FONYMAHONEY

Wow. Easily the best narrative film about tech since the social network. Glenn Howerton proving pretty definitively that he's one of the world's great actors. Matt Johnson is a genius auteur. Jay Baruchel...I mean, wow. What a performance.

I'll never understand how this was entirely overlooked for any awards. If the Oscar's didn't have such a preoccupation with campaigning and rewarding actors for a career with an award for a weak performance (Brad Pitt), Glenn Howerton would be polishing his (first) best supporting actor trophy.

Funny, heartbreaking, real. Pretty much everything I look for in a movie, and then some. Watch it, tell your friends to watch it - it's fantastic.

Wow, I mean - where to begin? A world class, audaciously original & perfectly executed slice of period horror. My favourite original release since Silence of the lambs.

David Dastmalchian. There aren't enough superlatives to describe THAT performance. The seemingly go-to 'creepy-looking' medium-player in big budget classics appeared to have slid into typecasting, but then he delivers one of the decades great film performances completely out of left field. Simply, it's incredible. I was in absolute awe when I wasn't entirely swept away. An outstanding performance on its own merits - truly already seminal in the horror genre.

That being said, as spectacular as Dastmalchian is, it's a testament to the sheer quality of the rest of the ensemble that he never outshines or upstages them - and to think that beyond DD, they're practically ALL Australian - just; I mean, that's beyond impressive. What an extraordinary talent pool that country seems to be enjoying.

As an idea, as a style - it's the greatest of its example I've ever seen. The Cairnes' have made a lifelong fanatic out of me with this genius contribution to an oft critically overlooked genre. If there's any justice (and there never is), they'd be making room for a couple of Oscar's for original screenplay and production design. I hope enough people see this to make that possible.

Bravo to all involved. The first time I can remember being so enraptured by a film, I forgot I was watching one. Certainly the first in a very long time.

See it.

A beautifully realised tribute to one of the absolute greats of English football - and yet in tandem, the most heartbreaking representation of dementia since Florian Zeller's 'The Father'.

They don't make footballers - or, frankly, people - like Jackie Charlton anymore. In a world of spineless, pandering yes people lapping up the kool aid, Jack Charlton was more than a breath of fresh air - he was an essential presence with an unmatched charisma in the world of sport. Losing Jack Charlton (and, for similar reasons - Shane MacGowan) almost feels like an ascension of the unique greats the rest of us conformist mortals aren't privy to.

Watch this film. Even if you don't know about football, or who Jack Charlton is.

After struggling throughout to remember his own most iconic milestones - The moment he recognised Paul McGrath is one of the single most beautiful instances ever captured on film.

Another Oscar season, another Bradley Cooper helmed-and-fronted passion project. This is probably his best yet. That's really not saying much.

His performance is really quite fantastic. Mulligan, too. But who cares? This feels like an attempt at a warts-and-all biopic, but done without any innovation or imagination - but with the bum-aching runtime. About as by-the-numbers as you could hope to get in a modern film. It might as well be called 'Oscar bait.'

Bradley Cooper is undeniably a very talented, charismatic & hard-working guy, and I have zero doubt that he's not many years off of receiving the academy award he so clearly desperately wants - but on the evidence so far, it won't be for a good film.

Jonathan Glazer has a tendency towards producing movies which feel like 'events'. Whether this is because of the time he takes between projects (selfishly I do wish he were more prolific - we need more films like this) or because each feature he's turned out has been so exceptional it FEELS like an event, I really do not mind. I'm just grateful his is a voice which even exists in cinema.

There have been a handful of truly landmark films covering the horrors of the holocaust, with the majority heralded rightly among the greatest films ever made. If this film were in the English language, I can guarantee for innovation and originality alone, The Zone Of Interest would immediately be right up there as a cultural touchstone. It should be. Maybe with time it will.

