The poor UK has had a long wait for Finding Dory to make waves in cinemas, compared to the rest of the world that has already embraced Little Dory and the old and new gang. Add that to the 13 years we've already had since Finding Nemo, and you get Anticipation with a capital A. Given that I was of age-appropriate child age the first time round, I found myself in another Toy Story 3 scenario and sharing the cinema with 5 year olds screaming at the screen. Hashtag big kids. Dory's search to find her home and lost family was beautiful, nostalgic, familiar but nevertheless blissful.

I'm usually skeptical about long-awaited sequels (most recently in Jason Bourne), especially when I consider the original a worthy, wonderful standalone that shouldn't be potentially dampened by a less-than-par second act. On paper, the plot's a little far-fetched. Having said that, Dory the forgetful fish was such a captivating character that she's captivating enough to fill the very big shoes. That, and this is a story that makes logical sense and in director Andrew Stanton's words, "was the missing piece, emotionally, for the first movie." He's right that it fits nicely - perfectly - into the bigger picture and even though we would be perfectly happy without it, we're much happier for it. Have you ever wondered why Dory was on her own, lost at the start of Nemo? Where is she from? A big question is finally answered, even if you didn't ask the question. Dory takes centre screen but don't worry as Marlin and Nemo are never too far behind. A faultless Ellen DeGeneres, as animated as an animation, brings not only the character to life, but the film too.

The story isn't the most original, but it's poignant, charming and still a gigantic adventure. Dory's essentially trying to find her parents, and the main thing she has to battle this time is her fear of forgetting...and forgetting. Just watch little wide-eyed Dory with her "I suffer from short term memory loss" and her earlier flashbacks, and you're hooked. Little Dory is so darn cute. One of the main differences is the setting, where crossing the ocean is a hop, skip and jump away, and the real navigation is around a seaworld in California. I'm glad they did this; the last thing we want is a carbon copy and this felt exciting and distanced enough to have a sense of newness. It's a very smart, self-aware sequel, with a constant pace that never ever has you bored or not feeling some kind of emotion. Imagine a rollercoaster but in the ocean.

There's an ensemble cast creating creatures big and small, with faces old and new - I've never felt the fish friendship more. Nemo and Marlin are back, with Nemo one year older and wiser and cuter (they grow up so fast don't they!?) and Marlin still the protective father. Their chemistry with Dory remains sharp and sweet. They're not the only cool kids around though...there's Diane Keaton and Eugene Levy as Dory's loving parents (clue: they're not the cruel abandoning type, but they do have extraordinarily 'regular' names, given the exotic-ness of Dory, Nemo etc.), Hank the moody octopus (Ed O'Neill) who can camouflage and swing from object to object- but he's missing a tentacle so he's a septopus,  Destiny the whale (Dory can speak whale, can't she?), plus sea lions, Becky the common loon bird and OMG THE OTTERS. I want a plush toy otter to cuddle up with and yes I'm in my twenties and what? You'll also find a great form of cameo from Sigourney Weaver because she's just awesome, and some much-loved, familiar faces. Somehow, an endless cast list is translated effortlessly into fantastic characters. Even if they don't have that much screen time. Dory herself is very Dory (used as a noun and adjective a fair amount), yet that can lead to magical mayhem. The memory loss lines are sometimes a tad exhausting and repetitive and spelled out...but what can you expect from a forgetful fish? Moments where her memory prevails are touching moments.

The beautiful ocean is an unforgettable view, and it's nice to see the little hints of animation advancement in this past decade. Every scene is a picture you're drawn to, and possibly take for granted. There's also a great scene where we get to see Dory's crazy perspective - I pretty much felt like Dory was real and had been fitted with an on-gill GoPro or something. One of the final big scenes is also something quite spectacular that I won't forget in a hurry.

Never take a Disney Pixar film as skin deep. This is ocean deep, waheeeyyy. Familial bonds and loyalty are a given, given the first film. There's also compassion, chance and fate, vulnerability, feeling lost not in the physical sense, with all of these hitting home - literally. Additionally, Dory's short term memory loss is actually a bit traumatic, and there's careful parallels to other disabilities that you wouldn't initially expect in a cartoon about fish. Not just with Dory, but also with other characters too. In fact, I came across this great blog post that explains it much better than I can.

