The galaxy's band of marvelous misfits are back in this exhilarating and somewhat formulaic-but-funfilled sequel. Gags, laugh-out-loud one liners and obligatory Marvel twist(s) included. If you can get past all the pointless parts, it's a feel-good space spectacular that you can heartily enjoy from start to finish.  And you get a SUPER ADORABLE CRAZY CUTE bonus in the form of a super adorable crazy cute Baby Groot - you will be rooting for the cutest Marvel character ever created. Guaranteed.

James Gunn is back in the Writer and Director's chair after a stellar Guardians of the Galaxy in 2014, which was loved by critics and audiences alike. It was the cheekier, younger space brother of the Marvel 'Phase One' films led by an extremely likeable Chris Pratt. If you've read any stories about Guardians 2 you'll know it doesn't stray too wildly from the comfortable chaos of the first. Hopefully you'll love it just as much. They still bicker, they still save galaxies and kick butt, plus there are different jokes but in the same vein (including an extended laugh about the name Taserface, and Peter Quill's breakdown of TV ratings).

The first film shed little light on orphan Quill's familial background and now we find out why. Quill discovers his long lost father is none other than Kurt Russell - or, rather, a god with a small 'g' called Ego with the ego the size of a planet. Who names their child 'Ego' anyway? Daddy's a Celestial, able to build and become *stuff* and now he wants to reunite with his son. The daddy issues are all over the film, but where will it lead? (Fun fact: Peter Quill used to pretend David Hasselhoff was his dad. N'aw.) At the same time, the gang are being hunted by these immaculate golden people who are too perfect to actually step foot in a spaceship and do it all virtually from their arcade. All because Rocket stole a bunch of batteries. They're hardly a scary threat, and I'm still a tad confused at their overall purpose in the first place. Oh, and there's also another side plot with the Ravagers. You can see why there's a common criticism lurking about on Guardians's lack of focus.

Other new characters include the empathic Mantis (Pom Klementieff), who can feel and manipulate emotions. I feel like she never really breaks through into the gang, except for providing light comic relief that's more pitying and makes you feel mean for laughing. And of course, there's the existing gang who continue to play to their strengths (eg. Rocket blowing stuff up and Drax with his one-liners). Yondu and his head fin and magic whistle dart also has a bigger role in this film, and we get to see more of Nebula and her backstory too. We all thought they might make Nebula an easy choice for Villain No.2 but there's more to her than Karen Gillan's troubled squints/stares.

Let's take some time to talk about that frickin' adorable Baby Groot. Whilst he could easily slip into the background in the first film, he's now the talk of town with his big doe-eyes and love for dancing as evidenced in the opening scene. And seeing the other Guardians parent him is oh so sweet. (I'm only half-convinced that Vin Diesel is actually Groot - he possibly sits in a vocal booth for an hour and walks out $1 million richer.) Props to the team for this genius idea; when we thought we'd lost Groot forever, turns out they had a new and improved plan all this time.


The highlights of the film - excluding ma hometree Groot - include the fantastic visuals and brave scenes (a slow-mo jump through space that will make your face do things even Snapchat filters cannot), the script that just keeps giving, and of course the music. The first soundtrack became my motivational playlist, and the second Awesome Mix references Fleetwood Mac, a lotta Sam Cooke, Cat Stevens and Electric Light Orchestra's Mr Blue Sky which I reckon is one of the best songs ever produced. Chris Pratt is another highlight, even though I imagine Peter Quill is Chris Pratt so if you think about it that's quite rubbish acting...

Guardians of the Galaxy Vol. 2 had a tough job from the start to replicate the freshness of Vol 1 whilst remaining fresh. The expectations were high but as long as you don't compare the two like for like, you shouldn't be disappointed. There is some sort of overarching unfocused plot throughout Guardians Vol 2. but ultimately it is all about family. Literal blood relative, adoptive, surrogate, or the dysfunctional family of former mercenaries...it's neatly wrapped up in a space superhero movie. Bar some unexpected cameos, it's pretty much what you'd expect...in the most entertaining way possible.

