Cats: Movie Review

Cats: Movie Review

Director: Tom Hooper

It's hard to exactly pinpoint why Tom Hooper's take on the eternally popular musical by Sir Andrew Lloyd Webber fails to connect with anyone watching.

Is it the fact the film launches straight into the Jellicle world expecting you to either know or appreciate what's going on, dives into a series of scene-setting musical numbers that are just confused and confusing or is it that the CGI nature of what plays out is so distracting as to take you out of the moment and smash you over the head with it?

In truth, it's probably all of these things - and more so, it's also the case that the narrative is so flimsy on the screen, it's lacking a necessary coherence.

When a cat called Victoria (Hayward) is dumped on the streets, she joins the Jellicle world of cats who ready themselves for the Jellicle ball, where one of their number will be chosen as the Jellicle choice and who ascend to a greater life. However, the evil Macavity (Elba) is determined he will be the chosen one....

There's a nagging feeling that Cats is destined for guilty pleasure territory, and for similar treatment afforded Showgirls.

But the oddly staged, weird sets and mix of some impressive musical moments don't hang together, feels slight, and appears simply to be about the cameos - there's no logic or coherence to what transpires, and with the uncanny valley CGI, self moving ears and occasionally erect tails, there's too much to confuse the brain.

Jennifer Hudson's Memories sequence is stunning, the emotional connect the film needs, swathed as it is in sadness - and distracting as it is in her being covered in snot and what appears to be offcuts from other cats' furs. Ray Winstone's Cockney heavy is also comical - but mainly because of who the audience knows him to be.

That's the folly of Cats though - it never quite reaches the grand folly of what it could be, nor does it try to change it for a more impressive cinematic experience. Granted, it may appeal to the fans of the musical desperate to see the likes of Taylor Swift put in a cameo and a sultry jazzy song.

But for fans of furries wanting to see their idols in tabby attire, the film has nothing for it except its aesthetics. It's insane, challenging (not in a good way) and generally quite hard to process - what does emerge from the finality of Cats is the fact that it's not destined for the pantheon of great cinema musicals - if there's any kind of justice.

This is what the Cats dragged in - and much like a feline licking its own hindquarters, it's too self-obsessed to think about anyone in the audience. It's purr-fect alright - a purr-fect disaster of a Christmas treat that's more a trick than anything else.

Star Wars: The Rise of Skywalker: Film Review

Star Wars: The Rise of Skywalker: Film Review

Cast: Daisy Ridley, Adam Driver, Oscar Isaac, Carrie Fisher, Anthony Daniels, Billy Dee Williams
Director: JJ Abrams

That the latest Star Wars can't be all things to all fans and non-fans is - and should be - no surprise to any.

But director JJ Abrams has tried his best to neatly tie all the loose ends started with The Force Awakens, reset some decisions from The Last Jedi and provide closure after some 42 years to a saga which started a long time ago, in a galaxy far, far away.

This time around, Poe (Isaac) and the rest of the Resistance find a new threat - the oldest one around - lurking in a hidden corner. With the possibility of the Final Order arising once and for all, and with an old nemesis pulling the strings, it's one last desperate push for the Rebellion to try and save the day.

But elsewhere, Rey (Ridley, shouldering a lot of the story, and doing so admirably after so much unnecessary criticism was fired her way) has to put the final pieces together to complete her Jedi journey and the mystery of her lineage.

The film starts with a breakneck pace, smashing out plot and exposition at greater than light speed levels before settling into a more relaxed mode. However, the stop/start nature of the start of The Rise Of Skywalker means the choppiness takes a little to get into.

Once it does though, the wave of nostalgia sweeps over, as Abrams brings back the past and swathes it in what you'd want for the grand finale. Evcn if it doesn't stick a landing 42 years in the making.

There are some impressive battle sequences, some patented moments of deliberate fan service and some elements of Abrams' MacGuffins and nonsense babble to service the plot where it's needed.

