Ultima_Thule

The Dog Stars (15) is a post apocalyptic thriller set in Colorado in the 2030s after a Covid-like epidemic has destroyed society as we know it and people are surviving in small groups as best they can, suspicious of strangers, who they deal with summarily. Such a duo are Bangley (Josh Brolin) and Hig (Jacob Elordi) a former marine and a mechanic. Living on a former airfield, Hig pilots the sole working Cherokee light aircraft and accompanied by his dog Jasper, he flies into an abandoned Denver, where he once lived with his wife, to stock up with fuel and supplies. The place is empty but he sees signs of gang activity and on another trip learns of a hostile group called the Reavers who are to be avoided. Hig has links with a small Mennonite community and occasionally brings them goods from the city they can't grow for themselves. However they are losing both adults and children to the lingering effects of the virus. Hig is the more positive of the two about the future whereas the older Bangley is hardbitten and cynical about human nature. At one point Hig says to his companion that he appears to prefer this type of life of living on the edge and not knowing where the next threat is coming from. Hig does not want like to live like this - on a constant state of watch - anymore and resolves to move on intending to fly to a place named Grand Junction. While in the air he has frequently heard messages on the radio coming from there and is drawn to the possibility of meeting other human beings. On the way there his plane is forced to land and he comes across Cima (Margaret Qualley) and her father Jack (Guy Pearce) who is very suspicious of this **** and Cima develop feelings for each other but he still has memories of his wife Melissa. Cima was also married but doesn't know the fate of husband in New York after she couldn't return after caring for her ill mother. Hig does make it Grand Junction and receives a warm welcome but appearances are not always as they seem. I liked this film. It reminded me of the 28 Days Later franchise without the infected. There are plenty of dangers in this world but they are fit and healthy human beings not infected monsters. The acting from Elordi and Qualley is quiet and understated. The roles of Brolin and Pearce are more clichéd as grizzled ex marine and protective father although both are well played and entertaining in themselves. This film is nearing the end of its run but it is still worth catching if you get the opportunity.

Pressure (12A) is based on a play by David Haigh who wrote the film screenplay with director Anthony Maras. The action largely takes place in Southwick House, the base of the Supreme Headquarters Allied Expeditionary Forces commanded by General Dwight Eisenhower (Brendan Foster), better known as 'Ike' who intends to launch a seaborne invasion against German-held Europe in a few days time. Failure is unthinkable but success depends a great deal on good weather. Group Captain Dr James Stagg (Andrew Scott) is Britain's best meteorologist and is made chief weather forecaster to Ike, to predict the weather for the invasion. Stagg arrives to find a rather casual atmosphere which he soon dispels with his own professionalism. It is not that Colonel Krick (Chris Messina) his American counterpart is incompetent, merely that he does not understand, as Stagg does, the vagaries of the climate in north west Europe, having done all his previous forecasts in desert theatres. Pressure means not only the stress of both Ike and Stagg making difficult decisions but air pressure, a key factor in determining whether it will be sunny and cloudless or wet and overcast. This and many other weather data are the complex variables that Stagg and his team must use to make their forecast - only days in advance but considered long range in 1944 with only the human brain to make sense of the constantly changing information. Stagg gets off to a bad start with Kay Summersby (Kerry Condon) Ike's driver, secretary and all round factotum. However she realises the burden that Stagg is under, not only in respect to his forecast but having had to leave his pregnant wife, Liz, days before she is due to give birth. General Montgomery aka 'Monty' (Damian Lewis) is a difficult subordinate for Ike to command and as Stagg finds out, Monty wants the invasion to go ahead regardless of the weather as he fears any delay will mean that the Germans will grow even stronger on the invasion beaches. A few weeks delay may make it impossible to keep details secret and risk informing the Germans of the true objectives despite the elaborate deception measures put in place to fool them that it will be elsewhere. The stakes are high. This is an excellent drama and you can feel the tension as Stagg, a lowly upstart, dares to challenge the top brass and cast doubt on the suitability of the planned invasion date, when the weather is perfect outside. Both Scott and Foster are excellent. Condon is good too, although when first met she has an American accent whereas in her next scene she has a broader Irish brogue. The battlefield scenes are less good in my opinion but they are not the heart of the film. Don't see this for the those scenes - it isn't Saving Private Ryan - though they do show why getting the forecast right was so vital. Battling the Germans was already a difficult enterprise without fighting the elements too. Even if you are not usually a fan of war films you should consider watching this for the human drama alone. No doubt some liberties were taken with the conversations between the historical figures but it works well and is gripping throughout.

Insidious: Out of the Further (15) is the latest in the supernatural horror franchise.Gemma (Amelia Eve) had a troubled childhood but lives in the house she grew up in with her own daughter. A successful dentist she is bringing up Maya (Island Austin) alone although she has a policeman boyfriend Nick (Brandon Perea). Gemma starts experiencing vivid nightmares and is beginning to worry Maya, appearing to fall asleep and losing track of time. Also who are the three elderly people walking through the neighbourhood? Gemma is worried her mother's problems are repeating themselves. A chance meeting leads her to seek help and she discovers that she has certain powers that make her of interest to those living in the Further, a place between our reality and the afterlife, where given the right circumstances, the dead can return to our world. I found this film particularly effective in scaring the wits out of me. Plenty of jump scares and also it succeeded in raising the tension, when Gemma enters the den that Maya has constructed out of the settee cushions you really feel the claustrophobia she is experiencing and a rising sense of panic. The first half of the film is very good but it is unable to maintain the tension. When Gemma's true role is revealed, the subsequent action is somewhat less tense and frightening. The villain of the piece, a cult leader (Sam Spruell), resembling an ersatz Ozzy Osborne, is less effective in creeping you out than his male acolyte Lester (Joshua Lopez) who pops up everywhere, even in Gemma's dentist chair. If you are an Insidious fan you will want to see it. If you just like horror, it is worth a watch for the first half alone, although the level of fear you experience will reduce as you enter its later stages. Still a decent effort but with such a good start it was a pity it could not maintain its early promise.