Much like its predecessor, Finding Nemo was completely guilty...of making me cry. It pulls at the heartstrings and the family feels. She's felt like something has always been missing, and Dory is compelled to find it. I'm talking about her family, and perhaps Dory will find herself too, because Disney Pixar are deep and excellent at breaking down the barriers of simple animated entertainment. And through watching it, I now realise there's something missing from Finding Nemo too and that its been brilliantly filled by Finding Dory. I enjoyed the first more (it's simply iconic), but I'll create a new place in my life for this, even if it never reaches the same timeless level. There are fewer catchphrases and memorable one-liners (a la "Fish are friends, not food) but maybe I've missed something; time will tell. Yes, fish are lost and found so many times we kind of expect the plot trajectory now, but there's still ripples of imagination in the water, plus hilariously lovable new and welcome characters like Hank. Also let it be noted that I nearly cried/howled with laughter during a particular otter scene. Warm, charming and really, really funny, this is a crafted film that delights children and adults alike. It's definitely a journey to remember.

Finding Dory is in cinemas now. PS. Wait til the very end for a post-credits treat. None of the kids did, and we were alone in an empty cinema by the end, so don't miss out.

In a summer of film resurrections (Independence Day, Finding Fish etc.), one of the standouts on my list was Jason Bourne. But, like others in its field, it's not exactly the most necessary of sequels. It's a reunion with Matt Damon and director Paul Greengrass teaming up again, but not quite as good as the "original" - even if it does offer a fresh perspective and new (or rather, old and incumbent) issues. Both have previously stated that the Bourne story was complete after the events of The Bourne Ultimatum, but if you've ever sneakily thought, "Ah I wonder what would have happened next, that wasn't The Bourne Legacy" then here you have it. A fifth installment in the series that shows just what a force of a series it's been. The next chapter even if you didn't actually want it written. We're spoiled by Greengrass's recognisable high-speed editing and high-octane thrilling action sequences, but with a modern-day update, a few variations and another passable excuse/layer to the backstory to allow for such a sequel. It's no longer about regaining his memory, but about uncovering more of the story.

It's been a good few years since Ultimatum, but Bourne shows us by whipping his top off within the first few minutes that he's still in prime shape and ready for this film. Hint: he's ripped. He also still knows every single road on a map off by heart, shortcuts included. He's still got that tortured, angry but lost look. And he's still resourceful - having mastered hand-to-hand combat with a biro, we've now got breaking off chair legs as the latest DIY weapon. We repeatedly hear "you don't know who you're dealing with" (uh, yeah we do cos we've seen 3 films of it), and everyone in the paranoid CIA seems to think Bourne is still a huge threat. Truth is, he's been getting by all these years in European street fights and exposing the CIA's naughty list isn't exactly high up with the priorities. Anyway, the storyline rests on a new revelation uncovered by former ally Nicky Parsons (Julia Stiles) involving not only Bourne's past, but his family too. His former life as a super covert black ops assassin in the top secret Treadstone programme was murkier than he realised, and even though it was all exposed, it never really goes away does it? Enter Ironhand, even though it ends up playing a backseat role. And let's face it, the new questions will never quite compare to the fundamental "who the heck am I!?" in the first three films.

Bourne may be good, but when watching the original trilogy, I was always sure he was in control, and that he knew exactly what to do, when to do it etc. This time round, I wasn't so sure. Sure, he still walks with purpose, however he's lost the sense of purpose that drove his actions so strongly and defined his identity. He's shaky, vulnerable in his own way, for example not being able to avoid surveillance as flawlessly as he used to. With Alicia Vikander's character Heather Lee we see a younger, ambitious and tech-savvy worker who knows exactly what she wants and how to get there, and is sneaky in a less obvious way. She offers a new Bourne dynamic and interaction with a new character. And he doesn't usually like to socially interact with humans. She's different to Tommy Lee Jones's Robert Dewey, who is totally reminiscent of the previous CIA Directors - except he's creepier. Oh, and there's also a token evil assassin asset whose name is most likely Asset. He's a fan of rooftop views, and is so dedicated (read: obsessed) to the cause he changed it legally and everything.

