Reviews

Opening with a succinct overview, featuring a beautifully haunting theme by Benjamin Wallfisch, it's instantly clear that the following two and a half hours will be carefully and skilfully put together. Stepping gently through time, we go on a journey to the most disturbing and disgusting place in history, and come out the other end with a better understanding of what these victims went through.

Gleckman's direction is terrific. The film is broken up into parts, and these parts can act as a well-needed breather for the audience, if required. It's a heavy watch, as you'd expect - but a vital one.

What this film manages to accomplish in its lengthy (but warranted) runtime is incredible. You thought you knew all you could about the Holocaust, but you didn't. You could never. We Shall Not Die Now is completely fresh, and even with its use of older footage from Shoah, it offers up something new with clear control. Personally, I think this should be shown in schools. If films like Schindler's List and The Boy in the Striped Pyjamas are being presented to students, why not We Shall Not Die Now? Equally as important and heavy in weight.

We Shall Not Die Now, like Gleckman, has a bright future ahead. It's already winning awards and garnering attention, and will certainly continue to do so in the coming months. Remembering the team of producers, musicians, and everyone else involved in the making of this film, of course - for without, this would not have been possible. And lastly, we must never forget the victims of these horrific events.

Watched at LFF 2019 Closing Night Gala.

Well, those three and a half hours flew by graciously. This is a hefty, meaty film. De Niro, Pacino & Pesci - ALL phenomenal. Pacino especially stole the show for me. What Martin Scorsese accomplishes here is something of a cross between GoodFellas and The Wolf of Wall Street, with sprinklings of the rest of his work throughout.

The de-aging (which seems to be the talk at the moment) is pretty solid. Once you adjust your eyes, you forget it's even there. I will say though, the actors are old now, and they clearly don't move like they used to. So it's not so much the 'younger skin' that would be a giveaway, but the way in which the actors move and carry themselves.

It is a long film. But not once did I feel like it was outstaying its welcome. The last hour and a half was particularly enjoyable for me - there were some real nice moments between several characters. The script is juicy, with a mix of hilarity, preciseness, and even a little poignancy.

It may be the post-film hype talking here, but I think The Irishman is Scorsese's best. It's certainly my favourite piece from him. It feels like a farewell. We'll see how that fares when I rewatch next month on its official release.

Star Wars: The Last Jedi is written & directed by Rian Johnson and stars Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Kelly Marie Tran, Oscar Isaac, Andy Serkis, Domhnall Gleeson, Gwendoline Christie, Laura Dern and Benicio Del Toro.

Rey develops her newly discovered abilities with the guidance of Luke Skywalker, who is unsettled by the strength of her powers. Meanwhile, the Resistance prepares to do battle with the First Order. (12A cert; 152 mins)

This is a film that will make or break Star Wars for fans across the globe. It's surprising. It's divisive. It's already proving to be a difficult one for viewers to digest. There's a lot of pieces moving in Johnson's striking instalment, and I'm going to discuss my thoughts with slightly more personality than usual - without spoilers, of course. The best way to break down this film is to split it into sections, discussing the thematic material featured in The Last Jedi. Let's begin.

The main theme here, and this is spoken verbally by Kylo Ren (Adam Driver) in the film, is all about forgetting the past. As Kylo says; "Kill it, if you have to." This theme is planted right away and it reappears constantly throughout. Luke (Mark Hamill) resides on Ahch-To, and has completely shut himself off from everything. He's trying to kill the past. We focus on Rey (Daisy Ridley) as she tries to uncover the truth about her true parentage, this is her confronting and killing her past. In order to move forward, all of our characters have to learn to let go. For obvious reasons, I can't say much beyond that, but I believe this is the reason some people are confused. I'll admit, I wasn't sure how to feel walking out of the theatre, and it was an entirely different experience than with The Force Awakens back in 2015. This is a new theme; we've never really seen it in any Star Wars film before, and I really respect Rian Johnson for going in a new direction.

There are some moments I really disliked, however. Firstly; the editing starts to feel a little tedious. There are so many things happening in this film, so it tries to jump back and forth in order to create a smooth viewing experience but actually what it does is pull you out entirely. I disliked everything Finn (John Boyega) and Rose (Kelly Marie Tran) did in Canto Bight. I wanted to see what was happening with Luke and Rey, even Kylo, but every time I started to feel comfortable it pulled back to the casino city. Secondly, the surrounding plot with the Resistance running from the First Order was lacklustre. But, I've thought about it some more and it really acts as a shell. Inside that shell is some of the best character development I've seen. The Last Jedi isn't about the spaceship chase, its about the characters. Everyone in this film evolves in some way, shape or form. By the end, they are all in a complete different position on the playing board from where they were in The Force Awakens. Take out Canto Bight and I think the film already flows a lot smoother. Beyond that, there are still some remaining issues, but those wander into spoiler territory.

In terms of characters, Kylo Ren was by far my favourite in The Last Jedi. Driver gives an incredible performance and Johnson expands on his story, detailing his upbringing and the reasons for his shattered mind. He's far more complex now and will continue to evolve heading into Episode IX. Ridley returns with another strong act and never fails to inspire. She's fun and engaging, I'm glad she's part of this trilogy. The late Carrie Fisher has some beautiful scenes and the film itself acts as a nice tribute to the character of Leia, despite one moment that was utter garbage. Boyega and Tran share some great screen time together and though I felt it was shoehorned in, I'm interested to see where their characters head next.

The second theme is love. This is harder to explain without spoilers, but Luke makes a really great statement in the film that stuck with me, and the characters. Maybe fighting isn't the solution. Saving what you love is. Mark Hamill's performance is one of the best in the film, and possibly the saga. Sometimes the writing gets a little shaky and some of the dialogue and decisions he makes are out of character. But there are two scenes that really felt like Luke was in there. I think most would know the scenes I mean.

Finally, the theme of hope returns. The finale builds up to something much larger than one more film; it feels as though there are going to be more and more. I didn't like the positioning of this, and I believe it was something that could have been left out until Episode IX, but it does make room for some interesting theories. It didn't leave me filled with the level of excitement I had with The Force Awakens, though. Truthfully, there really wasn't any.

I do think The Last Jedi is a good film, but I think it'll become greater with time. It was enjoyable, and it had some truly brilliant moments. But the pacing was clunky and some of the story threads drifted a little far from the core narrative. The special effects as usual were splendid and the sound design is insane. The original score by John Williams was fun, a little sparse and lacking new memorable themes but there are some very nice sections. Rose and Finn's theme is a highlight. His score supported the film well, and that's what he does best.

Verdict; Though Johnson's ideas are clear, the way in which they're tackled is slightly underwhelming. The Last Jedi suffers from pacing issues and poor comedic timing but beneath that is something huge. Performances all around are striking, including that of the late Carrie Fisher. This is the most divisive Star Wars film yet.

Star Wars: The Last Jedi, 7/10.

The Disaster Artist is directed by James Franco and stars Dave Franco, James Franco, Seth Rogen, Paul Scheer, Alison Brie, Ari Graynor, Josh Hutcherson and Jacki Weaver.

When Greg Sestero, an aspiring film actor, meets the weird and mysterious Tommy Wiseau in an acting class, they form a unique friendship and travel to Hollywood to make their dreams come true. (15 cert; 103 mins)

Over a decade ago, something truly remarkable happened. The Room, one of the best worst movies ever, was released in a single theatre for two weeks. Not surprisingly, the reason The Room lasted two weeks in that theatre was because a "young" man; Tommy Wiseau, paid the theatre to keep it running. Surprisingly, his disasterpiece became a sensation and has garnered a huge cult status over the years. A few years ago, Greg Sestero (who played Mark in The Room) published a book - "The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made" - documenting his life and eventual meeting with Tommy, interweaved with stories from the set. Now that book has been adapted into, as Tommy would say, real Hollywood movie; The Disaster Artist.

Having watched The Room and reading the book about its creation, I was incredibly excited to hear the news of a film being made, focusing on the relationship between the two friends. What sucked was when I realised I'd be travelling 12 miles out to see this film. Unfortunately, the UK has had a lack of screenings for The Disaster Artist, but I just had to see it, so I made the effort. It was worth it. The guys working on this film all have a great amount of respect for Tommy and his unstoppable drive to make it in Hollywood, and it shows. James Franco directs with subtlety and finesse but it's his portrayal of Tommy that struck a chord with me. He completely disappears into his performance, delivering an unforgettable act that absolutely nails the personality and sells the affect Tommy had on people. Dave Franco provides a likeable lead as Greg, who has the same dream as Tommy; to be a Hollywood star. Having two real-life brothers play two best friends was a great choice. The Franco's have a brotherly bond that excels further on-screen and they both make The Disaster Artist a believable (as unbelievable as it is) and compelling drama.

The film really focuses on the two aforementioned, but the surrounding cast is just as brilliant. Seth Rogen, Paul Scheer, Alison Brie, Josh Hutcherson, Ari Graynor, Jacki Weaver and anyone else I'm forgetting to mention are important to the story and bring greatness to the set within the set. The same goes for the crew who have worked incredibly hard to tell this story right. To respect these talented folk properly, stay through the credits because there are some insanely good side-by-side scene recreations. It wouldn't surprise me if they shot these on both digital and 35mm like Tommy did with The Room, that's how painfully accurate they are.

Dave Porter's original score is surprisingly very present in the film, which for comedies is somewhat unheard of. Due to its dramatic nature, though, The Disaster Artist required something a little more memorable. Porter presents an inspiring and uplifting score that captures the tone perfectly right up into the credits.

