Soren Andersen

The first creature feature of the new decade is here, and boy is it dumb.

The essence of the London story is retained, with stouthearted Buck being annealed by adversity, overcoming brutality, confusion and loneliness and then responding to the kindness of Thornton to become the leader of the pack. And all that is accomplished with a soft touch. What we have here is the call of the mild

There’s nothing original in the movie. Indeed, the off-screen controversy that’s been consuming social media lately over the casting of pop superstar Styles and whether Pugh and Wilde are at odds overshadows the movie itself.

Curiously though, director Michael Dougherty and his filmmaking team obscure the battle footage in darkness, smoke and downpours, making murky much of the imagery.

Anchored by Mara’s rigidly controlled performance and Taylor-Joy’s tremulous yet quietly menacing work, Morgan is an effective tension generator that unfortunately falls apart at the end.

Sonic the Hedgehog is bright. It’s cheery. It’s here and then it’s gone in a relatively compact 100 minutes, leaving little beyond a slightly sweet aftertaste to mark its passage.

Deschamps’ camera captures the emotional roller coaster Redzepi rode during that tumultuous time and shows his conflicted relationship with fame. He dismisses its importance but also clearly craves it. The end result is a revealing portrait of an artist wholly dedicated to his art.

The whale special effects, computer-generated of course, are genuinely spectacular.

With anybody other than a superstar like Tom Cruise in the title role, Jack Reacher: Never Go Back would just be a routine potboiler. With superstar Tom Cruise in the title role, Jack Reacher: Never Go Back is … a routine potboiler.

Reynolds is playing what amounts to the straight man to Jackson’s bad boy, and the back-and-forth between the two, with his character stewing and steaming in exasperation at the killer’s taunts, gives The Hitman’s Bodyguard its special fizz.