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New Zealand cinema has been serving up a steady stream of comedy gold over the last few years.  Australia, on the other hand, has been serving up Shane Jacobson. The Kiwi secret? Putting funny people into stories that let them actually be funny - and this bubbly film about a dynamic duo making their living helping people escape (or destroy) their relationships is no exception.  Mel (Madeleine Sami) and Jen (Jackie van Beek) – the duo also wrote the script and direct – break up relationships any way they can; fake deaths, bad songs, bogus romances, fake forest searches for not-so-missing people, you name it. Their only rule is to not get attached to their clients, which usually isn't a problem: they're either grief-stricken, losers, or creeps. But then charming yet dim 18 year-old rugby player Jordan (James Rolleston) turns up wanting to shake off his, uh, "strong-willed" missus Sepa (Ana Scotney) and it's on for young (him) and old (Mel). Meanwhile Jen is “enjoyi...

Jukebox musicals – you know, where they string together a bunch of popular songs then wrap a paper-thin story around them – make sense on stage: they’re basically a live concert with talking bits. As a movie though, they need a little extra to get them over the line. The first Mamma Mia had star power in the form of Meryl Streep and a bunch of name brand handsome guys; with Streep out the door and all the good ABBA songs used in the first film, why exactly are we coming to the cinemas for this one? It’s been ten years since Sophie (Amanda Seyfried) first asked her mother Donna (Meryl Streep) about her three dads (Pierce Brosnan, Colin Firth and Stellan Skarsgard) and got a whole bunch of ABBA songs as a reply. Now her mother is dead – presumably from cancer of the StreepDidntWantToReturn – and in tribute Sophie is about to open a hotel on the Greek island she called home. Then there’s a storm and nobody can make the launch. Then everybody shows up anyway in what looks like that extreme...

You barely have to be aware of a movie like Skyscraper to know what it's about: it's called Skyscraper , it stars Dwayne "The Rock" Johnson, and the rest just writes itself. So yes, Johnson's character - a one-legged ex-Special Forces-turned-security-consultant family man named Will Sawyer - spends plenty of time dangling from very high up. There are explosions, a massive fire, a group of gun-toting bad guys, various computer tablets that are Very Important, and a lot of duct tape. Seriously, Saywer fixes everything with it; it's basically an infomercial for the stuff. So it's the little things that count here. For one, the bad guys' evil scheme is astoundingly considerate: their plan is to set fire to The Pearl, a super-high Hong Kong skyscraper built by Zhao Long Ji (Chin Han) in the hope that when he flees, he'll take the thing they're really after with him. But while they're clearly happy to machine-gun literally dozens of people to sa...

Confidence will take you a long way in life, and the Marvel movies ooze that stuff. Ant-Man and the Wasp never doubts for a second that its audience is totally here for pretty much anything it feels like serving up, up to and including basing a large chunk of the plot around things that happened to lead character Scott Lang (Paul Rudd) between movies. What's next? Starting the next Iron Man movie with Tony Stark played by a dog while Pepper Potts says "oh yeah, remember when you had your brain transplanted last week, that was so cool"? So if you're wondering how you missed the moment when Lang was arrested, cut a deal, and was placed under house arrest, don't worry about it: you've got bigger fish to fry. For a film that's probably the lowest-stakes Marvel movie to date* by a very wide margin, this features a lot of plot threads, including but not limited to:  Lang waiting out the final days of house arrest, Hank Pym (Michael Douglas) wanting to shrink dow...

There’s a scene in the middle of this film where Benicio Del Toro’s lawyer-turned-exterminator Alejandro is staggering across a Mexican wasteland trying to find a place to hide out. Actually, that happens a couple of times: it’s just that kind of film. But the first time it happens he stumbles across a humble Mexican shack-dweller who, together with his wife, happens to be deaf. Fortunately it turns out Alejandro knows sign language, so after a rest and a quick hand-chat about “different worlds” (the shack-dweller’s baby isn’t deaf), the film moves on. You’d be forgiven for thinking this ominous but otherwise pointless scene is setting up a later development where knowing sign language comes in handy, but no: the point of this scene is to let us know that the only people in Mexico who aren’t corrupt or criminal are deaf and living in a shack in the middle of nowhere, because Mexico is literally Hell on Earth. Which, if you saw the first Sicario , isn’t much of a shock, but at least the...

Dinosaurs! The appeal of seeing prehistorical monsters lumber around has been the central hook in every movie with "Jurassic" in the title no matter what well-meaning Laura Dern and Jeff Goldblum fans would have you believe. Humans in these movies are there to act stupid, look astonished, and occasionally get eaten: the big problem with Jurassic World: Fallen Kingdom is that we don't get anywhere near enough of that last one. It’s been three years since the Jurassic World theme park on Isla Nublar was trashed, and now an erupting volcano on the island looks set to finish the job. While the US government dithers, Sir Benjamin Lockwood (James Cromwell) and his aide Eli Mils (Rafe Spall) hire Claire Dearling (Bryce Dallas Howard) to help retrieve the dinos and transfer them to an all-new island. You don't remember Lockwood? He was the partner of the first film's John Hammond (Richard Attenborough), only they had a massive falling out thirty seconds before that film ...

How many characters are too many for an ensemble film? At a time when Ocean's 8 seems more like Ocean's 4 and the Rest , it's easy to feel that Hollywood shouldn't be allowed to make a film with more than two characters on screen at any one time. Tag largely gets around this by making the focus not the group but the mission: they're a bunch of middle-aged men still playing a schoolyard game, and that's pretty much the most interesting thing about all of them.   Something this stupid has to be based on a true story, and so it proves to be: for one month each year, the same group of now middle-aged American men (and men only) play a game of tag that’s been going on for decades. This time though, there’s a twist: the only member of the group who’s never been tagged is getting married during the month, so for once everyone knows exactly where he’s going to be.     What makes this often funny film work is that it doesn’t mess around; aside from ...