What a joy it is to be alive and live to see another exceptional cinematic outing for Paddington Bear. Painted in pastel bright colouring, and overflowing with the heartfelt charm of its predecessor, Paddington 2 is a pure delight. Here are boundless layers of family fun, each one lavishly spread with the finest homemade marmalade.
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The journey to Justice League has been a gruelling one. Those who complained that Batman v Superman required bums of steal to experience from start to finish, know nothing of endurance the film has had to muster, having first entered production back in 2007. A decade of ‘development Gotham City’ plus one mixed bag of preluding offerings later, and the final product…isn’t bad. No, it’s not great – far too messy, a tad soulless – but it has got plenty of promise. There’s a start.
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From the Franco-Belgian producers of House of Magic comes one more, rather splendidly animated, flick for the youngsters. There’s nothing whatsoever demanding on show in The Son Of Bigfoot, but in its own mellow and bluntly wielded way Ben Stassen and Jeremy Degruson’s film offers entertaining fun, moulded around the structures of some very familiar plotting.
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The apple doesn’t fall far from the tree as Hallie Meyers-Shyer, daughter of rom-com doyenne Nancy Meyers (the maker of The Holiday and What Women Want) makes her screenwriting and directorial debut. Meyers senior’s confined to producing duties for Home Again but that doesn’t stop this all from feeling exactly as familiarly saccharine as you’d expect from her own populist oeuvre.
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So, the first reviews are in and…yeah, the critics don’t like Justice League. Our review’s not due till Friday but could this be more of a blockbuster ‘for the fans’? It’s been a bumpy ride getting here so let’s weigh up the facts.
Continue reading All in? It’s time for Justice League
With a barnstorming turn from Robert Pattinson, grimy design, and synth-y aural-aesthetic as the film’s selling points, a soundtrack from Oneohtrix Point Never is not the only electric element of the Safdie brothers’ Good Time. This is genre cinema that puts a beating heart at the centre of its twisty, metropolitan plot, before repeatedly ripping it out to jaw-dropping effect. Fantastic.
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Those under the impression that the meta hip-horror genre had finally crawled back beneath the soil with Scream 4 might find themselves experiencing quite pronounced déjà vu in watching Christopher B. Landon’s Happy Death Day. Mind, they won’t be alone in the feeling. If you’ve ever watched: Groundhog Day, Mean Girls, Halloween, Scooby-Doo, Clue, American Pie, A Nightmare on Elm Street, or, indeed, Screams 1 to 4, this one’ll resurrect familiarity. A chirpy take on the slasher genre – more playful than the Wes Craven send-ups – whilst there’s a lot of fun to be had here, a feature of slightly less eclectic genre pickings would have been very welcome.
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