Russell Crowe and Ryan Gosling form the charismatic R&R dream team in this 70s buddy cop crime action comedy. As their ironic name and trailer indicate, they're not actually that nice. Crowe's Jackson Healy can break your bones with a single throw (probably), whilst Gosling's Holland March can break a bottle of scotch (easily). Nearly two hours of entertaining plot and a storyline where a sleazy film is somehow tackling serious issues will have you chuckling, wincing, and rooting for this unlikely duo. The Nice Guys packs a solid punch of personality and is a thoroughly satisfying film.

Set in LA, suspicious deaths and disappearances with no clear cause are the catalyst for bringing Healy and March together to solve the mystery and find missing girl Amelia (Margaret Qualley)...although their first meeting is no friendly meetup. The film laughs at expectations and manage to twist them even if the plot isn't completely unguessable. Its mysteries are subtle so it doesn't feel like a mere detective story where you're trying to work out who the bad guys are and why they're doing what they're doing. Instead, you get to watch the clever chemistry between Crowe and Gosling play out, and really believe they're this crime-stopping duo from the 70s. Crowe's taking after his Aussie buddy Hugh Jackman in that he's now this tough guy who talks with his fists, and he does a really good job of it too, providing some entertaining fight scenes. But it's Gosling who often steals the show as a probably-alcoholic bad private investigator and to be honest, bad parent too. I haven't really seen Gosling in many funny roles as he's usually gazing into the camera lens being all dramatic, so this was refreshing to say the least. He's spot on, and can definitely rock the hippy sunglasses look. Much of the film's pizzazz is in the characters, and the character's pizzazz come from a masterclass from R&R. (Even if Crowe's role is mainly being tough, speaking tough, and punching people. He's convincing.) There are bad guys too, but to give them away now just wouldn't be much fun.

The addition of Holly, March's daughter, is an unconventional one, even if her do-good character does get a bit annoying. Imagine the Mystery Gang from Scooby-Doo all in the form of one 13 year old girl. Having said that, she's ballsy (she wants her frenemy Janet to be punched but she's also the moral compass), she's the kid that parents the parent, and actress Angourie Rice is superb. I don't think she's been in many feature films so far, but it's rare for a child actress to be so naturally good. Watch this space, and please keep her away from the Disney Channel!
The era of the 70s is evident in the costume, the cars, the hair, and perhaps the fascination with the pornographic industry. I imagine it's mostly accurate* and though I'm not usually a fan of period films, this one felt groovily retro. *The Earth, Wind & Fire song 'September' features so we can only hope it was meant for the very late 70s. It doesn't offer anything new in terms of formulaic structure, but somehow the details are so hilarious and bizarre you can completely afford to overlook it. Two words: bee hallucinations. The story was slightly confusing at first but once most of the cards are on the table, it's not a complicated one. It's also worth mentioning it is a bit violent and graphic and it can get uncomfortable. Like, what's a 13 year old child doing at a party for the porn industry!?

The script is sharp, to the point, where even one-liners don't feel cheesy. Comedy is enthused throughout, far from slapstick, and sometimes all you need is Russell Crowe to give you that look and you're laughing. Think quiet chuckles rather than full-on lols. The film comes across pretty stupid and daft, but there's clearly a lot of thought behind the mayhem. It's not exactly realistic - for example, there's a lot of falling that would result in horrific real-life injuries, but it never becomes too dramatic either. There is a fine balance that brings a different style of comedy we don't usually see in films.

The Nice Guys is unnecessarily sleazy sometimes and could do without. On another note, it brings up themes of corporate power and conspiracies which, when combined, make a strange concoction of elements in a film. Above all, a visit to the Nice Guys means you'll witness some terrific acting and marvel at how weird it gets. And you'll see bad guys get beaten up real bad. But you will definitely laugh.

The Nice Guys is in cinemas now.

Me Before You, the eagerly anticipated adaption of Jojo Moyes's bestseller, is a film I've been following for a while and I was so excited to watch its transition from page to screen. It's a textbook weepy film* - that's no secret - but it's a sob story with a sentimental force, and love story, behind it. Previously a success-driven, adventuring and free-spirited banker with a reckless glamorous lifestyle and leggy blonde girlfriends, Will's (Sam Claflin) life is changed forever by a motorcycle accident leaving him paralysed and cynical. Then Lou (Emilia Clarke) comes along, a small-town girl who's never really adventured further out or even wanted to, and takes on the challenging role as Will's carer/companion. The promo's main picture basically tells you it's a boy-meets-girl film (so yes you can guess what happens next), but there's more depth and dare to it.

