Reviews

The Bad Batch again demonstrates how some of the greatest Star Wars plots come from the animated series, as arcs across the original, prequel and sequel films are all seamlessly tied into a fantastic series.

Clones, underutilised within the films, took the spotlight in The Clone Wars animated series, and introduced The Bad Batch; a squadron of troopers each enhanced to have individual strengths, yet regarded as defective. Their own series follows the galaxy's transition from the fall of the Republic to the rise of the Empire, a period brimming with potential for story. As their brothers change their allegiances, Clone Force 99 fight to discover the truth and do what is right for clones and the galaxy as a whole.

Characters are brilliant, defined personalities giving each trooper distinction, creating camaraderie and conflict within them. Its always tricky to introduce a child character into the mix, but Omega is the right level of involved without becoming obnoxious. This contrasting with classic villainy from Empire officers reignites the original Star Wars style.

As with the latter seasons of The Clone Wars, dark plots are explored, remaining something that can be enjoyed by a younger audience without pandering to Disney. Internal conflict and development of characters are heavily stated in arcs, and there is the jeopardy within battle. Consequences feel to have a greater impact, and flawlessly integrate into wider canon.

Unlike some of the other animated series, there are no real filler episodes, everything has a purpose and builds to brilliant climaxes. The Bad Batch is another outstanding creation by Filoni.

I lasted 3 episodes. I am sure there is some payoff at the end of the series, some cathartic realisation or representation, but there is not a chance that it is worth sitting through 5 hours of this dross.

Carol & The End of the World is just another adult animation which is miserable instead of funny. Another in a long line which claims to be comedy, but just chucks in nudity or sexual debauchery, particularly in the elderly, in the absence of humour.

Following an uninspired woman coasting through the final months living on earth before the apocalypse, Carol finds a nondescript job to soothe her anxieties. The plot, or lack thereof, slowly trudges on, with long scenes of office admin, making breakfast, and other daily tasks which are frustratingly dull.

That dullness matches the voice of Carol, who drones on without fluctuation. The animation style isn't easy on the eye either, this series doesnt really have anything going for it. I am sure there is some grand moral at the end, showing how life should be best lived. Seems ironic that in order to get to that, you must waste your time enduring each episode.

Iconic British comedy following the awkward roommates of Mark and Jeremy, who are painfully relatable all too frequently.

The odd couple, one highly-strung and self-loathing, the other free-spirited with a fragile but grandiose self-view, are tied together as best friends who cannot live without one another, but could absolutely do without each other. Mayhem inevitably ensues as they both attempt to get a foothold on the very different lives they seek.

Internal monologues and POV camera work distinguishes the series from a sea of other comedies. The streams of consciousness, typically depicting anxiety or idiocy, provide vivid insight into the characters. The audacity of the narration can be hilarious, as can the mundane observations of everyday life.

Supplemented by an excellent supporting cast, most notably Colman, the roster of characters are all too recognisable from one's own life and allow for the leads' desires and downfalls to flourish. Characters are distinct, with their own quirks, without becoming anything too hyperbolic.

Peep Show is by far Mitchell and Webb's most well-known creation, and widely accepted as their best. It contains so many famous scenes and lines of dialogue from that era of British TV, each one seemingly since chronicled as individual memes capturing the absurdity and relatability of disastrous life.

A fun plot delivered excellently through the great chemistry between Awkwafina and Oh. A gameshow-obsessed recluse is forced out into the world by her well-intentioned estranged sister, as they look to cover debts left to them by their mother.

The recognisable comedic style allows Awkwafina to lean into her usual character type, but in a believable manner, and Oh to showcase her talents in comedy. It is also very refreshing to see Ferrell in a relatively nurturing role, remaining funny but without resorting to being explicitly daft.

It is silly humour, but engaging, with a heartwarming theme of sisterly love underlying the arc of an odd-couple's approach to life.

One of Ferrell's stronger, fearlessly idiotic films, with the style his career is built on: comedy surrounding moronic characters doing stupid stuff.

