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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” ...

Starr Carter (Amandla Stenberg) lives in two worlds. Her home is in the rough and mostly black neighbourhood of Garden Heights, but by day she goes to the mostly white and well-off Williamson Prep private school, where she ditches her hoodie and any attitudes or turns of phrase that might make her seem “ghetto” – even if her dorky white friends are doing it - to become "Starr version two".  It's a prime set-up for a culture clash comedy. But this is a film (based on the best selling YA novel) with a lot more on its mind, as becomes clear when Starr meets up with old friend Khalil (Algee Smith) at a neighbourhood party, only for them to be pulled over by police later that night. Khalil was driving her home after a fight broke out at the party; turns out they might have been safer there. Then things get complicated: the police want to make what happened about Khalil’s drug dealing for long crime kingpin King (Anthony Mackie) – who used to be partners with her father Maveric...

The year is 1962, and New York nightclub bouncer Frank Vallelonga (Viggo Mortensen) needs a job. The rough-edged Italian-American is as far from the smooth and urbane classical African-American musician Don Shirley (Mahershala Ali) as you can get, but if Don is going to survive a tour of the deeply racist Deep South he’s going to need a driver who can throw his weight around. You don't need a road map to see where this is going. This is a film best described as "well-meaning", though just how much slack good intentions gets you these days is up for debate. It's been raking in awards nominations all over the place (and just grabbed a swag of Oscar noms), but if you really want to get outraged that a "quality" film is being put up for awards that tend to go towards "quality" films there are probably worse films around if you want to look for them. Here director Peter Farrelly (who co-wrote the script with Vallelonga’s son) doesn’t ...