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Starr Carter (Amandla Stenberg) lives in two worlds. Her home is in the rough and mostly black neighbourhood of Garden Heights, but by day she goes to the mostly white and well-off Williamson Prep private school, where she ditches her hoodie and any attitudes or turns of phrase that might make her seem “ghetto” – even if her dorky white friends are doing it - to become "Starr version two".  It's a prime set-up for a culture clash comedy. But this is a film (based on the best selling YA novel) with a lot more on its mind, as becomes clear when Starr meets up with old friend Khalil (Algee Smith) at a neighbourhood party, only for them to be pulled over by police later that night. Khalil was driving her home after a fight broke out at the party; turns out they might have been safer there. Then things get complicated: the police want to make what happened about Khalil’s drug dealing for long crime kingpin King (Anthony Mackie) – who used to be partners with her father Maveric...

The year is 1962, and New York nightclub bouncer Frank Vallelonga (Viggo Mortensen) needs a job. The rough-edged Italian-American is as far from the smooth and urbane classical African-American musician Don Shirley (Mahershala Ali) as you can get, but if Don is going to survive a tour of the deeply racist Deep South he’s going to need a driver who can throw his weight around. You don't need a road map to see where this is going. This is a film best described as "well-meaning", though just how much slack good intentions gets you these days is up for debate. It's been raking in awards nominations all over the place (and just grabbed a swag of Oscar noms), but if you really want to get outraged that a "quality" film is being put up for awards that tend to go towards "quality" films there are probably worse films around if you want to look for them. Here director Peter Farrelly (who co-wrote the script with Vallelonga’s son) doesn’t ...

As you’d expect from the final installment of a trilogy that began in 2000 with Unbreakable , Glass has a decidedly retro take on superheroes. More retro even than The Incredibles , which was driven by the kind of design-driven Golden Age fandom that didn't really become a thing in comics until the late 90s. Unbreakable, on the other hand, was driven by the question that comic book readers were too smart to ask until the early 80s: what if superpowers were really real? It's a question that's been long passed by in the real world - in part because the answer is almost always a bunch of grim & gritty clenched-teeth drama that gets boring real fast, and in part because these days movies firmly believe that "check out these cool special effects" is a much more interesting hook for a film. Which makes this film’s low budget world, where having superpowers means you’re just super enough to make your actions hard to explain away, feel either frustratingly limited or...

Instant Family manages to be both a surprisingly insightful look at the pleasures and perils of adopting a bunch of kids old enough to already have their own personalities and exactly the sappy feel-good tear-jerking drama the trailers have been selling for months. How does it pull off this extremely difficult and to be honest somewhat impressive balancing act? Let's start with Mark Wahlberg and Rose Byrne. They play Pete and Ellie Wagner, professional house flippers and enthusiastic home renovators, which should instantly make them the worst people in the world but because they're played by Wahlberg and Byrne they're actually kind of fun in a self-aware kind of way. Both have firmly established comic personas as "wacky parents" (Wahlberg from the Daddy's Home films, Byrne from the Bad Neighbours series), and that experience gives their performances just enough of a cartoony edge to make their uptight stressed out characters likable. Deciding that they'...