Ricky Bobby, showcasing all the stereotypical characteristics of a redneck, is a loudmouth NASCAR driver of immense talent, who either wins or crashes trying. When a sophisticated but snooty French Formula One driver encroaches on Bobby's territory, he goes all out to stay number one.

Ferrell has a great chemistry with Reilly, a connection to be visited later in their careers. In general, it is a fairly star-studded cast, Adams thrown in with a fairly minor impact role for most of the film. Cohen is recruited to lean into a daft foreign stereotype, his speciality, but with no need for subtlety on this one, blunt jokes revolving around how the character's supposed superiority and often his homosexuality is responded to by the world of NASCAR.

Much like Anchorman and Step Brothers, the film is really ridiculous, loud and brash. Something Ferrell's fans will love, and that others would hate. Honestly though, the bloopers at the end are probably the funniest part.

Absurd sketches from the absurd trio that is Aunty Donna, Big Ol' House of Fun stays true to their idiotic origins on YouTube.

A series that you will either love or hate, episodes loosely follow a theme as daft incidents crop up for the trio, as they are joined by notable gueststars. Not every sketch lands, but providing you're not watching this expecting something particularly coherent, leaning into the insanity is a lot of fun.

Difficult to describe to someone unaware of the group, but sketches include everything being a drum, adopting a stray man, and evicting the dishwasher.

Some great laughs, and a few lines of dialogue that will have you skipping back to repeat, Aunty Donna are here for a fun, nonsensical time.

Chicken Run is an Aardman classic, aimed at children but to be enjoyed by the whole family. This sequel, 23 years later, is much the same, but hindered by its connection to a film widely adored.

Ginger and Rocky, long after their daring escape from Tweedy's farm, live a settled life in their own closed community away from humans. But when their daughter, Molly, who shares the bold personality of her mother, falls astray into a new threat to chicken-kind, the audacious band of poultry step in to save the day.

Aardman's signature stop-motion claymation is still brilliant to be seen. Every scene is bright and bursting with character.

The main issue for returning fans will be the loss of the original voice cast. Its not so much of a jarring change, but a lot of nostalgia is lost. The new voice cast don't do anything wrong, but the few who do reprise their roles provide a much greater satisfaction.

Remove the nostalgia to it's predecessor, Dawn of the Nugget is a fun film that children will love and adults can turn off to. However, watch this with memories attached to it and you will be sadly disappointed.

A kind and loyal, but socially inexperienced, care assistant does his best to support the residents in his nursing home. Supported by a roster of quirky coworkers, Derek is the positive, though difficult, figure holding the unconventional family together.

It's a difficult role for Gervais to portray empathetically, as he sheds his usual cynical or harsh characteristics in comedy - passing that mantle onto his co-stars, notably Pilkington, Hoult and Earl - and instead depicts a character with recognisably autistic personality traits. Whether Derek is written with the intention for the lead to have a learning disability or not, he is ultimately a vulnerable character protected by those close to him. Gervais, to his credit, portrays this well and without the cruel or condescending tone that may be feared of based on his previous work. It is a convincing performance, and a very endearing one.

A comedy drama with an emotional punch, the humour comes from Derek's day-to-day misunderstandings and the contrast between him and the other coworkers who struggle to continue their duty of care in a difficult environment. It can be very funny, and is often crossed with intensely sad moments, as is appropriate given the setting.

The cast across the board are commendable, Godliman the relatable, responsible one, displaying the full spectrum of emotions, Earl's character typically unpleasant but allowing for great vulnerability and development, and Pilkington the straight talking figure who puts words to an audiences' most frustrating thoughts. They are surrounded by a great cast, each with their own arcs, no matter how minor, to give the show great depth. Furthermore, they can all produce some greatly funny moments.

It is wonderfully written, manipulative and indulgent at times, but putting the audience through the emotional ringer. Derek marks a turning from Gervais' earlier crass or crude (and hugely successful) comedy series to the more dramatic, vulnerable (and still hugely successful) likes of After Life.

Northern Comfort is certainly different. It's a novel plot with an opportunity for it's characters to be endearing, but instead follows individual arcs where none of them are particularly likeable.