Visually, I've never seen anything quite like it. I don't typically 'geek out' on how movies are made, but every facet of this film is so utterly unique and wholly gripping - I keep re-reading how Glazer did it. Fascinating, bordering on genius.

The performances are faultless. They don't feel like performances. We're all impressed by the physical and vocal transformations some Hollywood actors can pull off, but here every character IS so real, watching them interact almost feels like voyeurism. The most jaw dropping utilisation of naturalism since the bicycle thieves.

It's refreshing to see such a genuinely naked work of art being recognised by the academy, especially during these horribly turbulent days. I implore everyone to see it.

My only tip? If you're watching it at home rather than the theatre - wear headphones. Don't miss a thing.

An important drama about the widest miscarriage of justice seen upon the British isles in recent memory. A story that demanded to be told, and has rightly enjoyed a huge cultural impact.

The fact it has proved to be such a cultural touchstone, beyond the fury-inspiring subject, is entirely a testament to the quality of the acting on display - from trusted old-hands like Toby Jones to previously under-utilised gems like Will Mellor, all of these real people are brought to heartbreaking, hard-to-watch reality. The show is nothing without them.

The writing, on the other hand - ugh. Just; when did this become the norm for ALL ITV drama? Everything spelt out in condescendingly broad strokes, and some scenes were so overwhelmingly (yet avoidably, with even a little imagination) cheesy & hackneyed, it sucked me straight out my suspended disbelief. How is this the same network who produced the seminal Cracker? And WHY are ALL of their dramas like this now? Where are they finding these writers? Is it nepotism? Is it laziness? Is it active pandering?

Sorry, that turned into a rant - great story, brilliantly performed. Badly written. Or maybe that's the point. I don't know.

That's all.

This is the closest Chris Nolan has ever come to making the perfect movie. Not one bum note of dialogue - intelligent but accessible, naturalistic but rousing. The greatest ensemble of actors assembled for a single picture in recent memory, and every single performance across the board is pitch perfect. Something Nolan has, if we're honest - struggled to attain in any of his output until now.

Visually, the thing is next level and then some. The attention to detail alone is enough to grab the viewer and never let go for three hours, but then you have the classic Nolan BIG set pieces. The colourful ballet of the nuclear test, the silence - I can't recall a single scene from cinema that's had me so enraptured and terrified. Just magnificent.

Damon's best performance ever. Downey, Jr's finest since Chaplin. Emily Blunt delivering such a compelling turn as Kitty, her name should already be etched onto her Oscar.

Cillian Murphy. The finest film actor of his generation, giving the one of the greatest performances of any generation. A towering achievement of subtlety & brilliance.

That said, it still isn't perfect - it's still a Chris Nolan film. Too much music telling you how to feel in almost every. Single. Scene. In a story as intimate as the troubled life of one man, it feels a little needless and it definitely drew me into an eye roll more than once.

However, If like me you're not a Nolan fan generally - you should still make the time for this film. You won't regret a single minute. It's really terrific.

When The Office broke and Gervais became THE dominant force in British comedy, he almost became a distant surrogate father. His integrity, his wit, his silliness, his self-awareness - I lapped up his every word with a feverish devotion and it instilled in me an unflinching adoration for subversive, authentic, challenging & intellectually-stimulating comedy. Something Gervais vowed was and would always be his benchmark.

To say he's fallen from grace in terms of output and quality since then is as grave an understatement as you can muster. His seemingly terminal inability to share the credit for his ascent with the consistently excellent Stephen Merchant is simultaneously baffling and, presumably, hurtful. And his stand up, even back in 2002, has never come close to matching the quality of his best scripted work. This is easily the worst of the bunch, and the sheer volume of anecdotes and non-routines which he's already pedalled on various XFM episodes and podcast shows that the guy is almost a cardboard cutout of his once undeniable brilliance.