And while moments like the digital insertion of the late Carrie Fisher as Leia Organa seem awkward and stilted, in truth they're there as a series of generic pieces of dialogue to service a plot and be retrofitted to help with an at times exposition heavy plot.

There are confused moments in the story which ground The Rise of Skywalker in ways which should not have been - but for every one of those (of which there are sadly many) there are equally as many moments of joy, from the return of Billy Dee Williams' Lando to the crescendo of John Williams' iconic score. (Though depressingly Keri Russell is sidelined and Kelly Marie Tran gets a disgraceful short shrift here).

While the Force may not be narratively as strong with this closing chapter as we'd all hoped, it's pointless to waver on the resistance.

Star Wars: The Rise of Skywalker may not offer all the answers, and may worryingly leave a lot for other filmmakers to rhapsodise on (either on the big or small screen), as well as landing somewhere in the middle of expectation and delivery - but it does prove an entertainment force to be reckoned with - like it or not given how apathetic you may be to the ending.

Anna: DVD Review

Anna: DVD Review

A free-wheeling Russian spy story, Anna dances to the Eurobeat of Luc Besson.

Returning to the genre which scored him such big hits as La Femme Nikita and The Professional, Anna stars Sasha Luss as the eponymous Anna, who's recruited into the spy world via the KGB and ends up as a model in Europe to do their bidding.

To say more would be to deprive Anna of the narrative twists that Besson, who wrote and directed this, clearly wants for his audience.

Needless to say, the twists come thick and fast, but under the cover of a framing device that relies on the film stop-starting as it goes back and forth in time to reveal what's going on.

The first few times, the narrative replay is a clever move; but Besson deploys it far too often, giving this less a feeling of Run Lola Run's multiplicity and more a distinct impression that you're not quite clear whether the filmmaker and writer simply wanted to throw as many pieces up in the air and see what fits.

And yet, there's a wackadoodle appeal to Anna, which helps with the occasional sag in the 2 hour run time.

All of Besson's trademarks are there - from pulsing European music beats to taut chase sequences, and one brilliantly employed INXS song and montage, there are enough moments to make you feel the hoary old spy genre has something new to offer.

But these are coupled with an almost Austin Powers style adherence to modelling sequences which veer wildly into parody and some occasionally wooden acting from the lead, who's saddled with some silly dialogue.

Yet, as demonstrated in a wonderfully choreographed restaurant fight, there's a grit and inventiveness to Anna that keeps you watching (even if you've seen elements of it before in Jennifer Lawrence's Red Sparrow).

Finally, mention is needed for Helen Mirren, who under big glasses and hunched poise, cigarette in hand, brings much to the table as Anna's KGB handler. Her no-nonsense approach, coupled with Mirren's gusto for the role, is a welcome touch to Anna.

Ultimately, the film's narrative structure lets it down, and Besson's adherence to his own vision is both a good and bad thing - but in terms of the spy genre, it very occasionally kicks ass and presents a solid case for being.

Win a Jumanji: The Next Level prize pack

Win a Jumanji: The Next Level prize pack

To celebrate the release of Jumanji: The Next Level in cinemas Boxing Day, you can win a prize pack.

Each Jumanji: the Next Level prize pack contains

• Hat
• Backpack
• Double pass to the movie.

About Jumanji: The Next Level

In Jumanji: The Next Level, the gang is back but the game has changed. 

As they return to Jumanji to rescue one of their own, they discover that nothing is as they expect. 

The players will have to brave parts unknown and unexplored, from the arid deserts to the snowy mountains, in order to escape the world’s most dangerous game.

Jumanji The Next Level is in cinemas from December 26.

Win a double pass to see Little Women in cinemas

Win a double pass to see Little Women in cinemas

To celebrate the release of Little Women in cinemas January 2nd, 2020, thanks to Sony Pictures, you can win a double pass.

About Little Women

Writer-director Greta Gerwig (Lady Bird) has crafted a Little Women that draws on both the classic novel and the writings of Louisa May Alcott, and unfolds as the author’s alter ego, Jo March, reflects back and forth on her fictional life.  

