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As a rule, the less time a Terminator movie gives you to think about what’s going on, the better a Terminator movie it is. The first one has enough going on for half a dozen regular movies (why we never got a buddy cop series with cops Traxler and Vukovich is a mystery); every one since then has left something out and has suffered for it. The good news is, Dark Fate is the first installment since Terminator 2: Judgment Day to fully embrace the series’ origins as an all-out chase movie, which also makes it the best installment since T2 . Yes, that's a low bar to hurdle (and most of the other sequels have their good points); perhaps it's better to say it's the most cohesive Terminator film since the second one. This story begins with John Connor (back briefly in CGI form) gunned down as a teenager so now the post- T2 sequels never happened and a distraught Sarah Connor (Linda Hamilton) is still killing Terminators in her early-60s. So you know, win-wi...

It’s a tale as old as time; a young man, feeling alienated from his community and cut off from his family’s conservative values, finds an escape and a way to express his true self in music. It's what music is for - well, that and dancing about, which is currently frowned upon in cinemas. The twist here is that it’s 1987 Luton and Javed (Viveik Kalra) is a British-Pakistani teenager who discovers freedom in pretty much the most unlikely source imaginable (for him): the then somewhat daggy music of Bruce Springsteen.  Based on the true story of UK journalist Sarfraz Manzoor, this follows his struggles against entrenched racism, a domineering (yet caring) father (Kulvinder Ghir), and a society that sees Springsteen as yesterday’s man (some of this movie’s best jokes come when Javed’s passion butts up against the reality that in 1987 The Boss is now seen as past it).  The story hits all the traditional notes, but the family struggles often have an authentically harsh edge to them ...

It’s been a decade since the wise-cracking zombie slayers of Zombieland burst onto our screens making meta-references aplenty while gunning down the undead - but cool murders are old news now and having these guys back years after everyone stopped caring is a bit of a mixed blessing.  On the one hand, after a decade the world of zombie-comedy has moved on and simply being snappily dressed badasses (shout out to Woody Harrelson's Man With No Name cosplay at the film's beginning) with a bunch of comedy rules isn’t really all that distinctive. On the other, it wasn’t all that distinctive even back then and as this is basically just rehashing the same old jokes, having a decade pass since we last heard them isn’t such a bad thing.  Having moved into the remains of the White House, our ad hoc family – Tallahassee (Woody Harrelson), Columbus (Jesse Eisenberg), Wichita (Emma Stone) and Little Rock (Abigail Breslin) – are falling into a rut, The solution: the gals bail, leaving Colum...

For a movie that’s technically about a group of ex-strippers who made a lot of money from drugging guys and charging up their credit cards, Hustlers takes a long time to get around to the drugging and robbing.    That’s because this film isn’t really about that at all; partly it’s about “can people form human connections in a world where every relationship has become commodified?”, and partly it’s about “can you ever have too many shopping scenes and strut montages set to 2010-era bangers?” (the answers are yes and no).   Destiny (Constance Wu) is the “new girl” dancer at a New York strip club, while Ramona (Jennifer Lopez) is the experienced elder stateswoman who takes her under her wing. There's money to be made and they're going to make it - preferably while looking good doing it. What comes next follows the Goodfellas template of true- crime stories: good times up front, then eventually you have to pay the price.   Only here the good times just keep on comi...

Is Joker a hollow attempt at provocative posing designed to placate sad sack manbabies by telling them that their grievances against the world have mythic status, or is it a film that actually has something to say about the way neglect of the unfortunate and the underclass can fan the flames of social unrest? Here's an idea; why can't it be both? It'd be only fitting for a film about the Joker - a character so flexible in comic book form that he's been everything from generic gimmick villain to Clown Prince of Crime to demonic force that lives on after death - to be multiple things at once. Not that the Joker really needs an origin story. There's no real way to get from a recognisable human being to the supervillain we all know and love (aside from Tim Burton's first Batman , but that was Jack Nicholson from beginning to end) and this doesn't even really try to reach that particular end point. This is the story of a regular, if disadvantaged, guy who eventu...