Jason Bourne jetsets around the world, more so than ever - Berlin, Reykjavik, Rome, London, Athens, and more - culminating in a less than glamorous Las Vegas showdown. It all seems rather familiar, especially with the dizzying fight scenes and numerous car chases, all impressive except now we've fully entered the Digital Age. Social media and technology is a big thing in this - we're treated to a Mark Zuckerbeg-esque entrepreneur (Riz Ahmed's Aaron Kallor), we have social listening and CCTV surveillance, plus several Snowden references. The big thing is big data, quickly becoming as big a trend on screen as it is in real life. (Privacy = freedom - do you agree?) As Heather Lee will tell you: it's a new generation now. This is a character who can erase a computer drive via a nearby mobile phone. This is a film with all the millennial references; but is Bourne still relevant? Yeah, I think so. The proof is somewhere in the 2 hours running time.

A few other things I noticed during the film...you could probably fit all of Bourne's spoken lines on a side of A4. He's always been a silent deadly type though, and it's not obvious as he makes up for it with scowls and steely purposeful looks. Also, apparently CIA Directors are now good keynote speakers for Vegas tech conventions. Who knew?

I can barely remember the events of The Bourne Legacy (unless I re-read exactly what I wrote about it 4 years ago). I'm afraid the events of Jason Bourne will go down in history in a similar way. It's not a bad film by any merit, and I'm more than thrilled he returned; the thrill's there, some elements are bigger and more explosive too. Bourne is back, and he's more than welcome. Hey, there's even a new window and a teeny tiny possibility he'll be back for (even) more. But this time, the plot is less compelling and if you're not really engaged in the story and especially if you haven't watched the trilogy, it will seem dragged out. It's a resurface after 9 years, one that packs a punch but with less impact than we're used to, even if Matt Damon still excels in every scene. It sits nicely within the franchise, but it also sits away from when the franchise peaked. I'm such a big fan I'll always be up for some more Bourne action, but I think we're good for now.

Jason Bourne is in cinemas now.

In 1984, a film by the name of Ghostbusters made a big splash - there were ghosts in New York City and everything, and a little symbol with a cute ghost barred by a no-entry sign became iconic. Fast forward over 30 years, and the ghosts are back in a new movie universe. It's the same, but different. Yep, the busters are girls too. OMG. For whatever reason, there's been a LOT of controversy surrounding this reboot. I'm going to go out on a limb and say it's actually an OK film. I know - controversial or what!? It's fun and enjoyable, but not long-lasting. It's funny, but not groundbreaking. If anything, people are going to remember this one for all the wrong reasons.

In a modern-day New York, eerie blue and green ghosts are being let back into the city, opening the floodgates to the apocalypse. Luckily, there are people you can call for these things. Sound familiar? That's right, the reboot doesn't ever stray too far from the original.  It's a cool enough standalone movie, but it undoubtedly lives in the shadow of its ancestor, which proudly holds a deserved "cult classic" stamp. This one, indeed, has the stamp of approval of Ivan Reitman and Dan Aykroyd behind the original story. Director Paul Heig takes the helm, and the new-crew kicks off with Kristen Wiig and Melissa McCarthy teaming up once again as scientists, former high-school buddies, and believers in the paranormal. It's no Conjuring stuff though; there are some textbook scenes to make you jump, but everything else is pretty tame. (That's not a bad thing for me though - have you ever wondered why I never review horror movies!?)

After a barely-there storyline involving a wacky co-authored book on Amazon, Dr Erin Gilbert (Wiig) and Dr Abby Yates (McCarthy) are brought back together, in a twist of fate that leads them to their first ghost. Cue group bonding, science stuff, and ghost weapons - or should I say proton containment lasers. The group is completed by fellow Saturday Night Live familiar faces - eccentric engineer Dr Jillian Holtzmann (Kate McKinnon) and Metro worker/first client Patty Tolan (Leslie Jones). Throw in very self-aware and mocking dumb receptionist Kevin, played by an on-point Chris Hemsworth (he has a dog called "my cat" - no wait it's "Mike Hat"), who provides even more comic relief. I mean, the whole affair is pretty funny, even if some of the lines are obvious. It made me laugh on more than a few occasions, so you can tick the box of "humour" even if you can't find many other boxes to tick. Meanwhile, the team are energetic and likeable with good chemistry, but it does feel like something we've seen before. Because we have. Considering Paul Feig's the director from Spy, Bridesmaids and The Heat, it's no real surprise that Melissa McCarthy is very...McCarthy. Ditto Wiig. However, Kate McKinnon, who is a relative newcomer (I was thinking Elizabeth Banks at first!) is a multiple scene-stealer in my opinion. There's little forced expectation and spotlight on her so it allows her quirky gadgetsmaster character to catch you off-guard a bit.

