The Boy and The Heron: Blu Ray Review

Director: Hayao Miyazaki

Director Hayao Miyazaki's supposed last film is a mixed bag of ideas and animation that never quite congeals into anything that feels worthy of his own catalogue.

It begins as a tale of Mahito, a boy who loses his mother during a fire at her workplace in the Second World War. Forced to relocate, and with a new stepmother, Mahito is bothered daily by a heron who swoops in and seemingly mocks him.

But one day, Mahito finds himself slipping between worlds to get to the bottom of why he is continually called the "Long awaited one".

It's not that The Boy and The Heron doesn't look stunning; Studio Ghibli's animations are lush and evocative of the era.

Yet the problem persists that behind the facade, there's very little going on other than a seemingly disjointed collection of ideas that never quite gel into a stronger and more compelling narrative sadly. Whilst it's understandable that the ideas would lead the story here and the concepts are where the tale's strengths lie, there's never quite enough to grasp on to as the story appears to meander over its 120-plus minute run time.

Coupled with an overtly brusque ending, The Boy and The Heron feels like it is lacking the potential of the past and previous triumphs. Much of the film requires a leap of faith or a desire to embrace vagueries rather than definitive concept.

Maybe some of what Miyazaki intended is for people to think about the message of going off to create while he retires (a thread from the film seems to imply the passing on of the torch from one generation to the next), but with a looser sets of ideas at the helm, The Boy and The Heron feels less urgent and less compelling. 

Alien: Romulus: Disney+ Movie Review 

Cast: Cailee Spaeny, David Johnson, Isabela Merced 

Director: Fede Alvarez  

Mixing extreme fan service and Don't Breathe director Alvarez's penchant for horror, the latest Alien outing (the ninth in the franchise) tries to mix things up. 

Set in between Alien and Aliens after the crew of the Nostromo discovered the Xenomorph, Alien: Romulus pits a young crew of would-be escapees from the grips of the Weyland Yutani mining corporation. 

But stumbling headfirst into a get-rich-quick scheme on a seemingly abandoned space station, the group soon finds themselves in a desperate fight for survival - both from the Alien creature and the company's machinations. 

Alien: Romulus succeeds in ratcheting up tension thanks to a combination of a slow build first 40 minutes and a sparse soundtrack, before unleashing the familiar chest-bursting, alien screaming, acid killing spree that usually accompanies these films. 

Extremely reminiscent of the franchise so far, Alvarez's penchant for pithy jump scares and Easter eggs permeates much of the proceedings of the film, despite the actual film feeling in large parts like an extension of the 2014 computer game Alien: Isolation and its space station setting. 

But if the nods to the past become obvious in the final stretch, which houses scenes directly replicating key moments and crowd-pleasing language from the original films, non-fans won't really notice the difference as most of the reference points feel organic rather than gratuitously shoehorned in. 

Perhaps more successful is Alvarez's world-building. 

From practical sets that echo the original 1970s look of Alien to a clever use of silence throughout the film, the atmospheric mood of Alien: Romulus is the most successful part of the movie. 

The grime on the ground and the seemingly corroded and corrupted look of the space station and its corridors all ring true throughout. 

 Equally, whilst it's only a team of six core actors (as well as one person cleverly hidden from trailers), there are some stand-outs among the Alien-killing fodder. (Though it has to be said some of them feel so broadly written that it's hard to care when they're dispatched.) 

 Civil War's Cailee Spaeny and Industry's David Johnson are excellent as a brother and sister who hold the key to the group's chance to escape. 

The latter (for reasons too spoilery to discuss in reviews) manages to do something different with the character he plays - and is more than impressive and expressive throughout. Spaeny has Sigourney Weaver levels of pluck and brains throughout (something Alvarez is keen to exploit in sequences where she actually looks like a young Ripley, right down to the clothing) - but despite a reverence to the original character, she manages to bring something different to the role, even if the script and ambition does not. 

 However, while a messy final third act plays a little too fast and loose when taking an almighty narrative and mythology swing, there are some visual pleasures that impress - particularly a zero gravity attempted escape. 

 Perhaps that's some of the rub with Alien: Romulus - it manages to embrace its past and exploit the franchise for good measure, rejuvenating it as a greatest hits for a new generation. 

But for true fans of the Alien franchise which has endured nearly 50 years' worth of terror, it's impressive yet it doesn't quite feel like the kickstart of a new terror that may last another 50 years.

Alien: Romulus begins streaming on Disney+ from January 1.

The Substance: Blu Ray Review

Cast: Demi Moore, Margaret Qualley, Dennis Quaid
Director: Coralie Fargeat

A combination of the grotesquerie of men and also female-inflicted insecurity, The Substance's heady mix of schlock and awe will make one of the polarizing film festival experiences.

And while the director Coralie Fargeat's vision is too bloated in the final stretch, much of what transpires is an aural and visual assault over 140 minutes - albeit one that becomes too much of an homage to other movies in the final furlong.

Chiefly from the almost pornographic scenes of Margaret Qualley's Sue working out (making the furore in the UK over Eric Prydz' Call On Me music video seem tame in comparison) to the abject body horror on show, this is a film that leans full pelt into its Cronenberg /2000AD Future Shocks elements with no apologies and no time for you to catch up.

With stark colours, a pastel aesthetic and crisp imagery, while not every element of this parable coalesces, it never once fails to captivate thanks to Moore's immensely watchable turn and Qualley's youthful efferverscence.

And yet for all its ambition, The Substance's bloated nature cripples its message; its finale too splatter-heavy to be anything other than an OTT piece of filmmaking that loses its desire for subtlety. (Although one could argue its final shot is a perfect allegory for its tale).

It may want to be a satire on Hollywood norms and ideals (why else would there be an unctuous Hollywood exec who leers and lusts called Harvey?), but perhaps a bit of a rein in of the final stretch could have made The Substance a bit sharper in many ways.

Flow: Movie Review

Director Gints Zilbalodis

Latvian director Gints Zilbalodis' tale about a little black cat who finds itself caught up in a natural disaster will most likely break your heart into pieces - and then slowly piece it all back together.

Essentially a silent - and human-free - movie about survival and coming together, this potential commentary on refugees, climate change and acceptance wears its heart on its sleeve, but also holds back greatly from any levels of didacticism. Best experienced without any foreknowledge of what's to unfold, Flow is beautifully shot and distinguishes itself from most other animations thanks to a more painterly approach that blurs some of the animal outlines but gifts them their characteristics with ease.