Guardians of the Galaxy Vol. 2 is in cinemas now.

Did you know?

If you're wondering why Kraglin (Yondu's second in command) looked so familiar, it's because he's Sean Gunn aka Kirk in Gilmore Girls! It took me forever to work it out, and he's also the younger brother of director James Gunn.

There are loads of post-credits scenes so stay til the very end - even after the lights come back on. One of them features a Miley Cyrus voice cameo, apparently.

Waiting for the next installment already? Avengers: Infinity War is released in 2018 and features all the Avengers, plus Doctor Strange and Spiderman, plus all the Guardians. Phwoaaar what a lineup. They're forming a super-super-team to take down Thanos.

Looking for a boost of British morale? Look no further than Their Finest, starring Gemma Arterton and Sam Claflin, for a dose of charm and drama. There's a whole host of bonus big British names like Bill Nighy, Richard E. Grant and Helen McCrory too. It's a charming film with a fun film-within-a-film during the Second World War Blitz. With Arterton and Claflin's finest acting on show, and a superb turn from Nighy, it's sure to raise your spirits. 

Scriptwriter Catrin Cole (Arterton) finds herself employed by the Ministry of Information (not Magic, sorry) to help write a script that will bring hope to a nation at war. She's hired to add a woman's touch, which in turn leads to the finding of a woman's voice. Despite the slightly off-key Welsh accent, she's absolutely a character to root for as she navigates the scriptwriting process and filming. Some have billed this as a rom-com, as Sam Claflin plays handsome but sometimes condescending co-writer Tom Buckley and there's a decent amount of chemistry. Problem is, she's married - gasp! Fear not, it's actually not that kind of film and "rom-com" is a misleading label. There's a load of drama and, given it's set in the middle of a terrible war, it's not a smooth journey. I'm less a fan of the romantic side of it since it feels like a slightly disjointed addition to the film.

Let's talk about that film-within-a-film. It's a Dunkirk rescue mission (inspired by a true-ish story) led by two local girls who become accidental heroes. But naturally, a drunk uncle character is needed - enter Bill Nighy as has-been actor Ambrose Hilliard and drunk Uncle Frank. Hilliard is hilarious, but it's Nighy who shines and steals every scene he steps into with his rockstar persona - you shouldn't like him at all but Nighy makes it tricky to comply. A behind-the-scenes look at the film industry is also fascinating, with Director Lone Scherfig unafraid to poke fun at actors and also show home truths (such as the everyday sexism and political drivers), even if they are exaggerated for comedic effect. We get to see snippets of this film and it's so bad that it's good. Thankfully the real deal film is much better. After all, Buckley tells us "film is real life without the boring parts."

Their Finest isn't always 100% believable but what is most authentic is the journey of Catrin Cole. There's one scene where her husband Ellis (played by Jack Huston) is trying to persuade her to leave London because he can't look after her financially, and she places a great big lump of money on the table and calls it "rent". She's talented and determined, and watching her find her purpose is a revelation. Gemma Arterton shows us all the emotions she can muster in an understated sort of way and it's hard to imagine any other actress playing the role. Even an actual Welsh one. Sam Claflin is also a solid bet too, adding depth to his performance even if his character could do with more of it (depth).

My main critique is when Their Finest officially takes on too much and also taking too much time. At nearly two hours long, it waits until towards the end where the entire story seems to confusingly flip to another one, and suddenly "The End" could well be another four hours down the line. It loses smoothness and clarity. Is it a drama? A romance? A comedy? A war drama? It's possible to produce a well-rounded, jam-packed movie, but unfortunately Their Finest falls short at executing it well. Even if it means very well.

Bar the weird (but actually quite full-circle) ending, Their Finest is a wise and wisecracking film that should uplift you even if there are some tears along the way. It's not just a girl-meets-boy story and romance - it's got far too much substance. It tackles feminist issues head-on and don't forget that Bill Nighy performing ridiculous vocal warm-ups is itself a pretty compelling reason to buy the cinema ticket.

*Shoutout to the FDA for the invite!*
Their Finest is in cinemas now.