In terms of story, The Disaster Artist is fairly faithful to the source material. There are some moments overlooked, such as Tommy's awful behaviour and attitude on-set (though they do show some of this briefly), his suicidal period leading to his disappearance, and even the original casting of Mark. I was somewhat disappointed but then I realised what I was watching was real enough that it didn't subtract from any of my enjoyment. Greg's intricate explanation and description of these events are definitely worth reading, though, so I recommend buying his book right away. What I did like about this film was how Franco decides to add emphasis to Tommy's dream and create a sort of likeable charm that pays off during the premiere/auditorium scene in the final act. It was one of the best moments in the film and it really hits you. The Room is Tommy's baby. It's his life. I liked Franco's direction to respect that.

Verdict; Though respectful, Franco isn't afraid to show the darkness looming over Tommy Wiseau, as he disappears into his greatest performance yet. This may well be one of the best biopics I've seen; a truly remarkable story.

The Disaster Artist, 8/10.

Blade Runner 2049 is directed by Denis Villeneuve and stars Ryan Gosling, Ana de Armas, Robin Wright, Jared Leto, Sylvia Hoeks, Harrison Ford, Mackenzie Davis and Dave Bautista.

A young blade runner's discovery of a long-buried secret leads him to track down former blade runner Rick Deckard, who's been missing for thirty years. (15 cert, 163 mins)

The year is 1982. Ridley Scott's Blade Runner has been poorly received in its theatrical run. Jump forward to 2017. Blade Runner is widely regarded as one of the most skilfully crafted world-building sci-fi achievements in film history. A sequel is upon us. Blade Runner 2049 is here. But how does it perform? Does it require you watch the original? The answers I give you are simple and will not spoil a thing.

Denis Villeneuve is one of the best directors working today. Arrival. Sicario. Incendies. Prisoners. Enemy. He has an incredible body of work to fall back on. When I heard the news of Villeneuve directing a new Blade Runner, I was intrigued. I knew that he could create something truly brilliant, and he has. To answer the questions above; it performs extremely well. Not only does it continue the story faithfully, it's perfectly able to stand on its own. However, I'd highly recommend watching the original before seeing this. Like it or not, it acts as the foundation for this sequel. Despite the huge gap between the two films, the story and characters feel consistent. It hasn't been tacked on just to earn money, in fact the box office numbers prove otherwise. This is a worthy sequel that truly belongs.

Ryan Gosling leads with what looks to be a simple, single-shaded character but as the film unfolds, the layers of his performance do so too. By the film's end we are totally connected to Officer K, just as much as Deckard, played by Harrison Ford in a surprisingly strong and brilliant returning act. Alongside the aforementioned are a talented range of actors who each bring life to their wonderfully textured characters. Robin Wright is remarkable. Jared Leto performs with complexity, creating the strange yet fascinating presence of Niander Wallace. Sylvia Hoeks is the menacing Luv, and one of my favourite performers in the film. Ana de Armas and Mackenzie Davis are both delightful supplements. This cast is incredible.

Just as before, the futuristic vision of Los Angeles is intricately created and every single set and location looks the part. I'd liked to have seen more of the dystopian city, but I have to admire the direction to delve into the unfamiliar and expand the world of Blade Runner. It's been 30 years since Deckard disappeared, so you'd expect some advancement in technology and whilst there may be slight improvements, the world is at a stand-still after the 'blackout' 27 years prior.

After working together on two projects previously, Villeneuve enlists Roger Deakins as director of photography and the result is stunning. Each frame tops the last. Even in its state of stillness the camera feels very much alive. Somehow, Deakins manages to capture the bleakness in such a way that it's simply beautiful to look at. Even when the film reaches its slower moments you can rely on the cinematography to keep you invested. Paired with this is the incredible sound design, tearing through the frames like a knife to a painting, but in no bad way. This leads me onto something very important; music.

The music was such a huge part of the original Blade Runner, with Vangelis' beautiful synth-driven score. In order for 2049 to fully return us to that world, it required a worthy composer. Given Villeneuve's relationship with Jóhann Jóhannsson, it was no question he would take on the challenge. However, as the film neared completion the music wasn't capturing the feel intended, and so Jóhannsson was out. With very little time, Benjamin Wallfisch and Hans Zimmer stepped up and provided the film with some of the best synth work I've heard in years. It's dark. It's gritty. It's loud. Most importantly, it captures the sound of Vangelis' work on the original, but takes it in a whole new twisted direction. The duo have delivered something that may split audiences. It's not as melodically pleasing as I'd hoped, and I could wish for more cues like 'Mesa,' but I truly believe the score fits perfectly in the atmosphere of this film. It doesn't shatter what was created before, that goes for the music and the film itself. It simply builds upon these creations and provides a faithful continuation. Here's how I'd put it; Vangelis created warmth, Wallfisch & Zimmer created coldness. Watch both films with that in mind and you'll start to notice it.

Without saying too much; I found it to be better than the first, most notably in the storytelling. Beyond a few moments of slow-pacing, I can't fault it. This will go on to be a sci-fi classic, without a doubt.

Verdict; Blade Runner 2049 is a stunning sequel that truly belongs. A careful continuation, yet standing on its own. This is one of Denis Villeneuve's best works.

Blade Runner 2049 – ★★★★★ (9/10)

mother! is written & directed by Darren Aronofsky and stars Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer, Brian Gleeson and Domnhall Gleeson.

A couple's relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence. (18 cert; 121 mins)

As I'm writing this, it has been a few days since I experienced Darren Aronofsky's psychological experiment; mother!, yet the thought of this incredible film remains. I'm still working out the various allegories in my mind during day-to-day life, the impact of mother! is still felt.

mother! has received a lot of backlash from audiences since its release and I can understand why. It's a tough watch, in fact the first two acts are slow-burn, which means the average movie-goer will lose concentration. Don't let the negative reviews and underwhelming box office numbers put you off, though. this is a thought-provoking film and a very ambitious and brave move by Aronofsky. It isn't an invasion horror like the trailers lead you to believe, and perhaps that's where most of the backlash comes from. This is one of those films that will try to disorientate you, but after some research, it becomes a work of genius. Within its disturbing final act is a clear message.

Jennifer Lawrence seems to be getting some heat for her acting style. According to the majority, she never changes the way she acts in all of her projects. Now, I could agree for some of her films, but in mother! she is literally put through hell. I can imagine it was difficult to bring these scenes to life, especially those in the final act, but she performs remarkably well and consistently throughout. I felt like I was experiencing everything right there with her. Javier Bardem plays a rather mysterious character, who disappears every now and then but reappears in the strangest way. It's hard to put into words how this film makes you feel when watching, but I'd stick to what I mentioned earlier about being disorientated. Javier has a hand in this feeling, and I think he brought a lot to the role. Ed Harris and Michelle Pfeiffer are simply brilliant. Again, bringing a sense of suspicion that constantly gets weirder and weirder as the story plays out. The Gleeson brothers have fairly small roles but play quite an important part in the grand scheme of things. This is something to read further into after having seen the film. What I can say, though, is that they were a fine support act.

Moving on to the visual side of things; the house set looks stunning. We see it as it's being decorated and furnished by Lawrence's character, so there's a lot of details documenting this process. Part of why the house looks and feels so real is because mother! was shot on Super 16mm film. A format I will always highly praise for its extremely natural capturing of light and the grittiness that kisses the screen in the upscale. Utilising close-up, over-the- shoulder and point-of-view shots, Matthew Libatique puts us right into the story. They even went as far as to build the set so that the camera could move freely in a 360 degree fashion. We see everything as mother does, and that's something I really appreciated. Finally, the visual and special effects, though minuscule, were bitingly real. I can't, and won't, go into the specifics, but there are some scenes that felt too real. but not in the bad way. It wouldn't have impacted me the same way if they were handled differently.

This is usually where I'd mention the composers work on a film. But, seeing as there's no score for mother!, I'll talk about the sound. Composer Jóhann Jóhannsson spent about a year writing original music for this film, but after test screenings, both he and Aronofsky decided against using the score. Jóhannson wasn't entirely out of the job, however. With his music being very ambient, he ended up working as a sound consultant alongside Craig Henighan to create the 'sound' of the house. There's the expected knocks and creaks, but it's when mother starts to break down that we hear sounds (such as glass) stretch out further than they realistically could. I found this really quite unnerving; a unique and interesting way to tackle sound design. That said, I would love to hear some of what Jóhannsson wrote originally, maybe a cut of the film with the score? Either way, mother! worked very well with its absence of score, I liked that as a viewer I didn't have something telling me how to feel. It all felt very raw.

There's really not much else to say. I've not experienced much else like it, apart from Denis Villenueve's Enemy back in 2013. Many people will say that if a film makes you search up the meaning afterwards, it's a failure. I respectfully disagree. I like to go deeper into the story, and I find it fascinating reading other people's theories and impressions. Think back to Donnie Darko, that still sparks conversation even after 16 years.

I think everyone should give mother! a go. Form your own opinions. It will always be divisive. People who love it will love it. People who hate it will hate it. This is the beauty of filmmaking. I'm in no way religious, but I found the concept simply brilliant and the execution, though disturbing, fantastic.

