Reviews

Everyone loves a bit of Brit. What made 'The Best' so pleasing was the brilliant performances and dry humour from the cream of Britain's OAPs, and 'The Second Best' triumphs just the same. Equally as 'best' as the first.

Eight months have passed since the end of the first film and we follow hotel co-managers Sonny and Mrs Donnelly (of which Dame Maggie Smith provides a stellar performance, with undoubtedly a little of herself showing through) trying to obtain funding to buy another hotel and expand their franchise, while Sonny's wedding is being planned alongside this. There's a real feel-good air for the full two hours and the cast really do well in keeping up the humour and charm that we have come to expect from the Blighty seniors.

Trust a film teeming with feel good actors to teach us some feel good morals, like not putting work over life and that love can never come too late - with Bill Nighy and Judi Dench evidencing the latter with numerous 'will they, won't they' exchanges all the way - and with a film that rarely gives us a teary moment, there's still an excess of emotion building up to the final act and a sweet, reflective sign off to end.

Will there be a Third Best Hotel in Sonny's chain? It certainly doesn't cliffhang for another, but neither did the first, so let's wait a couple years. Third time, as they say, is a charm.

There have been many con artist pictures to fill the silver screen over the years, and while this never quite reaches that bar set by the likes of Ocean's Eleven and American Hustle, there's still a sense of uniqueness about this decent attempt by writing-directing duo Glenn Ficarra and John Requa, whose backgrounds include Crazy, Stupid Love and I Love You Philip Morris.

We start in New Orleans where Will Smith's master conman Nicky Spurgeon - props to the naming department for that one - meets the stunning Margot Robbie's rookie con Jess, in her failed attempt at playing him. After sympathising for her, he begins to coach her in the art he does best.

Both actors have a good turn playing here and are very convincing, and it's a delight to see Smith back in the game, playing a less serious role after a couple of underwhelming films as of late, that's not to say it isn't a delight also to see Robbie up there too and getting more into the mainstream after Wolf of Wall Street.

It takes a steady narrative that is, thankfully, interrupted by a suspenseful 10 minute segment that takes place at a football stadium which, save for the closing scenes, makes for some of the most 'I don't trust her, oooh now I don't trust him' second-guessing in a film for some time. Numerous twists and turns in the plot keep the pace going, most of which is never even seen coming.

Ultimately, the on screen chemistry between Smith and Robbie, twists and turns and a few cheap thrills thrown in for good measure, leave you with an enjoyable and entertaining experience, but not one deep enough to linger for long.

Christopher Nolan, director of the Dark Knight series, takes a break from the usual drenched-in-black movies he has brought us in the last decade or so and tries his luck with space. The result? A little confusing and a bit too loud, but nice to look at.

Be sure to bring your earplugs.

There's no denying it, the film is visually spectacular. From the expanse of planet-side surfaces to the impressive spacecrafts and zero-G interiors, arguably up there with the likes of Gravity - minus Sandra Bullock's huffing and puffing, fortunately. You cannot fault the work done here. Everything is perfectly polished and will look breathtaking for those seeing it in IMAX.

You'd like to think that great looks and great sound go hand in hand. Well, not this time. Nolan's idea to 'create an idea of how loud it can be in space', really, is not a good one. At times, the sound is so loud that characters voice can't be heard. The score, even when provided by renowned film composer Hans Zimmer, can drown out everything. A good score is meant to aid great filmmaking, not hinder it.

The story, likewise, can make or break it for some. It's ambitious and is, while a bit disjointed, very well thought out. That' the 'make it' part. The 'break it', for some, comes towards the end where the narrative takes a very '2001: A Space Odyssey' turn. And as with that film, some very thought-provoking ideas are brought up that, similarly, can turn a few people off.

Interstellar has so much potential, but is also full of it's up and downs. An interesting, well thought out story that can get a little confusing near the end, and well worth going to see just for the visuals and, for those who like it, a little Matthew McConaughey Southern drawl.