Letters from Baghdad is a new documentary centred on Gertrude Bell, whom you may not have heard of, but she was actually a woman of history and great importance. A British adventurer, archaeologist and political powerhouse, she helped shape modern Middle East in the 1900s, particularly drawing out the boundaries of modern-day Iraq. Pairing the narration by Tilda Swinton (who also serves as Executive Producer) with Bell's own letters and archival footage, this is a fascinating look at a history that is very current indeed.

It's interesting that this documentary has been made for the big screen - and not just for TV on a Sunday evening. It allows for an hour and a half of letters worth to be narrated and depicted, but from the off it's missing expert commentary that could make more sense of its historical context and also link it directly to affairs today. Instead, maybe the choice of cinematic production purposely moves it away from 'another TV documentary' feel. There's also the use of actors recreating the opinions of other historical figures such as author Vita Sackville-West, by posing in an interview set-up that makes it feel like an educational short film at a museum.

As usual, Tilda Swinton is great but that's hardly surprising. We're brought into the adventures of Bell in her own words, and what works really well is how it has been produced and put together with never-seen-before reels. For me, it's an insightful part of history I wouldn't have otherwise known much about. Perhaps it can serve as a starting point to go on to research more, especially as the political nature is addressed, but not developed; Bell was right when she said "it's the end of the order we're accustomed to."

"If you don't mind, I'd rather do this than be in London. It's more worthwhile on the whole..." And what a fascinating woman Gertrude Margaret Lowthian Bell was. It's worth noting there has already been a film adaptation of her life (2015's Queen of the Desert) with Nicole Kidman starring as Bell and a supporting cast of James Franco, Damian Lewis and Robert Pattinson. Even that wasn't enough to save it from negative reviews so Letters from Baghdad will probably fare much better. But maybe we'll have to wait some more for a Gertrude Bell film that will go down in history.

Letters from Baghdad is in UK cinemas from 21st April.

Get ready for an Amazonian adventure of a lifetime. If your name is Percy Fawcett, you'll be so hooked you'll go back again and again. If your name is Everybody Else, you'll get to experience two and a half hours of the epic (and true) journey. Directed by James Gray and featuring the likes of Charlie Hunnam, Sienna Miller, Robert Pattinson and Tom Holland, this is one not to be missed on the big screen. 

Fun fact: when you Google search 'Amazon', the first results page is somehow entirely dedicated to Jeff Bezos's global online giant Amazon. But long before online shopping and Google Maps and SatNav, 'Amazon' referred to a giant rainforest in South America. (It's still a thing, Google!). It was vastly undiscovered, unmapped, and full of legend and mystery. Enter Percy Fawcett, a military captain whose chance to prove himself by leading an expedition in turn led to his obsession with finding a lost city...called 'Z'. After finding evidence pointing to an unknown ancient civilisation, he made it his mission to discover it.

Taking place over approximately 20 years, the first thing to note about The Lost City of Z is the sheer scope of it. It's a very English period drama, it's a trek through the murky rivers of the Amazon with tribal encounters, it even somehow crams in war scenes from World War One. What is this film!? The result is a longer-than-long running time but each setting is vastly different and impressive, with no compromise on quality. The scenes of family life are often just as compelling as those in South America, whilst those in turn act as a liberating break from societal standards during the age of the British Empire. It's no fast-paced Indiana Jones adventure, but it has all the raw ingredients from a real-life jungle drama, as Fawcett ditches his loved ones to go and explore, and when he's out there he's facing piranhas, cannibals, sneaky survival tactics and other deadly dangers.

Benedict Cumberbatch apparently signed onto the role during the earlier stages, but it's Charlie Hunnam (not Brad Pitt FYI) who takes on the mahoosive Amazonian challenge. He's famous for Sons of Anarchy, Pacific Rim and very nearly playing the role of Christian Grey, but it's The Lost City of Z that gives him a lot of Leading Man Time for a brand new audience. He commands attention, speaking slowly and carefully, much like how he treads through the lush but mysterious green leaves of the jungle. Credit to Hunnam (not Tom Hardy, either) for delivering wisdom and managing to portray a fascinating character we totally root for, even if he is reckless and arrogant at times. The film presents him as an honourable hero, fair and fearless; a man people can relate to even if his story seems like the stuff of legends. However, and this isn't Hunnam's fault or maybe it is, I didn't feel the full extent of an adventurous spirit came across. Instead, it's more like he is easily riled and spurred on by others. The 'journey to self-discovery' becomes intermingled with the journey to find this lost city, and soon you can't have one without the other.