In Gerwig’s take, the beloved story of the March sisters – four young women each determined to live life on her own terms --  is both timeless and timely.  

Portraying Jo, Meg, Amy, and Beth March, the film stars Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, with Timothée Chalamet as their neighbor Laurie, Laura Dern as Marmee, and Meryl Streep as Aunt March.

Little Women is in cinemas January 2 - read a dazzling review of the Little Women movie here.

Spies in Disguise: Film Review

Spies in Disguise: Film Review

Cast: Will Smith, Tom Holland, Rashida Jones, Ben Mendelsohn
Director: Troy Quane, Nick Bruno

If the thought of Will Smith playing a talking pigeon in a spy movie repels you, this is still utterly the film for you.

A veritable cinematic cartoon blast of pacy fun, Spies in Disguise gets 2020 off to a great start in ways you could never imagine.

Smith is Lance Sterling, a smooth go-it-alone spy, who's framed for a theft of a drone. Holland plays Walter, a socially inept tech genius who finds himself in the middle of the conspiracy when Sterling decides he has no one to trust...

So far, so Odd Couple, and so not really re-inventing the wheel - yet Spies in Disguise respects the spy genre and the mismatched buddy trope with absolute aplomb.

Packing in spy stunts and heart before the Bond-riffing titles even begin, it's clear that Spies in Disguise knows and respects its target market, as well as the history of what's gone before for the respective genres.

What emerges is a whipsmart film that's aimed at the kids but keeps the adults (and the young at heart) firmly in its grip too - puns riff of Fifty Shades of Grey in one moment, another involving Glitter and Kittens is rolled out to great effect.

Based on animated short, Pigeon: Impossible, Spies in Disguise's strength is that it keeps the pace up, knows the dynamic is where the fun lies, and knows its animation isn't groundbreaking but showcases it to dazzling effect.

Sure there are messages about accepting being weird, and teamwork over loner behaviour, but Spies in Disguise is smart enough not to ram them down throats and concentrate on the goofy edges above all else. But it also knows that the smart thing to do is not dwell on one element above all else, and as a result, the coherency is compelling.

Spies in Disguise deserves to be a hit - fresh, funny and frantic, it's animation at its most basic - there to entertain from beginning to end.

The Kitchen: DVD Review

The Kitchen: DVD Review

Melissa McCarthy digs deep once again from the well of seriousness which served her so well and nabbed her an Academy Award nomination.

McCarthy stars as Kathy, the wife of an Irish mobster in Hells Kitchen in New York in the 70s. When Kathy's husband, along with his two co-conspirators, are jailed, Kathy, along with her friends Ruby and Claire (Haddish and Handmaid's Tale's Moss respectively) decide enough's enough and look to take over business.

But their desire to do the right thing and also make some money on the side puts them in the eyeline of the police and the Mafia.

The Kitchen's approach to drama is piecemeal at best.

Whereas Widows had dramatic heft, emotional bite and weight, The Kitchen flounders in comparison.

Sadly, by dipping in and dipping out of the characters, and even with a restrained McCarthy trying to build on Can You Ever Forgive Me, The Kitchen doesn't hit any of the straps it wants to.

Opening with James Brown's It's A Man's World over shots of NYC, as well as mobsters, it's clear that this is a male perspective and those in charge are determined to smash it. But underwriting, as well as scenes that fly by quicker than they should, those involved really don't know how to construct a drama that has tension and suspense.

Shouting stereotypes and with dialogue that's ham-fisted as the characters' so-called intentions, this attempt at gender-flipping falls massively short.

Humorous moments that are supposed to be dark and gallows are delivered with such heavy-handedness they fall flatter than they should or deserve to. There's a lack of nerve, and even moments of violence, brief as they are in their brutality, fail to deliver the punch they could have.