It's a quaintly British film, the feature film debut from director Thea Sharrock, offering some stunning castle views (filmed in Pembroke, Wales) and little Brit quips of humour. It's the sarcasm and wit that starts to bring Will out of his broken shell and bond with Lou, and it's here we get to witness something quite beautiful. I wouldn't exact call it a 'rom-com', although it is romantic and has its comedic moments. It's full of drama (both moments of overstated and subtle), and *spoiler alert* it's not afraid to deal with the issues of death and assisted dying. That said, these are complicated issues that are present, though not always explored as deeply as it could perhaps do. The juxtaposition between the little village and Will's previous big world adventures are supposed to shock us, but I think there's room to go a bit further here too.


Emilia Clarke's portrayal of Lou seems a little stage school and exaggerated at times, understandable due to the kooky penned character, but it's too much when you begin to notice it every scene. On a side note, it may be that Sharrock's experience as a theatre director has had an influence. Clarke also has unbelievably impressively fluid eyebrows (you'll see, but it's distracting). Lou's meant to be the relatable, realistic girl next door though; she's one of us. She's the girl who is destined for more but is happy in her small town bubble. Sound familiar? Despite my issues with the over-acting, she's endearing and it does hammer home the emotions as she wears her heart on her sleeve. Speaking of wearing, Lou's wardrobe is unashamedly awesome. (Faux) fur coats, brightly coloured tights...she rocks a lot of 50s style dresses and also all the fuss over that red dress is making me wish I had one of my own, too. I'm pretty sure Amazon searches for 'bumblebee tights' are going to go through the roof with this one.

Sam Claflin steals nearly every scene he's in, with a powerful gaze that transitions to scowl or smile within a heartbeat. I've been following his 50 day countdown on Instagram and it's so clear the project has been a big part of his life (he describes Sharrock as "the most wonderfully inspiring and motivating driving force" and Clarke as "the funniest, most talented and grounded mother of dragons Westeros will ever see". Strong compliments.). His sharp wit and flashes of pain are quiet but striking, and when he can't resist a small smile at Lou, we can't help but smile too. It's a weird afterthought, but I kind of wish the film opened a bigger window into his pain - even though they refer to it in passing, it could bring more understanding into the euthanasia dilemma as well as allowing Claflin to make his role even more intense. Same with his previous lifestyle, there are only glimpses via a smart birthday video for us to comprehend. Again, his Instagram shows how much training and effort went into training for the pre-accident bod, just to illustrate the drastic difference as realistically as possible.

As for the rest of the cast, I'd say they were all rather lovely. We're treated to some big British names including Charles Dance and Janet McTeer as very convincing parents in distress, Jenna Coleman as sister-slash-best-mate, and my personal favourite is Matthew Lewis as Lou's boyfriend Patrick. He probably times his runs from the fridge to the kitchen table with a FitBit. He could be more unlikable but he's Matthew Lewis and he's also naturally adorbs. Also I know, I know what you're thinking: Doctor Who + Harry Potter + Game of Thrones + Hunger Games riiiiiight?    Plus, there's a cameo from Joanna Lumley which is sure to make you chuckle.

The story is not rocket science, and the fact that most people are somewhat familiar with the book already makes nothing a surprise. Some of the scenes are cut abruptly in places, but then you have to remember this is a film that's nearly 2 hours long. With author Moyes as the screenwriter, the script is pretty loyal to the novel, however one of the primary traumatic backbones of Lou's character from the novel is omitted. Without this, her character's fine and it would be hard to make it flow properly, but going from book to film it almost feels like something's missing - and not just because it is. Regardless, you can track the film by poignant moments, for example posh concert evening, wedding crashing, holiday... Its emotional climax packs a real tear-jerking punch and I challenge you not to reach for the tissues. Plus, we get to feel the highs and lows through the soundtrack featuring a predictable Ed Sheeran song choice, plus chilling Jack Garratt and a specially-penned track from Imagine Dragons.

The film doesn't ask you to agree with the way it handles sensitive topics, just like the novel, and it even voices a spectrum of views from characters. On the topic of disability, I believe the cast and crew spent a long time researching to depict it as respectfully as possible, but there have unsurprisingly been protests. The topic of euthanasia is one that I still remember well from childhood Religious Studies classes at school - it's one we tend to avoid in discussion, yet there are still some worthwhile questions left to be pondered.

