The Mission: Impossible series has been steadily evolving through the years - building on the pace, amplifying signature action sequences and credibility - all whilst Tom Cruise has been aging like a fine wine, cut from the same unbreakable cloth as the likes of Dwayne 'The Rock' Johnson. Seriously, the impossible guy is a superhero with limitless energy and the ability to outrun Forrest Gump. Ethan Hunt's latest chapter of the franchise is called "Fallout", but it may as well be called "Jumpout". We have buildings, helicopters, planes...you name it, Ethan Hunt has probably jumped out of it. Can you believe this is film number 6, a whopping 22 years after the first? And yet, whilst critics several years ago predicted the films would flag and fizzle out, Fallout has proved the exact opposite. It's explosive and the latest critiques are right: this is the best one yet.

Fallout wastes no time with the set up and heads straight for the set pieces. Hunt receives his mission, should he choose to accept it, within minutes and of course he chooses to. He discovers that the last film's captured villain/criminal ringleader Solomon Lane still has terrorists, now working under the group name "The Apostles", and the plot thickens when Hunt is forced to break Lane out as part of a deal (more on that later). A returning villain? That's new. It's this continuity that features prominently in the series for the first time; Lane's back, MI6 agent Ilsa Faust (Rebecca Ferguson) is back, IMF teammates Luther (Ving Rhames) and Benji (Simon Pegg) are back, and even once-wife Julia (Michelle Monaghan) returns after 12 years.  Director Christopher McQuarrie is also on familiar terrain after directing 2015's Rogue Nation. It makes sense that McQuarrie doesn't feel the need to re-introduce everyone, and consequently, there's much more room for action and a very juicy plotline without being too confusing for audience newcomers.

What is this plot, you say? Well, like all its predecessors there is some sort of global threat, baddie/group and a heavily improvised mission to save the world, courtesy of Hunt and his team. It's always seemingly impossible and things will definitely go wrong, but Hunt always finds the "possible". Expect no less in Fallout, but with more death-defying stunts, depth and genuine unpredictability. After Hunt lets three plutonium cores be taken by The Apostles (though it's not really about the terrorist group this time), he is tasked to get them back before nuclear destruction. He's being childminded by tank-like CIA agent August Walker (Henry Cavill) whose brutal 'just business' tactics and values conflict with Hunt's, plus Hunt comes across a mysterious armsdealer called the White Widow (Vanessa Kirby) whose deal price for the plutonium is that her buyer wants Lane. Ilsa Faust also crosses paths with the group on a conflicting mission, plus there's a villain who believes that "the greater the destruction, the greater the peace" and is after the plutonium to make it happen. Back to the plot, which has enough double/triple crosses to make you go cross-eyed - it's probably the most layered recipe yet and will need some digesting to identify who's cat or mouse. That, and mix in a reunion with Hunt's wife Julia from MI3 that finally answers questions about her own story (and recent absence), plus giving Cruise a chance to showcase a more emotionally vulnerable side.

There ought to be a separate paragraph for stunts, given that the film received so many headlines whilst filming due to the injury Cruise sustained whilst jumping from a building. Yes, the scene makes the cut and it's distinctly recognisable and wince-worthy. Yes, Cruise does a lot of his own stunts (and running). This is a film where essentially the writers have sat down and thought of every stunt possible and said yes. Motorcycle chase? Car chase? Helicopter chase? Casual cliff climb? A Google Maps route involving rooftop runs via breaking through office windows? Yes to all. Why not?  What's even better is that they're stupendous but somehow not stupid. They're shot in a way that puts the audience right next to the scene and ludicrously realistic. The finale is equally spectacular and gripping from all angles, with action in the air and on ground, suspenseful to the very final second. Naturally. Hand-to-hand combat gets an upgrade here too, with muscle man Cavill making it interesting, and Ferguson continues to impress with her combat scenes - and any other scene for that matter.