Academy award nominee Jake Gyllenhaal stars in this depressingly dark film about the controversial lengths to which a person may go to achieve their dream.

Gyllenhaal plays anti-hero Lou Bloom, a low-life thief who sees a chance for money in videoing violent accidents and crime scenes then selling the footage to the local news station. Props go to his portrayal which really carries the film, and whether you sympathise or criticise him, he truly brings a sadistic, yet believable, Oscar-worthy performance.

Rene Russo also stars as news-station head, whom Lou gives his tapes to, and the chemistry between them, while trying to sassy and seductive, is very tongue-in-cheek at points. Bill Paxton also makes an appearance as rival news gatherer Joe Loder. But, even with these other names, Gyllenhaal really steals the show.

You'll be shocked at the things that Lou will do in order to get a good tape, and this makes you wonder 'are there people out there really like this?'.

The whole mood of this movie is very dark, with a thick, depressing atmosphere to endure. Those who enjoy an excellent performance will love this, but, with a very slow pace, especially for the first half, others may need a little more patience.

The number of war-era films littering cinemas nowadays is rising. Many have failed to reach the same level of epic proportions as some blockbusters - Saving Private Ryan, The Great Escape, Schindler's List - and this go at it almost makes it there. Almost.

This story takes place in 1945 Nazi Germany, centred on one tank's crew and their journey securing a path through the battle-torn countryside, village by village. Seeing the peaceful German countryside shattered by war and littered with dead bodies really makes for some hard-hitting viewing, really giving you a real graphic view of how it must have been back then, albeit given a little Hollywood treatment.

All cast in the five-man crew of the Sherman tank 'Fury' gel together brilliantly, with Brad Pitt showing a convincing portrayal as battle-hardened commander Wardaddy. Logan Lerman also stars as young newbie Norman, who provides a little clear conscience amongst the rest of the group. There's a welcome break in action with these two midway through, that shows a lighter side to the characters instead of the sombreness surrounding it. Be on the watch out for Shia LaBeouf, who seems to be constantly teary-eyed.

The battles here are powerful, shocking and thrilling and worryingly authentic. You feel every moment that they are fighting and with the help of great in-tank camera-work, as though you are in there along with them. With a surprisingly good climactic battle that ends the movie on a solemn note, which is happy, or sad, depending on how you perceive it.

GONE GIRL

Based on the critically-acclaimed best selling novel of the same name by Gillian Flynn, here we have a thrilling, engaging picture that will keep you constantly doubting yourself just when you think you've sussed it out.

The story, for those that haven't read the book, revolves around the disappearance of Nick's (Ben Affleck's) wife, Amy, with Rosamund Pike playing the titular role. Split into a solid three acts, each one will have you confused - in a good way - more than the last, with you either rooting Team Nick or Team Amy for who you think is in the right - or the wrong.

Some powerful narrative is provided by Pike, which only aids in the deep story and gives insight into the characters inner thoughts. At two and a half hours long, it's a lengthy sitter, but being so engrossed in the film as you are you will hardly notice, so an achey bum shouldn't be a worry.

Each member of the cast are fantastic in their roles, especially praising Pike who - really stealing the show - convincingly shows us her idea of 'crazy bitch wife'. Brilliant, none the less.

Neil Patrick Harris, of How I Met Your Mother fame, also gives a great side performance as ill-fated, creepy stalking ex Desi.

This has to be one of, if not, the film of the year. No fantasy, no science fiction, this is something that could happen, which makes it all the more compelling. David Fincher - director of Oscar winners The Social Network, The Curious Case of Benjamin Button and nominee Fight Club - adds another picture to his impressive portfolio and with it, a sure Best Picture winner.