A small group of people with a fear of flying undertake a course to overcome their phobia. Through a series of unfortunate circumstances, they find themselves marooned in Iceland. Whilst the the plot does get going, for a relatively short film it doesn't fly by at all.

It's quirky, but fails to capture enough attention to be able to recall the names of the characters. The comedy is weak, provided through the unconventional or deadpan. Some beautiful scenery is showcased, but you could watch an advert from the Icelandic tourism board for that.

Whilst it may take a little time to get into, The Weekend Away does have an interesting plot. It's a mystery that isn't packed full of twists and turns, as every character who appears to be suspicious at first glance remains suspicious throughout. First impressions count for a lot, but the film is still without predictability towards the finale, allowing at least one major twist to be enjoyed.

Some lines of dialogue are daft, and some actions completely illogical, but ultimately the plot is solid. Bakri is impressive in his role, and in general the acting throughout is relatively commendable.

Waititi's filmography evokes a special kind of joy when centering on the cultures within Oceania, giving delightfully humourous insights into Maori, Pasifika, and in this case, Polynesian populations. Next Goal Wins is no different, delivering the heart-warming and hilarious true story of the world's worst football team, America Samoa, seeking it's first ever goal.

Familiar faces crop up in the cast as wonderfully endearing characters take the spotlight, transforming the harsh outsider through their kindness. This arc is carried through by a mixture of daft dialogue, emotional subplots, and the occasional slapstick. The film is very much a comedy, but as is often the case in Waititi's work, it packs an emotional punch to add drama into a sports film that doesn't require sporting fandom to enjoy.

The portrayal of Jaiyah, who is fa'afafine, adds to the rich depth of the plot. Having Kaimana, who is also fa'afafine, play the character is also a welcome addition, respecting the culture on display. If anything, Waititi's own character, a zany priest not dissimilar to that of his in Hunt For The Wildepeople, is the only one that doesn't land as well as others in what is a roster of silly, but still believable, characters. In fairness, though, that narration role is very light.

Visually it is stunning, no small thanks to the location, and familiar music mixed in with native hymns creates a nice soundtrack adding to the soothing atmosphere created. Next Goal Wins a whole lot of fun for the whole family, but it's draw goes beyond that of just comedy.

The Marvels, in it's forced attempt of overt 'Girl Power', unfortunately produces a forgettable story whilst weakening every character that appears in the film.

The tone, as is so frequently the case with MCU films released around this time, is infuriating as not a scene goes by without weak comedic value being forced throughout. This constant 'humour' removes the audience from the plot or action, as all gravity of situation is lost and relatability non-existent.

Seriousness is taken from Larson, subjecting her to a quirky female lead, ill-fitting to the power of the character. Vellani's uniqueness is lost, transitioning into a Peter Parker-type with added squeals rather than remaining the great character of Kamala Khan introduced in her series. Parris' Rambeu, unfortunately, makes very little impact. Painfully, Jackson's Nick Fury becomes a lesser character with each appearance in the MCU as he is continually pulled into the weakest releases. At least Shroff is greatly refreshing again.

Villains, particularly Ashton's lead of Dar-Benn, are uninspired and the Kree as a collective are wasted, at least matching what was done with the Kree in Secret Invasion. Everything off-world is losing it's impact, and whilst there is a clear positioning in the timeline, the films placement within the wider universe is tough to establish as nothing is memorable.

Visually, it's a little disappointing with special effects looking far from sharp, a criticism increasingly being aimed at Disney.

The Marvels is meant to be fun, as evident by the musical planet, which will be insufferable to most, surely, but I'm not sure who this film is pitched at. Its not funny enough (or at all) to be a comedy, yet has enough 'humour' to distract from the action, and is packed with sci-fi logic which isn't particularly engaging. Through no fault of the three leads, who just work with the context they are put in, this is a bad film.

A lovely premise, visually very easy on the eye with good use of colours, and an excellent performance by Spall, but ultimately an entirely unrealistic film which can turn the plot laughable at times. With sentimentality taking precident over realism, every element of social media - a seemingly needlessly integral component of the film - shoehorned into the film is far funnier than what was presumably intended.