While the cat finds itself on a rickety boat with a lemur that covets trinkets, a sleepy capybara, a large bird and a Labrador that just wants to be loved, the film's more interested in showing off the realities of coming together and species overcoming their differences.But it's not above its quirks either - from the cat's expressive eyes to some of the best use of animal sounds around, Flow is a thrillingly engaging family-friendly film that screams to be seen on the big screen.

Its score should not also be dismissed, with both vibrancy, urgency and menace conveyed by Rihards Zalupe and Gints Zilbalodis' work here. Certainly, in parts, the music helps put you through the wringer and lifts you when you least expect it.

Yet Flow is so successful because at its heart, it cares about its protagonists. In some ways the beats of the story are predictable, but what works for every single second on screen is how much you care about the characters. Whether it's due to being shot largely at the animal's level or whether it's the wonderfully expressive eyes of the cat, whose pupils widen in wonder and narrow in fear,
Zilbalodis and his team have skilfully captured every single animal's personality traits and transposed them on to the screen.

It may be tritely dismissed by some as a Homeward Bound style animal-led story, but Flow is much, much more than that. It's an emotive, soaring, immersive and engrossing movie that reminds you of the simple power of animation - it's distinctive and utterly enthralling.

This film is playing as part of the 2024 Whanau Marama New Zealand International Film Festival. For more details, visit nziff.co.nz

We Were Dangerous: DVD Review

Cast: Erana James, Nathalie Morris, Manaia Hall, Rima Te Wiata
Director: Josephine Stewart-Tewhiu

Tapping into a desire to be rebellious, and a darker wish to escape the patriarchy, We Were Dangerous offers plenty of pleasures from its young cast in a coming-of-age tale that’s centred in horror.

But a sudden tonal shift in its last third act makes the film feel like it was rushed to a conclusion and a lack of a wider scope outside of the main trio and their nemesis Rima Te Wiata’s Matron leaves it with a catharsis that doesn’t quite hit the highs that it should.

Fortunately, the deft light way the dark material is handled by first time director Tewhiu makes for a breezier approach to an extremely unsettling premise.

Erana James, Nathalie Morris, Manaia Hall play Nelly, Lou and Daisy, a trio of girls who are part of a school for delinquent girls in 1954 and who spend their days plotting escape from the terror reign of Te Wiata’s matron.

 After an early breakout goes awry, the whole school – Matron too – is punished, and shipped out to a remote island where the exuberant girls can avoid the temptations of an oncoming onslaught of sex, drugs and rock’n’roll.

But when the Matron’s approached and asked to do the unthinkable, the girls’ desire to live becomes a desperate one of survival – and a race against time. For a film which flirts with darkness, We Were Dangerous has a penchant for a joie de vivre and a camaraderie among friends as it spools out over its brief 82 minutes.

All the men in the film are utterly despicable, espousing appalling beliefs from the time as they try to enable Matron’s mission to “Christianise, civilise and assimilate” the girls into the next stages of their life – domesticity. The one notable exception is Stephen Tamapara’s caretaker Barry, who shows the girls what a decent man is capable of.

Te Wiata plays Matron as an initially complex and conflicted character, before morphing into full villain-mode. An early diatribe against the phrase about life giving you lemons is notably hilarious; but her countenance drastically changes as the burden of her decision begins to way on her.

Equally, the trio of leads sell girlhood in a relatable and universal way.

Balancing both the vivaciousness of early life with the reality of their oppression, each brings something unique to their roles.

But it’s Hall’s turn as Daisy that lingers most in the mind afterwards, her character sunny and upbeat despite the inherent sadness of her life then and now. Tewhiu’s directing keeps the film zipping along, from the handsomely helmed shots of the girls dancing together to being collapsed in the long grass of the island, she finds the beauty of each moment both from within nature and also from her actors. 

We Were Dangerous has delight in the darkness and offers up some great performances, but its sudden conclusion sadly may not enrapture everyone.

Kneecap: DVD Review

Cast: Liam Óg Ó Hannaidh, Naoise Ó Cairealláin, JJ Ó Dochartaigh, Michael Fassbender, Josie Walker, Simone Kirby
Director: Rich Peppiatt

Kneecap's riotous mix of irreverence and energy makes this story feel like one of the festival's best.

Tracing the roots of the Irish-speaking rappers, the film focuses squarely on their rise to notoriety from their dreary surroundings.
When Liam (Ó Hannaidh) meets respected teacher JJ (Ó Dochartaigh) in a police cell, a momentary theft opens up the possibility these rappers could have something going for them.

Inspired by his book of rhyme, and retreating to his garage lock up studio, JJ puts together the baselines (and basslines) of an all-out assault on both the politics of the time and the increasing pressure to speak the Queen's English, rather than the native tongue.

Kneecap is crowd-pleasing stuff that only hits a minor falter in its final third as the energy levels begin to dip. Beginning with irreverence by mocking traditional films about Belfast that involve the troubles and tales of sectarian violence, Kneecap sets the tone of something different for an origin tale.

Yet it's also with the band's music blasting out from the screen and on-screen graphics punctuating their songs that director Peppiatt's film begins to take shape - it's less anarchic than it sounds and is more a clarion call for the preservation of indigenous languages (a final on-screen graphic packs a powerful emotional punch) - and in many ways, it will surprise many.

But it's blessed with some great solid performances, some of the Trainspotting energy that signalled Britpop's urgent inclusion in Cinema Britannia and serves to show that music biographies have much broader reaches than just fans of the genre.

And it's also fun. There are some laugh-out loud moments throughout and witty dry one-liners that are delivered with such deadpan joie de vivre that are hard to deny.

Perhaps interestingly the film's biggest name Michael Fassbender is a very fleeting presence throughout (to say much more is to spoil the film) allowing the band's original members their time to shine both dramatically and lyrically.

In the final wash, Kneecap is the kind of film that presents a timeless message with a sense of urgency. It's hard to deny any of it, but it begs you to succumb to its punkish charms and you'd be wise not to resist.

Merry Christmas

Wishing all readers of this blog and supporters a very Merry Christmas and a Happy New Year!

Thanks for taking the time to read the site every day - it's appreciated.

See you all in the New Year!

Tsunami: Race Against Time: Review

Possibly one of the most harrowing yet enlightening docu-series of the year, Tsunami: Race Against Time's use of footage from the fateful day when the Indian Ocean was overrun by waves after an earthquake in Sumatra nearly 20 years ago is jaw-dropping stuff.

While using interviews with survivors from the events of December 26, 2004 is an obvious necessity, it's the footage from a swathe of different sources that makes this four-part series something that gets under your skin in both its urgency and its unfolding horror.