BOOK OF LIFE

The second feature-length production from studio Reel FX, following on from - and a big improvement on - last year's abysmal 'Free Birds', revolves around the Mexican tradition of Dia de Muertos - the 'Day of the Dead', which celebrates and remembers those that have passed away. The vibrant colours that are used in these celebrations are mirrored brilliant on screen, making this possibly on the most beautiful films to view. Unfortunately, everything else falls short.

The story begins promisingly, and through the first half, is set up nicely and is entertaining. Come the second half, everything seems a little rushed and familiar. Seems like too much time was spent on the beginning, and a sudden 'oh crap, we need to wrap this up' mentality took over.

For those taking their under-8s, there are many laughs aimed at the younger audience and they'll love the graphics, but it's a shame there's not any more for the accompanying adult. The voice cast has a few big names. Channing Tatum and Ron Perlman to name a few, while the former's take on a Mexican accent is very questionable.

All in all, there are many films that the family can enjoy more than this, but it's a unique view into Mexican folklore with a stunning look to match.

A WALK AMONG THE TOMBSTONES

Based on, in fact, the 10th of Lawrence Block's novels starring private investigator Matthew Scudder, A Walk Among the Tombstones revolves around a string of murders, of which the private eye is called in to investigate.

The story has a few of the genre clichés, but what you end up with is a gripping crime thriller that shows us a little more of Liam Neeson than the usual action-packed punch- athon. Praise goes to Neeson's portrayal of Scudder, bringing a sense of hard-done-by and believability to the role. A few times, in contrast to his Taken days, he tends to be on the receiving end of the punches and shows his faults like any normal human being as opposed to the unstoppable 'I will find you, and I will kill you' mentality of his Brian Mills counterpart.

Those with a short attention span may need to stick with it a little through the middle, as the pace does slow down as we begin to explore Scudder's past and it begins to set up for the last third. The whole feel of the film is very gritty and narrative driven, reminiscent of the way Sin City plays in parts. That said, those who love a bit of story and drama over mindless action will enjoy this a lot.

Alongside Neeson, there are a number of other actors that play their roles convincingly. Dan Stevens (of Downton Abbey and The Guest fame) and newcomer Brian Bradley playing private eye-wannabe and Scudder lackey TJ, whose attempts of detective work provide a couple of tongue in cheek laughs.

Really, if you enjoy a properly thought out story and have realistic expectations, then this is the picture for you. Otherwise, best to grab a coffee on the way in.

There are not many films that keep a smile on your face the whole way through, and this is one of the rare ones.

Produced by Steven Spielberg and, of all people, Oprah Winfrey, The Hundred Foot Journey follows the Kadam family who, after the vandalism of their restaurant in Mumbai, move to Europe in an attempt to open up a new one. After the brakes fail on the van they are travelling in they are forced to stay in a French village, and after spotting the perfect place to open up, they decide to stay. But Brit treasure Helen Mirren - playing 'Madame Mallory', owner of her own Michelin-star restaurant which is - go on, guess - 100 feet away - is not impressed and attempts to sabotage their opening.

Based on the book of the same name, the story is a heartwarming, feel good one that is full of well humoured laughs and surprisingly good acting from a relatively unknown ensemble, except Mirren of course. All actors play their parts very well, and all work brilliantly with each other and can see they genuinely had a great time making it.

There isn't a scene in which you'll find your mind wandering off to think of something else, you are always kept in the story and scene. There are plenty of light laughs and cries that make you feel for the characters and the journey the Kadam family have had to make after the loss of their mother, and those with a soft spot for 'old men' characters will have plenty to cry for.

In summary, this will be one of your favourite films of the year if you are into well written stories, believable heart-felt characters and the sense of family pride and the thought that good things come to people who really do deserve it. No action here, no over the top romance, just a brilliant, well-made film that will a tear in your eye and smile in the corner of your mouth.

This mix of stop-motion and CGI brings a fun, charming tale that appeals to all ages.

