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They say all stories must come to an end. Okay, nobody really says that, which is lucky because it's not even true. There are hundreds of characters whose stories still haven't come to an end (Doc Savage? The Shadow?) and plenty more that were given an ending that didn't stick (Sherlock Holmes? Batman?). The Marvel Universe characters are never really going to die, if for no other reason than Disney paid billions of dollars for them; good luck explaining to the shareholders why you just threw [spoiler redacted] into the bin. Still, this is a pretty spectacular bin toss. Running over a doesn't-feel-like-it three hours (being split into three fairly distinct stages helps), this brings in pretty much everyone from the past and present Marvel Universe - except for Paul Bettany's Vision, who died in the previous film and is clearly this movie's Hawkeye as he doesn't even rate a single mention - for a greatest hits collection that manages to emotionally pay off th...

It really doesn’t take much to get a spin-off from the Conjuring franchise. First Annabelle the evil doll got her own series (with a third movie due later this year), then that creepy nun from a painting had an origin story (that was actually kind of wacky), and now the Weeping Woman gets her time to shine in a solo outing. You remember her, she was... in one of the earlier films... being scary? (it turns out the link isn't a previous appearance from her, but from Father Perez ( Tony Amendola), who was in the first solo Annabelle movie) Where The Nun borrowed heavily from Italian horror films and gothic thrillers, The Curse of the Weeping Woman returns to more familiar ground with a fairly standard haunting set in the 70s (which was we all know, was the scariest decade ever). Linda Cardellini is Anna Garcia, a single mum working as a social worker who steps in when she finds one of her clients has her children locked in a cupboard. Turns out that was to protect them from evil sp...

  In his first appearance in 2017's Justice League , Jason Momoa’s Aquaman made his mark by being the bro-est superhero around. Now he has his own movie (out now on DVD and blu-ray), and director James Wan actually dials down his bro-ness – which is pretty much the only thing dialled down here, because this is a film that’s going extremely hard in pretty much every direction. While not all of it works, its failures end up being part of its charm: whatever you think of its extremely loud and fairly dumb approach, it knows the only way to make it work is to commit 100%. There’s a real balancing act going on here: even for a superhero, underwater fish lord Aquaman is hard to take seriously, and yet treating him as a joke would be fatal. So this sets out to make him the most normal thing in the film, plonking the hard-drinking part-time superdude into a meandering story that takes in a sad lighthouse dad, seven distinct (and usually bonkers) undersea kingdoms, a royal feud, the ti...

Supposedly the reason that we even have a third Hellboy movie is that everyone in Hollywood who isn't Disney or Warner Brothers really really wants to get into the comic book universe business and Hellboy is one of the few reasonably well-developed, big name comic book titles that hasn't already been snapped up. There's no actual artistic reason for this movie to exist, no story behind it anyone was clamoring to tell. Boy, does it show. That said, this version does at least make a few small gestures towards coming up with a slightly different vision of the character than the one seen in the two earlier, better films by Guillermo del Toro: this Hellboy (David Harbour) works solo for much of the film, feels a little more sullen (possibly explained by the character still being in his teens or early twenties emotionally; demons age a lot slower) and has more of a heavy metal vibe. None of which make him more of a fun character to watch, strangely enough; he's firing out w...

Remember when superheroes were for kids? Eh, probably not: Tim Burton's Batman back in 1989 pretty much sunk that boat, and since then taking things way too seriously has been the hallmark of the grown-up superhero movie. How weird is it that we're getting a Joker movie that nobody under the age of 25 should see? Creepy murder clowns: they're not just for kids anymore. All of which is kind of strange, because the one thing superheroes really can do better than just about any other genre is speak to the youth. The phrase "adolescent power fantasies" used to be thrown around a lot in comic-book circles when comics were trying to get out from under the influence of superheroes; the difficult thing today is explaining exactly why it was seen as a bad thing when it leads to a movie like Shazam! . When orphan 13 year-old Billy Batson (Asher Angel) is given super-powers by a wizard (Djimon Hounsou) to defeat the running amok Seven Deadly Sins and their human puppet Dr S...