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Not a horror at all but a slow burn character study of one man's struggle with loneliness. Set in late 80s David has been stuck at home caring for his mother who is suffering with dementia for nearly 10 years. The need for full-time care and lack of support from outside agencies, leaves David pretty much socially isolated, but in clear need of human companionship. Attempts at video dating have met with no success, so in desperation he picks up a video entitled Rent A Pal. This features an amiable young man Andy (Will Wheaton) who engages in a slightly stilled getting to know you conversation. At first dismissive of the whole endeavour, David does over time begin to establish a rapport with Andy to full the void of human companionship. For such an outlandish concept the film is remarkably effective in exploring the impact of loneliness, depression, and dementia. Never going for the quick and easy, unsubtle approach, it draws you into the hopeless mundanity of David's day to day existence, allowing you to understand why this very artificial construct becomes so important to him. All this works thanks to wonderfully heart-rending performances of Brian Landis Folkins as the never complaining David and Will Wheaton as his virtual video friend Andy. Even with the electronic distance between the two they manage to achieve a fascinating electronic companionship, that is the essential driving force behind the emotional heart of this sad insight into the lives of the abandoned and forgotten.

Liz and Jackson are planning the perfect party for a select group of friends, to allow them to break the news of their up and coming wedding. However there's an unwanted guest on the way from their past, who has decided to make an appearance, and who may well derail the whole thing, in a most unexpected manner. This is a great black comedy, with a sharp script that neatly uses the confines of the dinner party to tease out the past secrets and hidden resentments from the guests. With the wine flowing the carefully planned evening slow decent into bitter backbiting escalates in unexpected ways and an unexpected anarchic element to the film that just makes it so much fun. Full credit goes to the entire cast who create such a wonderful chemistry between them all, but especially credit to Nadia Collins as Liz who has to witness her carefully laid plans slowly unfold, but not let things get the better of her.

Probably a really great movie knocked down suggest a good movie thanks to once again a ridiculously over long trailer reading far too much from later events in the film. Even with all the spoilers in the trailer you still get a few surprises and unexpected twists. Plus writer/director Leigh Whannell, shows as with his previous film Upgrade, that he can bring a fresh new approach to well used stories. But the key element here has to be Elizabeth Moss, who puts in a great performance as the traumatized girlfriend trying to escape years of domestic abuse. It's a shame with such a good actor that film did not go with a more subtle and ambiguous approach, to keep audiences guessing. A bit overlong for a jump scare shocker, but thankfully never reliant on too much dumbness.

This film had much potential with an outstanding cast, and a great sounding story, which seemed a perfect fit for director - Justin Curzel, who was able to create both haunting imagery with Macbeth and a nerve shredding experience in the true crime drama Snowtown. Here things seem to slipped free from any sense of coherence, in terms of its story and character arcs. So while you do have some really great performances from all, and at times quite striking visuals, the fact that the story never seems to gel, leaves you all a bit disconnected at times from what is happening. The first section with Ned Kelly's childhood, does promise much, but after that it descends into a style that is very reminiscent of Terrence Malick. Whispered voice over of inner thoughts, sweeping visuals, swirling camera shots of characters as they struggle with themeaning in the things happening around them. A bold choice but to pull it off I suspect you need to be Terrance Malik. You never really get the characters or key moments in their story, all just tumbles along in a bit of a mess.

Not the horror you think it is. Dealing with young children rescued from a concentration camp by the Russian forces at the end of WW2. Taken to a country house with limited food and water. Their situation deteriorates dramatically when they find themselves surrounded by vicious guard dogs from the very death camp they escaped from. Part Lord of the Flies, part Cujo, the tradegy of their existence is brought home time and time again - be it fighting for a simple potato peeling, or the stories they tell of the sights they witnessed. The struggle here is for them to hold on to the slender thread of humanity they still have within them, or decent into a vicious existence, that matches the dogs that threaten them.

