There’s a bit of perfunctory plot to get past – Rake has repressed guilt involving his ill son and ex-wife that needs resolving – but character development is not this film’s strong point. In fact, it’s often baffling.

A funny, action-packed and, of course, fast-paced adventure follows – with a surprisingly moving emotional centre.

It’s a heartbreaking story and all the more brutal for its surface-level simplicity.

Anderson and co-writer Roman Coppola have great fun with the idea, channeling 1950s B-movie vibes. Like all of Anderson’s work, it’s very affectionate, even if every camera move appears to have been calculated with the precision of a mathematical equation.

When Momoa isn’t on screen and stuff isn’t exploding, the daft dialogue almost sinks the film into parody. Sure, no one’s ever watched a Fast film for the talking, but so much time spent between set-pieces means we only really get half of a film a here – the big final cliffhanger stopping just as it’s getting going.

As honest about his ups as he is his downs, it’s a rare thing to see a movie star being so earnest and grounded on camera. Through the film, Guggenheim helps Fox paint an endearing self-portrait of one of Hollywood’s last few nice guys.

You won’t catch a more satisfying horror film this year. Seek it out.

In the end, there’s no doubt you’re looking at someone who, as academic Jason King puts it, “represented a complete upheaval of the existing social system” – and that we’re still enjoying the fruits of that bravery.

It’s sometimes funny and emotionally effective when it counts, but also very, very dark, with some of the grimmest scenes of any Marvel movie.

As The Super Mario Bros. Movie progresses, it’s hobbled by a perfunctory plot and some lazy creative choices.

Tetris tells a cracking story, but it suffers from The Big Short effect – the thinking that no mildly complicated script is palatable without throwing every gimmick possible at it.

While the film doesn’t necessarily offer anything new for fans of the genre, Kill Boksoon is still a tremendously fun action-thriller that more than makes up for its formulaic blemishes with an abundance of superb set-pieces, engaging domestic drama and offbeat wit.


Smartly walking that line so that newcomers to this fantasy world and old hands who spent days playing the game can both enjoy, Honour Among Thieves is a satisfying romp. It’s a little formulaic in places, but on the flip side, it pulls some really weird moments out of its sack.

Stahelski may traffic in excess, but at least he understands it: how choreography, performance and style can make over-the-top spectacle cohere into pleasurably overwhelming action fizz, rather than congealing into a sweaty special effects overload.

A Good Person unfortunately won’t stand as Braff’s finest achievement, and while Pugh and Freeman each give strong turns with what they’re given, even they can’t save this patchy effort from misfiring.

Less a horror than an occasionally bloodthirsty character portrait, West dances us through the mind of a serial killer with a visual flair that soars on the big screen.

Unlike scmaltzy American romcoms, Allen-Miller never oversells the romance as something bigger than two Londoners out enjoying a crazy day together. Instead, she takes an everyday love story about normal people and injects some big-screen fun into it.

Fury Of The Gods gets a big, silly ending which is occasionally fun, but there’s a cheap and clumsy feel to everything – a superhero sequel made in the same vague shape as a dozen others.

Meet Me In The Bathroom makes for a lively snapshot of a very exciting period in rock history. Veterans and newcomers alike should check it out.

True, it’s a clever loophole the director has exploited, but that’s as far as it goes. Blood And Honey is a sticky mess of a movie.

Scream movies usually follow the same, tried-and-tested format, but directors Matt Bettinelli-Olpin and Tyler Gillett should get credit for an attempt to reinvent their villain.

It’s easy to question the motives of pop stars who get behind a cause, but the end-product here is a joyful night for people who’ve experienced unimaginable hardship. Cynicism can (and should) be put aside for now.

Sweeney is excellent as the whistleblower who slowly but surely realises the game is up and creeps from poised confidence to frightened, tearful regret. Hamilton and Davis are also very believable as agents in complete control.

Creed III isn’t quite a knockout, but only a fool would come away questioning whether this seasoned slugger of a franchise has more rounds left in it. Bring on Creed IV.

If this is the end of Luther, The Fallen Sun serves as the perfect send-off. It’s surprisingly grounded considering the leap from TV (a Dover ferry is about as exotic as it gets) but constantly ambitious enough to warrant the two-hour runtime.

There’s already talk of a sequel, Cocaine Shark, and the cast have joked about getting jobs in the Cocaine Bear Cinematic Universe. So maybe it doesn’t really matter if Cocaine Bear is average, as long as it has both cocaine and bears in it. And we can most definitely confirm that it does.

The terrible dialogue, lazily written character dynamics, and sloppy storytelling make Re/Member a movie we’d rather forget.

Hopkins steals the film with a wonderfully unlikeable cameo, but it’s the triple-header of Jackman, Dern and Kirby that really lifts the film far above its own script.