The show's producers rely a little too much on a few narrative sleights of hand as emotional interviewees recount what happened on that day - it works fine for the first episode, but then becomes somewhat of a crutch as the story is told by others.

But it's the footage from the various islands and towns affected in the Indian Ocean that proves to be the most compelling. As any newsgatherer will tell you, a picture tells a story and the images of those standing on the beach confused at what's unfolding has a power that's hard to shake.

But rather than overdramatise the tsunami's impact, the imagery complements what's being talked about - the human cost of being separated from families, the uncertainty of knowing what's going on and what will happen is all expertly told and framed by footage from the scene. It's even more impressive when you realise some of those telling the stories have been captured in the video footage that plays out.

It's a sobering series that offers a powerful reminder of how utterly insignificant we are in the face of nature - but it's also a powerful reminder of how utterly capable of astonishing humanity we are in such dire situations.

Sing Sing: Movie Review

Cast: Colman Domingo, Clarence Maclin, Sean San Jose
Director: Greg Kwedar

Sing Sing could have been the kind of movie that is all too common within the prison genre.

A film about a group of society's wronged and wrongful men who come together to work in a theatre group within the facility and emerge as better people.

But director Greg Kwedar takes the basics of said trope and turns it into something that's relatable and highly watchable thanks to a compelling central performance from Colman Domingo and by using a raft of men who went through the actual Sing Sing programme in America.

Yet what emerges from the story is a portrait of those caught within a system yet enlivened by some of the opportunities it provides.

Domingo plays Divine G, one of the many actual people who went through the programme - and who wants to play Hamlet in the next show the group puts on - one which mixes time travel, comedy and the great Bard's story as well.

But G also faces the rigours of prison life - parole board hearings for his release, tensions with the other men etc. However, Kwedar gives over large portions of the film to scenes of the gang rehearsing, a loose and tangible dynamic between the troupe showcased.

As a result, the film feels alive in a different way, one that's more an appreciation of the arts and the lives involved. But it's nothing really without Domingo's performance, one which showcases so much with so little. Fundamentally he's a decent person, riddled with his own worries (his fear when he's about to be replaced by another shows much of the character's vulnerability) - but Domingo demonstrates that he is really one of Hollywood's power players, one who deserves a greater spotlight to shine.

Peppered with backstage shots showing nerves and tensions before a show is another familiar scene, but in Kwedar's hands, it becomes something that feels more alive and crackling with more energy than cliche.

Sing Sing is the kind of film that rewards your heart, while thanks to its real-life acting troupe showing that humanity will always thrive in the darkest of places.

Indiana Jones and the Great Circle: XBox Series X Review

Developed by Machine Games
Released by Bethesda
Platform: XBox Series X

The XBox family doesn't really have as many story-led games as it perhaps should - but Indiana Jones and the Great Circle upends that tradition brilliantly and demands that there be plenty of others.

Set between Raiders of the Lost Ark and the Last Crusade, The Great Circle gets off to a fantastic start allowing you to relive one of cinema's greatest sequences as Harrison Ford's Jones escapes a giant boulder and betrayal while searching for treasure in the jungle.

But it's from here where the game forges its own path, taking in the Vatican City, a conspiracy and much, much more that would be ruining the experience without spoilers. Suffice to say, the kind of globe-trotting, swash buckling adventure you'd get from the films is what you experience here.

While MachineGames have developed the Wolfenstein series and some of its footprints are scattered throughout this game, the company's swerved away from simply replacing its MO with a do-over and taken what works best about the Indiana Jones character and ran with it.

Chiefly the mix of tomb raiding, fighting, whip-cracking and adventure all gel together to make a game that's as enjoyable to play as it is to watch. From first person scale to get a sense of the regions to well-realised jungle areas, this is as immersive a game as it feels and as you'd hope.

With a series of levels that embrace the best of Indiana Jones' world and make it feel well-realised too, the game proves to be the surprise of the year - but a welcome one at that, and one that will for years to come be heralded as what strong games should be.

What's on DocPlay in January

Here's everything that's streaming on DocPlay in January.

Enjoy a bumper DocPlay summer: rock out with Blur and Pulp, celebrate the cinematic genius of Powell and Pressburger, and embark on grand oceanic adventures.

Made in England: The Films of Powell and Pressburger

9 Jan • Exclusive

Hear Martin Scorsese wax lyrical about how the mesmerising films of two of Britain’s finest inspired his own adventures in cinema. 

Shackleton  •  13 Jan

The true story of polar explorer Sir Ernest Shackleton and the crew of the Endurance. This epic new documentary streams in magnificent 4K.

Ice Maiden  •  13 Jan  •   Exclusive

Ice Maiden charts the uncompromising determination of Australian Lisa Blair, who became the first woman in history to sail solo around Antarctica. 

Prisoner X  •  16 Jan  •  Exclusive  •  Series

In 2010, a man was found dead in his cell at one of Israel's maximum security prisons. Held in solitary confinement under 24/7 surveillance, the guards didn’t know his name or his crime. They knew him only as 'Prisoner X'. The prisoner’s identity remained a mystery for more than two years, until an investigation revealed the man to be Australian citizen and Mossad agent, Ben Zygier. Digging into the personal and political fallout from his suicide, Prisoner X reveals faults, failures, and systematic silencing by Israel's notorious intelligence agency.

Mister Organ  •  20 Jan

Journalist and filmmaker David Farrier (Tickled) becomes fascinated by the late-night antics of a rogue wheel clamper in New Zealand. 

Blur: to the End  •  23 Jan  •  Exclusive

This all-access documentary captures the emotional return of BLUR, highlighting their new album and sold-out Wembley Stadium shows, showcasing the band’s enduring influence. Blur: Live at Wembley also streams on DocPlay.

Pulp: A Film About Life, Death and Supermarkets  •  23 Jan

Kiwi director Florian Habicht charts the journey of Britpop band Pulp to their 2012 Sheffield farewell concert. Celebrate 10 years of this irresistible and irrepressible music documentary. 

Maurice and I  •  30 Jan  •  Exclusive

A box office hit across New Zealand cinemas, Maurice and I is a powerful and enthralling exploration of partnership, loss and the enduring importance of architecture in shaping and enriching our lives.

The Lord of the Rings: The War of the Rohirrim: Movie Review

Vocal cast: Gaia Wise, Brian Cox, Luke Pasqualino, Miranda Otto
Director: Kenji Kamiyama

Set 183 years before The Lord of The Rings, the latest take on JRR Tolkien's work is an anime that's relatively big on spectacle, but low on emotional stakes despite the level of death taking place.

