First Look: X-Men: Dark Phoenix Trailer

X-Men: Dark Phoenix Trailer

 

Directed by: Simon Kinberg

Starring: Sophie Turner (Game of Thrones), Jennifer Lawrence (X-Men franchise), James McAvoy (X-Men franchise, Glass), Jessica Chastain (Molly’s Game), Michael Fassbender (X-Men franchise), Nicholas Hoult (X-Men franchise, The Favourite)

Synopsis: In X-MEN: DARK PHOENIX, the X-MEN face their most formidable and powerful foe: one of their own, Jean Grey. 

During a rescue mission in space, Jean is nearly killed when she is hit by a mysterious cosmic force. 

Once she returns home, this force not only makes her infinitely more powerful, but far more unstable. 

Wrestling with this entity inside her, Jean unleashes her powers in ways she can neither comprehend nor contain. 

With Jean spiraling out of control, and hurting the ones she loves most, she begins to unravel the very fabric that holds the X-Men together. 

Now, with this family falling apart, they must find a way to unite -- not only to save Jean’s soul, but to save our very planet from aliens who wish to weaponize this force and rule the galaxy.

Pokemon Sword and Shield is here

Pokemon Sword and Shield is here

Unsheathe your sword and take up your shield! The world of Pokémon expands to include the Galar region in Pokémon Sword and Pokémon Shield, coming in late 2019!

During its latest Nintendo Direct livestream this morning, Nintendo finally provided some details about its much-anticipated next Pokémon game for the Switch. Called Pokémon: Sword and Shield, the new mainline games are due to launch late this year.

The new games feature a more detailed 3D art style compared to the Let’s Go games, and include a wide variety of locales in a new region called Galar that appears heavily inspired by the UK. Naturally, there are also new monsters, including a frankly adorable trio of starters called Grookey, Scorbunny, and Sobble

The Three Pokémon You’ll Meet First!

Your new adventure in the Galar region will begin by choosing one of these three Pokémon.

Pokémon Sword and Pokémon Shield will be set in Galar, an expansive region with many environments—idyllic countryside, contemporary cities, thick forests, and craggy, snow-covered mountains. The people and Pokémon live together in this region, and they’ve worked together to develop the industries here.

You’ll visit the various Gyms in the Galar region, aiming for the enviable and admirable title of Champion!

The Guilty: Film Review

The Guilty: Film Review

Taut, terrific and twisty, The Guilty's captive setting and lead man make director Gustav Möller's claustrophobic call centre flick one of the most compelling of the festival.

Nearing the end of his potentially last shift, Jakob Cedergren's policeman Asger Holm is a troubled man. With a court appearance the next day, press hounding him, and colleagues clearly less than enamoured with him, Asger appears to simply want to get it done, and move on.

A series of emergency calls come in - each more mundane than the next in his eyes, but each vital to those dialling for the help. Then a call comes in that sets his senses off - an apparent kidnapping.

With the clock ticking in real-time, Asger decides to go back to his policeman roots and try and solve the case....

To say much about The Guilty's reveals is to spoil the elements carefully placed together by Cedergren and director Möller.

Background pieces are trickled through, each dripfed when needed and each naturally inserted into the narrative rather than shoe-horned in. As Asger tries to piece together the kidnapping, the audience is left piecing together him - it's a fascinatingly compelling touch from Möller and one which is wonderfully played by Cedergren's subtleties. The smallest of looks here, the slightest of twitches of behaviour there reveal more than screeds of exposition ever could - and The Guilty sells it right down the line.

Möller also delivers some directorial flair into the setting as well - he refuses initially to show anyone other than Asger in focus, hinting at Asger's perception that others around him are worthy of his time and temperament. Asger himself is never pictured in anything other than close up until it starts to unravel for him - all demonstrating more about character than dialogue would ever achieve.

As a result The Guilty becomes a film that looks like it's destined for a Hollywood remake. Sure, it's got touches of Locke and Buried, but it's also got a panache that's all its own and a sleekness which sets it above many other entries.

Clever, compelling, and character-led, The Guilty is a must-see - a stripped back, pared down character piece that's almost Shakespearean in its tragedy. See it now, preferably Hollywood miscasts its lead in its remake. 