Fallout explores pressure points and the moral question - save one life or save millions? Ethan Hunt's a killer but is he a cold-blooded one? Can he let the fate of a friend come between him and his mission? Does he think a mission is ever impossible? The film is more character and heart-driven than your typical action flick, but it's still satisfyingly about teamwork and the familiar team dynamics are just as great. Furthermore, there's not one, but three more-than-capable and kickass female characters who aren't there just for eye-candy (surprisingly rare even in today's action films.) The stakes are higher, the stunts are bigger etc. etc. but when it goes back to its roots - the teamwork, the fun trickery through those life-like masks, the unpredictability and 'improvisation' - it is just a joy for any MI or action fan to watch. Hunt has a habit of saying "I'm working on it" when asked about any given plan or situation. The new bar has been set rather high, so here's hoping they manage to work on a follow-up that makes beating it a mission possible.

Mission: Impossible - Fallout is in cinemas now.

Oh hey there,

If you're scrolling through and wondering - where the heck are all the reviews? Has this girl even stepped foot into a cinema since Ghost Stories? The answer is I have dozens of times but have had a classic case of half-written drafts and "no time" excuses from the busyness that is work and other writing and Love Island distractions. However, here's the good thing - I am determined to un-backlog the backlog and will finally publish reviews such as Avengers: Infinity War (I KNOW - how did I never finish that review!?), Mamma Mia: Here We Go Again, The Incredibles 2 and more.
Please bear with me. And I'm not just only doing it because Love Island concludes on Monday.

Much love,
Bev

Arnold is back (again) but you'll be killing time before anyone starts killing Gunther in this hitman mockumentary.

Here's a bit of advice before you start watching Killing Gunther: try not to take it seriously. Luckily, writer, lead actor and first-time director Taran Killam doesn't seem to be either. His mockumentary with a killer edge features a recognisable line-up of sitcom and Saturday Night Live familiar faces, headed up by the star billing of Arnold Schwarzenegger. When he's not firing people on The Apprentice or arguing with Trump, he's masquerading as the world's greatest hitman (not showman) - Gunther.

Killing Gunther has a TV comedy (almost The Office) feel to it, and it's action-packed with no shortage of self-aware silliness. The general plot follows Blake (Killam) as an eccentric hitman who seemingly wants to be the best by taking out the world's best, Gunther. In an age of Avengers, Expendables and various other Squads, teamwork makes a dream work and the common dream of killing Gunther leads to an odd mishmash of personalities. There's poison-obsessed, non-gun Yong (Aaron Yoo), explosive Donnie (Bobby Moynihan), Sanaa (Hannah Simone, worlds apart from New Girl) and many more who don't really make much of an impact. They're more caricature than deadly but that's the fun of it. And in an age of "pics or it didn't happen", naturally you would be compelled to hire a documentary crew too because, why not? As a result, it brings about an unusually fresh approach to the otherwise repetitive genre. The mishmash applies to plotlines too, however, and it ends up being the assassin version of a wild goose chase. It doesn't take much guessing to guess that such a large group of killers will end up being killed, and even less of a guess to guess whodunnit.

It takes a while to get into it, and there's also a catch: Arnie takes his sweet time to join the party. You could excuse him because Gunther's clearly so talented and light-footed if he's as good as they say he is... Or, perhaps, it was literally all in a day's work. If you came here to watch the return of Schwarzenegger you may feel short-changed, but when he is actually on-screen, he's delightfully funny and clearly having a ball. He may not be legendary for his acting skills, but he's always well worth a watch nonetheless. Who else would even think about ripping off a fridge door to use as a weapon? And I bet you've never seen him in tinted glasses and a butterfly suit!?

For a first film, it's intriguing enough and a half-decent first attempt. They're playing for more obvious laughs and the script can often come across as obviously improvised if that's your kinda thing. It's hardly a sophisticated film and Killam's brainchild is more of a mindless watch on a lazy Sunday afternoon. Having said that, there are some nice touches, especially if you view it as an extended TV comedy rather than a fully-fledged film. Killam's real-life wife Colbie Smulders also makes a reliable appearance, representing the "personal" side to the story. Also, the fact that this has gone straight to Video On Demand means you could always play Where's Wally with Gunther and skip ahead if need be. You probably wouldn't watch it again, but there's fun to be had by embracing a silly film when you know it's going to be silly from the get-go. Don't say I didn't warn you.

