The Secret Life of Pets 2: Blu Ray Review

The Secret Life of Pets 2: Blu Ray Review

Pleasantly enjoyable whilst it's on, but forgettable the moment it's ended, The Secret Life of Pets 2 is an animation which does its zany job well and will entertain - as is to be expected of the Illumination stable.

The sequel to the peek-behind-the-curtain-to-see-what-our-pets-do-all-day takes its cue from a treatise more about parenting.

Faithful terrier Max (Oswalt, in laconic form) finds his life changed when his owner Katie meets and falls for someone before having a child. When the youngster shows, Max is initially reticent and hostile, but soon bonds with him before worrying about the day-to-day life he's now part of.

Meanwhile, Snowball the rabbit (Hart, in usual frenetic form) is now convinced he's a superhero, and is recruited by Haddish's pooch Daisy to help rescue a tiger, imprisoned in a circus.
The Secret Life of Pets 2 feels like a series of moments and mini-sequences strung together throughout, rather than a fully cohesive whole. It gels at the last minute, but it's a long journey to get to some semblance of a narrative.

That said, the journey to get there is pleasantly amusing, with sight gags and silliness the order of the day.

There's an emotional core for Max, and some learnings for youngsters in the audience about trusting yourself (Ford's gruff farm dog Rooster is nicely positioned, a mix of tough exterior and necessary emotional coldness) and for parents to trust their judgements as well.

Disparate threads resolve in a way that feels light, rather than subtle and nuanced, but frankly, kids in the audience won't care as there's enough to amuse, and adults won't mind as the film zips along at a pace that's both episodic and frantic.

Animation purists will find nothing new here, both in terms of visuals or also in terms of deeper meanings, but there's a passing joy to be had with The Secret Life of Pets 2 that renders this trip to the cinema something worthwhile while it passes, but fleeting the moment it's over.

Win a double pass to see Dora and the Lost City of Gold

Win a double pass to see Dora and the Lost City of Gold

To celebrate the release of Dora and the Lost City of Gold, releasing September 26, and thanks to Paramount Pictures, you can win a double pass!

About Dora and the Lost City of Gold

Having spent most of her life exploring the jungle with her parents, nothing could prepare Dora (Isabela Moner) for her most dangerous adventure ever – High School. 

Always the explorer, Dora quickly finds herself leading Boots (her best friend, a monkey), Diego (Jeff Wahlberg), a mysterious jungle inhabitant (Eugenio Derbez), and a rag tag group of teens on a live-action adventure to save her parents (Eva Longoria, Michael Peña) and solve the impossible mystery behind a lost city of gold. 

RATING PG.

Dora and the Lost City of Gold, releases September 26

Emmys 2019: The full list of winners

Emmys 2019: The full list of winners

The full list of winners is:

Outstanding Supporting Actor in a Comedy Series
Tony Shalhoub - The Marvelous Mrs. Maisel

Outstanding Supporting Actress in a Comedy Series
Alex Borstein - The Marvelous Mrs. Maisel

Outstanding Writing for a Comedy Series
Phoebe Waller-Bridge - Fleabag

Outstanding Directing for a Comedy Series
Harry Bradbeer - Fleabag

Outstanding Lead Actor in a Comedy Series
Bill Hader - Barry

Outstanding Lead Actress in a Comedy Series
Phoebe Waller-Bridge - Fleabag

Outstanding Competition Series
RuPaul's Drag Race

Outstanding Supporting Actress in a Limited Series
Patricia Arquette - The Act

Outstanding Supporting Actor in Limited Series
Ben Whishaw - A Very English Scandal

Outstanding Director for a Limited Series
Johan Renck - Chernobyl

Outstanding Writing for a Limited Series
Craig Mazan - Chernobyl

Outstanding Lead Actor in a Limited Series
Jharrel Jerome - When They See Us

Outstanding Lead Actress in a Limited Series
Michelle Williams - Fosse/Verdon

Outstanding TV Movie
Bandersnatch (Black Mirror)