Set in the town of Cheesebridge (it's motto - a gouda place to live), the 'minion'-like creatures called boxtrolls have for years terrorised the habitants and are hunted by childcatcher-esque exterminator 'Archibald Snatcher', voiced by Sir Ben Kingsley, who has been promised a place in the town council if he's destroys every last one. The story is enjoyable, heartwarming and is really brought alive by the stop motion animation and topped by a plethora of famous British voices.

The themes are a little darker than explored in a lot of younger-aimed films, and there is a sense of adventure and danger that you don't see in the majority of animations. But this doesn't mean that it isn't entertaining. Those who are fond of the Despicable Me's minions, will love the Boxtrolls' actions and personalities, resulting in many lighthearted moments too.

For those that have seen creator Laika's other works - Coraline and Paranorman - you will enjoy this very much. They don't have as much of a fan base as the biggest stop motion Aardman - the visionaries behind Wallace & Gromit, but their quirkier, darker animations can appeal to a larger range of audiences. Here, with their third film, they have made really enjoyable film, entertaining from beginning to end. Be sure to stay at the end for a little credit sting showing how it was made.

Ever wondered about making a sex tape? If so, you won't any longer after seeing this. After making their own 3 hour (come on now....) long sex tape, Jason Segel's syncing app distributes it to several second hand iPads they have given friends and family. Cue the humour.

It's something a little different, a take on a comedy that hasn't been done this way before. Aimed majorly at viewers who have hit a midlife crisis and may be able to relate with the film's premise, it provides a few laughs - mainly from Segel - and a reliable 'oops, look what we've done' plot.

Diaz and Segel's on screen chemistry is fun and you can tell there are a few genuine laughs between the two, especially during the scene of making the tape, making it all that more believable. Appearances from other comedy actors add to the mix, and Rob Lowe turns up in an underwhelming 20 minute role as Diaz' boss.

Newcomer Harrison Holzer is a decent little actor as the best friends' son and plays a funny little twist in the story.

Other than the laughs, you won't be feeling much else. There's not a lot of 'all you need is family' moments, which is a good thing and is overplayed too much in many comedies, and just leaves room for some amusing Segelness. If you're a fan of his, you'll definitely be a fan of this.

No doubt it will leave some pondering whether to make a tape of their own. If this film is anything to go by, then be warned. As it will, apart from the lucky few, last a sixth of the time.

Jump Street inverted is what springs to mind with this film. Instead of two police officers posing as civilians, the situation is flipped. We have two downbeat, no-prospects, losers posing as cops. So expect a few laughs, but still not the comic genius of the former.

The story follows the two leads deciding to go to a costume party dressed as cops. They soon realise that people believe they really are cops, and begin to test what they can get away with, but they soon are in over their heads and it's up to them to bring down a 'mafia' style gang.

The story is a standard set up that has been seen before, but that can be forgiven as there are many jokes and turns to keep you going through the whole thing.

Speaking of jokes, there are a number of no-brains toilet humours and petty giggles to keep the average viewer entertained, but lack some of the cleverer wit that other films of the type have had. Nevertheless, there won't be ten minutes go by without a laugh.

Wayans Jr. is welcome and brings a little comic sass to the screen, some we have come to love from his uncles of White Chicks fame, and interacts brilliantly with partner Jake Johnson who have both starred in comedy, New Girl.

Altogether, you will leave happy if you are planning to see a light, easy watch. Funny characters, tongue-in-cheek action and cringe moments are abundant. But if you are looking for anything deeper and with a just a little more substance, then look elsewhere.

Like it's 2005 predecessor, Sin City: A Dame to Kill For is an acquired taste in cinema. Based on Frank Miller's graphic novels of the same name it appeals mainly to those that are fond of the gritty, blood-drenched crime genre, with it's adult themes and noir setting.

The story is split into four 'mini-plots', three being sequels to the first film and one being a prequel of sorts, which all revolve around the citizens of Basin City. Each of the plots are well written, and each are acted brilliantly by the all-star cast. Eva Green does completely steal the show as the 'Dame to Kill For', with a standout performance among the others.