Before we dip our toes in the controversies, one of the things I wasn't mad about was the graphics. We're in the 21st century, in a post-Avatar age of effects. The special effects are not all that at all, they're very Haunted Mansion-esque in fact. I don't think I was expecting fireworks in every frame, but this cheapens the look and feel of it in a way that's probably counter-productive. It's supposed to be scarier (at least it was billed to be), and people have criticised for not talking it seriously - I guess that statement applies to more than just the graphics.

It seems people are angry about Leslie Jones's character. It seems people are angry about the all-female cast. It also seems people are angry that the critics' view is vastly differing from that of the general audience. Like many other "official" things, it's not representative. I even saw comments like "watching it was worse than being waterboarded". A little extreme there. As a film blogger and not professional critic, I like to think I'm usually coming from an audience-centric approach...and for the record, I did like this film! (No, I'm not being paid. Yes, this is my freedom of speech and no, please don't send me hate mail.) I don't think it should matter that this is an all-female cast, and in fact, it barely crossed my mind when I was watching it. But then again, the main difference and apparent reason for doing this version. It's not striking enough in any other area to warrant the remake. Truth is, I don't think it needed a remake, and I definitely don't think people wanted one. If you were expecting something, you'll probably be disappointed. If you were expecting to hate it, you'll probably view it with a lens that'll make you hate it.

It's kind of like a tribute band - not nearly as good as the original although there are some nice moments of nostalgia. The cameos are great, the catchphrases aren't subtle. There are also obligatory 21st century references like Reddit, Amazon, going viral and a few others dotted about. It is formulaic and very safe and also obvious - there's nothing there that surprised me much (except maybe McKinnon's naturally awesome antics), no spectacular twists or turns... The plot is also very straightforward, with the typical underdog, overlooked villain who wants to take revenge by destroying the world. If the film were a rollercoaster, it'd be pretty flat as you always know what's coming next. Having said all that, it's only because of its nature as a reboot that all of this matters so much. Take the film as it is, and it's still an entertaining watch.

They reportedly poured a lot of money into marketing, evident as I ran across Waterloo station, stopping to pose with the giant Marshmallow Puft Man. It looks like it needs the extra marketing help, although I really don't think it deserves all the stick. They made a decent, funny movie. The added girl-power is a plus. It pays a lot of attention to the legacy. It hasn't lost the Ghostbusters essence and it most certainly isn't a disaster. The cast are in their element and even though the ghost effects are more than questionable, they wreak havoc across the city and you get mass mayhem. If this is the start of a completely new chapter, there'll be a lot to re-evaluate I'm sure. But as long as everyone moves on - and I mean everyone including the writers and the audience - there should be nothing to be afraid of.

PS. Make sure you stay during the credits for a few more cameos, plus 5 minutes of Chris Hemsworth dancing. He's a great dancer.

Ghostbusters is in cinemas now.



(For the record I watched the film without having watched the trailer and after watching it post-film I will say it isn't a very good accurate representation of it. I didn't cringe that much, and I genuinely laughed out loud at all the jokes in context. So yeah, don't judge it so much on the trailer.)

We've got Dory, about to cross the shores into the UK cinemas at the end of this month (it's been doing swimmingly well everywhere so far), the huge Spielberg adaptation of The BFG, the eagerly-anticipated return of Jason Bourne, Suicide Squad, Pete's Dragon, and so much more. Firstly, a side-note on the term "eagerly-anticipated" - it's such a press/journalistic term and I use it a lot - but it doesn't even BEGIN to sum up how I'm feeling about all these summer releases!

Leicester Square's been permanently buzzing with the red carpet arrivals of these superstars (I'm talking about the films, not the celebs) - just the other day I was walking by, and Ellen DeGeneres was just there in front of me for Finding Dory. 

To gear up for hiding from the heat in the comforts of a cinema, here are some previews, interviews and exclusive clips from some of my most eagerly-anticipated film arrivals.

The BFG

It's not just the film I'm excited about too - to celebrate the film launch, 100 years since the birth of Roald Dahl, and to celebrate the power of dreams (yes really), a Dream Jar Trail has been commissioned across London. In particular, it's raising money and awareness for Save the Children so it's a very worthy cause. What is the Dream Jar Trail? I hear you cry. It's the dreams of icons like director Steven Spielberg, Professor Stephen Hawking, Dame Helen Mirren, Simon Cowell, Niall Horan, and lo-o-ads more, being brought to life through art installations which you can find around the city. You can find out more about it here, and it's going on til the end of August so would definitely make a fun day out for all the family, or simply if you want to londer. ('Londer' is a word I invented for wandering around London but we can come back to that another day.)