Killing Gunther is available to download now from iTunes, Amazon, Rakuten TV, Sky Store and more! 

Watch the trailer here:

Slick, stylish and epic on many levels, the game-changing Black Panther claws its way into Marvel - and cinema - history. With his new kingdom under threat from both external and internal forces, what sort of king will T'Challa be, and what sort of superhero is the Black Panther?

There's something different about this Marvel film. I've probably said that about 3 different Marvel films now, but this one is different. Can you believe there have now been 18 MCU films? Eight-teen. In a universe where the big movie bosses are churning out film after film after film in an origins-villain-global-threat-redemption factory, it's amazing we haven't gotten bored already. Luckily we haven't, because Black Panther is far bolder than any before it, and it's attention-grabbing for all the right reasons. Not just because of all the headlines about race ("Finally! A Black superhero! An all-Black cast!") but because of all the details coming together, and not just as a show of tokenism. It tackles genuine, rooted problems facing non-superhero society today, colonisation of the past, ongoing oppression, and, just like the hidden country of Wakanda, that's just scratching the surface.

Wakanda, briefly introduced in Captain America: Civil War is a fictional country in East Africa about to welcome new king T'Challa aka Black Panther. What most people don't know, however, is that ostensibly poor Wakanda is actually an incredibly (secretly) technologically advanced state, thanks to it being built on super-powerful metal "vibranium". And thanks to this vibranium, the creatives in the film crew have really had some fun in limitlessly imagining up stuff. Some of the best gadgets can be found here (fake cars, med-tech, hologram bracelets, Black Panther suits etc.); Iron Man eat your heart out. Already, there is so much personality in this setting that's been referred to as "Afro-futuristic". It's a stunning mix staying true to African kingdom, yet gloriously and shamelessly otherworldly, a sci-fi lover's dream. Though it's to get lost in Wakanda, we have to remember that guy from the title in the suit. Cool-under-pressure regal T'Challa (played by a mesmerising and completely in-control Chadwick Boseman) is put through his paces as he faces the new challenge of being king, but more dangerously, a mysterious blast from the past, as well as the internal conflict of serving your people versus serving the world. Also, in case you didn't know, he's also has superpowers/enhanced abilities from a magical purple herb. It's pretty cool.

This is not so much an origins story - in fact, there's barely any mention of T'Challa's childhood - but there's still a strong emphasis on family and backstory, and these pack the biggest emotional punches in various different contexts. After an intro to Wakanda and a vague search for identity from our king, we're thrown into the film's threat which then leads us to Erik "Killmonger" Stevens (Michael B. Jordan). Good vs. evil doesn't quite fit the mould here, and we're treated to one of Marvel's best and most complex villains in a long time. He's a villain that can related to, even pitied. Credit's certainly due to Jordan too - damn, he's just so cool.

Fortunately, Black Panther isn't alone in his fight and this is possibly one of the best things about the film, establishing some very formidable characters. It's worth pointing out here they are all female - although you barely register it whilst watching because it just makes the film without making a big deal out of it. Let it be universally acclaimed that the Dora Milaje (Royal special forces) is a group of fearless kick-ass women. There's Lupita Nyong'o as spy Nakia, who has great chemistry with T'Challa and also oozes class. Danai Gurira plays chief Dora Milaje Okoye who has the most incredible screen-presence and gets some of the most memorable scenes (which she owns, naturally). Then there's T'Challa's teenage sister Shuri (played by Brit Letitia Wright) who is a surprise instant hit with her laidback comical turns (a fun foil to her brother), and actually has a significant role as tech-whiz "New-Q". You can also watch out for Martin Freeman returning with a questionable American accent as CIA agent Ross, Oscar-nominated Daniel Kaluuya, and Angela Bassett as Queen Mother.

There are a few more things Black Panther gets really right. It strikes the right political tone and criticism, and seems respectful of African culture. I watched the film on opening night and ended up in an African Society's screening, and I've honestly never been in a cinema with so much whooping and cheering throughout. Secondly, the combat. From the  gripping cinematography of the waterfall fights, to the final showdown, and of course all of Nakia and Okoye's fights, it's these scenes that remind you it is a superhero action movie. Thirdly, the soundtrack that's been making waves and topping charts. Kendrick Lemar curated it and it's fused seamlessly into the film's DNA, adding sheer levels of coolness and the right electrobeats in all the right places.