At the heart of this film is an outstanding performance from Joaquin Phoenix. And it is that performance itself that I think distracts from a number of the films shortcomings. Aiming for a gritty down-at-heel look from the opening moments, with the recreation of the Warner Brothers logo from the 1970s, you very much get the mood of classics such as the French Connection and Taxi Driver. Films with no real good guy and a very dower and world weary feel. Within this setting we find struggling clown Arthur Fleck, a man suffering from numerous mental health issues who has been overlooked by the support services, and which are in turn themselves been cutback by the city, and ever demanding budget savings. As the film moves on Arthur becomes more downtrodden and isolated, his connection with reality more and more tenuous, until ... well that's the point of the film - the origin of The Joker. But getting here is not a startling revelation, just an all to believable of another troubled person falling through the cracks of the support services, in a city that doesn't care. Which is an issue that needs addressing and is handled so much better in Phoenix's previous film "You were never really here". Maybe the point of the filmmakers were to make it a very grounded take, but I feel that in turn misses the concept of the Joker. Remove the face-paint, cut away the pointless Wayne references and you have a much better film. With it and you have yet another actor undertaking a great physical performance but not much else.

Ad Astra - "through hardship to the stars", a film that focuses not so much on the technology, but in the character of the individual, that takes on the task of undertaking this perilous journey. Brad Pitt in the lead is an outstanding astronaut, who has achieved this recognition by focusing everything on mission outcomes, and nothing else. At a cost of his marriage, and any real close personal contacts. While this may sound a bit cheesy, the film does not gloss over this, but instead makes it the central premise. With Pitt embarking on the most dangerous of missions to the edge of the solar system, wrestling with his choices and a possible resolution with his father, who he has modelled his own life and career on. Set against the majestic bleakness of space, there is a wonderful counterbalance between the infinite of the galaxy, and the personal, of making a connection with just one person and holding onto that. A lifeline that is just as important as the tether to a spacecraft. While there is spectacle, and some action, this is very much a film of thought and reflection of what it is that matters most.

Simply put it's too long, and even then does not have enough time to do justice to the story. Long horror films can, and do work - The Shining being a great example, with plenty of time devoted to character and creating an unsettling atmosphere. Here though with so many characters, and so much backstory, everything gets abbreviated down into a short flashback, followed by a series of jumpscares. Now this might just work for a regular 90 minutes, but for something almost twice that length it just becomes tediously repetitive. Then with the film concentrating on the scares there is even less time for the very capable cast to do something with the flimsy material. In a good horror there should be a quite tension, broken only by the gasp or well placed chuckle, to break the tendiont. Today there was more an air of boredom.

Three "friends" each with secrets they would prefer the others not to know, one weekend at sea on a pleasure boat, oh and a harpoon no SpearGun ... what can go wrong. Well so much that you would not believe, all delivered with impeccable timing, huge amounts of black humour, a fair bit of blood and a very witty narration. A wonderfully dark and twisted comedy.

DeCaprio and Pitt as your two leads is a great start to any movie, and here they show off not just their own talent, but that they also have a great on-screen chemistry. This in-turn perfectly compliments Tarantino's obsession with classic Hollywood - be it film or TV. So every frame is packed with niche references to highlight the move of Hollywood productions from the big to the small screen, as TV begins to flex it's entertainment muscle. All nicely setting the scene as we follow the dramatic and personal trials of film actor Rick Dalton (DeCaprio) struggling to revitalise his career, and his attempt to escape his decent into typecasting as villian of the week on a string of TV dramas. Ably supported by long time stunt double Cliff Booth (Pitt), this becomes quite an insightful piece into a talented artists decline and how they do or don't cope with their situation. All culminating in struggle of artistic talent on the set of a Western adventure series, and a moment of surprising reflection from a younger member of the cast. Of course with this being a Tarantino film there has to be an added aspect to the whole thing and he's chosen to include the infamous Manson murders and in particular the fate of Sharon Tate. Going into this film I had great reservations about the whole aspect of this in the film and I still wish that he had concentrated on his two principles rather than adding this superfluous storyline. However I do have to acknowledge that is handled much better than I could possibly imagine, and with the title of this film does make perfect sense. And as a small word of warning the 18 cert may seem our of place for much of the running time, it is needed !