One Night Only (15) is set in contemporary New York and is recognisably our world with one big difference. The US Congress has introduced The Mandate, a Prohibition for sexual intercourse outside marriage. So swap booze for sex and this enforced chastity for singles is rigorously enforced by tech as everyone has a digital symbol tattooed on their wrists. There is only one exception to The Mandate. One night every year it is relaxed and singles may hook up without fear of prosecution. It's that night and pizza shop owner Owen (Callum Turner) is taking his girlfriend Malika (Maya Hawke) out for a meal but the evening doesn't turn out as he had intended. Elsewhere Allie (Monica Barbaro), a singer, mainly of ad jingles, is single and teams up with her friend Jacinta, starting the evening in a bar and hoping to help each other find a man. However her mate strikes lucky almost at once and Ally is now solo. Serendipity being what it is, Owen and Ally literally bump into each other and it appears to be going well until Owen pukes up on the pavement. Ally, disgusted, returns to her nearby apartment and the opportunity to pair up is **** cut a long story short, the couple frequently come across each other in the course of their night's searching as they become increasingly desperate to meet a member of the opposite sex with whom to copulate. These scenes are amusing if not laugh out loud funny. At various points both make reference to the Empire State building scene from the Kerr/Grant film 'An Affair to Remember'. So although this film contains frequent references to sex, it is not really raunchy or filthy, although couples making out in public are a frequent sight as the entire unmarried adult population New York seek to enjoy this fleeting opportunity to sate their carnal lust. However at its heart the film is not about the **** unattached and focuses on the growing attraction between Owen and Ally, and the possiblities of them having a more meaningful relationship than a one-night stand. This is really an old-fashioned comedy romance dressed up in modern clothes (or lack of them). Turner and Barbaro are likeable and there is a good supporting cast including cameos from Molly Ringwald and LeVar Burton. This is Marmite so you will either love it or hate it. I liked it, the renditions of Air Supply's 'All Out of Love' and Yazoo's 'Only You' helped swing it for me.

The End of Oak Street (12A) is a sci-fi film. Set in a US suburb, I had trouble placing the time period as mother Denise (Anne Hathaway) uses a Polaroid camera to take a photo at a community event. Not until we hear Call On Me by A-Ha on a cassette was I able to confirm it as the early 80s. All would appeal normal for Denise and her husband Greg (Ewan MacGregor), the two children and Starbuck the dog. Audrey is a science nerd whilst her younger brother Brian likes archery and hanging out with his mates on their bikes. However both parents have secrets, the marriage isn't in a good place and the kids sense something is wrong. There have been a series of storms that have created some unusual happenings in the neighbourhood. Denise tries to find out about one of these through research at the library but draws a blank. Suddenly one morning suburban life becomes a lot more scary than worrying about a neighbour complaining about your dog in their **** you can imagine Jurassic Park in your housing estate then you will understand the existential issues facing the family and those around them including Jeannette on whom Brian has a crush. It's not complicated and its protagonists rush around trying not to be eaten by various aggressive and hungry creatures but the scenarios are varied and you don't feel you are watching the same thing over and over again.I liked this film for a number of reasons. A drama where mom and dad don't always get along seems true to life and the kids act like real ones. They are scared when things happen and they don't know what to do. Same with the adults, they don't have solutions and just try and do the best they can. This film doesn't require you to give your brain cells a workout and is ideal family viewing. Sorry Dean, I have to side with Paul on this one and say it was entertaining and enjoyable.

Leviticus 18:22 states: "Thou shalt not lie with mankind, as with womankind: it is abomination." Leviticus 20:13 adds a penalty, stating that if a man does so, both have committed a detestable act and face execution.Leviticus (15) is set in Australia and is about two gay teenagers. This was a Scream Unseen which explains why I was watching it with Dean and other friends. Naim (Joe Bird) has relocated with his mother (Mia Wasikowska) and they attend an Evangelical church. Naim goes exploring with Ryan (Stacy Clausen), a boy from his new school and they end up kissing and more.Naim is unhappy to find Ryan is not monogamous and when he sees him kissing another boy Hunter, he decides to inform on them to Hunter's father, who is also the church pastor. This leads to both Hunter and Ryan having to undergo a religious 'cleansing' by a man known only as the Deliverance Healer.After this both boys feel that they are being threatened by a force unseen by any other person which manifests itself physically as the person that they love. That's pretty much it. I was bored by the whole thing. I jumped once as there was a degree of threat throughout but overall I cared not a jot about the fate of the boys. Early on I struggled to hear the dialogue as the boys mumbled in Strine. Not sure if this was supposed to be a love story or a horror, possibly both. I never felt much sympathy for their plight. I just wanted the film to end. My friends considered it a good film, I was the sole dissenter from this view. If it turns up on screens near you soon, give it a wide berth and save your money.

When I was a child, ice cream men were abundant and had names like Ivanhoe, Mr Wherly and Tonibelle. Today you barely see one, even in the current heatwave. One you should definitely avoid is the Ice Cream Man (18) that visits Bayleen Bay one sunny afternoon. The idyllic opening scene shows young children playing happily and there is a junior baseball game in which Jared Mayfair, a fielder, is distracted by the musical tinkle of the van, dropping a catch and giving victory to his opponents. Jared is a likeable boy but vulnerable to bullies. At breakfast next morning, Jared's lawyer parents, try and persuade Lizzie, his older sister to consider an internship at a law firm for the summer as school ends in a few days. Lizzie doesn't want to be a lawyer which appears to be a family tradition which started with Jared's grandfather, a famous prosecutor. Meanwhile strange things start happening as the children of the town begin acting most strangely. I can't say too much about this film other than it has a weak plot. Even when the reason for the violence becomes known later in the film that doesn't rescue a decided linear story with no subtlety whatsoever. If you love gruesome death and gore then you may enjoy this film for the plentiful scenes in which authority figures are despatched with commensurate ease. Though those looking for some anarchic subtext won't find one here. This is a horror but in a comedic vein as it can't be taken at all seriously. No attempt has been made to provide any real suspense and there are no jump scares, although there are a few laughs here and there amidst the blood and body parts. In the opening credits you are informed that this was filmed in Scream-O-Vision which indicates how you should take this film. Eli Roth directed the Hostel films and is capable of doing much better than this underdeveloped effort with a juvenile script. If you are planning a bad movie evening then this would be a prime candidate for inclusion. Probably best not to serve ice-cream to your guests though!