Netflix releases official trailer for The OA Part II

Netflix releases official trailer for The OA Part II

NETFLIX releases official trailer:  

The OA Part II

It’s been 2 years... Are you ready to make the jump back into The OA Part II and meet in a new dimension?

Today, Netflix announced that the “mind-bending” story returns with ​The OA Part II on March 22nd and released first look images, trailer and key art. ​

The “mind-bending” story returns with The OA Part II, which follows OA as she navigates a new dimension, one in which she had a completely different life as a Russian heiress, and one in which she once again finds herself as Hap’s captive. Part II introduces Karim Washington, a private detective tasked with finding a missing teen. His path crosses with OA, as they try to solve the mystery of the teen’s whereabouts and a house on Nob Hill connected to the disappearance of several teenagers. Meanwhile, back in the first dimension, BBA, Angie and the boys find themselves on a journey to understand the truth behind OA’s story and the incredible realities she described.

The OA Part II is once again coming from visionaries Brit Marling who is also starring in the show and Zal Batmanglij who created and wrote the eight chapter odyssey together.

Jason Isaacs, Emory Cohen, Patrick Gibson, Phyllis Smith, Brendan Meyer, Ian Alexander, Brandon Perea and Sharon van Etten are amongst the returning cast members as well as newcomers Kingsley Ben-Adir and Chloë Levine. Paz Vega, Irene Jacob and Riz Ahmed are also guest stars in Part II.

Produced by Aida Rogers and executive produced by Michael Sugar, Brad Pitt, Dede Gardner, Jeremy Kleiner and Sarah Esberg from Plan B (Oscar winning producers of 12 Years a Slave), along with Brit Marling and Zal Batmanglij, The OA Part II is a Netflix production.


For more information, visit the show’s social pages:

Instagram: instagram.com/the_OA
Twitter: twitter.com/the_OA
Facebook: facebook.com/TheOANetflix

Swimming With Men: Film Review

Swimming With Men: Film Review

Cast: Rob Brydon, Jane Horrocks, Daniel Mays, Jim Carter, Thomas Turgoose, Rupert Graves, Adeel Aktar, Charlotte Riley
Director: Oliver Parker

There's a kernel of a decent movie trying to rise to the surface in this tale about a male synchronised swimming team.

Easily dismissed as The Full Monty under water, Parker's take on the male midlife crisis movie is fairly middle of the road.

Brydon plays Eric, an accountant who's been in the job since forever. Tired and jaded of it all, and insecure after his wife (Horrocks, wasted in a minor role) finds her second wind as a local councillor.
His only reprieve from the tedium of spreadsheets and nondescript lift journeys is in the pool, where one day he finds a group of men practising their moves.

Asked to join by the members ('It's not just a club, it's an idea, a protest against who we've become" one says), Eric finds his second wind also.

Swimming With Men is the kind of film that works best on TV, rather than the big screen, offering as it does little that's not been seen before.

But it's also not above using a poo in a pool at a kids' event to promote some laughs.

Based on a true story it may be (about a Swedish male swim team), and while there's something about the indefatigable Brydon doing his everyman thing again, the film doesn't offer much of life outside the pool to really grab you.

Each of the fellow swimmers is fairly loosely sketched, with a little more afforded to Rupert Graves' character as he bonds with Eric (despite the warnings that lives outside stay private). It's not that that's a bad thing, but the speed bumps when they come, can be seen miles off as the relatively pedestrian comedy tries to hit its stride.

It's all about the feelgood factor, and midlife crisis of friendships - and while Swimming With Men doesn't exactly do anything sensational with those ideas, it does present them pleasantly, albeit occasionally in a pedestrian fashion.

It's almost as if Parker was afraid to do anything radical with this tale, and lumped for the basic approach rather than something memorable.

As it is, Swimming With Men doesn't exactly swim to the top, but it doesn't also sink to the bottom without a trace - it's probably safer in the shallow part of the pool, than the emotionally deeper quarters.

A Dog's Way Home: Film Review

A Dog's Way Home: Film Review

Cast: Joanh Hauer-King, Bryce Dallas Howard, Ashley Judd, Alexandra Shipp, Barry Watson
Director: Charles Martin Smith

It's not exactly rocket science - a film about a dog's bond with their master that transcends the obstacles put in their place.