It's the story of Gaia Wise's Hera, a would-be Shieldmaiden of Rohan and the daughter of King Helm Hammerhand (voiced with Cox's towering belligerence) who finds herself caught in a battle of wills when a former friend Wulf turns against them.

After Wulf's father Freca is killed by a single strike from Hammerhand, he swears vengeance on their kingdom and threatens to tear them down systematically, plunging the region into the recesses of war and darker days.

Adapted from an appendix in the Lord of the Rings, the team of Phillippa Boyens and Peter Jackson do their best to turn a single page into a great film but what emerges from The Lord of the Rings: The War of the Rohirrim is a distinct feeling of the very familiar and the very unimaginative too.

It's fine as a portrait of the damage done by toxic males, and offers a strong lead in Hera, but the lack of any real emotion on the characters' faces makes it difficult to engage with at any deeper level. It's hardly helped by the fact the film really doesn't offer the franchise anything new in terms of what it brings to the table, other than an origin story for Helm's Deep.

Tbere are however moments that work - Wise's work as Hera makes her feel like a heroine rather than a superhero stuck in the body of a normal person. Her inspiring approach to problem-solving and taking charge in a traditionally male-led environment does what it should.

Originally envisioned as a 90 minute film, The Lord of the Rings: The War of the Rohirrim's bloat becomes apparent as it barrels towards its 2hr 10 minute run time. There's not enough to extend the story and it would have been a grander scale piece if perhaps its intimacy had been focused on and its scope cut back and edited.

As Miranda Otto's Eowyn says early on in the film, Hera's tale will not be mentioned in any future songs or ballads, and based on this, that's truly a shame - but in truth, it's possibly time to put the Tolkien world to rest for now, until someone can revolutionise the stories or bring them into the 21st century and beyond.

Kraven the Hunter: Movie Review

Cast: Aaron Taylor-Johnson, Russell Crowe, Ariana DeBose, Fred Hechinger, Alessandro Nivola, Christopher Abbott
Director: J C Chandor

Frustrating given its promise and cast, Kraven the Hunter squanders its premise thanks to a mix of tantalizing ends which were never going anywhere and mysteries that don't demand resolution but tease endless possibilities.

Following a mauling in Ghana from a lion (poorly executed by sub-par CGI) and saved by a few drops of a mysterious elixir administered by a young girl called Calypso, Sergei Kravinoff (Taylor-Johsnon) emerges from being dead for 3 minutes with new powers.

Years later Sergei and his brother live under the yoke of their tyrannical growling (and occasionally comatose) gangland father Nikolai (Russell Crowe). Pushed to the limit after his father's actions, Sergei breaks free and becomes a vigilante, hunting people he believes deserve punishing.

Both overlong and somehow undercooked, Kraven feels like a rote expansion of a universe unremarkably contracting in on itself.

While Taylor-Johnson has some charisma throughout, it's dulled by dialogue that's beyond awful and action that feels increasingly unrealistic and poorly executed. Even worse, with a paper-thin plot, what is a essentially a hunt film collapses under dull direction and thuddingly awful pacing that makes its two hour run time feel ridiculously overlong and padded.

Worse still, it feels lots of this was fiddled with after production, with parts of dialogue added in and editing issues clearly visible in some of the action sequences.

What's most annoying about Kraven The Hunter is what could have been. DeBose, Nivola and Abbott all make their characters seem plausible enough in parts, but the script and limp execution lets everyone down.

Ultimately, Kraven the Hunter brings down the curtain on Sony Cinematic Universe - but in a weak way. It's sadly symptomatic of the kind of apathy most of the films have been made with.

Juror No 2: Movie Review

Cast: Nicholas Hoult, Toni Collette, Zoey Deutch, Leslie Bibb, JK Simmons
Director: Clint Eastwood

Juror No2 sets out its formulaic store early on in its narrative, with Nicholas Hoult's Justin being told by his wife, played by Zoey Deutch, that he's perfect.

Within 30 minutes of that claim, it's clear he's not.

Sequestered to a jury despite his protestations that his wife's due to give birth in days, Justin finds he's sitting on the case of a man accused of killing his girlfriend after a barroom fallout. 

But seeing the location of the death and the body, Justin realises he was at the bar the night in question and hit something leaving the site - something he thought was a deer, but clearly wasn't....

Juror No2 could have had tension rippled throughout, an obvious courtroom thriller that would have had edges like John Grisham's raft of pulpy thrillers from back in the 90s where Matthew McConaughey drawled his way through. But instead, Eastwood plods through the story, giving it a kind of cosiness that settles more for slow-burn revelations than page-turning histrionics.

It largely pays off though, with a subtle story revealing the layers of the onion rather than a chapter-ending clanger being dropped on screen.

Hoult's impressive in the thriller that's more about how the justice system fails many, imbuing his Justin with the moral quandary that's necessary to bear but struggling with the weight of his own past, his fallacies to live up to his wife's expectations and his survival instinct in the face of doing the right thing.

Collette makes for a great prosecutor as well, a study in underplaying sheer determinance to mark a career for her District Attorney who comes to question her own path toward the justice.

With its ambiguous ending, Juror No2 is designed to spark debate - and perhaps given Eastwood's workmanlike eye behind the camera - from focusing on American flags and Lady Liberty to watching videos of how to be a juror in the American justice system - maybe there's a hint that subtlety was the key here rather than overt acting.

As a result, Juror No2 feels like it lacks a bit of dramatic oomph and opts for one or two misfires (step forward, JK Simmons) - but it's still a solid -if unspectacular - watch from Eastwood in the dying days of his career.

Juror No 2 is streaming now on Neon NZ

Doctor Who: Joy to the World: Review

An emotionally led story with ties to writer Steven Moffat's scripts of yesteryear and a vicious attack on a 2020 event, Doctor Who's latest Christmas special, Joy to the World is yet another reminder of the brilliance of its lead actor Ncuti Gatwa.

Having left behind companion Ruby Sunday (Millie Gibson) after the cataclysmic events of Empire of Death, the Doctor arrives a mysterious Time Hotel. It's there he meets a lonely Joy (Nicola Coughlan, Bridgerton, Derry Girls), who's checking into a non-descript hotel room for personal reasons.

But soon the two of them are thrown together on an adventure involving a briefcase, dinosaurs and all of time.