Spiderman: Brand New Day (12A) is the fourth film in the Marvel Cinematic Universe (MCU) franchise about this superhero. Having not watched any of the previous films, (the last Spiderman I saw starred Tobey Maguire and Kirsten Dunst), I had some catching up to do, though it wasn't hard to pick up the gist of the story. Tom Holland returns as Peter Parker, although no one knows who he really is, so Spiderman is fighting crime in New York alone, with no personal support network once he takes off the mask. His former girlfriend MJ (Zendaya) and former best friend Ned (Jacob Batalon) are unaware of his true identity. Ned is obsessed with Spiderman but is unaware of his past association with him. The status quo changes when a mind possessing entity controlling people and making them act without them being aware, starts causing mayhem in the city. This unidentified foe is trying to break into the Department of Danger Control (DoDC), to access data but its director Bill Metzger (Tramell Tillman) knows nothing of the project being sought. The only person immune to mental invasion is Spiderman. However his spider DNA appears to have been triggered into a metabolic change which is physically altering his body and causing headaches, so he no longer needs hi-tec web projectors but can produce the strands from his own wrists. His personality is changing too, anger leading him into violence he finds hard to control. Isolation and loneliness may be responsible for accelerating these changes in Peter who still cares deeply about MJ and attends her and Ned's house-warming party as a neighbour, 'Maynard'. He is able to talk to both Ned and MJ but can't tell her how he feels and also finds she has a boyfriend. Peter leaves but finds that the entity has found out his secret by breaking into his apartment and reading a letter intended for MJ putting her in danger. There is lots of **** swinging action as you might expect and plenty of set pieces where Spidey is pitted against the Scorpion and his 'frenemy' Frank Castle to name but two. Other well known Marvel characters also appear. The struggle against the entity causes Parker to make some difficult choices as to where his loyalties lie. Controlling his spider-self and his personal desire for reconnection with MJ are two barriers he must confront if he is to defeat the latest threat to New York. I enjoyed this film and although it is over two hours it didn't drag. Unusually for me I could follow what was happening as the techno mumbo-jumbo was pitched at a level I understood. If you are a fan of the franchise you don't need any encouragement to go but for the rest of us, this film works as a standalone and not having seen its predecessor isn't a handicap.

The Odyssey (15) is Christopher Nolan's adaption of Homer's epic poem, the aftermath of the siege of Troy in which Helen (Lupita Ny'ong'o), the wife of Menelaus, is reclaimed by the Greeks. The wily warrior Odysseus (Matt Damon) now has to lead his men home to his kingdom of Ithaca across the sea where his wife Penelope (Anne Hathaway) and son Telemachus (Tom Holland) await his return.Odysseus spent 10 years at Troy, his wife and son now facing the uncertainty of when or if he will return. Believing that Odysseus is dead, hopeful suitors visit Ithaca hoping to persuade Penelope to marry one of them. She complains to her son that had she bristles in her chin, she would not be suffering this dilemma but as a woman cannot rule in her own name. Under Zeus' Law the visitors cannot be turned away and have to be fed and entertained. Chief among these men is Antinous (Robert Pattinson) who is ruthless in pursuing his aim to be ruler of Ithaca. I am not familiar with the whole of the Odyssey in translation and am unable to comment on the adaptions to the text made by Nolan, though the Cylops story was told differently to how I had read it. The epic is not told in a linear fashion as we start in the feasting hall of the palace and are told the story of the fall of Troy and Odysseus' part in it. Odysseus suffers the mental agonies that any principled man faces as a result of his actions, and one of his men, Sinon (Elliot Page) left behind to guard the horse dies not knowing the truth. His trick angers the Gods although he has visions of Athena (Zendaya) who appears at moments of decision to offer advice. Episodically we follow the journey Odysseus and his shipmates take homewards. Odysseus is no unthinking gung-ho warrior, he loves his men and feels any loss keenly but a leader cannot always be loved and he faces mutiny when his choices do not always prove the best. His unorthodox return journey is contrasted with that of Agamemnon, high king of all the Greeks, whose easy return has its own consequences. One of the shades of Hades advises Odyssesus to disguise himself should he ever see Ithaca again. At one point Odysseus loses his memory and his host Calypso (Charlize Theron), a nymph, prompts him to remember. At this point, his return is on a knife edge, not knowing who he is or his mission. The nymph knows who he is but it is important that he discovers this himself, she is loath to tell him and let him go.This film is certainly not pro-war. We see through Odysseus eyes the pillage and destruction of Troy, it is less as a moral force reclaiming a stolen princess and a group of angry men seeking vengeance on their enemies, bringing home the savagery that such victories trail in their wake. Today these flashbacks would be called PTSD. This three hour film is never boring and keeps you watching whether the action scenes or the politics at home are centre stage. If you have prior knowledge of this epic or not, it is worth watching to see this ancient tale brought to cinematic life.

The Invite (15) is a ensemble comedy drama featuring two couples Angela (Olivia Wilde) and Joe (Seth Rogen) and neighbours Pina (Penelope Cruz) and Hawk (Edward Norton). Directed by Wilde, it is a remake of a Spanish film The People Upstairs. Angela has planned a dinner party with the couple in the apartment above although Joe is unhappy about this, claiming no prior knowledge of it. So even before Pina and Hawk arrive, there is an atmosphere. When they arrive, Pina has bought a home-made flan as a gift and they appear a relaxed pair, in contrast to their hosts. Still not happy with their visit, Joe threatens to discuss an issue with their neighbours that has been bothering him for some time. Without revealing more, the evening provides a way to dissect the relationship of Angela and Joe who have a 12 year old daughter and a marriage stuck in a rut. Using the other couple as friendly and curious inquisitors, we see light shone on the issues troubling Angela and Joe, both spoken and unsaid, from minor domestic squabbles to deeper fantasies and fears that they appear to be unable to confide in each other. Lest one think Pia and Hawk are the perfect couple we gradually learn things about them that are somewhat disturbing, even to a liberal couple like Angela and Joe. They are not altogether as they seem and even their relationship has flaws. This film works better as a drama than as a comedy. Seth Rogen provides some humorous one liners from time to time but the situation in which the couples find themselves as the evening progresses is as often cringe-inducing rather than laugh out loud funny. There is one in-joke for cineasts early on where we find that the jamon Angela has sourced for Pina to remind her of Spain is not appreciated as the latter is vegetarian. One Cruz's earliest films was Jamon Jamon, so an oblique reference to that perhaps? The film is watchable and if you are fans of any of its stars it is probably worth seeing. Not all films translate well from another language and culture and this may be one. There is bad language throughout and discussion of sexual topics that may not be everyone's cup of tea or tequila.

Minions & Monsters (U) is a Gru-less animated caper which has the yellow creatures centre stage, focusing on James, Henry and Ed. All are voiced by Pierre Coffin who also **** start in a museum where the guide Olivia (Alison Janney) is shocked to learn that the group haven't heard of James and Henry; their contribution to Hollywood and how they prevented the destruction of the world. So she proceeds to make them sit down and tells their **** tale relates the early history of the Minions and their search for an evil master to serve and James' rare obsession, for a Minion, to want to tell stories and bring them to **** Minions end up in Hollywood in the 1920s where they threaten and then save the career of film director Max (Christoph Waltz). James learns that he has the necessary skills to direct films of his own and when the Minions relationship with the Bright Brothers studio comes to an end, he and Henry decide to make a movie based on his story board 'Minions and Monstra'.Short of monsters, they are helped by Ed who salvaged an artefact from a previous evil master, which enables James to produce a monster, albeit a diminutive one, named Goomi (Trey Parker).With the help of Goomi they are able to acquire scarier monsters but as the best laid plans of mice and Minions oft go agley, they find that making their movie has unexpected complications, unconnected to production and direction.I enjoyed the film which required little mental effort to appreciate and would recommend it to those with children and to those adults who just never really grew up. If you already know of the Minions from their previous Despicable Me antics, you won't need any encouragement to see this latest slice of Minion mayhem.