IT's almost as if The Kitchen were too afraid to go as dark as it could, to deeply enrich its characters and to blur the moral lines that the best gangster films do - because of that, it ends up feeling inconsequential, a waste of the talents within and a flight of empowerment that's grounded before it even begins.

Little Women: Film Review

Little Women: Film Review

Cast: Saoirse Ronan, Florence Pugh, Emma Watson, Eliza Scanlan, Laura Dern, Chris Cooper, Timothee Chalamet, Meryl Streep
Director: Greta Gerwig

The latest adaptation of Little Women is a delightful and emotionally devastating, engaging affair that sees director Greta Gerwig reteaming with her Lady Bird star to create a contemporary take on a timeless novel.

Ronan is Jo March in this tale which loops back and forth to weave a linear tale of the March sisters and their lives that many will be familiar with (it is, after all, the eighth outing for the 1868 novel).

But this story, set as it is in the aftermath of the American Civil War in the 1860s in New England, feels more contemporary than any other revival put on screen.

Largely due to the trifecta of Greta Gerwig's scripting and staging, Saoirse Ronan's wonderfully understated and weighty performance, and Florence Pugh's multi-dimensional turn.

However, where Little Women excels is in its pace, and its zipping about in storyline; it's not that anything here feels rushed, or skated over, more that it delivers with a generosity of spirit to make it one of the year's best.

It ducks between the delightful courtship of Laurie (Chalamet) and Jo with aplomb, turns Pugh's Amy's petulance into something truly moving and generally gifts everyone with a moment or two to shine. Its only error is in its denouement, a sequence that feels unearned and a little too emotionally flat. (And in honesty, it could stand to lose 20 minutes of its run time).

It's hard to single out any of the players, but both Ronan and Pugh deserve some form of accolade for their work within; both send very familiar characters on very familiar arcs but deliver in fresh and enticing ways for a story that's nigh on 160 years old - something which is no mean feat.

"People want to be amused and not preached at," an editor decries early on, as Jo presents her latest book in the aftermath of the civil war. The duality of the meaning's not lost, given some could view this as feminist cinema - but Little Women has no time for such inane trivialities as this.

A breath of cinematic fresh air to cleanse the cynical pallet, Gerwig's Little Women deserves to be shouted about from the heights; it's alluring, enticing, thrilling, emotional and unconventionally unstuffy - in short, it's a delight you can't afford not to see.

Danger Close: The Battle of Long Tan: DVD Review

Danger Close: The Battle of Long Tan: DVD Review

The war film is an obvious beast to master.

It requires a reasonable amount of character setting up, then a soupcon of tension, some action and some emotional catharsis mixed in with a denouement of tragedy and the human condition.

Red Dog's director Stenders knows that, and setting the Anzac story of a little-known battle in Vietnam, the film chooses to recreate the feeling of courage under fire as the skirmish plays out. (The 120 plus inexperienced New Zealand and Australian soldiers believed they'd only face a handful of Vietcong - whereas the reality was somewhere in the region of 2500.)

Travis Fimmel is Major Harry Smith, a would-be leader frustrated by the backroom machinations of the officers as a battle near the Vietnamese plantation Long Tan draws ever closer.

When his company finds a chance to be involved, Smith, who's determined to prove himself seizes it with lustre - but most of his troops aren't ready for conflict, or willing to commit to Smith's methodology.

Danger Close: The Battle of Long Tan recreates the battle scenes with a sheen that's polished and accomplished, as bullets fly left, right and centre. Limbs are torn, soldiers are felled and outrage boils as those behind in the camps bluster and effectively abandon their compadres in the heat of one upmanship.

But because of the script's broad strokes and brash characterisation, the sacrifices feel slight, and the beats of the movie are obvious - enemies within the same side soften, and you can almost hear what's coming next a mile away.

And don't even think about getting any kind of insight into the Vietcong as this film is less interested in portraying anything of the faceless enemy other than frenzied, screaming and in slow mo.

Much like Red Dog dealt in the interactions of the everyday, Danger Close: The Battle of Long Tan tries for similar, with more patchy results.