Verdict; A dark, disturbing psychological thriller that thrives in a mysterious tension. mother! is an exhilarating ride of biblical proportions.

mother! – ★★★★★ (9/10)

Dunkirk is written & directed by Christopher Nolan and stars Fionn Whitehead, Aneurin Barnard, Mark Rylance, Tom Hardy, Cillian Murphy, Jack Lowden, Tom Glynn-Carney, Barry Keoghan, Kenneth Branagh, Harry Styles and Damien Bonnard.

Allied soldiers from Belgium, the British Empire and France are surrounded by the German army and evacuated during a fierce battle in World War II. (12A cert; 106 mins)

To withhold such gravitating tension whilst showing very little of the enemy is a tremendous achievement in suspenseful filmmaking. Christopher Nolan gives us no introduction, no story to back the characters, yet we feel a great sense of terror. To approach the war epic in a completely new and unique way was entirely predictable of Nolan, in no bad sense. We've seen the bloody side of war many times before, so to have a picture that relies less on gore and explicit violence is refreshing. Dunkirk is not your typical war film, this is a story of survival. A terrifying document of Operation Dynamo from three distinct perspectives; Land, Sea and Air.

The film opens momentarily with our first lead, Tommy (Fionn Whitehead), walking down a desolate backstreet in France as the Germans drop the infamous "We Surround You" posters overhead. Clutching them, Tommy begins to run to the beaches as Germans open fire. The first shot on the beaches of Dunkirk in glorious IMAX 15/70mm film is beautiful but harrowing. In its huge scale, we see troops lined up, preparing to depart. Then we cut to Mr. Dawson (Mark Rylance), one of many sailors willing to aid the troops trapped in Dunkirk. Alongside is Peter (Tom Glynn-Carney) and George (Barry Keoghan), two brave young men who voluntarily partake in one of the most heroic missions of all time. Finally, we see pilots Farrier (Tom Hardy) and Collins (Jack Lowden) up in the air, flying towards the beaches, picking off enemy aircraft. It's worth noting that these events weren't occurring so closely in time. Many of the troops were trapped on the beaches for a week, the events on the sea happened in a single day, and the spitfires were carrying fuel lasting a mere hour. But in true Nolan style, he brings these historical events into one singular telling, and provides a constant, edge- of-your-seat experience.

It's very difficult to pick out any highlights from the incredible cast, because of how truly equal they were, but if I must; Mark Rylance, Cillian Murphy and Fionn Whitehead were the most memorable. They all delivered gripping, relatable performances that really connected with me. That said, everyone else surrounding them were just as compelling. Tom Hardy has some fantastic action sequences, which are captured with remarkable skill, attaching IMAX cameras to the wings of planes, using them as if a GoPro. Harry Styles, in his debut acting role, is presented with some difficult lines to deliver, and performs surprisingly well. He, as any other, is strong and convincing. As aforementioned, I could list every performer and discuss how brilliant they were, but to round it up; Dunkirk has one hell of a cast. They all bring something great to their performances and without any major background, still manage to provide the connection required.

Using real naval destroyers, a Spitfire plane and up to 62 ships (many of which were used for Operation Dynamo) – and shooting on IMAX 65mm, standard 65mm and presented on IMAX 15/70mm – Christopher Nolan once again proves he is one of the greatest directors working today. This is his most experimental film, and an engrossing masterpiece at that. Teaming up with cinematographer Hoyte Van Hoytema for their second project following Interstellar in 2014, Dunkirk is a stunning example of how film provides a more vivid, clear and crisp picture compared to digital. If you can, see this on film. It adds a grittiness not present in any digital presentation; I highly recommend the BFI IMAX in London.

Amongst all of the wonderful things about Dunkirk, and Nolan's work in general since The Dark Knight Rises, there is always something that I've disliked; the sound mix. This is not to be confused with sound design, which I've always found impressive in his films, and here it's a work of art in itself. But, the levels are sky-rocketing, a loudness in which quality is lost through distortion. It's an ear-piercing experience, perhaps the result they were aiming for, which makes perfect sense, given the events of the film. However, some of Hans Zimmer's score is hidden underneath this layer of force, as well as the small amount of dialogue.

Speaking of the score; Zimmer's work has a biting energy throughout, utilising Nolan's own pocket watch ticking as a constant reminder of the enemy nearby. I could wish for more emotional substance, however there's very little time for it, and his rework of Edward Elgar's "Nimrod" has a charming presence in the third act, an excellent culmination of the score and picture.

Dunkirk is huge in scale, but the way in which it's captured presents an up-close and personal documentation of the bravery of the individuals who were trapped on the beaches, the heroes on the sea, and the fighters in the air. This is Christopher Nolan's next masterpiece, and a film that should be viewed in the highest format available to you.

Verdict; Dunkirk is without a doubt, one of the most suspenseful films in years. An increasing tension in picture and score that provides a truly thrilling and terrifying experience.

Dunkirk – ★★★★★ (9/10)

(format watched; IMAX 15/70mm)

War for the Planet of the Apes is directed by Matt Reeves and stars Andy Serkis, Woody Harrelson, Karin Konoval, Steve Zahn, Terry Notary, Ty Olson, Toby Kebbell and introducing Amiah Miller.

After the apes suffer unimaginable losses, Caesar wrestles with his darker instincts and begins his own mythic quest to avenge his kind. (12A cert; 140 mins)

There was a Rise, there was a Dawn, now there's a War. Through each instalment of this rebooted franchise we have seen the mastery of visual effects taken to new heights. 'Rise' began the story of Caesar (Andy Serkis) with an incredible response. 'Dawn' took everything that was great and expanded upon it, both in story and in visuals. 'War' continues that leap in modern filmmaking – with Matt Reeves returning to direct – and doesn't lose what made the previous films so remarkable; the characters.

What makes War for the Planet of the Apes so special, along with its predecessor, is how Reeves shows us two sides to the story. Sure, we root for the apes, but in this film we feel a sense of guilt and sadness for the humans (sometimes). The battle isn't just depicted in the film, it's in your mind. As I watch, I'm conflicted. I find myself wanting someone to call surrender, but of course this won't happen. There will be chaos. There will be death. 'War' shows it all; the riveting opening sequence prepares you for what's to come, and does so stunningly.

Andy Serkis has made quite a name for himself in recent years. His role as Gollum in LOTR was of course a staple in his career, but I truly believe this franchise put him in the spotlight for many. There's no doubt he's a talented actor. He brings all the intricacies of feelings and emotion into his performance, with motion capture providing a phenomenal effect. His eyes show heartbreak, rage, love. He connects to the viewer, just as the viewer connects to him. 'War' continues his winning streak, he's truly wonderful in this film.

Woody Harrelson plays the leader of the human army. He's evil, but as the film explores his reasoning, we become sympathetic. This is the stem of those conflicting thoughts, and something I love about Reeves' writing. Harrelson performs alongside Serkis very well, every scene is filled with tension, their rivalry is enthralling to watch. There's been a lot of great talent chosen for this franchise, and Harrelson is definitely one of the strongest.

Surrounding the two relatable leads are a cast of superb characters, ranging from Rocket (Terry Notary), to the sweet Maurice (Karin Konoval) and the kooky but fun Bad Ape (Steve Zahn). The film also introduces Nova (Amiah Miller), a young girl saved and protected by the apes. Miller is a surprising addition to the cast and turns in a delightful performance.

As I mentioned, this film is visually stunning. Michael Seresin returns as cinematographer, shooting on 65mm film, capturing every scene with impeccable skill. Each shot is carefully constructed, and the sets look beautiful. The motion capture is groundbreaking, the performances are expertly implemented into the apes and the result is seamless. The same applies to the visual and special effects; which have both developed significantly since the last instalment. A large amount of the environment is created with CGI, but it's well established and fabricated enough to be wholly convincing. The sound design also has a hand in how realistic the world is, and it's outstanding.

Michael Giacchino returns to the Apes franchise with a score that evolves from his previous material, amplifying his use of percussion and woodwinds, embellishing his unique style. The opening cue is a suspenseful rise of apprehension and the reoccurring motifs perform well aside the visuals throughout. It's a terrifying, huge and atmospherical score, but there are moments of true beauty as well.

'War' is an impressive film and highly entertaining. But in retrospect, I still find 'Dawn' to be the superior picture. People will expect a different kind of war, admittedly I did too, however that's not necessarily the reason I felt underwhelmed. 'War' needed some trimming; it's not butt-achingly long, but there were moments where the pacing felt a little monotonous. 'Dawn' had an equal share of action and storytelling, which made the picture a lot tighter as a whole. But 'War' is still a ride of emotions. Andy Serkis is the highlight amongst many highlights.

Verdict; War for the Planet of the Apes is an engrossing, visually impressive picture and a fitting end to the Apes trilogy.

War for the Planet of the Apes – ★★★★ (8/10)

Spider-Man: Homecoming is directed by Jon Watts and stars Tom Holland, Michael Keaton, Robert Downey Jr., Marisa Tomei, Jon Favreau, Jacob Batalon, Laura Harrier and Zendaya.

Peter Parker, with the help of his mentor Tony Stark, tries to balance his life as an ordinary high school student in New York City while fighting crime as his superhero alter ego Spider-Man when a new threat emerges. (12A cert; 133 mins)

With this being the third iteration of the friendly neighbourhood Spider-Man, and the first in the Marvel Cinematic Universe (MCU), it can be said that the origins are well-known, as is the character. The concept of another reboot was a surprise for many, some liked the idea, others didn't. I was within the latter. That said, with the announcement that Spidey would be joining the MCU, I was curious. Directors Anthony & Joe Russo handled the use of Spider-Man perfectly in Captain America: Civil War. Tom Holland won me over. He became a glowing highlight for me and many others. After that; I was excited to see Spidey in his own movie again.