Toy Story 5 (PG) is the latest instalment in the animated franchise. The toys are voiced by the usual crew, although cowgirl Jessie (Joan Cusack) takes the lead in this one as she and her horse Bullseye are the favourite toys of 8 year old Bonnie. This film is bang up to date with its focus on the existential threat posed to traditional toys by the digital revolution which they call 'tech'. Despite the challenge posed by tablets etc, Jessie is determined not to give up hope that toys have a positive role in the life of her child not least in encouraging play, shown in the film as special dream-like animation separate from the 'real' life of the toys where they act out scenarios in their child's imagination. Those looking for the involvement of Woody (Tom Hanks) and Buzz (Tim Allen) will not be disappointed and new tech toys such as Smarty Pants (Conan O'Brien), Snappy and Atlas appear. At the same time as fighting against Lilypad (Greta Lee), the interactive tablet Bonnie's parents give her to help her meet other children online, Jessie looks out for Bonnie and tries to encouage her to make friends with another child, Blaze, who by chance lives in the house where Jessie was once the favourite toy of her first child, Emily. I was at times quite moved by the story and I liked how it didn't demonise tech which whilst seen as the enemy at the start of the film was seen as an ally by its end as Jessie saw that tech devices could also be discarded by children and neglected, so they had something in common after all. I really liked the humour of this film - plenty of mild poop-related toilet humour that both adults and children can enjoy as well as the usual drama of lost and refound toys. Serious topics are explored in a mostly light-hearted way with the exception of cyber bullying which is handled sensitively. This was a very good script and one does wonder whether this would be a fitting end to the franchise as the toys become antique. The only sign of this in the amimation is Woody's bald patch but one hopes that Jessie et al don't require a trip to The Repair Shop in any future instalments. Recommended for grown ups and kids alike.

Backrooms (18) is a psychological horror starring Chiwetel Ejiofor as Clark, aka as Captain Clark, the owner of a furniture warehouse of the same name, who frequently dresses up as a pirate to advertise his Ottoman Empire, aided by the video skills of Bobby, the boyfriend of his sole employee, Kat. Clark is persuaded by Mary (Renate Reinsve), his therapist, to role play the events of the night in which his wife threw him out of the house. Meanwhile, Clark calls in an electrician regarding the power outages in the warehouse. They discover an alternative power source has been added to the fuse box in the basement but for no obvious reason. One night, Clark who is sleeping at the store, discovers that there is a suite of rooms adjacent to the basement. The film is largely about his exploration of these rooms. It is difficult to describe this film. There are a few jump scares but no ghouls or demons, although that does not mean there is no danger in the rooms. For those who fear being lost in a labyrinth, this film plays on that but is also about human curiosity and our ability to let go of the familiar and move into the unknown. Is Clark mentally ill, the stress of his loneliness and a failing business, combining to unbalance him and do these bizarre, sometimes Escher-like rooms that seem to endlessly continue, exist only in his disturbed mind, or is this an alternative dimension to which his basement is merely an access point? Mary, the therapist, has had a difficult childhood and there are a number of scenes set in her former home, where she lived with her mother. That the house is about to be torn down for development seems to be trying to tell us something about belonging and change but this is never fully connected to Clark's experience to give us an explanation of what this film is about. Whilst the film is not boring, it is not particularly entertaining either and you will not be any the wiser about its meaning by the end. For those of you who like the weird and unusual, this is probably one to watch, for those who prefer a more conventional horror, go elsewhere.

Disclosure Day (12A) is a sci-fi thriller. The world is on the brink of war. Ambitious tv weather presenter, Margaret (Emily Blunt), has a strange experience while discussing her next job move with boyfriend Jackson (Wyatt Russell). She is running late for her 90 seconds at the end of the news. Just in time, she starts her forecast but speaks in an unknown clicking language which airs before the station can change camera. This makes her a person of interest to both secretive organisation Wardex, led by Noah (Colin Firth) and a group of whistle-blowers led by Hugo (Colman Domingo) who are planning to reveal some highly sensitive information to a troubled world. Meanwhile, Daniel (Josh O'Connor) a cybersecurity expert is also being hunted by Wardex who have kidnapped his girlfriend Jane (Eve Hewson) to get him to return the data he stole. Both Margaret and Daniel are key to an unfolding drama that is basically an extended chase but which tantalisingly drip feeds important details along the way to pique our interest and keep us watching. There are demonstrations of advanced technology using a form of telepathy that enables Noah to both control others and interrogate them without them being in the same physical location. How this technology was obtained is one of the reasons why the whistle-blowers want to inform humanity of what is being done in their name. Depending on what you think of the topic of aliens and their existence in our universe, you may be excited by this film that builds on the conspiracy theories of Roswell or you may feel that there are too many plot holes to invalidate the main driver of the film that we have a right to know. Given the director is Spielberg, who directed Close Encounters in the 1980s, comparisons have been made with the earlier film. However the former is regarded as a classic, whereas this may struggle to make the same impact. Certainly my fellow film goers, Dean and Ruth, differed from my opinion of this one. I enjoyed it but Dean considered it to be poorly developed and lacking in sophistication. If you like sci-fi, you will want to watch it and make up your own mind.

Obsession (18) is a part supernatural part psychological horror. Bear (Michael Johnston) loves Nikki (Inde Navarrette), or thinks he does, though can never find the right words to tell her at the music store where they both work. His friend Ian (Cooper Tomlinson) thinks that Bear's idea of pouring out his heart to Nikki is lame. They all meet regularly in a bar for a quiz with their friend Sarah (Megan Lawless) who seems fond of Bear. Nikki tells him that she is tired of working at the store and wants to move on, meaning there is pressure on Bear to declare his true feelings before it is too late. This is a slow starter but it starts to rack up the tension - clingy or needy partners are nothing new in relationships but what we see here in the Ned- Bear-Nicky-Sarah quadrangle becomes more disturbing as the story develops. What happens when one partner invests more into a relationship and can't accept you not wanting them anymore? You just know bad things are going to happen but the nature of what does transpire is highly disturbing and in one scene I was expecting some fireworks and the tension became almost unbearable. I relaxed but that was a big mistake! A dream that becomes a reality and ends in a nightmare is a fair description of this film. If you like someone, just tell them, certainly don't resort to trickery or you might find that you don't like the results. When people say that they would die for you is this merely a figure of speech or do they really mean it? Be careful what you wish for!