Joy To The World is a return to the kind of festive fare witnessed first in Russell T Davies' The Christmas Invasion, where the threat is largely secondary to the more emotional core and a bit of Christmas cheesiness.

Beginning with a seemingly nonsenical trip around the globe, it takes but seconds to remember why Gatwa's the perfect guide as the two-hearted alien; he is still such a relevation, an amiable and warm presence, making the insane seem normal and pushing the desire to have you come along as a companion.

While Joy To The World largely feels like a series of mini-encounters thrown together for a larger story narrative, there's a lot of cohesiveness to the seasonal message of having friends and being surrounded by people you love (something that allows a scathingly overt rebuke from Moffat at the end to really sting).

A longer diversion provides plenty of fodder for Who fiction fans (and potentially Big Finish audio) as well as reminding of elements of Matt Smith tales The Lodger / Power of Three, but in each section Gatwa's Doctor has warmth with his mini companions - from Joel Fry's hotel worker through to Steph De Whalley's Anita. There's a lot of heart in these interactions.

And while Nicola Coughlan's Joy is not your traditional companion in the truest sense of being in every single scene, she absolutely nails every moment on screen. Shifting the gamut from breaking your heart to a self-aware feistiness swathed in sadness, she's a great foil to bring the Doctor back to life again. (And it would take a fool to not be able to see where Moffat's sentiment lies in this episode, and how it's wrapped up in a big cheesy Christmas glow).

Gatwa's first season may have had some ups and downs and been too short a time to spend with companion and host, but this Christmas special feels like the show's on a new footing once again and this lovely warm-hearted episode is exactly what the fractured world currently needs - without going too overboard on the saccharine.

Doctor Who: Joy To The World streams globally on Disney+ from December 26.

What's on Shudder in January

Here's everything that's streaming on Shudder in January.

Dark Match – Shudder Original Film

New Film Premieres Exclusively on Shudder and AMC+ Friday 31 January

A small-time wrestling company accepts a well-paying but too good to be true gig in a backwoods town only to learn, too late, that the community is run by a mysterious cult leader… and their event is now a pay-per-view fight to the death. Starring WWE superstar Chris Jericho, Sara Canning (Influencer, The Vampire Diaries), Steven Ogg (The Walking Dead, Snowpiercer) and Michael Ecklund (Antlers).

Horror’s Greatest – Shudder Original Series

New Episodes Premiere Every Tuesday Exclusively on Shudder and AMC+ 

A deep dive into everything we love about horror -- from fresh looks at classics to unearthing scores of hidden gems, this series has something for every fright film enthusiast. A gallery of ghoulish pros, including actors, directors, writers, composers, and special effects artists, draw on their unique knowledge to answer the big questions: What are the must-see films in horror’s many sub-genres? What’s the appeal of horror tropes, and how do today’s filmmakers subvert our expectations? What shape does horror take in countries outside of the United States? The answers encompass the breath of the nightmares we watch for our entertainment. 

NEW ADDITIONS TO SHUDDER’S FILM LIBRARY

January 1

Mind Body Spirit

An aspiring yoga influencer embarks on a ritual practice left behind by her estranged grandmother. 

Invoking Yell

Set in 1990s, the story of three twenty-something women who venture into the woods to shoot a demo tape for their black metal band.

January 10

Hundreds of Beavers

In this 19th century, supernatural winter epic, a drunken applejack salesman must go from zero to hero and become North America’s greatest fur trapper by defeating hundreds of beavers.

January 20

Creep (2004)

Trapped in a London subway station, a woman who’s being pursued by a potential attacker heads into the unknown labyrinth of tunnels beneath the city’s streets. 

The Raid: Redemption

A S.W.A.T. team becomes trapped in a tenement run by a ruthless mobster and his army of killers and thugs.

Dear Kids (aka Strange Behavior)

A scientist is experimenting with teenagers and turning them into murderers. 

The Primevals

When a group of explorers go in search of a yeti, they find themselves taken captive by an ancient race of alien creatures. 

January 24

Lovely, Dark and Deep

Lennon, a new back-country ranger, travels alone through the dangerous wilderness, hoping to uncover the origins of a tragedy that has haunted her since she was a child.

January 27

The Stuff

A delicious, mysterious goo that oozes from the earth is marketed as the newest dessert sensation, but the tasty treat rots more than teeth when zombie-like snackers who only want to consume more of the strange substance at any cost begin infesting the world.

Patrick

A young nurse who’s just started working at a public clinic begins to suspect that a comatose young man may possess the powers of psychokinesis. 

Turkey Shoot

In a dystopian future where deviants are held in “re-education” camps, a freedom fighter and an innocent prisoner try to survive their decadent oppressors’ game of kill-or-be-killed.

New Life

A mysterious woman on the run, and the resourceful fixer assigned to bring her in. Their two unique stories inextricably link as the stakes of the pursuit rise to apocalyptic proportions.

What's on Neon in January

Here's everything that's streaming on Neon in January.

The Pitt (January 10, 4pm)

The Pitt is a realistic examination of the challenges facing healthcare workers in today’s America as seen through the lens of the frontline heroes working in a modern-day hospital in Pittsburgh.

Stars: Noah Wyle, John Wells, Erin Jontow, Simran Baidwan, Michael Hissrich

Night Court Season 3 (January 17)

Unapologetic optimist Judge Abby Stone follows in her late father’s footsteps as she  presides over the night shift of a Manhattan courtroom and tries to bring order to its crew of oddballs and cynics. A reboot of the beloved 80s sitcom.

Stars: Melissa Rauch (The Big Bang Theory), John Larroquette

Harley Quinn Season 5 (January 17, 4pm)

Harley Quinn has finally broken things off with the Joker and sets out to become Gotham City’s greatest villain with help from Poison Ivy and a ragtag crew of DC castoffs, in this adult animated action-comedy series.

Stars: Kaley Cuoco, Lake Bell, Alan Tudyk, Ron Funches, Tony Hale, Diedrich Bader, Matt Oberg

Movies

A Quiet Place: Day One (January 14)

When bloodthirsty alien creatures with super hearing attack New York City, Sam finds herself trying to survive in a dangerous new world where you must move in complete silence.

Stars: Lupita Nyong’o (Black Panther), Joseph Quinn (Gladiator II), Djimon Hounsou

Back To Black (January 24)

The extraordinary life and music of Amy Winehouse. Inspired by her deeply personal lyrics, the film explores the many layers of the iconic artist, and the tumultuous relationship at the centre of one of the most legendary albums of all time.