Throw into that mix a 400 mile journey, and you've got some idea of what A Dog's Way Home is about - it's like a Nicholas Sparks version of an animal love tale - dog meets boy, dog and boy separated and will they be reunited?

Bella (voiced by Bryce Dallas Howard) is a young pup, living under a house with a group of stray cats. When Bella meets Lucas (Hauer-King), it's puppy love on both sides, and the pair forms a bond that can't be broken.

But when a nasty animal control officer condemns Bella under city law, Bella's forced to leave the city for her own safety - and leave behind her new family. However, she decides that it's important that she gets home to Lucas, and so she sets out on an incredible journey to get home.

A Dog's Way Home is aimed young, and it hits every level that the book from W Bruce Cameron would want to.

From simplistic voiceover to narrative simplicity, this is a film that knows what it wants to do and how to avoid a majority of mawkishness to get there. But it's also not above throwing in montages with middle-of-the-road soppy songs and cover versions along with some ropey CGI animal work to pad it out. Its short episodic feel does hurt it in places, and while there are elements of The Littlest Hobo for when Bella comes into people's lives, it's harmless family fluff.

Interestingly, there's also a few threads of tolerance seeded for an audience that are younger - from the inter-racial relationships to the message of tolerance towards army veterans and acceptance of their plight, A Dog's Way Home has its heart in the right place, even if its execution is questionable at times.

It's a very familiar journey for the tried-but-true animal friendship film, and while the cougar and dog relationship is unusual at best, A Dog's Way Home is really about the bond between man and dog - and is what is likely to resonate with the audience.

Widows: Blu Ray Review

Widows: Blu Ray Review

Ripped from a Lynda LaPlante UK TV series from the mid-80s, the contemporary US update of Widows is startling in its recreation of the power of money, the corruption of wealth, and the power of women to rise above what's been dealt to them.

A searing Viola Davis plays Veronica, the wife of known career criminal Harry Rawlins (Neeson, mixing tenderness and harshness in flashbacks) who finds herself widowed after a heist goes wrong.

Visited by the local crime boss and informed that Harry had stolen $2 million from him, Veronica's given a month to return the cash - or pay the consequences.

So, in order to escape the hand she's been unwillingly and unwittingly dealt, Veronica goes to the also-widowed women of Harry's associates Linda and Alice (Rodriguez and Debicki respectively) to enlist them into the job.

Widows is the antithesis to Ocean's 8 - and so much the better for it, trading darkness and depth for Oceans' sleight of hand and smoke-and-mirrors routine.

Director Steve McQueen, who brought such pain and pathos to the likes of Hunger and 12 Years A Slave, gives himself more of a contemporary pat setting with Chicago's seedy underbelly, politicking and dirty money and deceit forming the backbone of a sickeningly compelling movie.

It begins with a heist gone wrong, before weaving complex threads of destroyed relationships, power, and of desperate lives trying to reset and survive.

Set against the politicking of Colin Farrell's incumbent alderman wanting to stay in power, along with the exposure of all that entails, and how deep the corruption goes, Widows could collapse under the weight of its darker themes.

But along with McQueen's flashy director touches, and anchored by a gripping central turn from Davis, the pieces of this at-times slow-moving chess board trundle inexorably and inevitably to their tragic ends.

Yet, it's also empowering (and a breakthrough role) for Debicki's Alice, a beaten wife whose life has seen her repeatedly slapped around by different generations; and for Davis, whose commanding presence on screen brings nuance and uncertainty to the woman who was happy to enjoy the benefits of her husband's ill-gotten gains but negotiates murky waters when it comes to availing herself of any guilt.

It helps that McQueen's underpinned his film (from Gone Girl's Gillian Flynn's script) with none of the usual tropes of a heist and grounded it in a humanity that gives it an emotional core to cling to - certainly, in its actual heist sequence, it's nothing short of electrifying, urgent and riveting, a set piece par excellence that's swift, brutal and suspenseful.

Essentially Davis and Debicki's time to shine, Widows is a powerfully pared back film and engrossing drama that hides layers behind its themes of societal corruption, political heft, and anger at a system.

It's being touted for awards, and quite frankly, much like some of the power of Denzel Washington's Fences, Widows is a film that you can't fire enough superlatives at.