Charlie Hunnam may be good, but it's a great Sienna Miller who steals the show as Fawcett's wife Nina. They're both shown to be different to their peers at the time - Nina represents a triumph for women and a strong role model. Utterly loyal and patient, she's also refreshingly independent and integral to the plot. From the start, she's complaining about wearing a corset (woo!) and there's even a bit where she wishes to accompany her husband on his travels, but oh no - she can't cos she's a woman (boo!). Miller is a British icon who isn't always first known for her acting, but this role could be the performance of her career and firmly marks her as one of the best British actresses around. Other noteworthy performances are given by an unrecognisable beardy Robert Pattinson as loyal companion Corporal Henry Costin who gets all the cool dry one-liners, and Tom Holland as neglected son Jack who goes from public enemy number one to number one fan in the biggest U-turn since last week's Budget...

Have I mentioned that this is a lengthy film? Nope? The editing is good, though not perfect as it gets a little choppy (with big leaps through time even though Hunnam barely ages).  My biggest critique is its often slow pace, but the pace does pick up during confrontations and attacks. Watch out for the gripping river scenes - and one which involves singing. Yepp. The cinematography is awesome, immersing you in the depths of uncharted land and it's really cinematic so you should really check it out at a cinema.

The story has been passed down through tribes and historians, eventually taking the form of David Grann's bestselling book The Lost City of Z. At a StudioCanal screening with an expert panel discussion, Grann spoke of how Fawcett was ahead of his time, a pioneer for adventurers today, and how if he were alive today he'd be into Anthropology. The interactions with the indigenous tribes (cruelly labelled 'savages' in England) are some of the highlights. I won't reveal any spoilers (I managed to avoid reading up on history before watching it and I'm glad), but it is a bittersweet journey and not a scripted success where the Lost City of Z is found on the last attempt and everyone rejoices. The last act, which feels like it's the start of a new film,  is beautifully put together and a well-crafted conclusion, if you can call it a conclusion.

I'd never heard of Percy Fawcett before watching The Lost City of Z, so this was, for me, a piece of lost history. I feel enlightened now that I've found it.

An enchanting rendition that's very faithful to its original source, Beauty and the Beast is a musical, visually-pleasing crowd-pleaser that will give you all the warm fuzzy feels. Emma Watson and Dan Stevens lead the live-action cast, whilst the likes of Sir Ian McKellen, Ewan McGregor and Emma Thompson get the animated treatment.

Is it bad that I watched James Corden's Crosswalk the Musical version before I'd even seen the new cinema release? Both versions had me wanting to join in song and dance, so that must be good riiiight? One, however, was vastly different to the 1991 version: the one that's 10 minutes involving Corden in a bright yellow dress. Bill Condon's 129 minute production is a remake of the cartoon whereby it's pretty much the same. Bar the 'real people', and a few extras of course. Not that this is a bad thing, because we're treated to a delicious feast of everything we loved the first time round and it's satisfying.

You know the story: beautiful small town girl Belle falls in love with the cursed Beast. He keeps her as his prisoner in his enchanted castle and his ugly exterior begins to melt away as they get to know each other and stuff. Hmm, so you're falling for the guy who's kept you captive...? To their credit, the chemistry is there and Dan Stevens does, through the makeup and visual effects, eventually show the charm of the furry 'monster', particularly when he smiles that smile. The development of this unusual relationship feels natural too. (Speaking of the Beast, his name is still a mystery. Whereas Prince Charming receives the fine name of Kit, we're told not to call Beast 'Beast' even though there's no alternative. Even X-Men's Beast is Dr Hank McCoy by day. I digress...)