However, while for me it's a 1 star stand up show, it's a 10 star message. Netflix putting out a special On Christmas Day with such a one-note but nonetheless vitally important point to make, from one of the biggest comedy names in the world, is hugely important to me as a comedy fan. In the UK, tv stand up is nullified & sanitised to the point of embarrassment. It's shameful. But it's not the only way, and such a huge gesture from the worlds foremost streaming giant means a lot to me - if only on principle. I just hope it actually goes some way to redressing the balance of the strange times we're in and encourages other comics to prioritise being funny again.

Not a funny special , though - but as long as there are streamers backing challenging artists, there's hope. Thanks, Netflix. Please keep it up - but maybe try switching up your talent.

The MOST fun I've had watching a new movie for what feels like a long time, certainly the first time in a decade a new(ish) Christmas film has had me so enthralled and almost deliriously entertained.

I can't get my head around it being lower than a 7 here - my assumption is down-votes from the Christmas prudes who can only stomach Hallmark-style fare during the holidays, because if you're even only a passing fan of cinema, this is undeniably terrific.

Harbour is, for me, already one of THE seminal movie Santas. An exhilarating, hilarious & human performance from one of the finest actors around right now - but it's a measure of the stellar cast surrounding him, top to bottom, that he never outshines them. And despite the gore, it's wonderfully festive.

My one and only bugbear? The opening scene, set in 'Bristol, England'. The city where I grew up. The street is so clearly in North America, our buildings don't look anything like that, but that's the tip of the ice berg. Did the creator/director just pick an English city at random? Because those accents were nowhere near. The barmaid was so clearly from London and wasn't even trying. The other Santa was what, Australian? Or an American having a pop? It's such a jarringly ill-researched opening to a movie (seriously, just pull up 'Bristolian accent' on YouTube. It'll take about a minute.) that I almost gave up then. In fact, in my first attempt I actually did. That's such a bugbear for me in American films, poorly executed scenes set in the UK or featuring English characters. Like, google isn't a new thing you know? I know this sounds like aimless whinging, but as someone from the UK - believe me, that would be enough for both of my parents to bail out.

That said (sorry, got into a bit of a rant) - it's a fantastic action film and an even better Christmas one. Go watch it, and if you're Bristolian - skip the opening scene. You don't need it and it'll just annoy you.

I hate that this film even exists. A Christmas Story is truly one of the all time great American holiday movies and criminally underrated as a subversive comedy in its own right. This is, at times, almost as sappy as a hallmark offering.

Is this a reflection of the times we're in? Sentiment completely trouncing any resemblance of quality? I fear it may be, and this is probably the worst & most legacy-tainting sequel since the David Brent movie. Utterly pointless and completely baffling. Witless, toothless and absolutely all over the place - who is this film for? Kids? Adults? Because I can't imagine it vibing with either age bracket.

Some really hammy performances from Ralphie's immediate family don't help. Insufferable at points. Not enough of the returning character's to justify being so backward-looking.

Only not a 1 or 2 because well - Christmas movies are sort of allowed to suck as long as there's snow and lights, and I've seen worse. But not many.

Emerald Fennell is a very very posh person. She's from extraordinary wealth. To take nothing away from her achievements as a filmmaker (Promising Young Woman was a terrific, difficult watch and rightly lauded) - but going in knowing that and then coming out the other side of this morally disturbing parable, it's a troubling setting and one that irks me.

The two most obvious antagonists are the type of people you'd typically be rooting for in a film about rich vs poor, and the fact it's turned on its head doesn't feel like an innovative step - it feels like the exact opposite. It feels like someone from enormous privilege trying to redress the balance, almost like a propaganda piece.

It's beautifully shot. It's really well acted. It's a solidly entertaining (if broadly unoriginal) little film, but as someone NOT from the world of Saltburn - it left a sour taste.

It's an OK holiday film. Far too long. Pretty funny, but not funny enough - and only as amusing as it is because of the cast.