Stars: Marisa Abela, Jack O'Connell, Eddie Marsan, Lesley Manville, Sam Buchanan, Harley Bird

Asphalt City (January 2)

A young paramedic is assigned to the night shift with an uncompromising and seasoned partner. As they work across a city in crisis, they are forced to make tough choices that can mean the difference between life and death.

Stars: Sean Penn, Tye Sheridan, Mike Tyson

The Clean Up Crew (January 11)

A crime scene clean up crew discovers a briefcase full of money. Now, they must go into battle with all those who want it back.

Stars: Jonathan Rhys Meyers, Antonio Banderas

French Girl (January 8)

Hopeless romantic Gordon is about to propose but his plans are thrown into chaos when his girlfriend is swept away to Quebec by a job offer from her ex – a sophisticated celebrity chef.

Stars: Zach Braff, Evelyne Brochu, Vanessa Hudgens

Freediver (January 16)

In this breathtaking documentary, freediving champion Alexey Molchanov sets out on a daring mission to break five world records. With each dive – and each breath – he risks blackouts and death, testing the limits of human endurance and survival in one of the world’s deadliest sports.

Sonic The Hedgehog 3: Movie Review

Cast: Ben Schwartz, Keanu Reeves, Idris Elba, Jim Carry, Lee Majdoub, James Marsden, Kristen Ritter,Tika Sumpter
Director: Jeff Fowler

The latest Sonic movie is at times akin to an overstuffed family gathering.

From the trio of Team Sonic (Knuckles, Tails, and the blue Blur himself) to two Dr Robotniks (played with meta touches by Carrey) and the inclusion of Keanu Reeves' troubled hedgehog nemesis Shadow, there's a lot going on.

Add in the human elements of James Marsden and Tika Sumpter as Sonic's defacto human family, the return of agency GUN and the brilliant Lee Majdoub as Agent Stone, Robotnik's long-suffering lackey, and it's no wonder the beginning third of the film feels like an overload of hyperactive exposition and high speed chicanery.

But when this tale settles down into its planned execution, the amalgamation of Shadow's past contrasted with Sonic's upbringing and the simple message of "Make good choices", the film's more impressive thanks to the chance to breathe and take it all in.

In truth, Schwartz's Sonic borders on the irritating this time around, a series of continual quips undone by a seconds later obvious gag / punchline depriving much of the movie of oxygen. Elba's deadpan hilarity as Knuckles' literal translation of situations playing out never loses its comedy timing and Reeves imbues Shadow, the hedgehog from the wrong side of town, with a sense of both tragedy and emotion throughout.

Carrey's back to nonsensical form and the script peppers his arc with quips catering to his manic edge with ease - some of the best laughs come from his gurning and insanity, in moves that feel distinctly reminiscent of Ace Ventura. It's a welcome return to form for the more maniacal comic who made his name early in the 90s.

Yet the true star of Sonic The Hedgehog 3 is actually the visual FX team, who've ensured every single frame of the obvious green-screenery unfolding feels naturalistic and as real as a practical set.

It's no mean feat as much of the script relies on the Team Sonic's trio speeding through scenery, or being up above earth. Every single second of every little FX feels vital, tangible and utterly incredible to behold.

Sonic The Hedgehog 3 may be as fleeting a film as any on offer this holiday season and offer some vicarious pleasures, it won't be judged as a timeless classic of its genre even though it's fun and more cohesive than the rest - but what is timeless within it is the tireless work of those bringing the world to life and ensuring it doesn't look dated in years to come.

Mufasa: The Lion King: Movie Review

Cast: Aaron Pierre, Kelvin Harrison Jr, Mads Mikkelsen
Director: Barry Jenkins

Disney continues its push to remove the magic of its iconic characters by filling in backstory where there was no need in their latest release.

If you ever wondered how Mufasa became king, how Scar got his scar, how Raffiki found his stick or - believe it or not - how the rock was born where Mufasa roared over his kingdom, well you're in luck with Mufasa: The Lion King.

Whether or not you consider that luck largely depends on how keen you are to dive back into the live-animated world of Simba et al.

Forced to babysit cub Kiara while Nala and Simba disappear, Timon and Pumbaa are regaled by Raffiki's tale of how Mufasa and Scar, then known as Taka, came to be friends and frenemies 

Separated from his family by a flood, Mufasa (Pierre) finds himself lost until he's taken in by Taka (Harrison Jr). But Taka's father King Obasi (Lennie James) refuses to acknowledge the stray, causing a rift and dilemma in his son.

However, the pride faces a larger threat - a roaming pride of outside lions determined to rule everything in the land led by Mikkelsen's angry white lion, who's after revenge as well after the death of his own son at Mufasa's hands.

There is no doubting Mufasa: The Lion King's technical prowess.

From in your face POV shots of the lions as they're running to a seamless feeling you're watching a nature doco,the film feels vibrant and alive,rich in wildlife and deep in details. But a desire to keep cutting back to cave antics and in-jokes during the homeward bound riffing story does the flow no real justice and makes the whole thing feel episodic at best.

And the narrative is stymied by the fact both its protagonists and their band of followers must survive meaning dramatically the film is limp, lacking any frisson of danger despite a series of bloodless confrontations.

It's not helped by songs thrown in that are largely forgettable from Lin-Manuel Miranda, a constant reminder of the brilliance of Sir Tim Rice's ear for a good hook and timeless lyrics from the original animated film.

At 2 hours, the film also pushes patience as far as it's willing to go - there's only so far technical prowess can impress.  And while the lion's share of the joy of this is in its visuals, it's a lack of epic emotional edge that leaves you feeling this doesn't quite have the pride of place in Disney's catalogue as maybe it deserves. 

Still maybe that's the nature of the beast.

What's streaming on Disney+ in January

Here's everything streaming on Disney+ in January.

28 January

Paradise - Star Original Series Premiere

"Paradise" is set in a serene community inhabited by some of the world's most prominent individuals. But this tranquility explodes when a shocking murder occurs and a high-stakes investigation unfolds.

10 January

Goosebumps: The Vanishing - Disney+ Premiere

“Goosebumps: The Vanishing” begins with fraternal twins Devin and Cece adjusting to life with their recently divorced dad, Anthony. When the duo discovers a threat stirring, they quickly realize that dark secrets are among them, triggering a chain of events that unravel a profound mystery. As they delve into the unknown, Devin, Cece and their friends — Alex, CJ and Frankie — find themselves entangled in the chilling tale of four teenagers who mysteriously vanished in 1994.