The emotional manipulation of the audience lands well, spurred on by a heartwarming selection of characters helping the 'hero' along. Whilst some performances are reasonable, all of the acting ability was taken by Spall, with some really poor acting by other surrounding characters, written for bit parts that don't really reflect a recognisable person. It's a pleasant, predictable, easy watch, but difficult to get engrossed in with frequent moments poorly feigning realism.

A unique comedy series that may take some getting accustomed to. When it does eventually find its footing, it is consistent and enjoyable as the titular lead transitions well into a great character, from an unpromising beginning.

Daft humour perfectly suited to the isolated, lovable losers. Idiocy and outlandish characters are the driving force, particularly by Forte and Schaal, which is well foiled by a progressively growing cast of straight-characters who fluctuate in seriousness depending on context. It does occasionally dip into gross-out humour, especially towards the end, which is just unpleasant to watch and not at all funny.

This is all mixed in with plots that can delve into deeper contexts, dealing with loss on a global scale. Some of the relationship building is excellent, and redemption arcs can be enjoyable, most notably the lead. Settings and locations are kept fresh across seasons, giving an opportunity to explore new plots between the characters.

It does lose its way in the final season, with weak characters joining. Some of these are for arcs of only a few episodes, establishing themselves in a spotlighted background episode, then moving on briefly after with little impact to the story. Whilst there are great cameos, Armisen joining the cast was a little far as he sticks to his usual one-dimensional irritant of a character. Characters in general lose their charm in the final season, with plots repeatedly revolving around the same flaws; Carol being jealous for a daft reason can only be funny for a limited occurrence.

In his usual exuberant spirit, Black pulls out a very familiar performance in this daft comedy, where he is well paired with the famous awkwardness of Cera.

The two leads, untalented hunter-gatherers, bumble across Biblical times until they find their way to Sodom. Falling into skirmishes with a series of colourful characters along the way, they set out to better themselves and win the favour of the women in their tribe that they so desperately desire.

A recognisable comedic cast is sprinkled across the film, but they all stay very much within their comfort zones and usual characters. There is no extension from the slapstick and sexual humour that is so often utilised in these fun but forgettable comedies. Black and Cera's endearing charisma is relied upon, and whilst it's far from the heights of the likes of The Life of Brian (Biblical comedy) or School of Rock (Black at his best), it still provides enough enjoyment to warrant a watch.

A really brilliant look into the backstory of each iteration of Rocky, with some background to Rambo, and touching on The Expendables. It isn't, however, a deep dive into his career and full catalogue, as everything else is skimmed over. Stallone's attempts at comedy are highlighted as are the box office flops, but his three key successes are always soon returned to.

The documentary is a look at his career, as opposed to his personal life, with things only turning to anything wider in Stallone's life with the frequent return back to his relationship with his father. Given other occasions the A-lister has hit the headlines, the depth on screen is short of the background you'd get from a biography.

There are a good selection of interviewees, obviously only those who would paint the protagonist in a positive light. Tarantino seems an odd choice but speaks eloquently from a filmmakers perspective, the rest selected are better connected to the star, bar the odd critic and expert.

Overall, an interesting overview that would be appreciated by fans of the actor or his big franchises, but nothing overly groundbreaking to capture the attention of a wider audience.

A remake poorly executed, despite being the more recent, 2000's Get Carter is the one to have aged to its detriment.

A Las Vegas mob enforcer returns to his hometown following the death of his brother. Suspicious of the story fed to him, he delves into the criminal underworld, as well as his estranged extended family, to investigate the true nature of the lost life.

The build up is a fairly vague narration that requires concentration, but doesn't hold focus as it isn't overly interesting. Some character's involvement in the plot remains unclear until the very end, with the best read you can get of someone being whether they are a 'good guy' or a 'bad guy'.

In general, the direction and it's aesthetic is of its time, and an approach that has never offered a brilliant film. Scenes are poorly cut together and in an artsy fashion that isn't easy on the eye. The opening hour can be very slow paced at times, yet still jarring as it jumps irrationally between scenes. All the while, a dodgy soundtrack constantly plays in the background, even adding Christmas songs into the mix for absolutely no reason, there is no hint of it being set in the festive season.