But Nick Offerman should be ashamed of himself for that abomination of an English accent. The worst example committed to celluloid since Dick Van Dyke in Mary Poppins. Americans won't care but for me, as soon as his character became more involved in the narrative - I had to bail. Just woeful. There is an abundance of excellent British comedy talent based in Los Angeles. Maybe utilise them rather than letting an A-lister with limited range 'have a go'? Cos he's not gonna land any of the British roles he's obviously fantasising about, and presumably why he lobbied for this role.

Also, WHY is it set in Southern California?! My guess is that wasn't the original location in the script because it just doesn't work for a holiday movie. Like, at all. Clearly Murphy wanted to make another Christmas film - but didn't want to leave Los Angeles. So this is what we're dealt. It just doesn't work.

Would have been a 5 for me for some decent comedy moments if it weren't for Offerman and the sunshine. Waste of time.

Summary: Nick Offerman's English accent is an abomination. Clearly Eddie didn't want to make a Christmas movie somewhere cold. Doesn't work.

Decent mystery, a little silly for something so big budget and not as stimulating as other Feig-fare while still pretty solidly entertaining for 2 hours - but it certainly cannot be described as a comedy, and that's largely down to casting.

Henry Golding is a classy actor, but the script clearly read 'English professor from England' and went for star power over someone with any resemblance of timing. It seems to be 'a thing' for Feig, with Chris O'Dowd providing a similar role in Bridesmaids - but O'Dowd is a proven comic actor whereas I honestly can't recall Henry Golding being remotely funny in anything I've ever seen. Handsome men, particularly handsome ENGLISH men, seldom tend to be - they take themselves too seriously.

I fear he was given a lot of the punchier comedic lines while Kendrick & Lively brilliantly helmed the bulk of the plot, but Golding just doesn't have the chops - so they all fell slightly embarrassingly flat.

That ruined it for me, unfortunately - I'm glad it gave it a go but I'd never watch it again. Feels like a slightly fluffed opportunity.

I seriously hope that no actual children saw this. The muppets made the seminal family interpretation in the early 90's. This is an absolute abomination, an insult - adding a dog? Seriously? Is THAT how far we've fallen?

Why is the nephews name changed? Why is it the wrong side of 90 minutes? Why are the performances so hammy? HOW are the performances so hammy?!

This might be my least favourite animated film of all time. It's a cynical, shameless attempt at a cash grab from a less discerning American audience. I can't believe it hasn't been absolutely annihilated in the ratings here. Like the worst soap opera episode ever.

Like several others, I was so jazzed for a follow-up series to the phenomenally executed single-shot cinematic masterpiece Boiling Point.

Then came The Bear.

Sadly, where the film matches or maybe even slightly exceeds The Bear in the gritty-heartbreaking-realism stakes, its TV spin-off just doesn't measure up.

Too many 2D new characters. Too much amateurish dialogue. Too much rushed emotional resolution from absolutely nowhere plot-wise. Just...too much.

I dunno. It all just felt a bit hammy & ridiculous where the original (and The Bear) absolutely nailed the hardcore breathlessness of that type of workplace. Maybe it's trying too hard to enjoy mainstream success. Maybe that's a pressure from 'above'. Maybe it's aiming more for an American market, I don't know - the same thing seemed to happen with the final series of 'Happy Valley'.

It was entertaining enough, but not really my cup of tea. I won't be rewatching and a part of me is annoyed this is now canon because as a stand-alone piece of work, the movie of Boiling Point is the best British film for the last 10 years or so. This is OK.

Coogan truly shines. One of the greatest dramatic performances on British TV this decade so far. Maybe the finest, certainly the most unsettlingly authentic. As a lifelong fan of his comedy work, I must say - this is by far his finest dramatic turn. He's previously had a propensity for being a little hammy in non-funnies in the past, but he's absolutely nailing it here. A true revelation - I hope this is the beginning of, to paraphrase his Tony Wilson - 'his second act'.

