The spirit of transient youth ripples through Pixar’s latest and it’s infectious. From Enrico Casarosa – whose La Luna surely only narrowly missed out on the Oscar for Best Animated Short in 2011 – Luca is lovely. Certainly, in its opening act, the film could almost pass for un cortometraggio itself. A self-professed homage to Federico Fellini, Luca pays tribute to those halcyon days of never ending Summer. In a golden haze and fifties aesthetic, Casarosa finds adventure. Most winning is the film’s homespun quality. It’s in the memory born identity of the Italian’s intrinsically personal conceit but also very literally so in the fact that much of the production was completed in the animators’ own homes. You’d never guess.
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Less kiddie fare than cultural landmark, PAW Patrol seemed almost to leap from obscurity to phenomenon overnight when in launched in 2013. You may not know their names but there can be few left who don’t recognise the pups from Adventure Bay on sight. Now graduating to the big screen, Chase, Skye, Ryder and crew show no signs of slowing their domination. It’s not hard to see why. They’re cute, likeable and kinda cool. While youngsters will lap up the film’s slapstick humour and derring-do, parents may find comfort in the pups’ more thoughtful approach to saving the world.
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The unusual level of vitriol afforded Hitman’s Wife’s Bodyguard by most critics will likely baffle general audiences. Most of whom will, surely, like it. More or less. This is the knowingly vulgar sequel to 2017’s The Hitman’s Bodyguard. Second time around, the rules are much the same. Every other sentence in Tom O’Connor and Murphys Brandon and Philip’s script is loaded with a hefty handful of f**ks. There’s cartoon violence, gratuitous bloodshed and stereotypes to make a seventies sitcom star blush. That said, the cast give it some welly and the budget goes as far as a cool fifty million can. Make of this what you will but it’s really not that bad.
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