Finally, after a long year of waiting; we have Jon Watts' Spider-Man: Homecoming. Crossing between "high school romantic comedy" and an action-packed adventure, this telling of Spidey's roots is refreshingly fun, albeit a little messy. Instead of introducing Peter Parker all over again, we're thrown right into his world. Peter is struggling to balance his superhero antics with his high school life, but when he discovers a new threat, he begins to hear a calling.

It begins very strongly, setting up the villain and continuing the overarching story from Civil War. But, as Tony Stark (Robert Downey Jr.) mentors Peter, his involvement becomes a tedious distraction. I understand that Peter (Tom Holland) is a kid, but I want to see his evolution into the strong asset that he can be. Every time Spider-Man tries to help, Stark is there to bring him back down. I get it, he's being protective. But, this is supposed to be Spidey's movie. I felt it was a little choppy with its storytelling and wasn't quite sure on its comedic placement. There were times when a serious tone was present, which is exactly what is required to help you connect with the characters, but then it pulls you out with a misplaced joke. That said, there were a couple of serious scenes that were played out very convincingly by Holland and Michael Keaton. Especially within the third act, as Stark's presence seemed to have dissolved quite significantly.

Apart from a few misguided comedic elements, Spider-Man: Homecoming is highly entertaining. Tom Holland is the best Spidey yet, there's no denying. There's a great balance between his life as a student and his Stark "internship." He delivers his lines brilliantly both in and out of the suit. Also, his interactions with Jacob Batalon are perfect, they capture 'nerdy youth' in a nutshell. Then comes Michelle (Zendaya), a sassy student who keeps an eye on Peter and his happenings. She becomes a fun addition to the cast and I hope to see her return in the future.

As aforementioned, Keaton delivers his lines very well. The character of Vulture is dark and not be messed with, and this is evident right from the start. There's a clear reason behind his path in life, and it's revealed momentarily. Aunt May (Marisa Tomei), Happy (Jon Favreau) and Liz (Laura Harrier) all appear in smaller roles, but present a likable charm and a comedic element that works splendidly.

The cinematography and editing is smooth and clean, no scenes with jarring issues or a misunderstanding of what's happening on-screen. Everyone in the special and visual effects departments have done a skillful job with the action sequences, it's all very easy to follow and great to look at. Something I was very pleased with was the sound. This film sounds incredible. Any time you see the Vulture coming, you feel the air pulsating and the low frequencies crunching. Truly amazing work by all involved in the sound design.

Michael Giacchino's original score is functioning as it should, with memorable motifs and an energetic funk, but as its own listening experience, it can be a little bland. However, it does support the picture as it should, and becomes a fine component to the overall experience.

Verdict; Though Stark's involvement can be tedious and the comedy a little misused, Spider-Man: Homecoming is still an enjoyable action-packed thrill ride. Tom Holland's Spidey is the best yet.

Spider-Man: Homecoming – ★★★★ (7/10)

The Mummy is directed by Alex Kurtzman and stars Tom Cruise, Russell Crowe, Annabelle Wallis, Sofia Boutella, Jake Johnson and Courtney B. Vance.

An ancient princess is awakened from her crypt beneath the desert, bringing with her malevolence grown over millennia, and terrors that defy human comprehension. (15 cert; 110 mins)

When a studio such as Universal plans to kick-off a new Dark Universe, revisiting the classic monsters and gods, you'd expect the introduction to be a powerful and intense experience. With Alex Kurtzman's The Mummy, all we're given is the foundation for future instalments. It's unfortunate to say that; although featuring some great talent and awesome effects, this film is rather boring.

Firstly, Sofia Boutella owns this role. She is Ahmanet. With previous work she has proved to be a great talent, grasping each character and delivering the very best. Her most predominant role – Jaylah in last year's Star Trek Beyond – was one of my favourite film characters from 2016. Here, she is criminally underused. That said, every scene she features in is improved tenfold.

Tom Cruise plays Nick Morton; a private contractor who was resurrected by Ahmanet after dying in a plane crash. He performs well, providing brilliant stunt work in top-notch action sequences. However, some of his scenes feel mildly inappropriate and the comedic one-liners become tiresome and outright distracting. Annabelle Wallis presents a suitably average act as Jenny, who is essentially a love-interest for Nick. It's interesting that I left the cinema having only rooted for the villain. None of the characters are as exciting as Boutella's Ahmanet.

The make-up department have done some excellent work here; Boutella looks stunning yet fierce as the Mummy. She adapts to the costume and truly becomes the character, and it's clear throughout her performance. All of the sets and locations are fitting enough and although filled with corpses, they're visually full of life.

Director Alex Kurtzman fails to engross viewers, mainly due to a poor screenplay and uneventful story. Nothing feels emotionally weighted, there's very little to care for when watching this film. The final act is the greatest moment, but inadequately executed. It ultimately becomes the set-up for future instalments in the Dark Universe and nothing more, which is a shame.

Brian Tyler delves into the world of The Mummy by writing over 2 hours of haunting original music – some of which doesn't make it into the film – but it's all very intense. The main theme that plays over the discovery of Ahmanet is beautiful, but there's a darkness lurking underneath that evolves as the film progresses. I recommend buying the full soundtrack and listening through every piece, it's a brilliant score. Brian deserved a better film, but at least his art was something to take away from it.

Verdict; Kurtzman's The Mummy is a disappointing start to Universal's Dark Universe, and though Boutella's intricate performance and Tyler's textured score are both wonderful, it's not enough to keep the film's corpse from rotting.

The Mummy – ★★ (4/10)

Wonder Woman is directed by Patty Jenkins and stars Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, David Thewlis, Danny Huston, Saïd Taghmaoui and Ewen Bremner.

Before she was Wonder Woman she was Diana, princess of the Amazons, trained warrior. When a pilot crashes and tells of conflict in the outside world, she leaves home to fight a war to end all wars, discovering her full powers and true destiny. (12A cert; 141 mins)

The DC Extended Universe (DCEU) is now in full swing. We've seen Superman take flight, Batman battling evil in Gotham, and the Suicide Squad fighting the bad with bad. Now, it's time to welcome a new hero; Wonder Woman.

Patty Jenkins has received a lot of praise from fans and critics alike as Wonder Woman takes the world by storm. It's clear why; she's a very talented director and skilled within the action genre. Some of the action sequences are wonderfully captured, it's easy to follow and smooth in the edit. She understands the characters and directs the two leads well. Unfortunately, that's where the good stuff ends.

Gal Gadot and Chris Pine are both incredible in their respective roles. Their writing is realistic, you care for them both, truly. However, the screenplay is just as bland as the other DCEU entries. It's funny and inviting, but as the film progresses in its slow pace, the layers start to uncover, revealing its generic story and predictable outcome. Gadot's Wonder Woman is fierce, bold, beautiful. She and Pine are the saving grace, that goes without saying, but the overdose of CGI and the exaggerated yet anti-climatic finale left me feeling empty.

That said, it is without a doubt the best DCEU instalment yet, in terms of production and performances. The WWI setting is gritty and dark, as it should be. We get to see how Diana reacts to the evils of war and that was a really nice direction. We see her vulnerable, but we also see her stronger than ever. You'll leave the theatre thinking about one scene in particular; No Man's Land. It's beautifully crafted with some goosebump-worthy moments. I'm sure it'll go down as one of the most memorable scenes in DCEU history.

Rupert Gregson-Williams' original score is powerfully moving. There's a moment where Tina Guo skilfully performs Hans Zimmer's kick-ass Wonder Woman theme in one of the most rewarding fights I've seen. Rupert's music is action-packed, but it's the grounded connection between Diana and Steve where he truly delivers. It's a delightful score and functionally superb.

It's not a bad film, it's still enjoyable as a stand-alone Wonder Woman epic. Just don't go ahead with high expectations, you'll more than likely leave disappointed. Perhaps I expected too much, given the flooding positive response. There's a lot that could have gone wrong, making it as lacklustre as BvS and Suicide Squad, but it stood up and at least tried to tell a unique and fulfilling story. Above all else, the evolution of Gadot's Wonder Woman is inspiring to watch.

Verdict; Gal Gadot & Chris Pine are both wonderful and deliver some truly beautiful moments, but the story lacks momentum, suffering pacing issues and becoming just as tedious as the other DCEU entries.

Wonder Woman – ★★★ (6/10)

Pirates of the Caribbean: Salazar's Revenge (originally & more fittingly; Dead Men Tell No Tales) is directed by Joachim Rønning & Espen Sandberg and stars Johnny Depp, Javier Bardem, Geoffrey Rush, Brenton Thwaites, Kaya Scodelario, Kevin McNally, David Wenham.

Captain Jack Sparrow searches for the trident of Poseidon. (12A cert; 129 mins)

It's been 14 years since we first met Jack Sparrow on the big-screen. Johnny Depp handed in a truly unique and intricate performance that earned him a nomination for Best Actor at The Academy. The first film was a genuine surprise for everyone, followed up graciously with two fantastically fun sequels shot back-to-back. 6 years ago, a stand-alone sequel (On Stranger Tides) was released, with it came a disappointing response. Jack Sparrow's solo outing was still mostly enjoyable, but the magic of the first three instalments was lost, largely due to the absence of the original cast. After years of waiting, we are able to return to the world of Pirates.