The Mandalorian and Grogu (12A) is a science fiction film from the people who bought you The Mandalorian TV series. Rather than produce a fourth instalment, they made a film instead. I have not seen any of the Star Wars spin-off but I have gleaned enough to learn that Din Djarin (Pedro Pascal) is a Mandalorian soldier bound by an ethical code and that Grogu, of the same species as Yoda, is his ward, apprentice and sidekick. Working for the New Republic, formed after the collapse of the Empire, Djarin is employed as a bounty hunter by Ward (Sigourney Weaver) hunting down relics of the Empire's leadership who are biding their time for a comeback. These are often warlords with their muscle being former Imperial stormtroopers (still as useless). The plot is not particularly involved. The Mandalorian is persuaded against his better judgement to work with the Hutts to rescue one of their own, Rotta (Jeremy Allen White) who is held prisoner, in exchange for information about a warlord Commander Coin (Jonny Coyne) whom the Republic want to interrogate about other Empire loyalist warlords. To some extent this is John Wick in space as in a fair fight, e.g. The Mandalorian versus 20 or so hapless stormtroopers, is invincible. It takes more subtlety and cunning to bring him down. As a relaxing way to spend a Saturday afternoon this film was ideal. I didn't have to think too hard and I enjoyed the interaction between Djarin and Grogu. I have no idea if this is what individual episodes were like on tv but on this basis I would be happy to watch them.

It was late afternoon but there was a packed house for The Devil Wore Prada 2 (12A). Mostly women but I had enjoyed the first film and was hoping this would be as good. Clearly this could not be the same scenario as before. Andy Sachs (Anne Hathaway) is now an award-winning but jobless journalist, whilst Emily (Emily Blunt) has moved to Dior although has the same attitude as she had at Runway under Miranda Priestley (Meryl Streep) who still rules the roost - just. The underappreciated and supremely competent Nigel Kipling(Stanley Tucci) is still working there to ensure there is some order to the chaos and also acts as a confidante to Andy. A big scandal causes Irv Raviz the owner to hire Andy as the new features editor to limit the damage. That Miranda either knew or approved of this change is neither here or there but it recreates some of the tension of the original. This is less about the personal relationship between Miranda and Andy and more about the corporate finances and politics of the fashion industry, a little Ugly Betty in the cut and thrust of who is in and out. Andy is tolerated by Miranda and knows that she needs a scoop that can show that she is of value to the magazine. There are some good one liners and acid remarks that shows the sharpness is still there and it is enjoyable to watch as one crisis is averted only for a new one to rake its place. Streep is as excellent as ever, as is Tucci, Hathaway is more the glue that enables the different strands to come together although she is a much more confident character than in the first film. On the whole if you liked the original, you will enjoy this one too.

The Sheep Detectives (PG) is based on "Three Bags Full" by Leonie Swann. Perhaps if Richard Osman had written a detective novel about sheep instead of OAPs it would have been like this. George (Hugh Jackman) is a shepherd of a flock to whom he has given names. Sebastian (Bryan Cranston) the black ram is a loner who does his own thing, Mopple (Chris O'Dowd) unlike most sheep, can never forget facts as his species can conveniently choose to do when experiencing trauma. Ronnie and Reggie (Brett Goldstein) are twin rams who make up for their lack of brains with violence - usually against each other. Lily (Julia Louis-Dreyfus) is George's favourite and is considered the most intelligent of his sheep. There is an unnamed lamb, an outcast of the flock because he was born in winter not spring and so has disturbed the natural order as sheep like uniformity and not the unfamiliar. Of course George loves and hand feeds him but he has a solitary life in the meadow. A murder occurs and the sheep resolve to solve it or at the very least point the humans in the right direction. They have their own personalities.They talk to each other but they are not anthropomorphic, having a logic all of their own. George reads detective stories to them before they bed down for the night in the barn, so they understand the three key components; motive, opportunity and means. The local policeman Tim Derry was back of the line when brains were handed out and reminds me a little of the village policeman in Doc Martin. Fortunately a junior journalist Elliot (Nicholas Galitzine) is looking for a story to move him off the obit pages of the local rag and he helps Tim (as do the sheep) to piece together the story of what happened and why. There are a number of suspects. A young woman, Rebecca (Molly Gordon), who has just arrived in the village, the butcher, Ham (Conleth Hill), who can tolerate vegetarians as long as they are women, Caleb (Tosin Cole), a fellow shepherd, Beth (Hong Chau) the proprietor of the only hotel in Denbrook and finally Reverend Hillcote (Kobna Holdbrook-Smith) the vicar of the local church. George has had dealings with all of them, both good and bad, so all come under suspicion. I enjoyed this film and it would be a good one for a family to watch. There may be a few awkward questions about where the lamb for our dinner comes from afterwards from younger children but parents will have to answer such questions eventually, so why not now?

The Mummy (18) is a supernatural horror. News reporter Charlie (Jack Reynor) and his family, pregnant wife Larissa (Laia Costa) and their two young children Katie (Natalie Grace) and Seb are living in Cairo while he awaits an expected job offer back in the States. Whilst playing in the back garden, Katie is spoken to by Hayat, a woman on the other side of the garden fence, claiming to be the mother of her friend Layla. Katie is not seen again and the police are called. The older detective Husam thinks her parents accidentally killed her but his new partner, Dalia (May Calamawy), is not so sure. Eight years later the family, with Maud born since Katie's disappearance, are now back living with Larissa's mother, Carmen (Veronica Falcon), in her big house in Alburquerque. Charlie is contacted by Dalia as new information has come to light. This house is where most of the subsequent story takes place. From there on the plot develops and we gradually piece together what happened to Katie all those years ago and the present day consequences slowly become evident. However there are also key scenes in Egypt as Dalia continues to investigate what happened to Katie after Charlie revisits some overlooked information that yields a clue. Charlie also starts looking into Egyptian hieroglyphics, enlisting the help of archaeologist Professor Bixler to interepret what he has found. Between them can Dalia and Charlie discover the truth of what transpired? There is some tension but this film is not particularly frightening although there is more drama to grab your attention in the later stages when the rather slow pace speeds up considerably. Not a great horror but to me interesting with some imaginative features. The additional plot line of the female Egyptian detective helps raise this film out of the ordinary, though it is not perfect by any means.