Outstanding Limited Series
Chernobyl

Outstanding Writing For A Variety Series
Last Week Tonight

Outstanding Variety Sketch Series
Saturday Night Live

Outstanding Directing for a Variety Series
Don Roy King - Saturday Night Live

Outstanding Variety Talk Series
Last Week Tonight

Outstanding Supporting Actor in a Drama Series
Peter Dinklage - Game of Thrones

Outstanding Supporting Actress in a Drama Series
Julia Garner - Ozark

Outstanding Writing for a Drama Series
Jesse Armstrong - Succession

Outstanding Lead Actor in a Drama Series
Billy Porter - Pose

Outstanding Directing for a Drama Series
Jason Bateman - Ozark

Outstanding Lead Actress in a Drama Series
Jody Comer - Killing Eve

Outstanding Comedy Series
Fleabag

Outstanding Drama Series
Game of Thrones

Wild Rose: DVD Review

Wild Rose: DVD Review

You've seen Wild Rose before.

Its underdog tale of someone hoping to fulfill a dream against all the odds is not a new one. In fact, it's a cinematic staple, one as inherent in the multiplex as popcorn, phone users and people talking.

And yet, in Jessie Buckley and Julie Walters' hands, this film emerges from the distinct shadow of familiarity to be an emotional piece, that pivots midway through into something that's more about what it takes to get to where you should be.

Buckley is Rose-Lynn, a Glasgow fire-cracker, a love of country music burrowed deep under her ginger bangs and in the white cowboy boots she's never out of. Just released from a 12 month stint in jail, Rose is determined to get to Nashville to realise her dream of becoming a singer.

But there are two things standing in her way - the first is an electronic tag, and the second is her kids, which she feels are holding her back, and who've been thrust upon their grandma (Walters, in fine honest form) during her incarceration.

So, forced into taking a cleaning job with local stay-at-home businesswoman Susanna (Okonedo, benevolent, but underwritten and under-used), Rose-Lynn tries to cope with the reality of life, and the pursuit of a dream...

Wild Rose is a conventional film that veers nicely into non-conventional territory when you're about to write it off.

Anchored by a performance from Buckley that's as honest as it is earnest, Wild Rose overcomes some of its narrative flaws because of its lead. It helps that the well-written rounded take on the cliche is given more of a life thanks to Buckley's mix of vulnerability and hard-as-nails approach, which, to be frank, borders on the selfish, making her a hard case to cheer for.

And yet, in moments between Buckley and Walters, Wild Rose's true raison d'etre comes to the fore - a reconnecting of family, of hopes and dreams, of life and reality, and of generations wanting the best for their next. There are moments of rare honesty in Rose, a mother who doesn't yet want to be, but who is, and in Walters, a mother who hasn't got what's she wanted in her daughter.

It's here that Wild Rose soars, in among its country soundtrack, in its examination of two women orbiting each other and clashing. While Rose's interactions with Susanna seem oddly undercooked and character intentions lost in a fog of under-writing, her interactions with her mother are deep, intense and honest.

The rebel at Wild Rose's heart may hold dear a country adage of "three chords and the truth", but the honest truth is this tried-and-tested formula film is really about the relationships between women, rather than a simple second shot at glory film - and for that, it deserves to be shouted with as much gusto as Rose-Lynn musters behind the microphone on stage.

Maiden: Film Review

Maiden: Film Review

Director Alex Holmes' crowd-pleasing tale of the battle of the sexes and the triumph of women breaking through in the traditional male sport of the sailing is a triumph from beginning to end - even if it doesn't break the mould in terms of presenting a documentary.

Using archival footage from the Whitbread Round the World Race from the 1989-1990 race, Holmes threads together a tale of how Tracy Edwards' determination changed the face of the race, as well as the perception of a generation.

In the 80s, racing was the sole guardianship of men; but Edwards had a fire for being a sailor, even if the media and the sport had other thoughts. Initially starting off in a kitchen (the sexism outrage is palpable throughout), Edwards soon realised the only way to be taken seriously was to get her own crew and her own ship.

But even though every step of the way was problematic for Edwards, Holmes threads together a stirring tale that creates a crescendo of inspiration that soon becomes a tidal wave of empowerment.

Whether it's using the dry wit of those interviewed or footage where various sexist commentators are laid bare, Holmes' tale never stops short of thrilling. When stripped down to its bones, Maiden is the classic sporting tale of the underdog, but what it delivers more of, is a rousing call for change at the time, and a celebration of what Edwards and her crew managed.