Fimmel goes from boggle-eyed to humbled, and his companions fare equally less well.

Danger Close: The Battle of Long Tan hits every cliche going, and then some, but still manages the kind of solid war film propaganda that it intends to do when it tries to educate.

The action is well-presented, relentless and with a small scope (and maybe some budgetary restraints), Stenders relives the theatre of war with a kind of palpable horror and intensity. But it's the more human side of the conflict that lets the film down badly, robbing it of poignancy, pose and purpose as it hurtles to its inevitable conclusion.

Jumanji: The Next Level: Film Review

Jumanji: The Next Level: Film Review

Cast: Dwayne Johnson, Kevin Hart, Karen Gillan, Jack Black, Danny Glover, Danny DeVito, Awkwafina, Rhys Darby, Rory McCann
Director: Jake Kasdan

Jumanji: The Next Level is like any video game sequel.

It retains the core elements of what made the original popular, but tries to add in new elements to continue the franchise. In the second sequel to hit the Jumanji franchise, the gang returns to the game to rescue Spencer (Alex Wolff) who's been drifting and feeling lost since the first game concluded.

But this time around, Jumanji faces a new threat in the form of Rory McCann's warlord Jurgen the brutal - and it's up to Dr Bravestone and the group to save the day.

Essentially redoing the first film in many ways (even overtly in the movie's final third), Jumanji: The Next Level takes what works the first time around and retools it (only slightly though) for the sequel. Yet at times, the film feels like it's coasting by and repeating itself, only really allowing The Rock and Kevin Hart the chance to switch it up a little.

In fairness, the relationship between the two of them and the bickering banter works well as they put Danny Glover and Danny DeVito's warring oldies into the game, and giving Karen Gillan the chance to take the lead.

A couple of set-pieces impress with ostriches and mandrills, but in truth, the second is a repeat of the first, no matter how well Kasdan orchestrates them. The game may dwell on its body swap mentality, but the film this time around mixes up the avatars and brings in Glover, DeVito and Awkwafina's characters to relative comic aplomb.

However, the film's disjointed game level style plot tries awkwardly to inject a need for Hart and Johnson's characters to bicker and then try and make up, as the surprise of how and why the avatars work is out of the bag.

Ultimately, Jumanji: The Next Level is fun enough family fare, it offers enough reason to exist for the broad market it's trying to hit - it may not level up enough and will need to shake things up for the teased sequel.

The Angry Birds Movie 2: DVD Review

The Angry Birds Movie 2: DVD Review

The birds are back to slingshot and likely to catapult their way back into tiny minds, even if the older ones may be a little more resistant to the charms of the mobile phone based movie.

In this second, Sudeikis' Red returns, as the hero having saved Bird Island from the perils and pranks of Piggy Island.

Revered as a hero, Red's deepest insecurities come to the fore again when he's co-opted as part of a team to take on the insurgents of Eagle Island, which are threatening both Piggy and Bird Island.

An uneasy alliance is formed between the Pigs and Birds, as they unite to fight the common foe - but for Red, the enemy lies within.

Functional and occasionally funny, The Angry Birds Movie 2 relies on sight gags for its moments, and generally succeeds.

But it's never more than solid to anyone but its target audience to be frank.

A sub-plot with three hatchlings trying to rescue their eggs feels like an ode to Ice Age's Scrat and his nut that nobody asked for - and while cutely executed, it adds little to the overall plot and feel of the film other than to serve to show the flow isn't quite there and the main story is thin at best. This isn't a deep level movie, more a surface once over lightly to replenish a franchise. (Though a toilet sequence is genuinely side-splitting in its execution).

There are signs that the female led empowerment of Silver, the extra element into the already-recognised team is there to teach kids that girls can be part of it too, and deserves to be commended. But the female leader of Eagle Island seems like a step back in terms of women, no matter how well voiced she is by Leslie Jones. Its obvious message of teamwork and male insecurity can be seen a mile off - but again, this is for kids.