The black and white visual style used here, which won the first film the Technical Grand Prize at 2005's Cannes Film Festival, is captivating and really draws your attention to key figures with contrasts such as the Dame's bright blue dress and deep red lipstick, as well as the odd 3D squirt of blood.

Not every film is perfect though and the fall from grace that this film experiences, as did the previous movie, is the general derogatory view on women that it portrays. The majority of female characters are either strippers, prostitutes, or crime-committing gang members, with the exception of Green's lead. There is no 'heroine', so to speak, so be prepared for a testosterone-infused hero fest.

Overall, we've been provided with a sequel that doesn't necessarily improve on the original, but supplies plenty of the same style that was so great about the first film, and keep you entertained over the hour and forty that you are in there.

There have been a burst of films lately that cover the paranormal - The Conjuring, Insidious 1 & 2 to name a few - and this is, unfortunately, just another generic outing.

The story begins in Iraq during 2010. A group of soldiers mistakenly come across an ancient tomb which they enter and the screen suddenly goes dark, and said tomb is filled with their screams. Flick to present day New York and we have NYPD cop Eric Bana and his partner on an seemingly average night patrolling the streets of South Bronx. They get called to the closed local zoo, where apparently there is a less-than-sane woman gallivanting about in the park after dark. Earlier that day, she decided to throw her 2 year old son into the lion enclosure out of the blue, with reports of her seeming 'possessed'. And so it begins.

Plot-wise, it's a not too confusing formula, hard-boiled lead tries to single handedly stop the evil at hand, and 'deliver us' from it. Hints of 'The Exorcist' are rife, especially during the latter half, and you can be forgiven for thinking you are watching a different film entirely.

Acting is average. Bana does a decent job as lead, although with a little too much fake bravado, with his partner being portrayed as more of a dependant 'sidekick' than a character in his own right, which is a shame. There are a few scares that you'll experience, but none that will have you checking the cupboards and under the bed before going to sleep that night.

Something that you may notice throughout the entire film, is that there seems to be no clothing on sale in New York that is of any colour other than black. All characters are constantly dressed in dark attire, maybe some kind of attempt to portray across a darker image, but it just drains any sort of life out of the scenes. It makes you grateful for the scenes in which his wife and daughter show up, who obviously do shop out of town, wearing only colours and whites and bring a welcome relief from the depressing norm.

There's a reason why you don't see many awards given to horrors, and this is a fine example of it. Let's go back to the days of The Exorcist and Rosemary's Baby. A few underwhelming scares can't make up for the same generic experience.

Luc Besson - director of such hits as Taken, The Fifth Element and The Transporter - offers us another slice of action in thriller, 'Lucy'.

The story begins in present day Taiwan, where the titular character finds herself unwillingly forced into becoming a drug mule for a new synthetic drug. Expectedly, trouble soon begins, as after a kick to the stomach, the bag containing the drug splits inside her, entering her blood stream and allowing her to use the other 90% of mankind's theoretically 'untapped' brainpower.

The plot begins well, with Lucy discovering her new abilities, with some good old fashioned Neeson-esque gunfight sequences, but halfway through things start to get a little ridiculous. Whereas 'Taken' was somewhat possible, Besson has taken a more science fiction route this time, which unfortunately may lose some people along the way, but no spoilers here.

As with the director's many previous movies, there is no shortfall of action. Gunfights galore, martial arts mayhem, and car chase chaos litter the Paris streets during the final act, with our female lead leaving a path of pile ups in her wake. Her new abilities also allow for some interesting sequences.

Praise goes to Scarlett Johansson for her portrayal of Lucy. Her acting is one of the best female action leads there has been, and you do feel like you are taken along on the journey with her, providing you can follow the plot. Morgan Freeman, as always offering soothing baritones that help set up the film's premise, but more screen time for him would have been well appreciated.