It's a big fun and dumb action movie, but annoyingly not as good as it should be. Statham and Johnson both know how to deliver the dumbest of lines and still make them work. While for the action set pieces there are none better. On top of which they do have a great on screen chemistry, with a great bad guy courtesy of Idris Elba, and to offer some much needed balance to all the male posturing, Vanessa Kirby (last scene as Princes Margaret in The Crown) as the MI6 agent who everyone is hunting. But while the action is inventive, and allows all the main characters their moment, the quips and bits of plot between them do sometime flounder, and the fact that the film runs for two and half hours is noticeably. Which is a really shame as the filmmakers wholeheartedly embrace the over the top ridiculousness of the whole thing and make it their own. More work on the banter and a bit of judicious editing, could have made this into a great action classic, rather than one to catch up with at some point. Some script help from a couple of the surprise cameos will be something to consider for the next one.

The somewhat misleading title implies a much more combative film. The actual events depicted are in fact much more significant than one might imagine, as it outlines the birth of the use of electricity in the modern world. On one side you have brilliant inventor, and self-publicist, Thomas Edison (Benedict Cumberbatch) and on the other, industrialist and self-made man, George Westinghouse (Michael Shannon). Both can see the dramatic change that the introduction of electricity will have have in moving the world forward, but at the same time realise that only one of them will be able to take this forward as each has adopted a fundamentally different approach to delivering the power to the household. further complicated by the fact that the technology is still being developed on a daily basis and the risks and misfortune that contains plague both of them. The whole thing is delivered in a very unusual but effective manner, with sweeping camera shots and multi screen editing, which clearly not so appealing to many viewers, as the film was completed in 2017. For myself though I thought it worked wonderfully well in ramping up the tension, as the two men struggle to battle the technological challenges, and man-made issues as the strive for supremacy. Some more time for Nicholas Hoult as Nikola Tesla would have been good, but then again that is a man who needs to be centre of his own film. Even so the film is packed to rafters with quality performances and innovative direction. I found this a joy to watch, but it's low key cinema release shows I maybe in a minority on this one.

Stark, bleak and uncompromising portrayal of the life of a Welsh hill farm family, as demands of the industrial revolution encrouch in on their day to day existence. All depicted from the point view of eldest daughter Gwen, whose responsibilities mount as her mother's health fails, and she waits for news of her father's return from the army. While she can appreciate the beauty of the majestic North Wales landscape it cannot detracte from her struggles to keep the farm working, and the growing sense of unease as misfortunes continue to plague them, while the adults step out of ear shot to discuss issues of great importance, but the true subject remains unknown to her. The simple story is all it needs to be, as there is a uncomfortable atmosphere of mounting dread. With the sparse use of dialogue, and unknown nature of the conversations between her mother and those interested in the farmland, further elevating yours and Gwen's unease about what may befall them. For such a simple tale it is an incredibly uncomfortable watch at times and will stay with you long after a viewing.

Yet another solid Marvel superhero film, great cast with Holland and Gyllenhaal being the standouts - working so well together, doing a first class job of catching the Parker-Stark dynamic. There's a heartfelt subplot between Peter and MJ and as ever great effects with Spider-man bouncing effortlessly around the screen. That then is also the weakness as is does slip back into the typical grandstanding massive destruction, little regard for loss of life, not once but on several occasions. There is a valid plot narrative for this but still can come across as more action by numbers. Still a fun filled event, and one to see, and most importantly stay to catch both credit stings !