1 January

Alien: Romulus - Disney+ Premiere

This truly terrifying sci-fi horror-thriller takes the phenomenally successful “Alien” franchise back to its iconic roots. While scavenging the deep ends of a derelict space station, a group of young colonizers come face-to-face with the most relentless and deadly life form in the universe. Starring Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn and Aileen Wu, “Alien: Romulus” is directed by horror master Fede Alvarez from a screenplay by Alvarez and frequent collaborator Rodo Sayagues based on characters created by Dan O’Bannon and Ronald Shusett. Ridley Scott — who directed the original “Alien” and the series entries “Prometheus” and “Alien: Covenant” — produces with Michael Pruss and Walter Hill. Warning: Some flashing-lights scenes in this film may affect photosensitive viewers.

15 January

A Real Bug's Life: Season 2 Disney+ Original Series Premiere

Tiny heroes, huge drama! A REAL BUG’S LIFE is back for a thrilling second season that’s bigger and bolder than ever. Inspired by the World of Disney and Pixar’s “A Bug’s Life,” the Disney+ Original series from National Geographic takes us on another extraordinary adventure into the micro-bug world — where the forces of nature play out on a completely different scale and miniature creatures rely on amazing superpowers to make it through each day. Now, thanks to new cutting-edge filming technology, we are able to follow the incredible stories of the tiny heroes living in this hidden world, from the fast-legged tiger beetle escaping the heat of Malaysia’s beaches to the magical metamorphosis of a damselfly on a British pond to the Smoky Mountain luna moth whose quest is to grow wings, find love and pass on his genes all in one short night! Join our fun and witty guide, Awkwafina, on new bug journeys full of more mind-blowing behaviours and larger-than-life characters. This family-friendly series continues to show that A REAL BUG’S LIFE can be every bit as fantastical as any Pixar film!

22 January

Abbott Elementary: Season 4 Star Original Series Premiere

A workplace comedy following a group of dedicated, passionate teachers — and a slightly tone-deaf principal —as they navigate the Philadelphia public school system. Despite the odds stacked against them, they are determined to help their students succeed in life, and though these incredible public servants may be outnumbered and underfunded, they love what they do — even if they don’t love the school district’s less-than-stellar attitude toward educating children.

22 January

Tracker: Season 2 Star Original Series Premiere

Justin Hartley returns in TRACKER as Colter Shaw, a trusted lone-wolf survivalist who, driven by the troubles of his past, uses his instincts to find the missing and collect rewards. Supported by lawyer Reenie Green (Fiona Rene), his business handler Velma Bruin (Abby McEnany) and tech expert Bobby Exley (Eric Graise), Colter will stop at nothing to get the job done.

23 January

High Potential Star Original Series Premiere

Written by Drew Goddard (“The Good Place,” “The Martian”) and starring Kaitlin Olson, “High Potential” follows a single mum with an exceptional mind, whose unconventional knack for solving crimes leads to an unusual and unstoppable partnership with a by-the-book seasoned detective (Daniel Sunjata). Based on the popular French series “Haut Potentiel Intellectuel (HPI),” “High Potential” stars Kaitlin Olson as Morgan, Daniel Sunjata as Karadec, Javicia Leslie as Daphne, Deniz Akdeniz as Lev “Oz” Ozdil, Amirah J as Ava, Matthew Lamb as Elliot and Judy Reyes as Selena.

Also in January…

1 January

Star Original

Bob's Burgers: Season 15

Vow of Silence: The Assassination of Annie Mae

5 January

Star Original International

Medalist

 

8 January

Series

Broken Karoake: Season 2

 

9 January

Star Original International

Ishura: Season 2

 

15 January

Series 

Macross Plus

Macross Zero

The Super Dimension Fortress Macross II: Lovers Again

Movies

Macross Plus Movie Edition

The Super Dimension Fortress Macross: Flash Back 2012

17 January

Star Original

Roy Wood Jr.: Lonely Flowers

22 January

Star Original International

Whiskey on the Rocks

 

24 January

Star Original International

Shared Custody

29 January

Disney+ Original

Your Friendly Neighbourhood Spider-Man

Series

The Great North: Season 4

New Episodes

Skeleton Crew New episode weekly on Wednesdays, finale 15 January

Bob's Burgers: Season 14 3 x new episodes 1 January

Return to Las Sabinas 5 x new episodes weekly every Monday- Friday

Marvel's Spidey and his Amazing Friends: Season 3 1 x new episode 22 January

Morphle and the Magic Pets 10 x new episodes 22 January

Morphle 11 x new episodes 29 January

Stray: Nintendo Switch Review

Stray was always going to be a tricky game to port across to a smaller device. 

This once PlayStation exclusive excelled in its visual aesthetics and its detailed worlds that shone with the power of a console behind it.

So it was inevitable that Annapurna interactive would stumble into issues with this by porting it to a smaller device that lacks as much power as a next-gen machine.

But while largely the graphics falter a little, none of the original core gameplay suffers as a result of the move across - and the core gameplay still impresses.

For those unfamiliar with developer BlueTwelve Studio's game, you play a stray cat who falls into a walled city populated by robots, machines and bacteria - and who tries to return to the surface with the help of B-12, a drone companion.

It's a third person game that sees you playing as a cat, meowing as a cat, and generally feline fine doing so.

But where Stray works is in its lifelike motions and moves of the animal, leaping lithely from platforms, slinking across roofs, and climbing up obstacles. Puzzles litter the way, and the world offers some interesting edges to explore.

At its heart, it may be a cat simulator (you can claw things, knock things off walls, and scratch at floors) but it does it well. The puzzles are lighter fare aimed at guiding you to solutions rather than vexing you forever, meaning frustration is kept at bay throughout.

Even on a smaller scale, the heartfelt emotion hits as well as it always has. Stray will find a way into your heart and with its curious mix of dystopian story-telling and animal antics, it remains a potent game to experience.

Carry-On: Movie Review

Cast: Taron Egerton, Jason Bateman. Sofia Carson, Theo Rossi, Dean Norris
Director: Jaume Collet-Serra

It's very easy to write off Carry-On as another Christmas-tinged movie and dismiss it as a Die Hard-light film of a would-be terrorist and his victim, but French director Jaume Collet-Serra's cat-and-mouse game set inside an airport on Christmas eve is quite the tense watch.

Egerton's charming as Ethan Kopek, an airport security worker who's forced into a wake-up call after discovering he's about to become a father. Accused of sleepwalking on his ambitions by his girlfriend, Kopek decides on Christmas Eve to ask his boss for a chance to prove himself - just moments after showing up late to his daily briefing.