Emma Watson is a graceful and defiant heroine and a safe fit for the role of Belle, even it felt restrained (and a bit tooo safe) at times. It also wouldn't be Beauty and the Beast without the magic household objects - the former castle residents add buckets of charm and energy. Sure, Ewan McGregor's French accent is...questionable...but he pours so much light into candelabra Lumiere that we can forgive him. If candles could have jazz hands... Sir Ian McKellen is also perfect casting for Cogsworth, as is Emma Thompson as Mrs Potts. She knows everything can be fixed with a cuppa. I've got to say, however, my standouts were perfect Luke Evans as slimy, arrogant Gaston and Josh Gad swapping his Disney Olaf boots to LeFou. The Gad-related headlines and ruckus over Disney's "first openly gay character" have essentially created loads of buzz over nothing - it's a vaguely subtle hint at best.

The 3 new songs are hardly the main selling point for the cinema ticket, but it's the music that captivated worldwide audiences once upon a time that brings this to life again. Magnificent musical numbers are set in the little village, starting with 'Belle', the funny 'Gaston' and the highlight and completely over-the-top 'Be Our Guest'. New addition 'How Does a Moment Last Forever' (first sung by Kevin Kline then Celine Dion) manages to capture the essence of the original soundtrack, whilst 'Beauty and the Beast' is spine-tingling iconic. The cast may not be known first for their vocal ranges, yet they all hold their own. Emma Watson's singing voice is sweet and lovely, but it has noticeably had a few rounds through the autotune machine. It's Luke Evans, however, who impresses all round - did you know he started out on stage in the West End in productions like Rent and Miss Saigon? It shows; he's fantastic.

The special effects are another highlight. I guess, as not an awful lot has changed, you might look to the 2017-standard effects. They're impressive, but not groundbreaking. The family of objects are not as adorable as they were in 2D drawing form, and Mrs Potts is ever so slightly scary, but combined with the stellar voice acting there's enough personality to go around. They all get some very emotional farewells (and flamboyant 'live actor' comebacks) - who would've thought a little teacup would be able to make me cry!?  'Be Our Guest' takes the visual element to the extreme too. The setting is equally beautiful, despite the fact that it often feels like a theatre stage set rather than film. The town feels limited, but the gorgeously gothic castle goes all out. I guess it balances out.

4 stars is bordering upon slightly generous, but it's brilliantly nostalgic and definitely one for the fans. Although my Disney childhood favourite was Cinderella (and I got my live-action remake in 2015), Beauty and the Beast ticked all the right boxes for me. And 5 year old me, for that matter. The library scenes for bookworm Belle will bring back Harry Potter throwbacks, plus the over 2 hour running time flies by pretty quickly. Within the added minutes there's more depth in the father-daughter relationship (Kevin Kline is superb), and a prologue for the Prince. Emma Watson may have been the star billing and buzz-generator for this film, but there's a lot more on offer.

We've had revamps of Cinderella, The Jungle Book and on the horizon there's Cruella (starring Emma Stone), Mulan (reportedly without music!?), and The Little Mermaid. I'm hoping for some more adventurous adaptations for those, but for me, Beauty and the Beast is a strong start.

Beauty and the Beast is in cinemas now.

A frank look at the struggles of ALS...this is the story of former American football star Steve Gleason. This documentary details how motor neurone disease has impacted his life and his family through brutally honest home videos and diaries over 4 years that are more than often difficult to watch. It's full of heart, matched with equal amounts of inspiration and devastation.

I don't know anything about Steve Gleason the American football player, bar the stuff I found on Wikipedia. I could maybe name one or two players at a push. For me, this is an eye-opening and beautifully (and heartbreakingly) made documentary on ALS/MND. The film seems to agree too, with little time dedicated to his football background. It's less about his star quality and public image, but more about the real human struggles he faces, particularly as this is a topic I don't have too much previous knowledge on. Sure, we all remember the Ice Bucket Challenge a few summers ago where over $100 million total donations were reported. It amazingly led to a research breakthrough, but apart from that, most of us still probably don't have first-hand knowledge of what people suffering from the disease go through. The disease itself is progressive, attacking the nerves in the brain and spinal chord which leads to gradually worsening weakness and losing the ability to control voluntary movement. Gleason opts to show us from a very personal perspective.