A Kansas farm, a couple trying for a kid, and then a light in the sky and a crashed spacecraft - cue Superman theme - but not for here. This follows the same template does not make the assumption that an all powerful being is all good and that is what makes this thing so intriguing and also so frustrating. Well the idea in cinema terms is quite original it has been used on numerous occasions in comics book stories - the most successful being the MiracleMan story the return of kid MiracleMan. So with a wealth of previous storylines that would not be that familiar to the majority the cinema going audience, it is disappointing that the film is so relatively mainstream and predictable. Still enjoyable and with some quite striking, and gory, set pieces. It is frustrating, in that I know it could have been so much better particularly seeing that James Gunn was in The Producers seat, and clearly had involvement in the rolling new stories that play in the closing credits. maybe they are plans to create a whole extended universe from this in which case I look forward to what they come up with.

So here we go with a relaunch of the Chucky franchise, a moderately successful series of films based on the idea of a child's toy possessed by the spirit of a demented serial killer. This time things are updated to give it a, if the phrase can be used, more grounded approach of the basis of the murder spree being due to a technical glitch in a robotic toy, voiced by Mark Hamill. While the new concept and story basis is quite well handled, too much time is probably spent in creating a backstory for the murder spree so things do not really get going until the last third. Further the work on the back stories has sone inconsistencies, and potentially inventive ideas, that are for some reason never really developed. Some inventive killings means that for the horror fan it'll be and ok watch, but for most I believe it would be a disappointing experience.

Twenty four years since Toy Story was released, and if nothing else this just shows how amazing the creative talent at PIXAR. Once again Woody and the other toys find themselves in a perilous adventure attempting to rescue the newly added toy - Forky, from the not so friendly occupants of an antique store. As before with consummate ease the makers managed to bring out the more sinister elements of certain toys, this time it's the classic old style ventriloquist dummy, aptly named Vincent. Peppering in some yet further additions to the troupe of toys, and then allowing them via own comic vignette, and you have the makings for yet another Pixar classic. But not quite, there is as before an underlying story of change and loss, previously as Toys came to terms with their "child" leaving them behind. Here it's more around Woody coming to terms with making a "life" for himself, which is well handled, but in doing so most of the supporting characters get pretty much sidelined, and the family of toys element is weakened by this, and so lessens the story arc of the film itself. Still a film to see, as what other U cert film could get in such a meaningy homage to The Shining !

The cast are good, the effects look great and there's even a couple of little in jokes about other franchises and possible aliens. But as a film it's all quite flat and unfortunate to say - dull. There's just a complete lack of on-screen chemistry between anyone, the story comes across as a poor copy of all the previous films, and most damning of all it lacks any real wit or imagination. Really wierd as the two leads wereso good together when they appeared in the last Thor film. A good example of the strength of the direction and script of that film as compared to this, or many other films.

Well it's not the worst X-Men film, and actually it's not a bad film, more just an average effort with a pretty talented cast. No issues with effects, and although it does start a little slow, it does at least end on a well staged train fight. True it does not do justice to the Dark Phoenix story - you never really feel that the time has been devoted to developing this incarnation of the characters, but for a big budget adventure flick it's fine. As it's clearly going to the last from this cast and studio, it's shame it did not have more about it.

Burma had been under the control of the military for over 50 years and even though it had been coming under increased diplomatic pressure to move back to a civilian government, it was still somewhat of a surprise when in 2011 the military junta was dissolved to allow the formation of a civilian government. This in turn resulted in the release from 20 years of house arrest of Nobel Peace Prize winner, Aung San Suu Kyi. Even though now allowed to re-engage with politics there were still severe limitations on what she could do due to the fact that the military had drawn up the new constitution which gave them still significant influence in the political bodies, allowed them to retain control of the military and security forces and barred her from the office of presidency. The documentary carefully outlines the progress of of the democracy movement within Burma and how Aung San Suu Kyi, was able to overcome the political restrictions that the military had put in her way. but the move to democracy and freedom for all is never easy as is demonstrated in last section of the film with the international community came speak out about the ethnic cleansing that was being perpetrated in the country with little or no effort by the new President to stop this. It's a fascinating study into the political compromises that needs to be made to allow for a civilian government, but could have done more in the early stages to set the military in a better context of the oppressiveness of their regime. would you put in context the actions that occur towards the end of the film by the military and the president herself.

