There’s a lot of hopping in Will Gluck’s Peter Rabbit and, yes, much of it takes place on the grave of Beatrix Potter, from whom the story originates. With its smart visuals, decent gags and – mostly – likeable cast, however, the film will appeal to younger audiences.
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Under the eye of Creed’s Ryan Coogler, Black Panther is like no Marvel film ever made. You’re going to hear a lot of that.
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There are moments throughout Coco, Pixar’s latest so-called return to form, in which the quality of animation is so extraordinarily well crafted that one would be forgiven for mistaking the format for stop-motion puppetry, not merely CGI. They’ve done it again. Somehow, Pixar have raised the bar.
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Three films in and nostalgia just won’t cut it anymore for third wave StarWars. If The Force Awakens marked a celebration of the past, Rian Johnson’s The Last Jedi harks a new era of unpredictability and exploration in a galaxy far far away. Not all is successful here but for the most part the film is one of derring do and increasingly spectacular set pieces.
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For about seven minutes – certainly no more than ten – The Foreigner has something going for it. There’s the promise of a seriously stirring turn from Jackie Chan and the reunion of Pierce Brosnan with his GoldenEye director Martin Campbell. Perhaps that’s why the misjudged so-called thriller which follows proves quite so insulting?
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We always knew it wasn’t over. Back in 1995, Joe Johnston’s Jumanji, starring the late-great Robin Williams, concluded on a beach in France with the deadly, titular board game washed up and still beating its drums. Twenty-two years later and they’re still banging away, in Jake Kasdan’s flawed but fun sequel.
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Many dreadful films have managed to wind up in the public domain over the course of the past century but few have managed to penetrate the public psyche in quite the same way as Tommy Wiseau’s 2003 disasterpiece The Room. Once proclaimed ‘the Citizen Kane of bad movies’ the longevity of the film is by virtue of it having joined that league of greats to be proclaimed ‘so bad, it’s good’. Now, James Franco directs, writes and stars in The Disaster Artist, an ode to awfulness and tribute to misguided dreams.
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