The Drama (15) is a black comedy about a soon to be married Charlie (Robert Pattinson) and Emma (Zendaya) his fiancee. Charlie is trying to write his groom's speech, recalling details of how they first met etc. After a dance session with their wedding DJ, they later see her doing something anti-social and wonder if they should say anything. A menu tasting at a restaurant with married friends Mike (Mamoudou Athie) and Rachel (Alana Haim) leads to a drunken discussion about the DJ and what they should do. Rachel defends her and recalls Mike's dog story which was the worst thing he's ever done, asking him to tell it to their friends. Mike will only do this if the others will talk about their own worst actions too. They tell their stories but it is Emma going last who causes a stir and the fallout threatens to ruin her future happiness with Charlie as he tries to come to terms with her revelation. What is shared is so shocking that Charlie begins to doubt if he really knows Emma any more. Is a person who could do that really be the woman he loves? As the wedding preparations proceed apace, they visit the photographer, whose choice of words inadvertently reminds Charlie of Emma's confession and we can see from his body language that Charlie is deeply uncomfortable. Returning to his groom's speech he starts to edit the text and the details about Emma he was once so sure about. Charlie begins to see images of Emma as the 15 year old she was when it happened and we also see disturbing flashbacks which are also comic at the same time. Despite Emma's protestations that she is different now she is an adult, Charlie interrogates her searching for some childhood trauma that can explain why she acted as she did and tries to persuade Mike and Rachel that this is the reason why the incident occurred, although he really appears to be trying to convince himself. At work at the museum, leafing through a book of art photos on his desk brings back the doubts for Charlie and he asks Misha, his colleague, what she would have done if her boyfriend had done what Emma did. He doesn't like the answer which upsets him even more. Misha tries to be supportive and this leads to further complications. The wedding day arrives. Will Charlie and Emma be able to overcome their differences and will their nuptials actually take place? Despite it being about a couple's relationship going off the rails, I liked this film which got a reaction from the cinema audience. Initially there were romantic scenes but a change in tone led to some darkly comic moments that led to either gasps or nervous laughter as the situation unravelled and got out of hand. At times I felt uncomfortable about what I was seeing. If you go and watch this with your partner, whatever you do afterwards, don't ask them to tell you the worst thing they've ever done.

Project Hail Mary (12A) is a sci-fi film which takes its name from the American football term meaning a desperate last chance. The Sun is slowly dying, threatening to end all life in Earth. To find out why this is happening and hopefully find a cure, a space ship named Hail Mary is sent towards a distant star, Tau Ceti, to find out why it is not experiencing the same slow death as many other stars in our galaxy. Ryland Grace (Ryan Gosling) is a micro-biologist who gave up academic research to teach school kids. Yet we find him waking up from an induced coma on the Hail Mary with long hair and beard after a long journey to the distant star. Contacting Earth for guidance will take 11 years for a message to reach it, so he is on his own. Although the film does have a linear narrative, there are plenty of flashbacks to his life on Earth. Why is he on the ship and what does he know that placed him there? We are gradually drip fed more information. In the course of his mission, Grace comes across another being sent on a similar mission, to save its own star. Grace and this alien, who he names Rocky, begin to interact, trying to understand what they have in common to make a joint effort to fulfil their respective missions. This is a long film of 2½ hours and at times it does seem quite slow, not a film with constant excitement. The science just about made sense but at times, although I got the main gist, I didn't really understand quite what was happening and relied on images of the ship's computer screen messages to tell me what was happening. Although in many ways this is familiar 'lone man in a spaceship' territory with the usual clichés it has some differences that makes it stand out from the crowd. Although there are no particular 'wow' moments, you continue watching to find out whether they will succeed or not. It has a little humour too, as I frequently chuckled to myself. Grace is certainly not a cardboard cutout hero trying to save the world and Rocky is fun too. If you don't like space movies, you probably won't want to sit through this one but if the subject of astronomy and our universe fascinates you in any way, give this a go as you should enjoy it.

[SPOILER ALERT: This review contains spoilers.]

If I Had Legs I'd Kick You (15) focuses on Linda (Rose Byrne) the mother of a sick daughter who has a tube to receive nutrients and can only have it removed if she eats enough to reach a certain weight. Hospital visits are made more difficult by her refusal to pay for parking which leads to trouble with the attendant. She doesn't seem particularly maternal although her unseen daughter is vocally demanding. Her husband Charles (Christian Slater) is away for two months but calls regularly. A plumbing disaster that creates a hole in the ceiling of their rented apartment sees them move to a hotel, a 'flop house' as she calls it while repairs are made. We see her at session with her unnamed therapist (Conan O'Brien) as she tells him how she feels alone and unsupported not knowing what to do. Linda 'self-medicates' with alcohol and drugs. It is somehow disconcerting to find that Linda is a therapist too, though seemingly more neurotic than some of her patients like Caroline (Danielle Macdonald) a new mother obsessed with the safety of her child. The hole in the bedroom ceiling of the abandoned home becomes a sort of metaphor for the problems in Linda's own life and at times, after drinking or taking drugs, she sees a beam or individual lights appearing to come out of it. As portrayed, Linda is not a woman for whom I have much sympathy and you feel that some of her problems could be solved if she stopped feeling so sorry for herself and thought about others but that is just my take, women and mothers may be more empathetic. I am not sure about what the ending of the film tells us. Does Linda have an epiphany and start to realise that life isn't just about her? It is difficult to tell. Not a film that I want to see again, it was certainly not entertainment, more of a chore to be endured, although seeing that Linda is beset by so many problems, one may leave thinking that our own lives in comparison are much better. I wouldn't recommend watching it though.

Hoppers (U) is an animated film that deals with serious environmental issues in a light-hearted way. Mabel Tanaka (Piper Curda) loves animals and hates to see them caged up which gets her into trouble. Fortunately her grandma (Karen Huie) is a calming influence and perched on her favourite rock over looking a forest glade, she teaches Mabel how to be still and observe nature. That said, Mabel becomes a headstrong young woman and when she finds that Mayor Jerry (Jon Hamm) of nearby Beaverton, a popular politician, is about to push a new highway through the glade, she resolves to do something about it. Learning that her professor at the University has devised a new way of observing animals in order to understand them better, Mabel decides to take advantage of this technology and use it herself. That's all I'm telling you about the plot. A film children will enjoy, if not all adults, the woman, sitting near to me with her kids, seemed to lose interest and took out her phone. However, despite this distraction, it was an enjoyable romp with a different take on our understanding of the animal kingdoms, yes kingdoms. Not a sugar-coated view of the natural world by any means. Pond Rules, anyone? Can humans and all of the other animals share the world without any one kingdom selfishly favouring itself to the detriment of the others? This Beaverton fantasy shows that if you care about others, then there is always a chance.