However, Maiden is never preachy, and it wisely shows Edwards in her flaws - but throughout the disasters, it's the determination which shines through. Don't be surprised if you leave Maiden feeling inspired to make a change - or embarrassed at what we used to be.

John Wick Chapter 3 - Parabellum: Blu Ray Review

John Wick Chapter 3 - Parabellum: Blu Ray Review

Keanu's back picking up his besuited assassin John Wick just moments after the end of John Wick 2, where he was declared excommunicado and a multi-million dollar bounty placed on his head.

With everyone apparently after him, Wick has to try and clear his name, and set the record straight as he deals with the consequences to his actions...

For the first half of the film, John Wick: Chapter 3- Parabellum is a taut, inventive brawler that finds new ways to breathe life into the genre.

Its commitment to bone-crunching beat downs delivered with tightly choreographed almost balletic fights are visually and kinetically thrilling.

But when the film tries to incorporate a mystical and mysterious edge, striving to flesh out the nefarious High Table organisation, it wallows in its pomposity, much to the detriment of why Wick worked before - a man on the run, or a man desperate to get out. It meanders when it should be sleek, and goes for lazy gunplay in one elongated section, when stripped back offers more pleasure.

In fact the fleshing out of the universe is almost criminal, a wider context not needed within the framework of why these films work.

Add to that a need to throw in some comedy with potential assassins turning out to be fans of Wick and the film testers dangerously into unwarranted self-knowing, winking territory .

It’s fatal to the vibe that’s gone previously and does little to stop the script dipping into campy one liners and dialogue delivery.

Reeves however excels, his Wick looking beaten, fragile and trapped when needed- but reeves digs deep to allow Wick the physical and emotional heft to fight back.

John Wick: Chaper 3 - Parabellum isn’t a full disaster. It’s a film of two halves and those involved in future elements would be wise to step back, regroup and reassess why the series was working and to build on those foundations, and stick to the basics, rather than trying to flesh it all out.

Rambo: Last Blood: Film Review

Rambo: Last Blood: Film Review

Cast: Sylvester Stallone, Paz Vega, Yvette Montreal
Director: Adrian Grunberg

Appallingly xenophobic and grubby, Rambo: Last Blood is an action film that doesn't need - or deserve - to exist.

Stallone lumbers on as John Rambo, 10 years after he was last seen, a Vietnam vet who doesn't want to kill and who now lives on a horse ranch in Arizona. Looking after his daughter's daughter Gabriella, Rambo is thrust into a quest for revenge when Gabriella goes to Mexico, is kidnapped by a cartel and traded as a sex slave.

And all when she's about to leave for a bright prosperous future in college...

Needless to say revenge follows.

Rambo: Last Blood paints a dangerous picture of Mexico in these current climes.

It villainises everyone who's seen south of the border thanks to one note characterisation and stereotyping to the max. Everyone is a horrendous caricature, aimed at fuelling the fire that is the tension between America and Mexico that has been exacerbated by the current US President Donald Trump. Rapists, criminals, corrupt police - they're all here for the potential political rallies, and there's even a scene of the wire wall between the two countries being ridden rough shod over.

The majority of the problem of Rambo: Last Blood is the lack of characterisation around Rambo - the film exists solely to deal out various forms of despatching the bad guys in the final act. And while the tunnel-set finale works reasonably brutally and well, there's little to no joy seeing the bad guys go down as they are so one-note and exist only to be killed off.

Stallone exudes something earlier on as a calm and peaceful Rambo, who is rocked by PTSD and haunted by those he couldn't save. But as the odds stack up, thanks to a rote sense of direction Adrian Grunberg brings to the table, there's little sense of Stallone's Rambo overcoming the odds, more that it will happen and that's it. Even the two women who star in the film (Vega and Montreal) are given little to do except be victims - neither get chance to exact their revenge; only the men can do it.

Lacking hardly any redeeming features, Rambo: Last Blood is a film nobody wanted to see for this four decade old hero. A final montage of cuts from Rambo films from the decades prior only serves to show what a mess the film has made of the legacy and why some things should be left alone.