Not just a biopic of Elton John, but a musical biopic. This may sound blindly obvious but it does not follow the regular formula of lead character strumming guitar or taping at keys on piano, then music swells and film throws another classic tune at you. No here it's delivered in full blown musical mode - street full of people bursting into dance, non-musical characters bursting into song, even people floating as songs connect with them. Just relying on auidence good will on the basis of great songs, will not be enough, and here you have Taron Egerton showing he can not only act but has a pretty good singing voice as he performs those classic tunes. It also has the advantage with the main protagonist still being alive, and clearly wanting not to hold back on his own personal demons that shaped his character. So often in uncompromising ways we see the dark journey that he went through to achieve his fame, and the real cost it had on him and those he loved. The magical musical realism that the film uses to tell his story works well for the most part, but I did find that it relied on some knowledge of his life story that im places did seem to be rushed over and not quite as clear as it should have been.

More animated pet based fun playing up to stereotypical pet behaviour. Loosely woven round the introduction of a baby into the household from the first film. While not having much depth it does have some neatly crafted comic set-pieces, maybe but original but nevertheless well done. The best part being the need for one of the dogs to go undercover as a cat to infiltrate the local cat ladies house.

Firstly this is a really, really fun film, as two friends who focused all on academic success, decide on their last night of High School to experience the party life style. But it is not your typical over the top gross out High School fair. As here events are depicted from the perspective of two teenage girls -Kaitlyn Dever and Beanie Feldstein. Playing the best friends, and in doing so demonstrating pitch perfect comic timing in their performances, while still allowing them to bring forth relatable believeable characters struggling with their burgeoning adult emotions. In fact everything about it is just so good. First-time director Olivia Wilde shows tremendous talent here, skillfully blending the comedic elements into the story, while never undermining the emotional resonance as the characters deal with the impending upheaval of finishing high school. A sharp well crafted script provides quality material, for all involved. With top-notch performances from all, and the really smart move of peppering the supporting cast with great comic talents, such as Lisa Kudrow, Will Forte and Jason Sudeikis. Never hogging centre stage, just providing the right amount of comic adult bafflement. adulthood. A really fun, heartwarming film.

So what's to say about this film since the title and trailer make it abundantly clear what it is. Giant monster fights Vs other Giant monsters, and not surprisingly, people, cities and everything else gets squished in the process. As before there are some people running around to let you know where the action is and what the name is of the current onscreen beasty. They are all fine with the little they have to work with - mostly an awe inspired stare. Still nice to see that Millie Bobby Brown can do good work with limited opportunity. As for everything it's all pretty good, though I do wish they had managed to incorporate the Clair de Lune music into the film, that was used to such great effect in the trailer. Effects are all first class, maybe a bit more variety in the design of the "bad" monsters would have helped, and on a personal note much preferred Gareth Edwards fleet glimpse of the creatures, rather than the full on in your face option here. Still it does what's its supposed to on the monster fight side, and there are some wonderfully composed shots with these behemoths framed against a firey background.

John Wick has in this film ended gun violence, simply on the basis that he has used up all the bullets in the world taking out hoardes of nameless assassins. An impressive fact since he also used axes, knives, swords and a horse ! This may make this sound somewhat dull and repetitive, but full credit to the fight choreography, it's some of the vrst, showing real flaire and imagination. Where the films loses out is that the story does little with remarkable unseen world of assassins created in previous films. Although clearly a violent action packed thriller, there was also some story creativity here, as well as a baffling aray of quirky supporting characters. Not so much here and over reliance on the action set pieces does diminish the overall impact of the film.