The unimaginatively titled Scream 7 (18) is the latest in the slasher horror franchise. Sidney Prescott (Neve Campbell) is back after missing the previous instalment. The opening 15 minutes back in the 'murder house' in Woodsboro set the scene for the rest of the movie as we learn that yet again someone with a grudge has resurrected Ghostface. Sidney, now in Indiana, has a police chief husband Mark (Joel McHale from 'Community') and a teenaged daughter, Tatum (Isabel May), whose boyfriend Ben (Sam Rechner) attracts mom's suspicions above and beyond the natural protective mom vibes. Given Sidney's past history there are few people that she trusts, so anyone getting close to her family is seen as a potential murder suspect. As you might guess, the bodies start piling up as Ghostface eventually appears with the usual sharp-edged modus operandi. All the customary features of the Scream movies are present, the phone calls, the self-reference to previous films and the red herrings that lead you to suspect the innocent. Can Sidney protect Tatum and ensure that she will lead a normal life after this current round of violence splutters, or splatters, to its bloody end? After the opening which did provide a few jump scares, I felt the film was rather flat and lacking in tension. Although it was played straight and not for laughs, I just found I couldn't take it seriously. If it had been played in a semi-humorous vein it may have been better. Sidney is the strongest character and you want her to win through but you don't really get to know the others well enough to really care if they survive. The discovery of the killer was a surprise but the rationale for the murder spree was somewhat convoluted which made you realise, if you hadn't already, that this franchise has little left in the tank creativity-wise and perhaps film makers and serial killers should leave Sidney and family in peace and start tormenting a new set of unconnected teens with a different rationale and a more imaginative plot.

[SPOILER ALERT: This review contains spoilers.]

Cold Storage (15) is a sci-fi comedy horror and although played straight it doesn't take itself too seriously. Set in a regular storage unit, as you might see just off the A34, this is one is situated in the middle of a desert and was previously a military grade facility, until decommissioned, privatised and manned by minimum wagers who are not exactly enthralled by the work but hey, it's a job. On nights is Travis aka 'Teacake' (Joe Keery) who is keen to stay out of trouble and not get mixed up in a dodgy enterprise run by janitor Griffin (Gavin Spokes). He finds that he is on shift with new girl, Naomi (Georgina Campbell). Meanwhile Robert Quinn (Liam Neeson) a retired containment expert is awoken by Abigail, a US Army operative at a command centre due to an alarm triggered at a former US Army storage facility... I will say no more about the plot. I enjoyed the film. I cared about the main protagonists, Travis and Naomi, wanting them to survive the potential fate in store for them. I liked how we gradually got to know a bit more about their lives as the film progressed, which seemed natural, like two new colleagues gradually getting to know one other. The special effects were good. The main surprise was 'item 7' which sent the film into fantasy, that is if you consider that up to that point it was still clinging to some version of reality. The film is fairly linear and there are no plot twists to complicate things and get in the way of the fun. There are some laughs and also a few jump scares along the way, so it meets the criteria for a comedy horror. If you are tired and stressed after a busy week, then this is one to watch, as it is entertaining without you having to think too hard.

Crime 101 (15) is a crime thriller with Chris Hemsworth as Mike the upmarket thief, who never harms his victims or leaves any evidence. Cop Lou Lubenick (Mark Ruffalo) has a theory that a series of crimes all committed off Route 101 in Los Angeles are by one man due to their similar MO. However his views are not shared by his junior partner Tillman (Corey Hawkins) or his captain. Meanwhile Sharon (Halle Berry) works for a high value client insurance broker and is frustrated at her lack of promotion and the excuses she is offered each time she enquires about the partnership promised her. This film is about how the three become entangled in each others lives, fairly obviously in the case of Mike and Lou but less so with respect to Sharon. This wasn't the car chasing, squealing brakes and gunfight saga I expected and is much the better for it. A more involving and intelligent film. People whose experience isn't recognised or hard work rewarded may feel some kinship with Lou and Sandra here. None of the three is particularly happy with their lives. As we soon find out, Mike, despite successfully planning and carrying out his heists, wants out of the game as soon as possible which doesn't please his boss/fence Money (Nick Nolte) who gets biker Ormon (Barry Keoghan) to commit the next crime instead and keep tabs on Mike to see what he is going to do next and steal his ideas. Desperately lonely and looking for a real relationship, Mike chances on Maya (Monica Barbaro) and suggests a date but that brings its own problems. We also follow the lives of Lou and Sharon as they face up to their own failures and insecurities. How their separate stories entwine and come to a conclusion may be implausible but it is certainly an enjoyable ride and I can recommend it as a crime movie different from the 'screech screech bang bang' that one frequently associates with this type of film.

The Whistle (15) is a teen horror. The trailer said it was from the people who bought you The Monkey so you know a little of what to expect. After the scene setting opening with basketball star Mason, we move on to the main protagonist, Chrysanthemum "Chrys" (Dafne Keen) an older teen who has relocated to live with her cousin Rel (Sky Yang). Her first day at high school doesn't go so well and she, Rel, his friend Ellie (Sophie Nélisse), Grace (Ali Skovbye), his crush and her boyfriend Dean (Jhaleil Swaby) end up in detention with teacher Mr Craven (Nick Frost). Something falls out of Chrys' bag that attracts his interest and sets this ersatz Breakfast Club on a road that should not have been taken. From hereon in things start to happen and not in a good way. Can these teens find a way to prevent the supernatural intervening in their young lives, potentially forever? Mason's mother (Michelle Fairley) collector of memento mori may have some clues that will help them. If you liked The Monkey you will probably enjoy this. Although not as intense and complicated, it has some genuinely scary moments. There is a love story thrown in which become integral to the plot. The film is too linear to really shock you and part way through I gained an inkling into how it was likely to end, so perhaps a little too formulaic, with not enough twists, though plenty of jump moments and gore. A good performance from the cast and overall you are concerned about their fate and do root for them, well, some of them. Not as good as The Monkey but still worth seeing if you like this type of horror.

[SPOILER ALERT: This review contains spoilers.]