Does Rønning & Sandberg's Salazar's Revenge live up to the original? The answer: No. However, I felt the exact same feelings that I did with the first when watching this fresh instalment. It's fun, colourful, action-packed, visually incredible – clearly a very expensive production overall – and it features some particularly likable characters.

As soon as the screen opens we are introduced to Henry Turner (Brenton Thwaites), who seeks help from Jack Sparrow (Johnny Depp) to save his father (Orlando Bloom) from a terrible curse. However, due to previous events in Jack's past, the ghostly Captain Salazar (Javier Bardem) longs for bloody revenge and will not stop until Sparrow is no more.

There's no doubt about Depp's performance as the witty Captain Jack Sparrow being truly brilliant. Although it's clear that some of the charm we loved so much in the first few films has been degrading over time. It's no different in Salazar's Revenge, Depp looks to be enjoying every moment, but something feels 'off' in his delivery. Of course, he still manages to lift the film to extraordinary heights and he still performs wonderfully in some of the funniest scenes (the guillotine, anyone?) but you can't ignore the strange evolution of his lovable character.

Bashing heads with Depp is Javier Bardem who turns in a dark and scary performance as Salazar, quickly becoming one of my favourite Pirates villains. Watching his scenes unfold and seeing his enthusiasm for the role is a real treat. On the 'good side' is Thwaites & Scodelario, fighting the ghost army as they journey to their destination. Two genuine and pleasant performances, somehow filling the missing pieces that Will & Elizabeth leave behind. Some of the original crew of the Black Pearl return, including Gibbs (Kevin McNally) and Marty (Martin Klebba) proving to be a key part of the franchise and a terrible loss if underused. Here, they provide a comical back-and-forth between Jack, Carina and Henry and continue to make the audience chuckle. Finally, Captain Barbossa (Geoffrey Rush) is back and he's as great as ever. The character has seen some 'spotty' times but Rush's passion for Pirates is unbroken.

After four instalments featuring the music of Hans Zimmer (including The Curse of the Black Pearl which Zimmer overproduced), Geoff Zanelli takes the reins with a powerful and engaging original score. Not only does Zanelli revive several main themes throughout (and rightfully so, having worked with Zimmer on previous occasions), he writes with clear knowledge of the characters and produces an exciting and thrilling listening experience.

Although the story isn't the strongest and the many situations are somewhat unrealistic and exaggerated, it's still a heavily energetic production. Everything from the clean editing and glistening visual effects to the stunning make-up and beautiful Australian locations is simply amazing. Fans longing for something close to the original trilogy should have a lot of fun watching this film.

Verdict; Salazar's Revenge (Dead Men Tell No Tales) may not be as smart or as charming as the original, but it's pure swashbuckling entertainment for the fans. Familiar faces return as new faces are introduced, and Captain Jack Sparrow continues to command with a bottle of rum in hand.

Pirates of the Caribbean: Salazar's Revenge – ★★★★ (8/10)

Alien: Covenant is directed by Ridley Scott and stars Michael Fassbender, Katherine Waterson, Billy Crudup, Danny McBride, Demián Bichir and Carmen Ejogo.

The crew of a colony ship, bound for a remote planet, discover an uncharted paradise with a threat beyond their imagination, and must attempt a harrowing escape.

After the lacklustre Prometheus in 2012, I had no good expectations going into Ridley Scott's Alien: Covenant. Apart from a few decently tense scenes and beautiful visuals, Prometheus was a mindless action/adventure flick set in the world of Alien. It's worth noting that I'm not overly keen on the franchise as a whole, so I'm biased. However, I do appreciate what Ridley Scott did with the original 1979 film.

When I go to watch an Alien film, I want it to send shivers down my spine. There must be scenes filled with nothing but tension. Thankfully, Alien: Covenant handles this extremely well. There are some really awesome moments that keep you on the edge of your seat. The final action sequence in the film is stunning to watch. That said, these moments are few and far between, so we're left with a story that doesn't seem to be heading in any specific direction, apart from leading into the original film.

The characters, excluding Daniels (Katherine Waterson) and David/Walter (Michael Fassbender), are poorly written and act unintelligently. One scene in particular, without spoiling anything, was an eye-roller. Why would anyone in their right mind look directly into an egg that is quite clearly hatched? It's understandable that this person has never seen one before, but the moment he lets his guard down, a Facehugger continues its life cycle by latching onto the host. The only two interesting characters are Daniels and David / Walter. Waterson is a fine actress and demonstrates this in all of her scenes. Fassbender works wonders in his double-performance, though maybe too much time was spent on his character(s), therefore detracting from the other crew members. Tennessee (Danny McBride) is present for a brief sense of comic relief and while McBride has his moments, it's an act just as one-dimensional as the rest.

As aforementioned, this film is a visual treat. It's dark, gritty and unearthly. The production and costume design is remarkably well-handled and looks impressive, captured skilfully by cinematographer Dariusz Wolski, who has worked with Ridley Scott on numerous occasions. There are some gruesome deaths, of course, and these are handled really nicely. I'm always ready for some gore in a film, and Covenant did it right.

Jed Kurzel's score is exceptional. It pleases me to say that his music was something I enjoyed about this film. After his disappointing work on Assassin's Creed, it's truly great to see him explore the vast eeriness present in Covenant and succeed. Some of the string work heard in the score is incredibly well written, as well as the woodwind sections that open the main theme. Not only does it work as a score, but it's musically twisted and an enjoyable listening experience overall.

Verdict; Whilst it strives in apprehension and its visual design, Ridley Scott's second entry in the prequel trilogy feels as empty as its characters, culminating to an anticlimactic finale.

Alien: Covenant – ★★★ (5/10)

Schindler's List is directed by Steven Spielberg and stars Liam Neeson, Ralph Fiennes, Ben Kingsley, Caroline Goodall, Jonathan Sagalle and Embeth Davidtz.

In German-occupied Poland during World War II, Oskar Schindler gradually becomes concerned for his Jewish workforce after witnessing their persecution by the Nazi Germans.

Steven Spielberg's horrifically harrowing Schindler's List isn't just a critically acclaimed, award-winning masterpiece. This is a documentary of real life events, a truly terrifying picture which chronicles The Holocaust, within the most destructive period of our time. A time that must never be repeated. Captured masterfully in black-and-white celluloid with hand-held cameras, Schindler's List follows Oskar Schindler (Liam Neeson), a German industrialist who begins to feel concerned for his Jewish workforce, leading to an emotionally captivating story that evolves continuously as Steven Zaillian's beautiful screenplay culminates to one of Schindler's final heartbreaking lines: "I could have got more out. I could have got more. I don't know. If I'd just I could have got more."

Liam Neeson showcases a raw talent as Schindler, performing skilfully throughout. Every line is delivered with absolute care and feels entirely realistic. His interactions with Itzhak Stern (Ben Kingsley) are some of the greater scenes in the film, most specifically the creation of the list. Kingsley has always proved himself an incredible supporting act. Ralph Fiennes also plays alongside Neeson as Amon Goeth, a ruthless and negligent SS captain who murders for sport. Eventually, Goeth is told that power is in fact to never kill, but pardon a man. It never truly connects with him, but continues his work with it in mind. This is one of Fiennes' greatest, most pre-eminent performances to date.

The decision to shoot the film in black-and-white only catapults the 'documentary tone' that Spielberg sets out to achieve, and in doing so creates an eerie experience for viewers. There's one scene in particular that uses colour for a little girl's red coat, as she stumbles through a disturbing site of bloody murder whilst Schindler keeps a close eye. This scene essentially serves as the brutal realisation for Schindler, and becomes one of the most iconic scenes in film history. A simply breathtaking use of colour within a black-and-white picture. Cinematographer Janusz Kaminski expresses his enduring adroitness with excellent execution.

John Williams' haunting score captures the horrors of war as violinist Itzhak Perlman performs every single note with intricate skill. The main theme is pleasing to the ears but when paired with Spielberg's picture, it's painfully distressing, traumatic, even disturbing. 'Jewish Town' continues that same feeling, but explores Williams & Perlman's impeccable talent further. This is a fine example of the perfect film score.

Verdict; It may be a tough subject and a difficult experience to bear, but Schindler's List is a film to be seen by all.

Schindler's List – ★★★★ (8/10)

Guardians of the Galaxy Vol. 2 is written & directed by James Gunn and stars Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper, Vin Diesel, Pom Klementieff, Michael Rooker, Sean Gunn and Kurt Russell.

Set to the backdrop of Awesome Mixtape #2, 'Guardians of the Galaxy Vol. 2' continues the team's adventures as they unravel the mystery of Peter Quill's true parentage.

Where to start? After the huge success of Gunn's first instalment in the trilogy and the incredible praise it received, Guardians Vol. 2 had expectations set pretty high. The story was written beautifully and each character felt important. It was hilarious & action-packed but still left room for one of the most vital ingredients in any film; emotion. When the first film cut to black, the fans felt like they'd experienced something truly unique. It made us happy, sad, filled with adrenaline. Gunn had us hooked on these feelings. The bar was set.

Which is why I'm so happy that Guardians Vol. 2 hits every single one of those notes once again. There's a surprise ingredient in this instalment, however, and you'll know it when you see it.

