Movie & TV Show HD

With the echoes of Bohemian Rhapsody still bouncing off cinema walls, does the world really need another tale of the rise and fall (and rise) of a 70s glam rocker? Rocketman aims squarely for the same toe-tapping retro audience that made that Freddie Mercury biopic such a smash, but - suburban origins aside, and even there there's big differences - Elton John is a markedly different figure, and his music makes for a very different story. Directed by Dexter Fletcher (who handled the last few weeks on Bohemian Rhapsody when Bryan Singer was let go) from a story by John himself, this leans harder on the performance side of things, in large part because the whole point of this film is that "Elton John" is a performance. The performer formerly known as Reginald Dwight (Taron Egerton) had a grim home life thanks to a disinterested mum (Bryce Dallas Howard) and emotionally constipated dad (Steven Mackintosh), but his kindly gran (Gemma Jones) nurtured his musical talents and ...

Is this version of Aladdin necessary? It's probably a question people would take more seriously if most of the reviewers asking it hadn't recently been singing the praises - or at least, treating as a vital piece of pop culture - the 23rd Marvel movie to come out of Disney in the last decade. No movie is really necessary: to ask if a remake of a 25 year old film deserves to exist is to call into question the entire basis of the modern entertainment industry. Of course, when critics ask if a film is "necessary" what they're really saying is that a film has no obvious reason to exist beyond the usual crass commercial interests that motivate pretty much every movie that makes it to a cinema that seats more than thirty people. Again, this is Disney we're talking about here: all of their movies exist in a web of marketing and cross-promotion, and they're perfectly happy for you to know about it. So why is Aladdin any worse than any of the other polished but s...

Pokemon - smallish monsters who like to fight, which is handy as having them fight has been the basis for a thirty year run of card and video games, as well as various animated series and a movie - have been around long enough that most people reading this would have at least some vague awareness of them. Fortunately, to get the most out of Detective Pikachu you're only required to find one particular Pokeman - that'd be Pikachu - cute. It's not a hard ask. In a parallel world where humans and Pokemon have lived in harmony (well, apart from the fighting) for centuries, Tim Goodman (Justice Smith) doesn't care one bit about the adorable pocket monsters. Then he gets a call from Ryme City (a futuristic utopia where Pokemon and humans live side by side rather than the more traditional master-monster relationship) - his father Harry, a Ryme City detective, is missing presumed extremely dead. Tim's lack of a Pokemon partner makes him unusual in Ryme City, but fortunately...

Anjelica Huston said in a recent interview that "Quite honestly, I’m looking for movies that impress me in some way, that aren’t apologetically humble or humiliating like, “Band of cheerleaders gets back together for one last hurrah,” you know. An old-lady cheerleader movie. I don’t like that kind of thing." That movie was Poms , and news flash: nobody likes that kind of thing. Maybe don't tell Jacki Weaver that though, as her response to Huston was literally "Well, she can go fuck herself". Of course, if you actually read both interviews both sides have a fair bit more nuance to them than that. Which is a good thing, because arguing over the quality of Poms is no way to spend your brief time on this globe. To be fair, Poms actually isn't a "band of cheerleaders gets back together for one last hurrah" film. No, most of the cheerleaders at the old-folks home that's the center of this film are first-timers, so this is closer to one of thos...

A heart-warming tale of finding your family - and through them, yourself - Top End Wedding takes full advantage of a range of spectacular scenery and some very funny performances to create a rom-com that's surprisingly assured once it finds its feet. Coming from a first-time script-writer ( Miranda Tapsell, who co-wrote the script, stars in the film and is also an executive producer), the characters are deftly drawn and relatable, the story moves at a fast pace, and it delivers a strong emotional punch at the end. It's the kind of film we don't make anywhere near often enough in this country; fingers crossed it gets the level of success it deserves. Adelaide lawyer Lauren (Tapsell) and her partner Ned (Gwilym Lee) are getting married. This is not a straightforward procedure: they not only have a narrow window in which to seal the deal (Lauren's boss in not big on time off), Lauren wants to have the ceremony with her family in the Northern Territory, and it turns out he...