The script, on the other hand - pee-yoo! Heavy handed is an understatement, and I don't mean with regards to the harrowing realities of what Saville was able to get away with. The dialogue from supporting players is frequently so clunky and jarringly inorganic, it's as if you've suddenly been sucked into a school play.

'Wow! You're Jimmy Saville! We saw you last night, you had the audience in the palm of hand! You're the talk of Leeds!'

Absolute rubbish. Who talks like that outside of Amateur dramatics? Just corny & borderline pathetically lazy writing for something trying to illustrate a seminal, historic and realistic point. Maybe try switching up your in-house writers? Because on this evidence, we are sorely lagging badly behind the states.

And finally - shame on the BBC. They are the last media organisation on earth who should've been allowed to make a drama which, by any rational perspective, ought to be shining a blinding light on their own inner-workings as much as Saville.

There's a major household name comic/actor, still living, of a similar generation and profile to Jimmy, who by many accounts has committed a similar level of appalling sexual crimes (who I can't name here) and is still revered & promoted actively by the Beeb - and I can guarantee they know, and that none of this will come out until after he's died. They haven't learned a thing. They haven't changed a thing. And on this evidence - they're never going to.

Coogan is so good, it pushes this to a 7. Definitely worth a watch for that alone - but don't watch it on iPlayer. I didn't.

Seriously, America - just come up with your own ideas. For an industry with billions of dollars behind it, it seems slightly perverse to keep mining English TV for ideas because you can't come up with your own.

Jimmy McGovern is a genius and should be recognised as such. Cracker was sensational - Fitz was a car crash. This is arguably worse.

Howard Gordon is a charlatan. Has the guy ever actually had an original idea of his own? Even Homeland was a remake. Stop giving him Emmys for being creative when he literally isn't - just employ the writers of their originals and stop paying this man so much for glamourised plagiarism.

It's been a long-running gag among Gervais podcast fans that at least two of Karl's nonsense ideas for films have been effectively hijacked, adapted (and obviously massively improved) by the black mirror team.

After this season opener, I'm beginning to wonder if it IS just a gag - because this was borderline woeful.

Amazing star studded cast wasted on a tawdry, hackneyed & corny premise, delivered like a weak sitcom episode. Even after the previous dud of a season, I still had high hopes. They've been summarily dashed by this piece of low-grade, smug piece of tripe.

I love Charlie Brooker. He's given us so much wonderful, original and terrifying entertainment. But he's only human and I guess there's a cap on that. It was nice while it lasted. Great, even.

Rarely has a single television episode drawn such universal acclaim. Never before has that adoration been more on the money.

I'm still reeling from that, more than 24 hours later. What else is there to say? If this episode doesn't absolutely sweep at the Emmy's, then there's more politics among voters than the Roy siblings themselves.

In all seriousness - this show is an absolute blessing & I'm as nervous & excited for the rest of this final season as I would be a major exam.

Acting - perfect.

Direction - perfect.

Writing - BEYOND Perfect.

Succession is The Beatles of TV and Jesse Armstrong is it's McCartney. The only thing taking the edge off my misery at seeing my favourite show of the century so far coming to an end, is feverish anticipation at what Armstrong has for us next.

Genius.

Seriously - HOW did this get made?!

Netflix obviously have a habit of churning out pulpy thrillers, and I've watched (or at least tried to watch) almost all of them, and I can safely say, of all of them, hands down - this has the WORST dialogue and performances that border on the hysterical. It's hard to blame the actors for that, they're making the best of a VERY bad screenplay - and presumably, incompetent performative direction.

Visually it's decent. That was obviously the priority for the filmmaker. The only priority. It's the only thing that makes sense.

I really can't fathom how this got made. Who's this guy sleeping with at Netflix to get this off the ground ahead of so many blacklist scripts? They must be pretty high up or have a lot to hide because WOW. Rubbish.