Let's start with the characters. 'The 5' are back. It pretty much picks up from where the first film left off, but our characters have evolved significantly and it's evident from the first 10 minutes; which is one of the most incredibly fun sequel openers I've ever seen (again, you'll understand when you see it). Peter Quill / Star-Lord, played effortlessly by Chris Pratt has some of the funniest lines, but also hits the emotional core splendidly. Bautista's Drax is one of the most amusing characters in the line-up. He delivers each line with great comedic timing and had the theatre laughing from line to line. Rocket is brilliant, Bradley Cooper is casting at its best. Gamora and Nebula are given some more development, we hear about their past and even at times feel a little sympathy for Nebula. Both Saldana and Gillan play their respective roles with strength. Even Baby Groot has some chances to shine, which is awesome.

There's a new addition with Klementieff's Mantis, providing a nice back-and-fourth between herself and Drax. Stallone's casting didn't work with me, it's one of the very minor things I disliked about the film, however we never get a chance to explore his character. Michael Rooker returns as Yondu and he is a badass with so many crazy scenes, a truly superb performance. Alongside Rooker is Sean Gunn, brother of James, returning as Kraglin. He has some really cool moments and definitely develops more as a character towards the end of this film. Finally, Kurt Russell. Yes, it's no spoiler that he plays the father of Quill. In fact, it would be impossible to avoid. That's why the 'reveal' is in the trailers. Gunn personally chose to have that scene included. There's so much more to Kurt's character, which I will not discuss here. Though a little exaggerated, Kurt is great.

Moving the focus towards something that most of the time goes unnoticed, or at least under-appreciated, is the costume design. Judianna Makovsky pays close attention to detail and everything looks beautiful. These films wouldn't be as brilliantly convincing as they are without her. The same goes for the cinematography, editing, visual effects, make-up, production design, art decoration, set decoration, stunts, sound department, and of course, the music.

As an exception, I had listened to the entire score by Tyler Bates before seeing the film. I think it worked out better this way; I had a vision in my mind of how these themes were going to be used, but then hearing them within the context of the film really surprised me. Tyler has created a wonderful score that, with Gunn's love and appreciation for his work, has been utilised perfectly. There's some Williams-esque writing in the percussion during the opening battle, creating a fierce introduction which then progresses into a psychological examination of our leads, most notably Peter Quill. Not only is it an enjoyable listen compositionally, it's as vitally important as the characters.

One of many fans' favourite 'characters' from the first Guardians was the Awesome Mix, gifted to Quill by his mother. In the final act of the first film, Quill opens a second gift with another tape inside, Awesome Mix Vol. 2. This continues to complement the picture wonderfully from start to finish. Personal favourites are Electric Light Orchestra's "Mr. Blue Sky" & Fleetwood Mac's "The Chain," but a perfect use of Cat Stevens' "Father And Son" may just cap it off.

Finally, Gunn's writing feels as grounded and as human as it did before. He writes humour very well, but also provides intricate detail within characters that move the viewers. It creeps up on you and it's tremendously touching. Not only that, but Guardians Vol. 2, like the first, never once feels as if it's just setting up the next big thing. Although taking place within the Marvel Cinematic Universe (MCU), it sticks with our characters and only very minor nods to the MCU are used, creating its own 'Cosmic Universe' which breathes a lot of fresh air into the genre.

I could go on and on, but that would ruin the experience. This film showcases some serious talent, in front of the camera and behind the scenes. Support these incredible individuals by heading to your nearest cinema and seeing this film. If you enjoyed the first Guardians, you're gonna love this. I think it's better on almost all levels.

Verdict; Action-packed, hilarious and an emotional ride. Welcome to the frickin' Guardians of the Galaxy, Vol. 2.

Guardians of the Galaxy Vol. 2 – ★★★★★ (9/10)

Luke Cage: Season One, created by Cheo Hodari Coker and starring Mike Colter, Simone Missick, Theo Rossi, Alfre Woodard, Mahershala Ali, Rosario Dawson and Erik LaRay Harvey.

Given superstrength and durability by a sabotaged experiment, a wrongly accused man escapes prison to become a superhero for hire.

Luke Cage is the third Marvel character to grace the small screen with their own series on Netflix, with Iron Fist being the last before the first season of Marvel's The Defenders airs in August 2017. Although all are linked in some way and seem to be heading in the same direction, each series has a unique touch to set them apart.

When we last saw Luke Cage in Marvel's Jessica Jones, he was in a bad place. As this series opens, Luke is back in Harlem looking for a fresh start; but with ruthless club owner Cottonmouth lurking in the streets, Luke is forced to hit back.

Firstly, Mike Colter is badass as Luke Cage. He fits the part and seems to have really grasped the character since his appearance in JJ. His brilliant performance clicks with the writing, ever evolving as the episodes roll out. Alongside Luke is the returning character of Claire Temple, played by Rosario Dawson who - as usual - has a wonderful presence on- screen and pushes the story to places only Claire could appropriately take it. Without the 'sidekick' persona, this series and the other shows prior to this wouldn't be as fun.

Mahershala Ali is frustratingly likable, even though his character is dangerous & unpredictable. Don't mess with this guy. The writers play on this in Episode 2; Code of the Streets, after someone Cottonmouth greatly respects is killed. His dialogue is smart and Ali performs it all with undeniable skill. Theo Rossi plays 'Shades,' Cottonmouth's right hand man and he's just as unpredictable, yet you never see a soft side. He's cold to the bone and will stop a nothing to get the job done right. Great performance by Rossi. Simone Missick appears as Misty Knight, a detective close to Luke who never really shines as a character until Episode 9; DWYCK, which focuses a large portion of the episode's duration on Misty's mental state, in most cases it's a turning point for Missick as she develops her character, falling perfectly into place for the coming episodes, in which she plays a vital part in Luke's story. Cottonmouth may seem like a threat for Luke, but then Erik LaRay Harvey shows up out of the blue as Diamondback, an enemy from Luke's previous life. At this point, the show takes a U-turn from its original route and sets our characters down a new path.

I was always impressed with the cinematography in both Daredevil: Seasons One & Two and Jessica Jones, so I was expecting to be pleased with the visual direction in this series. Of course, I'm not disappointed; cinematographer Manuel Billeter captures the streets of Harlem beautifully. Every shot is as colourful and wonderfully composed as the last, utilising a yellow grade over the top as a finalising glisten.

Ali Shaheed Muhammad & Adrian Younge provide a gritty, up-beat soundtrack filled with punchy bass and funky melodies, creating a lush dream for Hip-Hop fans. The main theme becomes very catchy within just a few episodes and the score throughout the series feels largely important to the characters and story, especially the leading man; Luke Cage.

Originally, I wasn't going to bother with Marvel's Luke Cage, but I'm glad I decided to eventually. It's definitely one of the stronger shows in the MCU, and although I believe all of these shows could do with some trimming (10-episodes may be a smarter and more efficient time frame) the slower episodes only develop the characters more. I can't wait to see a second season, along with the use of Cage in The Defenders this August.

Verdict; Great storytelling, cool visuals and likable characters. Sweet Christmas; Marvel's Luke Cage brings all the punches.

Marvel's Luke Cage, 8/10.

Ghost in the Shell is directed by Rupert Sanders and stars Scarlett Johansson, Pilou Asbæk, Takeshi Kitano, Juliette Binoche, Michael Pitt, Chin Han, Danusia Samal and Peter Ferdinando.

In the near future, Major is the first of her kind: A human saved from a terrible crash, who is cyber-enhanced to be a perfect soldier devoted to stopping the world's most dangerous criminals.

There was controversy. There were expectations. For me, these expectations were high. The original 1995 Ghost in the Shell anime had layer upon layer of subliminal meaning in its vast imagery and storytelling. Its themes were explored deeply, and gained a cult following momentously. Rupert Sanders has delivered a visually outstanding instalment to the franchise. Although a soft reboot/reimagining of the original, GITS stands on its own.

Even if some of the Ghost (or Soul) from the anime is lost, the Shell is incredibly vibrant. The cinematography is stunning, jam-packed with a colourful visual design and intricate sets, recreating the familiar feeling of the original material. Something that worried me going into this film was that it would avoid Major's drive to discover who/what she is, and turn it into an action-packed thrill ride with no meaning. However, to my delight, this did not happen. In fact, the story drifts from the original and twists our expectations. It's smart, cool and refreshingly enjoyable.

Scarlett Johansson was cast with heated discussion amongst fans, but I believe she has done a wonderful job with this role. She clicks with this world perfectly, in my eyes. Pilou Asbæk as Batou is well-cast, also. Both work together nicely with great chemistry. Binoche, Kitano, Ferdinando and everyone else involved are so very natural in the setting. Some of the set pieces look and perform great, though surprisingly cut-down to ensure the story stays focused on Major.

Clint Mansell & Lorne Balfe utilise snippets from Kenji Kawai's original theme as a respectful nod, then progress forward with a synth-heavy score that weaves so beautifully with the picture. Subtle but important. It's an impressive ambiance that fills the atmosphere presented in the film.

Ghost in the Shell is not for everyone, but like the original, I do think everyone should try it. It's not going to rake in a huge amount of money in its theatrical run, but don't take that as a bad sign. The only thing I'd like to see is an uncut version; it feels like it was toned down for a wider audience. That said, I'm absolutely interested in seeing a sequel or two to further expand upon the story of Major & Batou.

Verdict; Impressive visual effects, smart storytelling and interesting characters make Ghost in the Shell an energetic and entertaining experience.

Ghost in the Shell, 8/10.