Shelter (15) is a film starring Jason Statham. I could stop my review there as his films have become so formulaic that you almost feel you are watching the same film as the one he made before. The Statham character usually lives alone, minds his own business but is friendly with an old lady etc. Something then happens that requires him to cast off the cloak of anonimity and reveal that he is a former soldier, usually SAS, or an ex special agent, anyway you get the picture. For some reason, as with a lot of films lately, it seems to be shot in a gloom. Almost a silent one too to start with as you see Statham standing and gazing with intense focus at the sea view. The action does pick up though as he finds he has to act as a parent and nurse to a suspicious young girl Jessie (Bodhi Rae Breathnach). Statham has a paranoia about being seen, actually, as always, his fear is well grounded as when he is eventually spotted all hell breaks loose as he and young Jessie are hunted down. I won't say anymore as you can probably work out the rest. I did like the film as it was an easy watch. It required no real effort to understand what was happening - you could just sit back and enjoy the ride. The young girl who is Staham's co-star does really well in her role and it was her acting that gave us the only real emotion in a film that was otherwise lacking any, given Statham's deadpan performance, with little dialogue except his occasional instruction to her. If you are a Statham fan you will want to see it but if you have seen his other films and were not impressed, this will not change your mind.

If you can imagine '9 to 5', 'The Admirable Crichton' and 'Lord of the Flies' rolled into one, then that gives you some idea of what this film is like. Linda Liddle (Rachel McAdams) is a data analyst for a consultancy firm. Her immediate boss, Donovan (Xavier Samuel) claims credit for her work. However he is merely a junior **** compared to Bradley Preston (Dylan O'Brien), the entitled son of the founder, who is now CEO. In a world of bro's, Linda is the lowest of the low and despised by them. She only survives because she is so valuable but her social skills and penchant for tuna sandwiches are only a few of the things that stop her scaling the office ladder. However if the tables were turned and Linda became the alpha, how would the boys feel then? Particularly Bradley. I don't want to say too much but this film has many layers and if you think you have sussed it out, then the next scene can completely confound you about the direction it is taking. This is one for office nerds everywhere who have dreamed of sticking it to senior management but have never had the opportunity. For Linda that becomes a reality and we can enjoy unpeeling the layers of this film and trying to anticipate its twists and turns. There is much more I could say about this film but I don't want to spoil it for you. It is only February but this is the best film I have seen this year so far, possibly a contender for film of the year. Rachel McAdams is brilliant as Linda and Dylan O'Brien is the perfect foil as Bradley. This film really struck a chord with me and though it is utter fantasy, I really got involved in it which is something that rarely happens. More comedy than horror it is true but certainly a must see if you like the films I do.

[SPOILER ALERT: This review contains spoilers.]

The History of Sound (15) is a period drama set largely in the early 20th century. It was screenwritten by the author of the book of the same name. Lionel (Paul Mescal) is a country boy from Kentucky with an aptitude for music who leaves home for a college in Boston. Hearing a familiar song from home being sung by a pianist, he introduces himself to the player, David (Josh O' Connor). They become friends but it is 1917 and David enrols in the US Army, Lionel's eyesight preventing him from doing the same. The college closes and he returns home to help out on the family farm. The heart of the story is during 1919 after David returns from the war. He suggests that Lionel joins him in a project for his new employer, a college in Maine. Travelling the state, they will record the songs of rural America on wax cylinders using a special machine. They rebond over their common interest in folk songs but David won't talk about his wartime experiences. He explains to Lionel that in order to get people to co-operate and sing he often bends the truth about the recording to encourage participation. The two are recording songs that may soon disappear, as one small island community is being moved on so that their land can be developed so their soulful and beautiful music may one day be preserved only on those wax cylinders as they are uprooted from the land they know and love. The two men part and in the early 1920s Lionel travels to both Italy and England to earn a living in music either singing or as a choirmaster. He leaves relationships behind him and is clearly restless. Having written to David he receives no replies. When his family no longer have any call on him, he seeks out his old friend in Augusta, Maine, the last place he lived. Will Lionel find some contentment or will he fall further into despair? The film develops slowly and on occasions is beautifully shot. The music is affecting and is not country music as we know it today but a folk precursor that with its themes of love, death, pain and sorrow has been handed down and modified by each generation but is now gradually being lost. In some way the songs mirror Lionel's own experience as we move through his life as he takes new lovers and ends old relationships. It is well acted by both Mescal and O' Connor who bring both men to life in their different ways, complementing each other, the one born rural and poor with family responsibilities, the other wealthy and urbane with no ties. This was a film I did not plan on seeing as I knew nothing about it. Those who like thoughtful and reflective films may enjoy it but it will not be for everyone.

[SPOILER ALERT: This review contains spoilers.]

I have a confession to make about Song Sung Blue (12A), which I thought was a biopic of Neil Diamond rather than a film about Mike Sardina (Hugh Jackman) and Claire Stengl (Kate Hudson) both part-time entertainers getting small town gigs in Wisconsin wherever they can while hoping to make it big some day. They meet when both are on the same bill, imitating other stars, she as Patsy Cline and Mike as Don Ho (exactly!) but he refuses to play this role and walks **** rest of the film shows how their personal relationship develops and start working together as Lightning and Thunder, a band 'interpreting' Diamond's songs yet also how Claire's family react to a new person entering their lives. Jackman and Hudson are very much the stars but the supporting cast is good too, particularly Claire's teenage daughter Rachel (Ella Anderson). The music of Neil Diamond features strongly and in addition to old favourites, other less well known songs (to me anyway) make an appearance. As you might guess the course of love and music never runs smooth so there are peaks and troughs in Mike and Claire's personal relationship and in their performing partnership too. I enjoyed this movie which has some emotional heft. Some may consider that its plot development is a little predictable and I had a feeling that there might be a positive ending but you will have to see for yourself whether I was right or not.

Hamnet (12A) could have been subtitled 'The Shakespeares' as it is about the family life of the playwright William (Paul Mescal), his wife Agnes (Jessie Buckley) pronounced An-yes and their children Suzanna, Hamnet and Judith. One advantage of us knowing very little about Shakespeare's life apart from his plays, is that it allows a novelist/screenwriter to fill in the gaps and I feel it has been done well. Agnes is shown with an affinity for the natural world and is often found in the nearby forest where she gathers the wild plants according to the herblore taught to her as a girl by her natural mother. The action takes place mostly in Stratford although occasionally we see Will in London. With her husband being absent for much of the time, Agnes has to look after the children alone with the occasional support of her sometimes fierce mother-in-law Mary (Emily Watson). Much of the film is centred around the three Shakespeare children and the actors in these roles, especially the boy Hamnet, are very convincing. Although the words of Shakespeare feature in this film, it is ironic that its most dramatic moments are conveyed by look and gesture rather than in speech. I would be surprised if anyone is not moved emotionally by watching Hamnet and even if you have no interest or knowledge of Shakespeare, the human drama is compelling and I would recommend it.

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]