Yet, at the end of the day, the animation looks pliable, lush and squishy enough, and while you sense some of the cast has been expanded, along with the location, simply to provide a game update, The Angry Birds Movie 2 does what it says on the tin.

Nothing more, and nothing less. And sometimes, for a kid's film that wants simplicity, that's no bad thing. 

Once Upon a Time...in Hollywood: Blu Ray Review

Once Upon a Time...in Hollywood: Blu Ray Review

The new Tarantino film, possibly his penultimate cinematic entry, is an odd beast.

Riddled with nods to his way of delivering film and saddled with his own tropes, Once Upon A Time...... in Hollywood is an elegaic and relaxed film, a hang out with buddies movie that's about the waxing and waning of the old Hollywood - before it erupts in another direction in the final 30 minutes.

Tarantino himself has asked for no spoilers, but suffice to say, the film zeroes in on Leonardo Di Caprio's Rick Dalton, a fading TV western star and his longtime stunt double Cliff Booth (Brad Pitt, a simmering performance that lounges in casual charm and charisma but offers hints at more).

It's 1969 Los Angeles, and the tides of change are sweeping through Hollywood, and Dalton's trying to find his place in what's ahead - is the Golden Years over for them all?

Reflexive and reflective, Once Upon A Time...... in Hollywood is an intriguing proposition that may at times test your Tarantino love and frustrate the casual cinema viewer.

While there's no doubting that Tarantino's evocative recreations of 1969 Hollywood shine out (from his love of locations to period details), there's also a feeling in a lot of the film of padding and endless scenes of musical cues and scenes of driving simply being thrown into the mix, just for the sake of a soundtrack.

There's also a feeling of more of a meandering narrative than has ever been deployed before; it's never quite clear whose story exactly the film is thanks to intersecting lines that don't quite cross with thematic power as is usual with Tarantino.

And yet despite all of that, and a troublesome ending sequence which is true Tarantino, the film offers many pleasures, even if it's not one of Quentin's best. There's a buddy feeling throughout and the vibe between Pitt and DiCaprio is a good one throughout, making being in their company never a chore.

But without some expeditious editing, Tarantino's spinning a yarn that's a little too long in the tooth, no matter what allegories you pour on the relationship between Rick and Cliff and how it reflects real life.

It wallows when it doesn't need to and drifts as it crosses genres between revenge fantasy and period drama, and satire on the time and Tarantino's western fascinations.

All in all though Once Upon A Time... In Hollywood is a fairy tale, a rumination of times gone, all poured through a Tarantino prism; yet it's an intriguing and entertaining enigma that will have you talking and thinking long after the sun's set on 1969 Los Angeles.

Downton Abbey: the Movie: DVD Review

Downton Abbey: the Movie: DVD Review

Nigh on impenetrable for those with only a passing knowledge of the Crawley family, the Downton Abbey movie meshes social mores with a kind of Carry on Downstairs flimsy plot to relatively middling effect.

Set in 1927, the Crawley household is honoured to hear that the King and Queen will be sojourning with them as they tour the north of England.

But the downstairs staff are riled when they hear the royal butlers and staff will be taking over their premises, and rendering their desire to serve King and country redundant during the visit...

To be honest, unless you're a fan of this, there's little to pull you back into their world. It's one that's not exactly unwelcoming of strangers, but more one that's got no time to provide you with backstory and the nuances of the show which ran from 2010 to 2015.

To fans of Julian Fellowes' soapy period piece, there's more than enough service, and the thrill of seeing the characters back on the screen will suffice. Which is a good thing, because with the cast as large as it is, most are rendered redundant by a script that has little time to do anything except tick its stereotyped characters' motivation boxes - quips from Maggie Smith's Dowager, tick; haughtiness from Hugh Bonneville's Lord Grantham, tick. It's a nostalgia trip tried and true.

Yet, in the film's pacing, the script falters.

It zips along, dismissing its various attempts at "drama" in relative TV bitesize chunks. In fact, in parts it could be accused of wrapping elements up before a prescribed TV ad break would be slotted in.