Lion is directed by Garth Davis, starring; Dev Patel, Rooney Mara, Nicole Kidman, David Wenham and introducing Sunny Pawar.

A five-year old Indian boy gets lost on the streets of Calcutta, thousands of kilometres from home. He survives many challenges before being adopted by a couple in Australia; 25 years later, he sets out to find his lost family.

It's rare in film to encounter a first act so thoroughly emotional, gritty and real. In Lion, director Garth Davis introduces us to Sunny Pawar, who at only eight-years old gives one of the most genuine, touching performances I've seen from any young actor. The first 50 minutes are mostly silent, similar to the opening act of Pixar's WALL•E, in which very little dialogue is used. During this time, Pawar is acting through raw expression as he stumbles around the unforgiving streets of Calcutta, laying down a vital background before cutting to a grown Saroo, 25 years on.

The cinematography in this film is simply stunning, capturing India and Australia with a smart eye for composition, complete with a grade that only slightly brushes the screen with a finishing gloss. Each and every shot is dark in tone, especially in the first act, and documents the poverty situation without holding back, making the picture feel that bit more realistic.

This is a work based on an incredible true story, and it's definitely one of the most heartfelt tales to ever hit the big screen. During the final act, though inevitable, the execution is thorough enough to make us shed a few tears. The real success here is the telling of Saroo's unexpected journey, miles from home. Once Dev Patel's grown Saroo appears, the impact gets lost somewhere in the background, though in the final act it's rekindled with spirit and we are pulled through many emotions until the picture fades to black. 

Original music by Dustin O'Halloran & Volker Bertelmann is warm in colour, with a ravishing piano lead that drives the emotional bind between score and imagery. Lush string arrangements are present, but only serve as an underlying texture for the prominent use of piano. The music also stands on its own as a delightful listening experience.

This is a must-see. Whether it's at the cinema or during its home release, make it your priority to see this lovely film.

Verdict; Garth Davis' Lion is a work of art, featuring a powerful first act that captures fear, wonder and sadness all encased inside one wonderfully raw performance from Sunny Pawar.

Lion, 10/10.

Hidden Figures is written & directed by Theodore Melfi and stars Taraji P. Henson, Octavia Spencer, Janelle Monáe, Kevin Costner, Kirsten Dunst, Jim Parsons and Mahershala Ali.

The story of a team of African-American women mathematicians who served a vital role in NASA during the early years of the US space program.

In Theodore Melfi's Hidden Figures, three heroic women who were a vital part of NASAs early years, are strongly portrayed by three wonderful actresses; Tarija P. Henson, Octavia Spencer and Janelle Monáe, thankfully bringing the remarkable true story into the limelight.

A smart, refreshing script is blissfully aided by cinematographer Mandy Walker's "Kodachrome" direction, capturing each scene with two distinct tones; warm and cold. Though a simple story, it's told with care and although slightly dramatised, it's hugely investing.

Henson, Spencer and Monáe are all perfect performers, becoming very likable mere minutes into the picture. Henson takes the lead, however, with a showcase of pure strength and drive.

The 1950s/60s are always interesting to see brought to the big screen, especially in the costume and production design. Both departments have delivered in every sense, alongside the art director and set decorator to achieve the utmost detail, in doing so, creating a working environment the actors can connect with and the audience can adhere to.

If I had to say anything I disliked about Hidden Figures, it would be the decision to cast Dunst and Parsons. The two felt inapposite and while both gave satisfying performances, I never once clicked with their characters. Costner executed his character with skill and ease, yet the two aforementioned lacked any unique traits in their rather substantial roles.

The original soundtrack by Pharrell Williams is overflowing with energy, featuring tracks written specifically for the picture, including feel-good cues composed by Hans Zimmer & Benjamin Wallfisch. Each track feels largely appropriate not only for the imagery but for the time period, also.

There's a lot to like in Hidden Figures, and for all of the right reasons it ticks all of the right boxes.

Verdict; Vibrant characters, stylish writing and a funky soundtrack ignite a flourishing work of brilliance in Theodore Melfi's historical drama.

Hidden Figures, 9/10.

Moonlight is written & directed by Barry Jenkins and stars Mahershala Ali, Alex R. Hibbert, Naomie Harris, Janelle Monáe, Ashton Sanders, Trevante Rhodes and André Holland.

A timeless story of human self-discovery and connection, Moonlight chronicles the life of a young black man from childhood to adulthood as he struggles to find his place in the world while growing up in a rough neighbourhood of Miami.

Short and sweet; Barry Jenkins' Moonlight has sunk low under the radar for many, but the sheer quality in the writing and acting will be treasured inside the hearts and minds of those who were lucky enough to experience this touching story. Of all the incredible people that worked on this film, I knew only two; Mahershala Ali and Naomie Harris. Now, I've been introduced to a whole new set of fine actors, writers, filmmakers, who are all responsible for creating one of the most pleasant cinema outings in recent years. The most valued trait in Moonlight is how remarkably real it feels. The screenplay never once exaggerates on its simple storytelling, nor does it force its views on the audience. You make your own decisions, feel how you want to feel, just as the lead character does on-screen.

Ali and Harris are remarkable in their respective roles and absolutely vital to the choices that Chiron (played by three great actors; Alex Hibbert, Ashton Sanders & Trevante Rhodes, in three distinct time periods) will make, leading him down his path into young adult life. André Holland provides wonderful support in the final act beside Rhodes, culminating with a well-rounded story of self-discovery.

Original music by Nicholas Britell is clean, subtle and ambient. Only lending to the picture when necessary, never interrupting the performances on-screen or feeling forced. It's a perfect fit, an exquisite pairing of image and score.

Winning the Academy Award for Best Picture is a phenomenal feat and the team behind Moonlight should feel very proud. I know I am.

Verdict; There's so much to say about Moonlight, but only Moonlight will tell its story the right way. See this film.

Moonlight, 8/10.

Hacksaw Ridge is directed by Mel Gibson and stars Andrew Garfield, Richard Pyros, Jacob Warner, Milo Gibson, Teresa Palmer, Hugo Weaving and Rachel Griffiths.

Based on the incredible true story, WWII American Army Medic Desmond T. Doss, who served during the Battle of Okinawa, refuses to kill people and becomes the first man in American history to receive the Medal of Honor without firing a shot.

It's taken me a while to digest Mel Gibson's brutal epic Hacksaw Ridge, roaring with fire and an undying courage shown in Garfield's deeply rooted portrayal of Desmond T. Doss, but at this point after sitting on time for a moment, I can safely say that this is one of most carefully crafted war films I have ever had the pleasure to, in some ways, endure.

Andrew Garfield's performance in this film is bitterly convincing, gripping the viewer with a biting display of emotion shown within the conscientious objector. A background of Doss' life is shown within the first 20 minutes, which aids his character and helps the viewer connect with his many decisions that occur during the heavily textured battle, leading to saving 75 lives on the front line. Not only does Garfield provide an emotional core, he goes through all kinds of hell, crawling between the gruesome display of the fallen and wounded.

It would be all for nothing, however, without Gibson's skillful direction. He and cinematographer Simon Duggan capture the Art, Special Effects and Stunt department's hard work with eyes of an eagle, utilising smart camera set-ups that assist the unravelling chaos and destruction unfolding around the cast.

The supporting cast of Luke Bracey, Richard Pyros, Jacob Warner, Teresa Palmer and Vince Vaughn are truly wonderful. Each individual provides a delightful back-and-fourth between themselves and Garfield. Vaughn breaks from his comedic persona (almost entirely) and shines light on a new side to his acting abilities. Many of his scenes are smartly written and engaging, whilst finding the perfect time to improvise his lines, adding a much-needed comic relief. Hugo Weaving is incredible in one of his best roles yet. Delivering a powerhouse performance that ties with Garfield's, showcasing several layers of hate, sadness and regret, detailed beautifully in his fine acting.

Original music by Rupert Gregson-Williams is satisfactory, though missing something of great importance; distraught emotion. It's great at filling the gaps with heroic themes, but I never felt moved by the score in any huge way. In the final moments of the film I do admit to have felt hopeful and 'pumped' but I thought the score had an absence of fear and angst. This could be due to Gibson's direction though, as ultimately the director has the final say. However, I believe the space is filled with an impeccably thorough bed of sound, expertly created by the Sound Department and adeptly mixed and edited, earning 2 Academy Award nominations.

The battle sequences are intricate and complex, captured beautifully in-camera and driven by highly intense and scary situations that spring up out of nowhere. It's a tough experience to get through, but it's undeniably well put together, seriously powerful and absolutely worth it.

Verdict; Hacksaw Ridge is riveting and bathed in gore, however, underneath the brutality is a fine true story of survival and heroism.

Hacksaw Ridge, 9/10.

La La Land is written & directed by Damien Chazelle and stars Ryan Gosling, Emma Stone, Rosemarie DeWitt and J. K. Simmons.

A jazz pianist falls for an aspiring actress in Los Angeles.

Who said Hollywood's Golden Age died back in the 1960s? In Damien Chazelle's remarkable La La Land, it's back in full force with all the glitz, glamour and fun energy that made the classics so enjoyable.

Our two wonderful leads; Ryan Gosling (Sebastian) and Emma Stone (Mia) are an absolute treat to watch as they pursue their dreams, taking us through the colourful city of Los Angeles around them. Presented gloriously in CinemaScope and featuring a stellar soundtrack, La La Land is a triumph in filmmaking only to be experienced in cinemas. The technical skill on show is undeniably careful and gracious, acting as the perfect supplement to the aforementioned leads.

