• Top Gun: Maverick

    Top Gun: Maverick

    ★★★

    Sure, the flight sequences are Very Very Impressive, but talking about this movie (and its Reagan-fellating predecessor) without even acknowledging the flag shagging gung-ho militarism, the goofy machismo and the terrible music feels like wilful ignorance with a side order of cognitive bias. Too many shots of Looney Tunes orange skies, too many references to Goose getting cooked…Having said all that, it was the two hour diversion I needed after a rough week (and it was either this or poorly-rendered dinosaurs), even if it didn’t take my breath away. And why does Jon Hamm always look like he really needs to go to the toilet?

  • A Blue Day In London

    A Blue Day In London

    ★★★★★

    Totally normal to feel like crying when your daughter makes an incredible short film, right? So so proud of you, Kaia. Always.

  • The Comeback Trail

    The Comeback Trail

    ★★½

    Tonally all over the place, which is best exemplified when you realise that De Niro is Wile E. Coyote and Tommy Lee is the Road Runner. Stick around for the mid-credits trailer for Killer Nuns - it's the best bit of the film by far.

  • Morbius

    Morbius

    ★★½

    It’s frequently incoherent, it’s a textbook example of studio interference, it is riddled with ill-conceived visual effects choices but (and this is really the most important thing) it’s never boring.

  • Red Notice

    Red Notice

    ★★½

    A Shoulder-Shrugging Work of Staggering Mediocrity

  • Gemini Man

    Gemini Man

    ★★★

    Ang Lee's most wildly entertaining yet exceptionally silly film. The creepy uncanny valley vibes dripping off the CG Fresh Prince are offset by Benedict Wong singing Ray Charles and firing off one-liners.

  • Hardball

    Hardball

    ★½

    Hardball is shamelessly reprehensible as it hits those "white saviour" beats...but at least you get to see Keanu learn about the transformative power of the Notorious B.I.G.'s Big Poppa.

  • Hoffman

    Hoffman

    ★★★★½

    “Reality betrays us all!”
    I was fortunate enough to see this tense twisted two-hander on a gorgeous 35mm print at the BFI Southbank with director Alvin Rakoff in attendance. Sellers’ revelatory performance as the pathetic and petrifying Hoffman is like nails on the chalkboard of Cusack’s callow naïveté.

  • Hollywood Homicide

    Hollywood Homicide

    ★½

    The Good:
    Lou Diamond Phillips in drag
    Harrison Ford’s dad dancing
    A baby-faced Anthony Mackie
    Lena Olin

    The Bad:
    Pretty much everything else. It is desperate to be Lethal Weapon, but it ends up being more of a Water Pistol.
    Also: it is the most heinous crime against music to bastardise the mellifluous sounds of The Temptations’ My Girl into the tinny bleating of an early 2000s flip phone ringtone and to then compound that villainy by replaying it throughout the film ad nauseam.

  • Running with the Devil

    Running with the Devil

    ★½

    Like a brick of tainted cocaine, this has been cut to shit. Disjointed, barely coherent and a criminal waste of Cage and Fishburne (although the latter does have a couple of wild moments that leaven the crushing tedium).

  • Knight and Day

    Knight and Day

    ★★½

    The story of a control freak who struggles with the concepts of consent and personal boundaries, accompanied by the sounds of Hall & Oates and shit blowing up.

    I'd have been better off rewatching Romancing the Stone.

  • Last Night in Soho

    Last Night in Soho

    ★★★

    This review may contain spoilers. I can handle the truth.

    Amongst the many things about this film that didn't quite land for me (and there was a lot that I liked about it, particularly the fantastic mirror tricks in the first half), this is what is still bugging me a week later:

    - When Eloise / Ellie / Elle is searching the library microfiche for disappearances, why does she feel the need to start her search at the beginning of the Sixties? She could have Googled Thunderball's release date in…