But yet in among the unchallenging story, unshakeable feel of a series of vignettes alien to newcomers and period prestige sheen, there are some elements that hint at a little more below - Republicanism is thrown in, the reality of repressed homosexuality, the weight of carrying on a dynasty is ruminated on, and the class wars manifest themselves in breaches of protocol (which admittedly seem slight, but in this world, are earth-shattering).

Downton Abbey is a salute to England that was, and the film retains that nostalgia - but as a standalone aimed at enticing future episodes or growing its fan base beyond that it already has, it's a consummate but polite failure.

Win The Angry Birds Movie 2 on Blu Ray

Win The Angry Birds Movie 2 on Blu Ray

To celebrate the release of The Angry Birds Movie 2 on December 11, and thanks to Sony Home Entertainment, you can win a copy

About The Angry Birds Movie 2

The flightless angry birds and the scheming green piggies take their beef to the next level in
THE ANGRY BIRDS MOVIE 2!

When a new threat emerges that puts both Bird and Pig Island in danger, Red (Jason Sudeikis),
Chuck (Josh Gad), Bomb (Danny McBride), and Mighty Eagle (Peter Dinklage) recruit Chuck’s sister
Silver (Rachel Bloom) and team up with pigs Leonard (Bill Hader), his assistant, Courtney
(Awkwafina), and techpig, Garry (Sterling K. Brown), to forge an unsteady truce and form an
unlikely super team to save their homes.  

Bonus materials for THE ANGRY BIRDS MOVIE 2 include an all-new mini movie “Live Stream” and six adorable Hatchling shorts, three Family Fun DIY activities inspired by the film, a collection of behind-the-scenes featurettes with cast and crew, an exciting visit to the LA Zoo to meet some amazing feathered friends, a holiday themed sing along and much more!


All you have to do is email your details and the word BIRDS!

Email now to  darrensworldofentertainment@gmail.com 
Or CLICK HERE NOW  

Win Once Upon a Time In... Hollywood on Blu Ray

Win Once Upon a Time In... Hollywood on Blu Ray

To celebrate the release of Once Upon a Time In... Hollywood on December 11, thanks to Sony Home Entertainment, you can win a copy.

About Once Upon a Time In... Hollywood

The 4K Ultra HD, Blu-ray, DVD and digital releases come loaded with even more sights and sounds of the ‘60s, featuring over twenty additional minutes of footage that delves deeper into world of Rick Dalton’s Hollywood.

The 4K Ultra HD, Blu-ray and digital include an additional behind-the-scenes look at the film’s production design, cinematography, costume design, cars and more. 


Quentin Tarantino’s Once Upon a Time…in Hollywood visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton (DiCaprio) and his longtime stunt double Cliff Booth (Pitt) make their way around an industry they hardly recognize anymore.

The ninth film from the writer-director features “one of the greatest casts of all time”—including Robbie, Julia Butters, Margaret Qualley, Timothy Olyphant, Luke Perry, Austin Butler, Dakota Fanning, Emile Hirsch, Bruce Dern and Al Pacino—and multiple storylines in a tribute to the final moments of Hollywood’s golden age.

All you have to do is email your details and the word HOLLYWOOD!

Email now to  darrensworldofentertainment@gmail.com 
Or CLICK HERE NOW  

Ghostbusters: Afterlife Trailer arrives

Ghostbusters: Afterlife Trailer arrives

The new trailer for Ghostbusters: Afterlife has arrived.

From director Jason Reitman and producer Ivan Reitman, comes the next chapter in the original Ghostbusters universe. 

In Ghostbusters: Afterlife, when a single mom and her two kids arrive in a small town, they begin to discover their connection to the original ghostbusters and the secret legacy their grandfather left behind. 

The film is written by Jason Reitman & Gil Kenan.

Starring Carrie Coon, McKenna Grace, Finn Wolfhard and Paul Rudd.

