From a narrative standpoint, Cruella is no less redundant a prequel to 101 Dalmatians than was Maleficent to Sleeping Beauty. The similarities don’t end there. Cruella too opens with childhood tragedy – one which sends another young girl down the path of evil – before segueing to an adulthood brought spectacularly to life by a star on form. Mercifully, this is a far more interesting feature than the former. It’s too long, and occasionally languorous by consequence, but a hoot nonetheless. No puppies are harmed but the soundtrack’s a killer.
Continue reading Cruella | Review
A Quiet Place: Part II has nothing on the total silence imposed sporadically on cinemas across the past twelve months. If anything, John Krasinski’s long awaited sequel marks an ironically cacophonous return to big screen entertainment. That said, Part II is noisier than its predecessor from the off. It’s broader in scale and ambition too. Whether that’s for the better is less convincing. Indeed, conventional wisdom has it that less is more. By that logic, A Quiet Place II is, more or less, the lesser to its more heart wrenching predecessor. Still good though.
Continue reading A Quiet Place: Part II | Review
Beggars can’t be choosers, as they say. And so it is that British cinema’s baron months finally bear fruit. Or should that be carrots? Yes, Peter Rabbit is back. To be precise: Will Gluck’s Peter Rabbit is back. That’s in opposition to the more delicately mischievous creation of Beatrix Potter. Whilst Gluck’s second adventure in Windermere retains the dimly meaner streak of its predecessor, it is somewhat softer around the edges and all the better for it. James Corden is no less horribly miscast as Peter but at least you can root for the winning performances of his live action counterparts: Domnhall Gleason and Rose Byrne.
Continue reading Peter Rabbit 2: The Runaway | Review