TL;DR – A fun delight of a film that goes hard thanks to the charisma of Antonio Banderas
Rating: 4 out of 5.
Post-Credit Scene – There is something after the credits, but you do not need to stay for it
Disclosure – I was invited to a screening of this film
Puss in Boots: The Last Wish Review –
When I think back, there will always be a soft spot in my heart for the Shrek series, even the later films that did not quite hit the same mark. The characters and world were always a delight as they took what was familiar and made a modern twist to it. One of those characters that shined was Puss in Boots, and today we see if they hold a whole film together with the sheer force of will that is Antonio Banderas’ charisma.
So to set the scene, Puss in Boots (Antonio Banderas) is galivanting around the world and is having a ball drinking, dualling, and having many musical interludes. In one such town, he usurps a Governor’s mansion and would have gotten away with it had it not been for a forest giant and a misplaced bell. Puss is on his last life, which should not be a problem until the Big Bad Wolf (Wagner Moura) arrives, wanting to take that final life. Running from the threat, Puss becomes an average lap cat which almost works until he hears of a fallen star and a hope that the one final wish could restore his lives. But he is not the only one out for that wish.
TL;DR – Well, Tom Holland’s charisma can only go so far in fixing this dull mess
Rating: 2 out of 5.
Post-Credit Scene – There is a mid-credit scene
Disclosure – I paid to see this film
Uncharted Review –
Some memories stick with you as you grow up. For me, one of those memories is the family sitting around the tv watching my brother play Uncharted as we enjoyed the unfolding story and looked out for any hidden items. Given how successful and loved this video game franchise is, I am not alone with having attachments to this game, but I was also a little wary of disappointment walking into this film. The casting was a choice, and nothing around the marketing had imbued any confidence with the film, and I can now see why.
So to set the scene, we open with Nathan Drake (Tom Holland) getting kicked out of a cargo plane and then run over by a car. But fifteen years earlier, a young Nate (Tiernan Jones) and his brother Sam (Rudy Pankow) break into a museum to steal a map but are caught by guards. Sent back to the orphanage, Sam will be sent to jail, but he escapes leaving Nate behind. Currently, Nate is a bartender who pickpockets his clients when a strange man called Sully (Mark Wahlberg) walks into the bar and offers him a link to the past.
TL;DR – More of the same, so if you know how you feel about the first film, well, not much has changed
Rating: 3 out of 5.
Post-Credit Scene – There is a mid-credit scene and something at the end.
Disclosure – I paid to watch this film
Hitman’s Wife’s Bodyguard Review –
A few years ago, there was this small weird film that slipped into cinemas. The Hitman’s Bodyguard was a fairly average action film, with all the narrative beats that you would expect. However, with some good cinematography, action set pieces, and a cast that bought entirely into the premise, it turned out to be more than the sum of its parts. I wondered if they could capture that same energy twice, and the answer is both yes and no.
So to set the scene, Michael Bryce (Ryan Reynolds) is no longer an AAA-rated executive protection agent, as the organisation took umbrage that he took a bullet for a known hitman. After some counselling from his therapist (Rebecca Front), he decides to instead of waiting for the review board he would take a sabbatical from bodyguarding and fly to Capri for a relaxing holiday. Which lasts about five seconds until Sonia Kincaid (Salma Hayek) arrives guns blazing as the Mafia has captured Darius Kincaid (Samuel L. Jackson), and only Michael can set him free.
TL;DR – A beautiful look at how the pain of the past can define us even when we don’t know that it is happening.
Score – 4 out of 5 stars
Post-Credit Scene – There is no post-credit scene
Walking into this film I didn’t know what to expect, I knew it stared Antonio
Banderas, but not a whole lot else. Indeed, I think that was the same for a lot
of the people sitting around me, with one person mentioning that they “hoped it was more glory than pain.”
However, as the film went on it became clear that this was a film about how
pain and glory can find themselves intertwined.
So to set the scene, Salvador Mallo (Antonio Banderas) was once a famous film
writer/director in Madrid, but these days he spends most of his time in his
house alone with his painting and his thoughts. Over the years his body has
slowly been causing him more and more pain culminating in major back surgery
that he has never really gotten over. Being a filmmaker was everything to him
and now when he can’t physically do it anymore he has lost his purpose for
life. One day he is contacted by a local cinema who has remastered Sabor one of his earlier films and they
have asked him and the lead actor Alberto Crespo (Asier Etxeandia) to come to
host a Q&A. The only problem is that Salvador has not spoken to Alberto in
30 years. But more than that, this event starts dredging up the past in all its
beauty and dysfunction.
TL;DR – A film with good intentions that nevertheless ends up talking down to its audience rather than empowering them as it is trying to do.
Score – 3 out of 5 stars
Post-Credit Scene – There is no post-credit scene
I think it is a good description of the world at the moment that a couple of
years ago one of the biggest leaks of information that changed how we look at the
entire banking sector and we have kind of forgotten about it. The Panama Papers
was this huge revelation but it is almost surprising that we have not seen
anyone try to encapsulate it in media form before now. Well, today we look at a
film that does just that, in a weird, slightly absurdist way.
So to set the scene, we open in on Ellen Martin (Meryl Streep) who along with
her husband Joe (James Cromwell) is starting the celebrations of their wedding
anniversary by taking a boat tour of a local lake. Tragedy strikes when Captain
Richard Paris (Robert Patrick) misses a rogue wave and is not able to turn the
boat in time causing it to capsize killing Joe and many others. Ellen’s grief
is amplified when they find out while the boat tour company thought they were
insured, it was all fraud, a fake company, based out of a shell corporation,
hidden behind a trust. Leading her down the well of how the wealthy hide their