Avengers Infinity War kicks off this year but Black Panther has set the bar ve-ry high. In fact, you barely even register that it's "the last Marvel film before Infinity War!" because it feels independent, and this works superbly in the film's favour. It needs to be, because it feels like such a monumental shift in the superhero dynamic. It's not just about glorifying the character in the title like others before it have done, and you don't even need to know much about the past films to enjoy it.

Should Wakanda stay secret and self-sufficient or do they owe it to help others in need, when they have the resources and technology to do so? This is the question that will have you wondering, as you chant "Wakanda forever!". You'll also be wondering, "When can I watch this again?"

Black Panther is in cinemas now.

The team at Disney & Pixar strike gold again. Coco is a superbly delightful animation about death that will make you feel more than alive. Most of the characters on screen may be skeleton, but this fleshed out, thoughtful plot is meaty and very human.

Disney/Pixar collaborations have imagined talking toys, talking fish, talking cars, superhero families...and now comes a first: a children's film all about death. That's not the only reason you'll be talking about Coco though. It does what Disney Pixar does best - it takes you on a journey that includes laughter (with a strong possibility of tears), and teaches you a lesson or two along the way. Coco's main theme is all about family, and boy does it hit home.

Mexico's famous Day of the Dead has been famous on-screen in the past in James Bond's Spectre, but now comes a family friendly film all about this national holiday, and it goes further with no shortage of detail whilst respectfully celebrating a variety Mexican traditions in a compelling (even if far-fetched) sweet story. In the opening credits, we are introduced to 12 year old Miguel (voiced by Anthony Gonzalez) and his family tree, going way back to his great-great-grandmother whose story is that her husband left home to pursue a career in music, turning his back on family, and never returning. Thus, music has been banned through the generations and their family are now successful shoe-makers. But wait - plot twist, Miguel secretly loves music and wants to become a musician just like his idol Ernesto De La Cruz! In an expected unexpected turn of events (if you've seen the trailer), Miguel is turned invisible-slash-dead and passes through to the spirit-like world.

Hold the phone - you're probably thinking this is some sort of horrible horror film about ghosts? The premise is the same as IRL, that on this one day of the year, the dead can pass over and visit their living relatives. Nope, still not a horror but the honouring of ancestry. There's bright orange Marigold flower petals to guide the way, feasts and presents galore. The catch is that your photo needs to be on the other side and you must be remembered by the living, hence the importance of the family story. Run with it; it makes sense-ish. However, when Miguel inadvertently steals from the dead, he's stuck in limbo and even though he gets to meet his skeleton (but not scary) family, he's gradually becoming more and more permanently dead. To return to the living, he must have his family blessing, but this is a nearly two-hour film so obviously it was never going to be straightforward. For starters, could Miguel's long lost great-great-grandfather be the one and only De La Cruz!? Will he run out of time and die!? (Ok, this one's even more obvious because obviously not, but there was once a time we thought the Toy Story gang would be burned in a furnace...)

Cue the Formula of a rebellious and rash teen, quirky and unexpected sidekick, quirky animal sidekick, a baddie and some sort of time pressure to complete a task that will end up becoming an adventure. Also this is Disney Pixar so add in an emotional punch and a couple of twists. And some songs.

A majority of film takes place in The Land of the Dead, and this is definitely a gorgeously colourful highlight. The designers have gone to town visualising this entire world with its cities of stacked houses, but there are still some apparently authentic Mexican touches such as cenotes (water pits) and alebrijes (brightly coloured mythical creatures). Not to mention bringing to life the dead family members and giving them defined character and non-freaky faces. In particular, watch out for stern music-hating Imelda (Alanna Ubach - the great-great-grandma), unlucky trickster Hector (Gael Garcia Bernal - the quirky sidekick), and universally-adored De La Cruz (Benjamin Bratt).