Only given 2 rather than 1 because I did honestly laugh more than once in the opening ten minutes at the hackneyed dialogue.

So many people told me to stop when Carell leaves.

I saw the finale ratings on here and persevered.

I need to stop having so much faith in IMDb.

Every storyline completely resolved. Every character happy. Absolutely illogical, borderline offensive garbage. Rushed and heavy handed and the worst finale I've seen to a US sitcom I've dared to finish.

I'm sorry I know that's an unpopular opinion. I'm not being deliberately contrary, it's just so far fetched and uneven for something that's supposed to be actively mirroring reality and I can't get past that.

Not enough Carell. Not enough Dwight. Too much stuff resolved in contrivance during one event. Insulting.

Blimey. I was NOT expecting that.

A Masterclass, in the truest possible sense. A thing of singular beauty, with Carell giving one of the greatest television performances ever in less than 40 minutes. Sensational.

I'd written off the US remake wholesale for nearly 2 decades. I know that's a reflection of my own appalling snobbery and I'm glad I finally got over myself enough to give it a chance, because for this episode alone - wow. Grateful isn't the word.

Some very funny episodes beyond this, but if only it ended here. Because it would have been the BEST finale to a U. S. show ever.

Bravo.(Brava).

I'll be honest - I wrote off the US Office wholesale for years. The entire time it's existed, in fact. I couldn't get beyond my own resentment of the fact the sensational, ground-breaking, golden-globe winning British original had been remade for the American market. I still struggle with that - especially the gulf in their ratings on here. Honestly maddening. Plus, the seeming abandonment of the original's total dedication to the authentic documentary format (single camera, nothing over the shoulder) kinda makes the entire thing pointless. It shouldn't be a mockumentary because it wasn't filmed like one. Plus, it's hard to take a show seriously when they recast the lead for the final season just to keep the thing going, even when the focal point has decided enough is enough. Money over art.

BUT my word this is a damned funny show. Carell is amazing. Wilson is amazing. Pam & Jim are nowhere near as compelling or authentic as Tim & Dawn, but their teasing of Dwight is a comedy goldmine.

Overall? I still have my hang ups -Catherine Tate is woefully miscast and borderline unwatchable, but beyond that I've laughed a lot. It's comforting where the original was almost unbearably real. The original is the best TV show ever made. This is certainly the best US remake of a British show. But far from perfect.

Watch the original.

There's really not much to say beyond the title, but I'll give it a shot...

Excellent actors giving truly exceptional performances, pretty much across the board, but I was particularly impressed by Bonneville - a 2D creation elevated to terrifying plausibility by a performer I always felt had this in him, but who's output has broadly been just that - broad. I hope this opens some new doors for him because honestly, wow. Horrible.

Visually it's pretty masterfully done - the pacing is bang on and doesn't really let up beyond a few unavoidable dips. It's a great idea, and an enjoyable film - BUT...

It's honestly as if the writers have never heard a real conversation before, let alone seen a film. It's like a GCSE devised drama piece in a LOT of places, unimaginative and stilted - often it's so heavy handed it pulls you straight back out of what is otherwise a very gripping and ambitious parable.

Obviously a real filmmaking talent. Maybe outsource the screenwriting in future. In fact, definitely do. Please.

For years, my inner (and if I'm honest - outer) snob wrote off this film - and Gerard Butler in general - as a pile of conveyor belt, Uber-masculine nonsense.

To be fair, broadly speaking - despite Butler's undeniable talent - I've been proven right. He seems to have defaulted into typecasting, and he appears to be booked up to that effect for the foreseeable.

But this film is a truly honourably exception, in every possible respect.

It's really well acted. It's relentlessly entertaining, even in its more low-key moments. And it's moral ambiguity makes for a surprisingly thought-provoking tale.

It's obviously silly, but it's smart too. I loved it. Like Die Hard directed by Brian De Palma.