Directed by Jason Reitman

IN CINEMAS JULY 2, 2020

Amazing Grace: DVD Review

Amazing Grace: DVD Review

There's one reason to see Amazing Grace - and it's simply staring quietly and unassumingly in the background at you throughout.

It seems woefully stupid to say Aretha Franklin is the reason to see the finally released documentary which captures the recording of a live album in the New Temple Missionary Baptist Church, a disused movie theatre, in Watts, Los Angeles.

But the power of the voice lives on and is captured easily in the doco from Sydney Pollack which has been stuck in legal and digital hell for some 45 years. (Bizarrely, also due to Franklin claiming there were no rights to use her image.)

However, it's the sheer power of Franklin's voice which carries Amazing Grace, and lest it simply become a concert recording, side characters give the film a bit more life.

As well as a couple of members of the choir who are either moved by the power of the church or Franklin's voice, the energy brought by an essentially live commentary given by the Reverend James Cleveland is central to the film's tactile success. Providing links to the tracks and to the proceedings, Cleveland's energy is what carries the film, given how silent Franklin is in between songs.

If anything, Pollack's Amazing Grace captures the vibe of being in the moment like nothing else.

Whether it's panning to the crowd, and capturing Mick Jagger grooving on the second night of recording, or simply capturing the everyday African American moved by the gospel sounds, the feeling of the extraordinary in the mundanity of the church is inescapable.

Technically, the film looks as good as it could, and the sounds are simultaneously stripped back and incredible.

Ultimately, Amazing Grace offers a timeless snapshot of a talent in ascendance. Placed in among the everyday setting, the meshing of the music and the people is transcendant. 

Wonder Woman 1984: First Trailer

Wonder Woman 1984: First Trailer

The first look at Gal Gadot's Wonder Woman 1984 has dropped.

A new era of wonder begins. #WW84 in theaters June 5.

Apollo 11: DVD Review

Apollo 11: DVD Review

There's no way you don't know how this story goes.

And on the 50th anniversary of the lunar landing, with timing that can only be described as fortuitous in extremis, the film festival is playing the Apollo 11 doco on the day the moon landing happened.

The film is of the kind of calibre you'd expect from those like CNN who are involved, but director Todd Douglas Miller manages to create a kind of unfussy portrait of the hours of the build up to the launch and the days after.

It's intriguing in that, despite some over-produced moments of the bombast of a score intruding and trying to provoke drama, a film takes you directly back to the era, and the ordinary everyday "heroes" of NASA, who were not called Buzz or Neil.

Camera footage early on chooses to focus on the scale of the gantry by shooting from the ground up, sets the tone by focussing the cameras on those inside the control centre, and the gathered crowds who look like they're there to be part of a rock-n'roll event; it's here Miller pitches the actual event as something that everyone aspired to be part of, and which was monumental at the time, but has slowly been dwarfed by the extraordinary times we live in, and the naysayers who try to detract from its happening or its relevance.

CCTV footage, and footage shot within the craft, along with some Asteroids-level graphics build a portrait that's selective in the imagery it presents, but one which builds a tapestry of our greatest achievement.

Apollo 11 uses footage only of the moment, archives of the time and sights and sounds to create something that is never heart-stopping but is always awe-inducing. It's a time capsule, definitely, but it's a film of its time, and also one that showcases the fearlessness of man's occasionally indomitable spirit.  

Win a double pass to see SORRY WE MISSED YOU

Win a double pass to see SORRY WE MISSED YOU

To celebrate the release of Ken Loach's Sorry We Missed You, in cinemas December 26, and thanks to Icon Films, you can win a double pass.

About Sorry We Missed You

Hoping that self-employment through gig economy can solve their financial woes, a hard-up UK delivery driver and his wife struggling to raise a family end up trapped in the vicious circle of this modern-day form of labour exploitation.

Starring Kris Hitchen, this searing movie hits cinemas December 26 and showcases Ken Loach at his most seething.

All you have to do is email your details and the word SORRY!

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