrack could do to make sitting in the sand and staring into space tense and brooding.

Of course, Dunkirk couldn’t completely conform to a mainstream narrative. It wouldn’t be a Nolan movie otherwise.

His renowned fragmented time frame left me a little confused. The penny should have dropped from the beginning. Each sequence titled: “The Mole: One Week, The Air: One Hour and The Sea: One Day”.

In a nutshell, we followed the various troops as they endured a week on the beaches, an hour in the air and a day at sea.

At first, the flicking back and forth was a little disjointed and baffling. Especially when we encountered a shell-shocked Cillian Murphy in one scene, then a cool and composed one in the next frame.

It should have dawned on me when one scene was set in the day and the other in the night. Hoyte Van Hoytema’s cinematography was outstanding.

Apart from that little niggle, the time frame worked well. Especially during the finale as each location came to their thrilling conclusion.

Tom Hardy’s story line was riveting once it going. And wasn’t it nice of Nolan to make him wear yet another mask. Thankfully I could understand him this time.

All the fuel gauge and co-ordinates talk was a little mind numbing for me. BUT once the pilot encountered the enemy, I was transfixed.

Mark Rylance was brilliant in the minute role of Mr Dawson. A civilian who answered the call of duty to help bring our boys home.

The toll of war encapsulated in the traumatized and “appropriately titled” Shivering Solider (Cillian Murphy).

From all the endless praise and hype, I expected something along the lines of Saving Private Ryan (My favourite war film). I know it’s tough to compare war stories and events BUT Dunkirk did stumble with the pacing.

However, the final act was where this movie really won me over and brought it home. Heart breaking and uplifting in the same moment as the defeated soldiers returned home. Fearing they would be spat on and branded cowards for their failure.

The overwhelming support and unity as everyone pitched in was a sight to behold. Something that seems to be missing in these dark times. A polite reminder with Churchill’s iconic speech.

A little over-hyped BUT still one of the better ones.

3.5/5