Finding Dory

Jason Bourne

Suicide Squad

The hype has been building up for such a long time now. You're looking at a group of anti-heroes, possibly the worst-equipped to fight crime. But that's where it gets interesting. The word "super" applies but they're no heroes; Margot Robbie will tell you that alright. Throw in a mix of Will Smith, Jared Leto, Cara Delevingne and more, and you have a DC film that will hopefully be miles better than Batman v. Superman earlier this year.

Pete's Dragon

In light of 4th July, and many other types of Independence Day recently, Independence Day: Resurgence sure strikes a chord. Again. Twenty years after the epic sci-fi original, producers thought it was time for another installment, and so we're treated to yet another epic sci-fi - this time a lot less original but telling the tale of the alien race coming back with a vengeance. For many, Independence Day was a modern day classic, one of the biggest Hollywood blockbusters around. Resurgence does not emulate these standards but it's an entertaining big budget sequel nonetheless. It follows the Star Wars/Jurassic Park trend in lying low and coming back, but this real-time return makes logical sense.

From first glance, we're missing Will Smith. A majority of the cast return, plus newcomers in the form of Liam Hemsworth as brilliant but slightly reckless pilot Jake Morrison (kind of filling in Smith's shoes), an adult Dylan, no longer a wide-eyed baby faced kid (Jessie Usher) and older Patricia Whitmore (Maika Monroe). From many further glances, we're really missing Will Smith, who brought that much needed and hard-to-replace comedic element. Those are big boots to fill (apparently he had scheduling conflicts), and his absence is noted as his character Steven Hiller dies a war hero before the film begins. But enough about that - the film goes on, and in the meantime, the invasion has had huge implications right around the world. Many, including Morrison, have been left orphaned, and there's now an Earth Space Defense team (ESD) looking for early ET warnings, directed by Jeff Goldblum's brilliant David Levinson. It's so good to see him again, plus he's basically not aged at all in 20 years. Former President Whitmore, haunted by the previous events, is convinced the aliens are coming back, and he's on the money. They're not just invading, they're harvesting!

Saving the planet pt 2 awaits! It's called Resurgence for a reason, and the key here lies in a cryptic circle marking, and a Queen Alien. It's not rocket science, but it's a layered plot allowing all the different characters to unite together. It's a valiant team effort, there are no nonsense hidden character twists, just the straight up squad. Original generation fuses effortlessly with the next generation; there's a fantastic sense of nostalgia, but destruction is on a larger scale this time. London gets hit - again. Someone give this city a break?

Hemsworth is a true Hollywood action star now, and he's a real natural hero to watch. The cast are splendid, and one of my favourite characters is Morrison's best bud Charlie, played by Travis Tope. He plays a more entertaining sidekick than Dylan, but he's understandably a more solemn type. I'm a big fan of the girl power in this film, with tough characters including a female President, who don't even seem like token female heroes. The addition of warlord Dikembe (Deobia Oparei) is entertaining and probably underrated, and you'll also recognise Joey King and Charlotte Gainsbourg amongst new characters. In other news, there are certain characters who are a tad throwaway, and predictably so.

Before you can rip into the plot, just remember that the predecessor's plot was just as far-fetched. It's gloriously over the top, and that's perfectly ok. The fighter plane sequences are nearly reminiscent of Star Wars, and reminded me a little of Guardians of the Galaxy too. The CGI is great, though at times a little overdone, switching from big alien visuals to space life to global destruction. I'd go back to the London scene as an example, but it's too painful.

Independence Day: Resurgence is a film for the fans, which will hopefully please them even if we're all still devastated Will Smith's cheeky chappy man is actually dead. I'm not sure how much it resonates if you haven't seen the first film, but really you only need to see one (and pick the first, always). Director Roland Emmerich is on fine form even if the film is simply not quite capable of being as remarkable and smashingly (literally) superb as Independence Day. It wasn't a sequel we really felt we needed, but it's an appropriate continuation. And with a potential third film in the works, it sets up an Independence Day trilogy very nicely.

Independence Day: Resurgence is in cinemas now.