Against the odds, TSA Agent Kopek finds himself on the scanning machines - just as Bateman's menacing antagonist shows up in his ear, demanding Kopek scan through a bag and not alert anyone - if he wants his loved ones to live.

Carry-On has strong moments of suspense, mixed with a few moments of general absurdity as the dilemmas play out. 

But largely eschewing the desire to go hyper-silly and keeping this grounded (ironically for a story in an airport) works best for this blockbuster thriller that's perfectly suited for Saturday night entertainment.

Bateman's sardonic quips and deadpan delivery move him more into the dramatic edges than most roles have previously suggested - and it works well because of it. There are elements of early seasons of 24 (and one dilemma involving a boss distinctly so) that solidify Collet-Serra's intention to make this as white knuckle a ride as he can manage.

Yet it's in the one-two dynamic between an understated Egerton and a laconic Bateman that Carry-On works so well - it's a film that knows exactly what it wants to do and largely achieves it thanks to a taut amount of action and likeable performances.

What's on Netflix in January

Here's what's streaming on Netflix in January.

BACK IN ACTION

Premieres on January 17, 2025 

Years after giving up life as CIA spies to start a family, Matt and Emily (Jamie Foxx and Cameron Diaz) find themselves dragged back into the world of espionage when their cover is blown.

Starring: Cameron Diaz, Jamie Foxx, McKenna Roberts, Rylan Jackson, Kyle Chandler, Glenn Close

Country of Origin: United States

XO, Kitty: Season 2

Premieres on January 16, 2025 

Kitty returns to Seoul ready for a fresh start, but her plan for a drama-free semester fizzles fast amid new faces, messy crushes and family secrets.

Starring: Anna Cathcart, Minyeong Choi, Gia Kim, Sang Heon Lee, Anthony Keyvan, Peter Thurnwald, Regan Aliyah

Country of Origin: United States

Missing You

Premieres on January 1, 2025 

When Detective Kat Donovan matches on a dating app with the fiancé who disappeared years before, she learns that some secrets are best left in the past.

Starring: Rosalind Eleazar, Ashley Walters, Jessica Plummer, Richard Armitage, Sir Lenny Henry

Country of Origin: Great Britain

Cunk On Life

Premieres on January 2, 2025 

Deadpan documentarian Philomena Cunk confounds philosophers and academics in her quest to understand the meaning of life in this feature-length special.

Starring: Diane Morgan

Country of Origin: Great Britain

Wallace & Gromit: Vengeance Most Fowl

Premieres on January 3, 2025 

Top dog Gromit springs into action to save his master when Wallace's high-tech invention goes rogue and he's framed for a series of suspicious crimes.

Starring: Ben Whitehead, Peter Kay, Lauren Patel, Reece Shearsmith, Diane Morgan, Adjoa Andoh

Country of Origin: Great Britain

Gabriel Iglesias: Legend of Fluffy

Premieres on January 7, 2025 

In his 27th year in comedy, Gabriel “Fluffy” Iglesias reminisces on the perils of life: from dating, to home break-ins, to turbulent plane rides, Gabriel is just here to save the world from eternal seriousness.

Starring: Gabriel Iglesias

Country of Origin: United States

Jerry Springer: Fights, Camera, Action

Premieres on January 7, 2025 

This jaw-dropping documentary goes behind the scenes of America's most controversial talk show to expose its biggest scandals, both on- and off-camera.

Country of Origin: United States

WWE Raw: 2025

Premieres on January 7, 2025 

WWE's groundbreaking, Superstar-studded in-ring series delivers live action, drama and unmatched athleticism every Monday night.

Country of Origin: United States

WWE Smackdown: 2025

Premieres on January 11, 2025 

WWE's top Superstars settle scores and spark rivalries in weekly in-ring competition featuring action-packed matches from the blue brand.

Country of Origin: United States

Single's Inferno: Season 4

Premieres on January 14, 2025 

A new batch of singles enter Inferno for a chance at love. With romance, competition and heartbreak on the line, who will succeed in finding the one?

Starring: Hong Jin-kyung, Lee Da-hee, Kyuhyun, Hanhae, Kim Jin-young

Country of Origin: South Korea

The Recruit: Season 2

Premieres on January 30, 2025 

A new graymail case sends Owen to Seoul, where a spy threatens to leak U.S. secrets unless the CIA assists him on a dangerous personal mission.

Starring: Noah Centineo, Vondie Curtis-Hall, Aarti Mann, Colton Dunn, Fivel Stewart, Kristian Bruun

Country of Origin: United States

Fly Me To The Moon: Apple TV+ Movie Review

Cast: Scarlett Johansson, Channing Tatum, Woody Harrelson, Ray Romano, Anna Garcia, Jim Rash
Director: Greg Berlanti

The idea of a screwball comedy set around the Apollo 11 lunar landing is, in theory, not a bad one by half.

But Fly Me to The Moon's desire to keep things aloft seems more earthbound than in the stars, thanks largely to a story that feels paper thin and a male lead who isn't quite the right fit for proceedings.

Johansson is Kelly Jones, an advertising executive who is fast and loose with the truth and even faster and looser with her client pitches. When word of her talent of being able to spin things reaches the government, she's contacted by Harrelson's fedora-wearing Moe Berkus, she's asked to help NASA win the publicity war for hearts and minds for the space race.

Heading down to Florida, Kelly begins a flirtation with Tatum's Cole Davis at a diner, but when the pair realise they will be working together, walls go up as they battle to ensure a future for NASA. However, Berkus decides the US must be successful in the Apollo 11 mission, and proposes the filming of a fake moon landing...

Fly Me To The Moon had potential to soar, but despite Johansson's deft touch and the script's occasional flourishes, most of what emerges here feels like a mismatch of casting and a lack of anything that really commits to the central premise.

Chiefly Tatum feels miscast, and attempts at humour from Davis' relatively straight role fall disastrously flat - and even the chemistry between the pair feels slight rather than stellar. Johansson emerges as the film's MVP, giving her Kelly the kind of sparkle and antithesis of a Mad Men cameo that's needed throughout - chiefly due to continued script lapses for her character and a tonal zigzagging required by the story.

More successful is the somewhat cliched film director embodied by Community's Jim Rash who scores most of the movie's zingers - and last minute forays into screwball territory feel slight as a black cat invades the set of the fake moon landing.

The biggest problem with Fly Me To The Moon is that it just doesn't seem to be able to commit to one tone or another; meshing sincerity with romance, light comedy with absurdism doesn't serve it well.