It’s been a while since we’ve seen Steven Soderbergh’s name below the ‘Directed by’ credit but he’s back, and on form, with Logan Lucky. Perhaps we were too accustomed to his ‘blockbuster heist’ movies, perhaps the styling was too ‘late 90’s/early 00's’, his regular actors replaced in the market by newer, different breeds. All irrelevant as his latest hearkens back to his imperious early run and feels fresh and vibrant. Logan Lucky feels, somewhat, like the 'Southern Ocean’s

People have long talked about certain source material which is classified as ‘unfilmable’: novels, graphic novels, comics etc. which, due to complexity, content or sheer fan devotion are deemed too precious, or just too damn hard or convoluted, to put onto a screen. As technology has improved, and indeed movie studio’s greed has increased, we’re seeing more of these projects released to cinemas and, in a large number of cases, being wildly successful (see The Lord of the Ring

I imagine when you hear Tom Cruise’s name or see a trailer for his latest film you have an exact image of what to expect. That could be either good or bad: he’s so successful purely because there’s millions of people that see his presence in a movie as reason alone to see it but, point being, he’s somewhat typecast as the gung-ho action hero. Recently, however, he’s done well in beginning to branch out beyond his own status quo. Sleeper hit Edge of Tomorrow (no, it’s not call

It seems premature to start talking up potential Oscar winners for next year but Kathryn Bigelow’s Detroit is bound to be in the running for the prestigious prize. Bigelow is not a Director to do things by halves, picking weighty political subjects and taking her time to unspool and dissect the background, action and resolution to these stories that may only be known to the casual viewer as news headlines. Her documentarian lens and eye for a set piece makes you live through

Ever thought, especially recently, that the James Bond franchise needs a serious shake (not stir) up to stay relevant? That the Bournes, Kingsmen, Men from U.N.C.L.E. and Mission Impossibles of the world are making it seem a little archaic? Atomic Blonde is the latest to try and usurp the spy movie throne and, to some extent, succeeds. So, what are the ways in which it does succeed you ask? Based on a little-known graphic novel, Atomic Blonde is a Cold War-set spy film fronte

Against all odds, Luc Besson has become a divisive, polarising Director. A peerless early run has, in recent times, turned to unpredictability. After the lacklustre Lucy (a same-old idea that had some great scenes ruined by pseudo-intellectual wankery) follows the childishly titled Valerian and the City of a Thousand Planets (it sounds like a mid-noughties Disney film.) Based on rather illustrious source material (a run of comics that influenced Star Wars, amongst other sci-f

Judd Apatow is the American master of bittersweet, the Stateside answer to Ricky Gervais, if you will. His directing, writing and producing resume is supreme and everything his steady hand touches often turns to gold, from his more famous movies like The 40 Year Old Virgin, to his cult favourites like the superb Netflix sitcom Love. His latest production credit arrives with The Big Sick: a true-life tale of Pakistani comedian Kumail Nanjiani. Starring Nanjiani himself, and wr

If, or I suppose that should read when, you go to see Dunkirk do ensure, if physically possible, that you can get to an IMAX screen because here we have a film, and indeed a filmmaker, that truly understands the power of cinema. Like Gravity before it, Dunkirk is a true ‘cinematic experience.’ A rollercoaster journey built for the thrill of sitting in front of a screen bigger than your house and with speakers designed to lift you out of your seat every time a gun is fired. En

Ever more convoluted and misleading titles notwithstanding, the Planet of the Apes reboot/prequel/side-story trilogy must go down as one of the best, and most surprising, series of recent times. A daring venture after the failed sequels, remakes, TV shows and pastiches (The Simpsons parody is still the absolute best: “I can SING!”) this modern retelling, lovingly crafted, makes you long for Matt Reeves to give a proper remake of the original a go. Trilogy closer War for the P

Homecoming is an extremely apt subtitle for the MCU’s first standalone Spider-Man movie. Finally snatching their best character from the jaws of Sony, and ever-dwindling movie cred’, he was one of the best features of the bursting Civil War cast and anticipation was rife for a solo adventure. Marvel made it clear from his cameo in Captain America that this would not be another origin story but a firmly 'Phase 3' film which would continue the overriding progression towards the

I can vividly remember leaving the cinema after watching Edgar Wright’s last film: Scott Pilgrim vs. The World seven (!) years ago now thinking, correctly, that it’d sit amongst my all-time personal favourite films for years to come. I’m pleased to say that Wright’s long-awaited fifth picture, and first as sole writer and Director: Baby Driver, leaves the exact same feeling. Once again changing up genre, Baby Driver sees Wright turn his attention to what, in effect, comes acr

Universal's 'Dark Universe' is unleashed in typically bombastic style with the millionth (approx.) reincarnation/adaptation of The Mummy. Hollywood's love affair with the 'shared universe' is set to continue but this has a pretty tasty feel to it, promising a fun team up with some classic villains and maybe, at some point, the introduction of a Van Helsing hero character. This first instalment is far better than many will anticipate. Fast, actiony, creepy (but suitable for li