At times, Me Before You feels a tad corny, or like a teenage film a la The Fault in Our Stars but that was a ruddy brilliant book/film so that ain't necessarily a bad thing. It's sprinkled with emotions, and it knows exactly what to do at the right times...conveniently the same times as allergies hit my tear ducts uncontrollably I swear... Underneath it all it's a love story where opposites attract. As a die-hard fan of the novel, I was more than satisfied with the adaptation. The characters and portrayals are worth emotionally investing in, but you may also need to invest in some tissues...

Me Before You is in cinemas now.




*Tear-jerker rating: 8/10. I sobbed like a baby, as did 80% of those around me. But it must be noted I went to see this with my friend Alex who didn't cry!?! Minus 2 points.

It's officially summer (I've been out in shorts and flip flops so it's official), and to mark this time of the year, I've been out in the sun reading. Excitingly, it's also the summer movie season so there's plenty to keep you occupied - if you're on your summer holidays you can do a book/film double whammy, or you can start reading the books if you're waiting for the film release. Here are my ones to watch (and read)...

Me Before You

Bridget Jones's Baby

The Legend of Tarzan

Harry Potter and the Cursed Child

Ok, so maybe you're one of the lucky ones with the golden ticket to see the play. This isn't technically a film (yet!), but J.K.Rowling will be releasing the script in print and digital anyway, so you can read the 8th and 9th installments of the wizarding world even if you haven't got your muggle hands on magical tickets. Harry Potter is much older and wiser now, struggling as an over-worked employee of the Ministry of Magic. It's a little weird to think the story actually continues past the drama of Deathly Hallows but let's face it, it's never really going to go away is it? You can pre-order your spell-binding copies now, available on 31st July 2016. 

The BFG

Aah, Roald Dahl! My childhood summers were spent going through the Dahl titles on my bookshelf again and again, and this summer I'm going to revisit it in time for the BFG film adaptation that's been in the works since I was a child! Get ready for a 3D experience with a perfectly-cast Mark Rylance as the titular character, with my buddy Steven Spielberg at the helm. It received rave reviews when it premiered at Cannes, and I'm looking forward to seeing newcomer Ruby Barnhill take on the role as Sophie (the girl we all wanted to be. Best mates with a giant? Yes please!). The BFG is released on 22nd July in the UK.

Alice Through the Looking-Glass

You can still catch the latest adventures of Alice in cinemas now. I was never a huge fan of 2010's Alice in Wonderland, and the sentiment continued for the sequel. However, it's visually very cool, kooky and slick, and the cast lineup is one of the most impressive of the summer: Johnny Depp, Helena Bonham-Carter, Anne Hathaway, Sacha Baron Cohen, Stephen Fry, and of course, the late great Alan Rickman. If that doesn't appeal, get your copies of Lewis Carroll's classics out and revisit one of the craziest adventures ever put down on paper.

The Girl on the Train

You can read Paula Hawkins's bestseller and bookmark the film's release date in October (not exactly a summer film, but a summer trailer?!). It's the book everyone was buzzing about last year, dubbed "the next Gone Girl". This is actually the most recent book I've bought (an impulse buy from Sainsbury's no less), which I then proceeded to read in about 4 hours as it is the epitome of a 'page-turner'. The film adaptation of this psychological thriller stars Emily Blunt as the main character Rachel Watson, but I was disappointed to hear that they've changed the location to upstate New York instead of the UK. The trailer still gives me goosebumps and I'm intrigued to see how they translate this into a cinematic page-turner.


There's a whole summer of blockbusters awaiting that I'm so excited to watch and review - Finding Dory, Independence Day 2, Star Trek 3, Ghostbusters, Jason Bourne, Suicide Squad, and let's not forget Sausage Party. It's going to be a busy next few months!

On Sunday night, Top Gear returned with a bang - and then a splutter of engines. Since Clarkson, Hammond and May departed from the most widely watched factual TV show in the world, the rather large boots to fill were filled by Chris Evans and Matt LeBlanc. Overall, many have been incredibly quick to judge and swear to never watch again - even though it is still early days, the very first impression was an impressive visual production but less than impressive start. 

I'm a Top Gear fan. Always have been and - touch wood - always will be.  It taught me so much about cars (or so I like to believe) and it pained me to see Jeremy Clarkson's behaviour last year get him booted off the show because things would never be the same again and a perfectly good show would be changed for good. But is the new stuff any good?

First things first...Top Gear should not be The Chris Evans Show. The guy has received non-stop media attention so without even realising it we're constantly drawn to whatever he's doing or saying, and it can feel like a show all about him. And it shouldn't be - the more attention placed on him, the more negative audience reactions, so it seems. Whereas Jeremy Clarkson's mahoosive ego was so mahoosive it worked but without crossing the line into The Jeremy Clarkson Show, Evans seems to be trying hard to assume that role and quite frankly I don't think his ego is big enough for that. It seems forced, and that's probably why all the first reviews have complained about him trying too hard to be Clarkson. And his voice! At times the announcements also sound a bit like a report from Economics News Editor Robert Peston (you'll know what I mean if you know him). Or the voiceover guy from The X Factor.