So, Lucy does leave you with the film's thought-provoking message of 'what really could happen if we were to use more than 10% of our brain?'. Unfortunately, for those who like a little more realism and substance in their films, that's not enough.

There have been a number of storm-themed films - Twister, Day After Tomorrow - that have followed the journey of a group of people trying to survive the forces of nature, and this is yet another decent attempt.

The first act is split between two sub-plots, one follows a group of 'storm chasers' who are soon to give up the job as they have not encountered one for some time, the other centred around the life of Richard Armitage's Gary and his two teenage sons. Over the second and third acts, they must work together to survive the storm and rescue Gary's son. The journey is seen through the eyes of a number of 'found-footage' cameras, which are mainly carried by the cast as a result of a 'time capsule' the school has asked them to film, so be prepared for some shaky camera-work.

The story can feel a little clichéd, but with the natural disaster genre there is not a lot that can be done in terms of any new directions to take the plot, and what director Steven Quale - who has worked alongside James Cameron on Avatar and Titanic - does, he does well.

The sets are very well designed, with the group wandering through a ravaged neighbourhood, with an abundance of upside-down cars, timber, concrete and even a child's bike that is seen sticking out of the side of a people carrier, to the local high school (here, acting as a 'safe haven' for the townsfolk) of which the parking lot is littered with many an annihilated school bus.

The major selling point of this film is the special effects. They are flawless. From one tornado sucking up a burning wreckage and becoming an even deadlier 'fire tornado', to a giant 2-mile-wide super tornado. Expect to see a major overuse of this, however, and the film tries to use this to make up for the sparseness of anything else.

You will find yourself forgetting the characters, who don't provide a huge impact, and are played averagely by the cast - aside from the above mentioned Armitage, you also have Walking Dead's Lori, Sarah Wayne Callies - and don't really leave a mark on you. They generally won't leave you caring too much if they were to be killed, aside from a nice, serene moment with one at the end who has a last minute bout of bravery.

Overall, 'Into the Storm' is an average, CGI-smothered thriller, that you won't be thinking about for very long after you have left, but gives you a decent attempt at the storm disaster genre.

If the first 2 films were anything to go by, you could expect there to be the same 'defeat the bad guy, save the day' plot, filled with full-on action and a plentiful measure of mediocre 'acting' thrown in. That seems to be recipe here as well, but that does not make for a less entertaining ride.

Action greats Snipes, Ford, Banderas and Gibson are very welcome additions, with the latter being bad guy 'Conrad Stonebanks', whom the team is sent to capture.

The series has been criticised before for having too much testosterone in the mix. This is rife again in this sequel, MMA star Ronda Rousey providing some female relief as newbie 'Luna', but each of the cast add a little something and all gel well together.

Action addicts will get a kick out of the numerous fight scenes. Which range from fists and guns to tanks and choppers in a matter of seconds, and explosions-galore, albeit a few very CGI-driven.

Many one-liners can be expected as always - all rather cheesy, but providing a good tongue-in-cheek laugh - that will most likely fly over the heads of watchers who haven't seen the casts' earlier films, such as Arnie's "we need to get to the chupperrrr!" (said just as it's written), a nod to his Predator days. Antonio Banderas is also providing successful comic relief as talkative and desperate 'Galgo'.

All in all, Expendables 3 provides us with an experience that isn't too taxing on the brain, will be enjoyed by those that have grown up with these action heroes, but won't be winning any Academy Awards this time round.

Great things were expected from this film, following on from the brilliant success of it's predecessor, and it definitely does not disappoint.

Every single aspect of the original film has been improved on, from the sheer cinematography, thorough story and well-written characters, to the breathtaking scenes and dazzling design.