The last half hour does really pick up. It is still far from a great film, but it at least gives Stallone the opportunity to ease into action. His abilities are never utilised and despite some decent acting and a semi-decent hard-hitting twist (mostly due to the plot not giving any clues as to what is happening prior), overall Get Carter is far from engaging.

A weird precursor to Trailer Park Boys, with Wells and Tremblay testing out their comedic style and playing characters different to those which received cult status, but with similar characteristics showing through.

Two best friends spend a night out drinking together before one moves away forever, hoping to share a secret before he departs. There is an odd introduction to an iteration of Mr Lahey, who in One Last Shot is a mean pet shop owner, and boss of 'GW'. Other than backstory, though, he is the exact same character.

Shot in grainy black and white footage with familiar angles, this short film holds many similarities with their later work. The humour is far more understated, a more subdued approach which doesn't turn the characters into caricatures. Overall though, this probably wouldn't draw an audience further than TPB fans.

Not Dead Yet throws together the typical sitcom trope of a down-on-their-luck protagonist struggling through life with witty exasperation and a sense of humour, with a supernatural element to steer narrative and zany plots.

A newly single journalist moves back to her hometown after her relationship overseas breaks down. Returning to the workplace where all those around her have advanced, she is placed at the bottom of the ladder. Given the new assignment of writing obituaries, she is visited by the ghost of each of the recently deceased, each with their own story to tell and lesson to bestow.

The series is a lot of fun, with Rodriguez a relatable lead reacting to the ridiculous around her in a fun and engaging way. A roster of endearing characters, with one intentionally dislikeable antagonist-turned-ally; however the intention doesn't make her scenes any more enjoyable. Dialogue can be sharp and reacted to well, providing great comedy, but does also stray into the generic sitcom banter.

Sweet and full of heart, Not Dead Yet occasionally touches on heavier plot points but succeeds overall by sticking to the trivial and funny.

Another in a long line of disappointing adult animations. With a novel premise, nothing else is original about Captain Fall; the same lame humour, sexual references and heavy violence which have no impact.

A good-natured but useless sea captain is recruited to helm a luxurious cruise ship. Unbeknownst to him, the Caribbean Queen is actually a front and means for an international cartel to commit horrendous crimes around the world, with himself as the perfect fall guy.

Individual episodes contribute to an overall series arc, which is by no means predictable, but that's purely down to it not being engaging either. Characters are one dimensional, and the titular character who is supposedly meant to be dopey and lovable is actually alienating and irritating. The comedy is based on 'outrageous' actions, but poor quips paired with human trafficking and animal mutilation hardly evoke laughs. Overall, Captain Fall is rather forgettable.

Following the loss of his wife, an eccentric genius starts spiralling, putting his company at risk. His alienated son is brought into the fold to provide some stability to the family, as a son struggles to step out of the shadow of his widely admired father. A relatively heavy subtext consistently portrayed light-heartedly, creating comedy with depth.

Rob Lowe perfectly matches his character, with many parallels to his positive and lovable performance in Parks & Recreation. This is also the case for his real-life son, John Owen Lowe, who carves out his own distinctive and brilliantly funny character, whilst instilling great chemistry between the two. Casting in general is a major success, everyone bright and enjoyable and able to depict individuals with their own unique backgrounds, casting fleeting glances into the depth of a character without dwelling on anything that would stall the overall plot.

Armisen is the one character, fitting right into his usual repertoire, which is irritating and brings the show down. Even the twins, who are also intentionally dislikeable, are enjoyable with their exaggerated foibles.

Engaging, fast-paced but clear, and using some brilliantly deadpan, witty and slick dialogue, Unstable is an utterly enjoyable watch.

Following the Canadian comedy's live action conclusion, after securing cult status, The Animated Series is a poor follow up. All of the charm instilled in Trailer Park Boys is lost as this series seeps into a sea of forgettable adult animation series.

Moving to cartoon allows for far more outlandish plots; going to space, domesticating a tapeworm, withstanding a hurricane, etc., but profanity, sex and violence remain the central focus, only it holds no weight from the cartoon characters.

