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A crime film where the characters actually ask - on more than one occasion - which one of their group is the "king of thieves" (or words to that effect) is a crime film with too much time on its hands. Maybe they should have pulled out a league table with everyone ranked according to crime skills; it arguably would have been more fun than this dour adventure. But hey, look - it’s Michael Caine heading up a bunch of old school UK actors all playing criminals who pulled off a recent real-life big time diamond heist – this has got to be a must-see for fans of crime capers, right? Sadly, no; rather than being a thrilling romp – or even a tense tale of high-stakes criminality – this combines a remarkably un-thrilling heist with a collection of universally unlikable characters to create a film that takes an all-star cast (Jim Broadbent, Ray Winstone, Michael Gambon, and Charlie Cox, to name a few) and drains all the charm out of them.  It's almost tempting to recommend this on ...

It’s the early 50s, which means it's been a long time since Stan Laurel (Steve Coogan) and Oliver Hardy (John C Reilly) were at their Hollywood peak. But Stan - the brains and drive behind the team - has a plan: a series of live performances across the UK to build interest in a film version of Robin Hood with them as the leads. That’s fine with the easy-going Oliver, even though his health isn't exactly at its best. The tour gets off to a shaky start.  Shabby hotels, tiny venues, small crowds: this isn't exactly what either of them signed up for. So they start doing a bit of self-promotion, and it turns out their fanbase isn't quite dead yet. But as sales increase, so does the pressure. Their partnership has some not-so-hidden fault lines from a betrayal (Ollie did a movie without Stan) at the height of their fame; are they even going to reach the end of their final tour?  The story is fine but forgettable; it’s the performances that stand out. Nina Arianda and Shirley ...

College student Tree (Jessica Rothe) thought she was done with being murdered. But it turns out the Groundhog Day -like time loop she was trapped in on her birthday – one that forced her to relive being murdered over and over again until she figured out how to survive – wasn’t some supernatural coincidence, but a science experiment gone wrong. And now? How do parallel timelines sound? And this time there's a whole new killer; guess we're doing the time warp again. The first Happy Death Day did a decent job of combining slasher thrills with a murder mystery, but it was Rothe's charming and increasingly quirky performance that made it work. After an opening that threatens an ensemble approach - and it's legitimately impressive the way they managed to get everyone from the first film to return - the focus returns to Tree, and it's clear this consistently entertaining sequel is steering into her strong points. That means the slasher side of things is kept to a bare min...

Liam Neeson might make the same movie every year, but it's not the same same movie, if that makes sense ( it doesn't - ed ). He plays gruff older dudes put in bad situations, but they're not (exactly) the same dudes, and they're definitely not the same situations - The Commuter and Cold Pursuit have almost nothing in common beside Neeson and a body count, and the Taken movies are a different thing entirely again. His movies seem the same from a distance because they all scratch the same itch: the desire to see a bunch of chumps get what's coming to them. So on that scale, this is a winner all round. Nils Coxman (Neeson) is a snow plow operator in a small ski resort town who, despite his taciturn nature, pretty much has it all (he's even been awarded citizen of the year). Then his son is found dead, seemingly of a drug overdose, and while Nils' wife (Laura Dern) is clearly shattered, Nils seems to be holding it together - until he goes out to the shed to k...

To be honest, this swooningly entertaining version of the Hollywood classic (the third to date) should be titled A Star is Dying ; while it’s Lady Gaga’s Ally that’s the focus of the title, the film itself – co-written, directed and starring Bradley Cooper – keeps its eye firmly on Cooper’s country rock legend Jackson Maine.    This works to its advantage in the first (much better) half: he’s out looking for booze (not a good sign) after yet another stadium show when he ends up in the drag bar where Ally is performing (she’s the only non-drag act and the only one singing live). They spend the night together hanging out, talking music and – in her case – punching out a cop, and it’s a wonderfully romantic start to their lives together. Soon he’s asking her up on stage with him and she’s totally won over; can a happy ever after be far off?    Well, he’s a drunk who’s losing his hearing, she’s moving on up and has a shady UK manager steering her towards “superficial” ...