Radheyan Simonpillai

Ella McCay, the movie, feels like we’re being bear hugged by a lovable, slightly boozy old grand-uncle who genuinely hopes to find common ground with a new generation, but also can’t help being a little patronizing.

Kogonada fills the vacuousness in the script with knowing nods to all the performance and illusion we commit to when taking the leap – whether in love or (in its meta way) at the movies.

Elvis is of course a tailor-made subject for Luhrmann, the Moulin Rouge director’s trademark bombast and razzle-dazzle so in tune with the singer’s rattle and roll, which comes through in both his biopic and now EPiC.

The movie reduces Kelley’s psychiatric insights into soundbites, manages to whittle down the proceedings at the Nuremberg trials into the familiar tropes and cliches from classic courtroom movies, and even lets Crowe’s performance surrender its nuances to hammy villainy, all for the sake of reliable entertainment.

Hikari and company mostly skim over the tension in a movie seemingly built out of highlight reels and lacking connective tissue.

As the medley of violence continues, Stone’s mugging goes from giddily sinister to hammy and exhausting. Same goes for Nobody 2, and also the post-John Wick wave of action movies it’s part of.

It’s hard to stay mad at a movie for refusing to add things up, or resolve its mysteries in any traditionally satisfying ways, when getting lost with Qualley can be such a pleasure.

Fixed gets as much mileage as it can out of gags that largely centre on Bull’s gonads, with its entire narrative built around a wild night out when he discovers his owner’s plan to finally give him the snip. But that humour, and its shock value, wears thin in less time than it takes for Bull to satisfy his urges.

The problem is, while alluding to the depressing state of things, the gleeful fun Gunn insists on having, with his kitschy aesthetic and silly humour, can feel forced.

The script, the gags and the action remain mostly intact. But this time around, real actors and sets become deadweight to a story that soared in larger-than-life animated form.

Where Bloodlines excels is in the clever and often diabolical storytelling craft and visuals. There’s a decadence in the film-making that isn’t at odds with the campy nature of Final Destination but instead realizing its full potential.

It helps that Quaid is so good at landing every punchline, if not punch. His Nathan may not have any sense of pain, but Quaid gives him a great sense of humour.

Thunderbolts can be messy, sure. Pugh is the kind of star who can thrive in such mess.

The plot and most action sequences here are as cookie-cutter as the community homes Quan’s Gable is selling.

For all its gestures toward trending conversations about our warped relationship with technology, and the entitled boys weaned on it, Companion is ultimately just a fun genre mash-up that pales in comparison to the superior movies it tends to pay homage to but elevated by its cast.

As sincere and sentimental as his approach is, Whannell struggles to marry the emotional beats to the schlockey thrills the genre demands. Instead, these two competing modes tend to cancel each other out, but not so much as to disregard what the ambitious director is going for.

September 5 splices together its thoroughly researched dramatic recreations with the actual programming ABC aired, an initially nifty back and forth that quickly wears thin.

War of the Rohirrim is short on fiery floating eyeballs, wizards harnessing the power of the sun and ghost armies rising from caves – the kind of stuff you’d expect anime to go ham with, but perhaps not in director Kenji Kamiyama’s case.

The big, disappointment here are the flat musical numbers that bide time between adventures and fail to sink Maui’s hook in us.

For all its built-in cynicism and tired tropes, Red One is not as insufferable as you’d expect. At the least you can count on Evans and Johnson committing to the bit and selling all the broad gags they can, which should be enough to win over the elves in your family.

Mescal and Pascal are both fine; though they often seem too overwhelmed by the tired plot machinations to really make an impression beyond how fine they both look in Roman garb.

There are melancholic bits later in the film that work – and reward anyone who sticks by the whimsical “time flies” structure.

Unlike its subject, The Apprentice largely sticks to documented facts. Most of the cheating, lies, greed, vanity and misogyny on display are hardly new or shocking, and rather mild compared to what’s to come.

As Sara and Julien bide their time in the barn, escaping into their imagination, Forster keeps himself interested by turning the movie into an ode to cinema.

Breezy, comically self-referential and totally likable. But its charms nevertheless feel like they came off an assembly line – one that has been engineered to deliver Marvel-like results, in animated form of course.

The film is bursting at the seams with archival photos, footage and interviews; not to mention outrageous polka dot and bedazzled costumes. The incredible access is expected since Never Too Late is produced by John’s husband and manager David Furnish, who co-directs alongside RJ Cutler. But perhaps that’s why it also feels so precious and tempered.

Stripping the narrative of its gods and monsters, and almost two-thirds of the chapters, is great but the vacuum isn’t filled with much more than his two magnetic leads and consistently sumptuous cinematography. The Return is gorgeous to behold, but there just isn’t enough there.

At two and a half hours, Oppenheimer’s strange and ambitious deconstruction of human behaviour – with its bleak but adorning visuals and its novel spin on ideas we’ve seen in The Hunger Games and Yorgos Lanthimos’ Dogtooth – can also be draining. Maybe that’s intentional.