As the screen opens and the CinemaScope logo appears, we pan down from the pale blue sky over the city and straight into the first musical number, which may need some time to settle but nevertheless kickstarts the film with joy. At first glance you'll notice and appreciate the presence of a soft and subtle film grain, created only when shot on celluloid. Natural lighting is used for most scenes in the film, as well as real locations all over the city of Los Angeles, securing a sense of realism in the story and characters.

Once the rocky first quarter comes to an end, the real magic begins. With some fine trimming, La La Land could be a perfect masterpiece, but the duration of the film (or rather, the time management) is my only complaint. Chazelle's writing is spectacular and reminiscent of his previous project, Whiplash, which also saw major success and received high approval from critics and filmgoers alike. A small cameo from J. K. Simmons branches the gap between this film and Chazelle's last, with Simmons playing a similar character to that in Whiplash.

The soundtrack composed by Justin Hurwitz is pumping with life, carrying on his funky jazz style, accompanied by Stone and Gosling's strong vocals. The numbers are entertaining and skilfully performed, with vivid visuals to aid the original score, also composed by Hurwitz.

In preparing for their roles, Stone and Gosling were required to learn to dance and move to specific cues during the lengthy one-shot takes. Gosling also decided to learn the piano in order to dismiss the need for CGI doubling, further showcasing his talents as we watch in admiration.

La La Land is a work of art, a true love letter to Hollywood's Golden Age. Although taking place in the modern world, with smartphones and social network tools, Chazelle takes a unique approach and combines old and new. There are vibrant sets and exciting sequences that seem as if they've been pulled directly from the 50s/60s alongside modern vehicles and coffee shops, providing a marvellous backdrop for our characters to interact with.

Each and every individual involved in this project have done a remarkable job in creating a world everyone can get happily lost in. Awards season is underway and La La Land has already made Golden Globes history with its impressive 7 wins, further attracting filmgoers and selling out show after show around the world. This is simply fine work and all involved should be greatly proud of this superb accomplishment.

Here's to the ones who dream.

Verdict; Lights, camera, action! Classic Hollywood is back with Damien Chazelle's hugely entertaining and dazzling La La Land.

La La Land, 8/10.

Assassin's Creed is directed by Justin Kurzel and stars Michael Fassbender, Marion Cotillard, Jeremy Irons, Brendan Gleeson and Charlotte Rampling.

When Callum Lynch explores the memories of his ancestor Aguilar and gains the skills of a Master Assassin, he discovers he is a descendant of the secret Assassin's society.

Does Assassin's Creed have what it takes to be a great adaption of a beloved video game franchise? Yes. It's fast-paced, visually satisfying, features a great cast and showcases a huge amount of practical stunt work. Does it succeed in being a great adaption of a beloved video game franchise? Unfortunately not.

Director Justin Kurzel aims to captivate the viewer with staggering visuals that are blissfully aided by a beautiful backdrop, but an unfortunate misuse of 'smokey' ambiance covers the picture with an undying darkness.

With 80% of the film being shot in-camera; stunts, locations and all, it angers me that so frequently throughout, we are pulled from Aguilar's past to be force-fed exterior shots of present-day Cal in the animus, ultimately disjointing the flow of these expertly crafted action sequences, if only to tell us that Cal is still in fact in the animus.

It becomes noticeable around the first half of the running length, that we do not feel or care for our characters, removing what made the video games so vastly enjoyable. This could be due to multiple script rewrites but as ambitious as the film tries to be, it never really builds up anything but the foundation for a possible sequel.

Performances from Cotillard and Irons are underwhelming. Gleeson looks out of place. Fassbender saves his role with an impressive amount of stunt work, of which he actually performed, wearing an eye-pleasing costume which has been wonderfully designed by the hard-working individuals in the costume departments.

A large chunk of the film is shot on-location in Malta and Spain, with incredible set designs and vibrant colour grading, which is something I appreciated and gladly enjoyed. But as aforementioned, the cuts between Aguilar and Cal feel jarring and inconsistent, leading to an unnecessarily difficult watching experience.

The original score by Jed Kurzel feels uninspired. Using repetitive string and brass 'sweeps' that occur every time there's a noticeable change in an action sequence, overall lacking any innovative material.

Though there are some ravishing visuals and magnificent landscapes, the storytelling just doesn't evolve into anything worthy of praise, and in doing so fails to engross viewers.

Verdict; Huge potential can lead to disappointment, as shown in Kurzel's ambitious Assassin's Creed.

Assassin's Creed, 5/10.

Sully: Miracle on the Hudson is directed by Clint Eastwood and stars Tom Hanks, Aaron Eckhart, Laura Linney, Valarie Mahaffey, Anna Gunn and Mike O'Malley.

The story of Chesley Sullenberger, an American pilot who became a hero after landing his damaged plane on the Hudson River in order to save the flight's passengers and crew.

With the remarkable emergency landing on the Hudson River lasting only 208 seconds, I wondered how director Clint Eastwood could handle such an event in 96 minutes. Shot almost entirely on IMAX 65mm cameras and featuring stellar performances from Tom Hanks and Aaron Eckhart, Sully does not disappoint.

Eastwood's visual style stays intact throughout as he and cinematographer Tom Stern team up once again, capturing the extraordinary brilliance and sheer tension of the now- famous "Miracle" on January 15th, 2009. With a story that cuts between the overwhelming news coverage and the landing itself, Sully feels incredibly fresh and grounded.

Tom Hanks' performance as Chesley Sullenberger is wonderfully realistic and touching. There are a few moments in the final scenes that really pull the whole picture together in the most satisfying way, and this is greatly supported by Hanks' phenomenal act. Alongside is Aaron Eckhart as Jeff Skiles, who brings a lighter shade to the film, delivering some acceptable and amusing lines of dialogue that feels absolutely necessary when securing the film's human touch.

Composer Christian Jacob and The Tierney Sutton Band take a personal approach when tackling the project, with ravishing piano pieces and lush string arrangements smoothly weaved into the picture, culminating as the screen turns black.

Blu Murray returns to aid Eastwood as editor and this resembles all of their previous work together. The cutting here is masterfully handled, ensuring all scenes are flowing with attentive care whilst providing a fast-paced and sublime experience.

With over 50 years of proficiency in acting and helming over 30 directional projects, Clint Eastwood has become one of the greatest icons of the film industry. Yet, even with so much under his belt, he can pull off something different and unique each time. Sully is a fine example of that. Truly wonderful filmmaking.

Verdict; Although taking place on the Hudson River, Sully feels undeniably grounded in its masterful direction and skillful undertaking.

Sully: Miracle on the Hudson – ★★★★★ (9/10)

Moana is written & directed by Ron Clements, Don Hall, Chris Williams and John Musker and stars Auli'i Cravalho, Dwayne Johnson, Rachel House, Temuera Morrison and Jemaine Clement.

In Ancient Polynesia, when a terrible curse incurred by Maui reaches an impetuous Chieftain's daughter's island, she answers the Ocean's call to seek out the demigod and set things right.

Walt Disney Animation Studios are famously known for pictures such as Zootopia, Frozen, Wreck-it Ralph, Snow White, The Lion King and many, many more. But, Moana is different. Something about this film really intrigued me - more than just the animation, as usual - and that was the title character, Moana. She's not a princess, and this is stated by the fiery sea voyaging enthusiast, voiced by Auli'i Cravalho, many times during the film. She has a vast amount of abilities and charisma, with a beautiful array of colourful characters to support her in her calling to save the world. I also noticed that, unlike Frozen, the original songs haven't been so incredibly 'out there' during the film's release. This is something that stopped me from seeing Frozen back in 2013 and to this day I still haven't watched it. I didn't like the music I was hearing, but with Moana it's entirely different. I really enjoyed the songs in this film. They have been carefully placed throughout and wonderfully performed by the cast. I must congratulate Auli'i Cravalho on her successful debut and praise her strong vocal range. There's a real cherishable warmth present and it only gives more to the delightful story. Dwayne Johnson is a surprising addition to the list of memorable moments from this film. His character, Maui is hugely energetic, adding a fun and witty shade to the bond between himself and Moana. The supporting cast also did a terrific job of bringing their characters to life, highlighting Rachel House as Grandma Tala.

As a big fan of animation and having studied it briefly before, I was excited to see Ancient Polynesia come to life with some of the greatest animators working on the project. With a lot of research and delving into the history of Polynesians, the team have done an extraordinary job of crafting and fine-tuning these characters and environments. The animation is smooth and the visuals vibrant, with some subtle details which most may never notice, but eagle-eyed viewers will love.

The original score by Mark Mancina is somewhat disappointing, but only in its overall pay- off. The approach is great, using some of the traditional instruments with the support of Opetaia Foa'i's knowledge in the musical background, but these aren't used nearly as well as they should have been. However, the themes are nicely composed and, as aforementioned, the original songs by Foa'i and Lin-Manuel Miranda are basking in tenderness.

Simply put, Moana is a blast. Everyone involved has brought something great to the table and it shines through blissfully. I'd like to see more of this world explored in the future. Not so much in a direct sequel, but with the cultural history and environments so gloriously presented in this film, it would be hard to let go. That said, I've always admired Disney's creativity and diversity.

Verdict; Moana utilises a fine blend of exciting visuals, high-spirited characters and a rich soundtrack, becoming one of Disney's finest films yet.

Moana, 8/10.