Heaps of guest stars are included, rolling off the season-long involvement of Snoop Dogg in the live action series, but none make any particular impact. Even the long established characters worsen, Bubbles in particular going from a lovable and innocent moral compass in the live action (the earlier seasons at least), to an irritant constantly using the same over-established tropes.

Unfortunately, the lacklustre series doesnt hold the same comedic value, and sullies Trailer Park Boys as none of the characters hold any of their endearing characteristics.

Whether it's a sequel, reboot or standalone, The Suicide Squad offers everything that it's predecessor failed to do. Bright and brash, this is a comic book film in its truest form, action and comedy brilliantly rolled into one.

Gunn is able to replicate the energy he created in Guardians of the Galaxy for Marvel, giving DC a plot full of heart, darkness and laughs. A simple but intriguing premise; incarcerated supervillains are offered the opportunity to shorten their prison sentence through deadly Black Ops missions led by the government. The eclectic bunch of misfits proceed to carry out their mission with few morals to hold them back.

The Suicide Squad benefits by leaning into the wacky nature akin to many of the characters, unlike the previous iteration which forced a serious atmosphere. Ridiculous characters and creatures justifies a fun approach, and this is the only way to bring a villain as bizarre as Starro to the screen.

That is not to suggest that it is purely jokes and something appropriate for a younger audience. It can be incredibly gruesome at times and there is no concern over the gore being overtly apparent. That itself looks great and supports a visually brilliant film with fantastic props and costuming. Some excellent design choices are made, particularly with King Shark.

Its greatest attribute, however, is the casting. Robbie reprises a perfect Harley Quinn, joined by Cena's fantastically funny Peacemaker and Elba as a charismatic lead. Introducing a great performance from Melchior and an array of wider cast members, the action shares the spotlight with the dialogue in surely one of DC's most fun films to date.

A solid conclusion to Plebs, nicely rounding off the adventures of three lovable losers in Ancient Rome.

Marcus, Grumio and Jason enlist in the military with hopes of an easy ride, societal perks, and most importantly, no conflict. Of course, this is short lived as they are marched to the north of Europe to battle Barbarians. Naturally, the uptight Marcus does not assimilate well, unlike his slave and conflicted friend. After a farce in the face of conflict, the trio look to survive long enough to return home.

Most likely to capture attention of those who watched the series, the comedy here does not stray away from the fan-favourite incredulity of Marcus in response to the dozy idiocy of Grumio, supported by the positive womanising of Jason. It stays true to it's series-long approach and values, and moves at a great pace, keeping a simple plot interesting throughout. An easy watch, and a great sendoff for the trio of Plebs.

Diving into the life and career of the football and celebrity icon, Beckham utilises a great selection of interviewees to revisit stories and capture the mania that followed the former England captain.

A comprehensive investigation into Beckham's footballing career, Manchester United understandably takes the spotlight. However, with that being the case for 2.5 of 4 episodes, his lengthy career continuing at a number of other clubs plus the establishment of his own club can be a little rushed through, despite numerous Galácticos available for interview. Nevertheless, this does provide an extensive investigation into his formative years.

Whilst engaging, interesting to football fans and pop culture enthusiasts alike, it's not a perfect documentary. Despite interviews with high caliber personnel, such as Sir Alex Ferguson and Ronaldo, those closest to the man, such as his wife and parents, and even those not personally connected, such as football experts and parasitic paparazzi, there is only ever one perspective on events. This may be partially be down to an interviewer far too involved, becoming an irritant as he engages too personally for any hard-hitting questions.

For the most part, the series comes from the single perspective of David and Victoria; and they are presented very much as they wish to be presented. The most notable part of the first episode, and by far the most enjoyable of the series, is Beckham calling his wife out on claims of being working class. But other than some disagreements from Ferguson, this is really the only time anyone suggests a different narrative to events. The wording and particular soundbites feel very polished. Beckham is clearly a very endearing person, committed and patriotic, but even the negative sides to his story are very sympathetic.

Overall, an excellent look into one of the most famous footballers of all time, ranging from the spectacle on the pitch to his intense treatment off it, Beckham evokes memories throughout of the nation's Golden Balls.