Documentaries are factual and often personal, but Gleason seems to go one step further - somewhat inevitably as his diagnosis falls pretty close to him discovering his wife is pregnant with their first child. This turns the film into a touching open love letter to his son, from even before he's born whilst Steve still has most control over his movements. This is a document of himself, holding nothing back, for his child. We as an audience can learn a thing or two in the process. What happens next is his gradual deterioration, shown pretty realistically since so much is caught on camera. I feel a bit too intrusive at times, uncomfortable at being this close to it all.

Although it is a sad story, Director Clay Tweel is determined not to make this a sob story. Gleason's own vision is outlined when he's still speaking. He prioritises technology over medical research and campaigns to make them more accessible for others: "I'd like to advance those technology, equipment and services." This leads to former President Obama even signing the Steve Gleason Act into law in 2015, making critical technology more available. "I want to give people a purpose," Gleason says to a room full of people, and he turns his words into actions so that they speak louder even when he cannot. This is the inspirational side - choosing to live life to the full, adventure, repair relationships...

The other side that is the one that really hits home: the home life. Gleason's loyal wife Michel is introduced early on and her strength is something that doesn't need to be edited into this film. "I'm so with you," she says early on, and this carries on through her pregnancy, through when she becomes a carer for her husband, on top of raising their son Rivers. Rivers features later in the film, and the father-son interaction and exchanges are probably what made me cry most. (Oh yep, prepare tissues and all.) Watching the strain on their marriage is also hard to sit through. He repeatedly asks his wife if she's ok, then confronts her for rushing her care and lacking compassion: "You didn't even look at me...Do you feel angry when you are with me?". And then, "What can I do to be more important to you?" Oh boy, like how do we watch this? When such deep real life vulnerability, more than just a snapshot, is right there, it's tough. And then you realise how tough it is for them, and then for all families going through similar situations.

It's kind of like The Theory of Everything, which looked at Jane and Stephen Hawking and really delved into their relationship and the irreversible deterioration of that, particularly from Jane's point of view. Gleason is like that, but with real life footage and no Hollywood elaboration. Michel is a big part of this - she speaks about losing a bit of her happiness and light and how she's trying to find it back. It's so real it hurts: "I don't want to be a saint. I just want to be a real person."

There are a few dilemmas presented, for example the fact that the emphasis is on a longer life, though longer he lives, the harder it'll get for those caring for him. Secondly, the surgery he receives is able to prolong life but 95% of people are forced to reject it due to the high expense of it, and the need for round-the-clock care. Even though this is an education from start to finish, it's hard to ignore the fact that many ALS sufferers wouldn't be able to afford such treatment and care, making this an even more heartbreaking reality.

The team have created something bigger, beyond just a film, and I have to applaud them for their openness and willingness to share. It must've been strange for them to live their lives constantly on camera, and even stranger to share that with a world of strangers. As well as driving awareness, it's so obviously and touchingly a message for Rivers.  The theme of fatherhood is also explored through Gleason's difficult relationship with his own father, to how he deals with being a father himself. His words of wisdom - whether spoken or computer-generated - are ones we can take away with us too, so I'll leave you with a few:

"No matter what, we all face adversity...I want you to put yourself out there and put yourself out there for rejection...that's how we grow and how we gain perspective."

"I fight to stay alive. I am not giving up."

"That's what dads do - they pass stuff on; the best of themselves to their kids."

GLEASON is in cinemas 17th March and out on DVD and Digital Download 24th April.

Samuel L. Jackson, John C. Reilly, Tom W. Hiddleston and Brie S. Larson and form a super-squad ready to take on the famous colossal ape/giant gorilla/big...monkey. They do so in style - and there's some substance behind it too. The reboot is a visually impressive, good ol'fashioned fun trip to the cinema (and down memory lane).

A few snaps from the European premiere!