When he's not talking in a Clarkson-esque movie-trailer-man voice, Evans likes to run around like an excited puppy, waving his arms. That's cool because he's got the greatest job in the world and all...but watching it repeatedly throughout the hour does not make for fun viewing. It's also better suited to a Friday night entertainment show. I mean, the segment about "getting custody" over The Stig was a bit too loco and awkward. I kind of want future rival show The Grand Tour to have a tame racing driver called The Stag, with an exact replica with antlers on his helmet or something.



Evans and Stig are not alone in this re-launch: enter Matt LeBlanc. He may have been trying to shake off the 'Joey from Friends' stigma for the past decade and this may just be it. This, and Episodes, of course. His laidback nature translates wonderfully on-screen when he's more of a Driver On Camera rather than TV Presenter. The pre-recorded segments offer witty lines, American confusion at our British ways, and sarcasm that is able to rival Clarkson et al.'s finest moments. I don't think his studio participation is too bad either, and it's a nice contrast from Evans's excitable-ness.

However, for some reason, both make the scripts sound scripted. I know, I know, it's because it is a script. But there are probably ways to make it less scripty, ya'know? Also Chris Evans, unlike his Captain America namesake, is not a very good actor.

With Clarkson, Hammond and May it felt like three middle-aged best mates having the time of their lives, with unforced chemistry, hilarious natural banter and competitiveness. If we make those same comparisons here, it's not even worth comparing. That said (and I will keep saying it), it's only the first episode. Can someone maybe dig up Clarkson and Hammond's first ep from 2002?

Let's have a look at the bigger picture of the show; it is comprised of many little segments and challenges, with an overall similar format. We have lots of cars, lots of car testing, a revamped studio featuring a new walkway (perfect for Evans to run up and down it) but still with the audience participation, exotic locations such as Morocco, Stig laps, and fun segments such as having German driver Sabine Schmitz re-enacting Top Gun. Differences include having a rallycross car instead of the 'reasonably priced' one, and this also being a head-to-head featuring two guests with this week's being Gordon Ramsay and Jesse Eisenberg. These are good guests! It's not awful, and this is actually a clever change without changing too much. And it also means our leaderboard could get very interesting. (Clever BBC, you'll fill up that new board in half the time this way!)

I'm not quite sure what I was expecting, and I've purposely tried to avoid the pre-show hype and news stories. I don't think I was expecting something so similar, but even with that tried-and-tested formula I have to say it's missing *something*: that secret ingredient or chemistry or sparkle. It's not the same as it used to be and I need to get over it. Perhaps if the show had been completely revamped and brought back with a different name, critics would stop dubbing it 'Flop Gear'. In its defense, I do think we just need to get used to this new era, because we love Top Gear and we don't want it to die. It's also important to note that the old era was not without criticism. Peaks and troughs, people. Surely the only way is up!?

In the closing credits, their "next week" name-drops almost made it feel like a talk show, which is dangerous territory. And then there was an advert for "Extra Gear", an accompanying show on BBC Three. I know Three has gone online now, but does Top Gear really need a spin-off and do I want to watch it? Hmmm not really.

A few good things though, as it is so easy to focus on the negative. Some of the close-up slow-mo shots of dirt being flung towards camera are pretty cool. We could watch this in 3D on a wide-screen TV. I learnt new things about cars. Matt LeBlanc was a surprisingly well-cast addition and could even 'save' many initial perceptions; keep the sarcasm flowing. Chris Evans will be less excitable as the weeks go on. It was still an entertaining show; all the reports of 'extreme boredom' may be slightly exaggerated for effect. After all, it's still a show I'd sit and watch with the family on a Sunday night. It didn't quite crash and burn, and I'm sure lots of people tuned in to see what all the fuss was about, but I'm not sure how many formerly-loyal viewers will be digging into their wallets to shell out for Amazon Prime after that. I've got mixed feelings at the end of that first hour; we are a critical audience eager to pounce on any shortcomings, but what people are saying should definitely be listened to (eg. less pointing at the camera please!). It does the job, it doesn't wow. It's a really tough ask for Evans and LeBlanc to bring back a show that had Clarkson-May-Hammond embedded in its DNA. I'll keep on watching, just as I hope they keep on learning.