The plot takes place 5 years on from the end of the first film, with a nice catchup summary provided by Jay Baruchel's Hiccup, with all the kids now in their early twenties. With the amount of time that has passed, the dragons are now fully integrated into the Vikings' society, with both now working and living together. All is well, until danger shows itself in the form of Drago Bludvist, a maniacal ruler who is bent on taking over the lands with his army of dragons. And, as can be expected, it is up to Hiccup and friends to stop him. The story is an entertaining one, with laughter, romance, action and sadness all coming together to appeal to kids and adults alike.

Character-wise, all voice actors play their parts well, albeit Cate Blanchett's interesting take on a Scottish accent, all returning to their respective roles from the first film. Other than the main cast, Craig Ferguson is providing comic relief as Gobber, the chief's sidekick.

One of the biggest things you will walk away from this film remembering is the stunning visuals and design. The first film amazed cinema-goers with views of dragons flying over the Viking wilderness and seas, whereas this time the designers have outdone their previous efforts and created some true moments of awe. The variety of dragon species in this film allows for some amazing shots, reminiscent of certain scenes from James Cameron's Avatar, and will truly leave you wanting more.

All in all, Dreamworks, becoming a true contender for Disney's crown, have created a stupendous film, surely capturing all ages and leaving them reeling for another. This excellent piece of cinema has all the components of an Oscar winner for Best Animated Feature or Best Visual Effects, if not then a sure nomination.

This latest instalment in the Marvel Cinematic Universe takes us on a voyage across the stars on a quest to save the galaxy. Although this may sound like a run-of-the-mill storyline, this is far a run-of-the-mill package.

Five vigilantes must unite to save the galaxy from the threat of an all-powerful villain, threatening to either destroy or conquer. While the main story arc may be reminiscent of Star Wars and the like, there are enough sub-plots, humour and 70s tunes to make it stand out on it's own, however rushed the final act may seem.

Our five heroes are played brilliantly by the cast, with most bringing a comedic value and chemistry that is greatly appreciated, especially Chris Pratt with main man Peter Quill's distracting pelvic thrusts. The characters are played so well that you really do have a connection with them during the climactic scenes, wondering how you felt so much for an over-sized twig with only three words in its' vocab; "I am Groot".

There are many an action sequence, as you can come to expect from Marvel. Gunfights, starship battles, and the wipe out of an entire platoon with the swing of an arm from a wooden Vin Diesel providing a fix for the action junkie.

But, as most over-hyped films do, there can exist a shortfall. Lack of female cast is notable, and unfortunately, the beautiful Zoe Saldana does not make up for this problem alone. Her character seems underplayed compared to the others, which is a shame, as her relationship with on screen sister Nebula could have been played further and been used to its full potential. Maybe this is something that we will see in sequels to come, as undoubtedly there will be.

Aside from this flaw, Marvel Studios have created yet another fantastic addition to the franchise, which many a die-hard fan (and not) will enjoy tremendously.

Our favourite foursome are back for another trip full of sun, drink and cl*nge (or again, in this case, not).

This installment sees Will, Simon and Neil set off to visit Jay on his gap year travels in the outback. The story follows the boys on their journey exploring Oz, all dealing with their own agendas, apart from Neil who seems to just be there for the ride.

The characters, played very well as usual by the four mains, deliver many a laugh and brilliant toilet gag that we have come to expect from the series. Highlights include a campfire serenade from Will, and a pool party pooper (pardon the pun) caused by Neil's irritable bowel.

However, even with the many gags and high points of this sequel, you can't help feeling a little let down when leaving. We don't see the same comedic genius as the series or the first film, feeling as though the creators may be running out of ideas. Other than the four main lads there is a real lack of female characters, of ANY other characters in fact, which made the first film more enjoyable and made us feel that there was a personality to each one.

But, regardless of these shortfalls, the shows creators Damon Beesley and Iain Morris have provided us with an entertaining sequel, which fans of the show who have grown along with the characters will enjoy, albeit slightly less than the first.