You're probably thinking...why isn't this film called Miguel? That's where the lovely detail comes in, undoubtedly designed for the grown-ups. Coco herself is Miguel's great-grandmother who is great, but very old and potentially even nearing death. The film's named after her for a reason and the payoff with this one is sweet and powerful. It's a thoughtful film with a triumphant third act, even if the film can take its time in places. At one stage, it's hiccup after hiccup which is a tad frustrating, but just you wait.

I'll admit that the trailer alone made me tear up a bit, but at the end of Coco I was in full-on floods of tears. Up intro styles. I made a mental note whilst watching that the character Miguel was slightly annoying and formulaic, but it's definitely overcompensated by the ridiculously beautiful storytelling and being yet another bold move for Disney. It's not shying away from death, and also goes deeper into the importance of family, sacrifice, and the implications of legacy. Of course, the moral grounds and beliefs about afterlife are controversial if you take it all literally, but just remember we've had talking toys, talking fish and talking cars before. It's not real. What is real is the emotion - you'll leave the cinema singing "Remember Me" and I challenge you not to feel just a little bit moved.

Coco is in cinemas now.

I'm going to start this review by saying that Gary Oldman deserves a medal. Not just because his acting in Darkest Hour is compelling and completely believable, but also because he wholeheartedly committed with his Churchill fatsuit and looked completely believable! Gary Oldman also deserves lots of acting awards, because his acting was ruddy fantastic. This could very well be a 400+ word review purely on Gary Oldman, but then I might start to annoy you by repeating the words Gary Oldman so much you'll stop reading. So there. 

Let's go back a few steps first. Gary Oldman who? Believe it or not, it actually starts with Winston Churchill. Set in a war shaken Britain in 1940, the threat of invasion is high and there's a need for a strong leader, forcing current Prime Minister Neville Chamberlain out of his position. Against the odds (and opposition within his own party), blunt-talking and cigar-smoking Churchill becomes PM, mainly because the opposing party wouldn't really have anyone else. Meanwhile, there's politics, there's the horrible tragedy and reality of the war, there's Dunkirk, and there's potential talks of a deal with Hitler. Much of the battle is off-screen, with director Joe Wright instead focusing on a different type of conflict and struggle much closer to home. The setting is split between Parliament, the War Rooms, and No.10 Downing Street, but it's hard to forget that the stakes away from home are critically high. And then there's Gary Oldman as Churchill (more on that earlier and later, obviously), an acting and makeup masterclass in itself. One of British history's most iconic 'characters' has been brought to life time and time again, but this performance will be one that's sure to make film history too.

Decision-making and speech-writing are two of the primary features of this war drama. To better try and tell the tale, Lily James plays Elizabeth Layton, Churchill's newly-employed secretary. It works for the most part, especially as he recites and she types his now forever famous words, but mostly operates as our fly-on-the-wall and window to the outside world. Lily James is given a lot of screen time, and plays Layton with doe-eyed innocence but that's about it. The second leading lady in this film is a classy Kristin Scott Thomas as Clemmie Churchill, often a name less remembered but still a vital part of any biographical feature involving her husband. She is a pillar of subtle strength and strikes a stark contrast to much of the confrontations that happen outside of closed doors. Ben Mendelsohn also puts in a noteworthy complex performance as King George IV.

Going back to the rousing speeches which are still famous today, they are recreated with the same vigour as we see in the documentaries and archives. And this of course comes down to Gary Oldman. We all know he's an accomplished actor and is actually a bit of a chameleon - just compare Sirius Black in Harry Potter to Commissioner Gordon in The Dark Knight trilogy. But this is a whole new level - from mannerisms to voice to even walking - every detail has been poured over.  And then there's the obvious part about Oldman looking nothing like Churchill (the only thing they really have in common is that they are men who are famous glasses-wearers); the physical transformation alone is award-worthy and surely setting a bar for all future biographical adaptations. Apparently it took 4 hours each morning, and Oldman only accepted the role with the help of retired and twice Oscar-nominated makeup artist Kazuhiro Tsuji (whose CV includes Tim Burton's Planet of the Apes before CGI, and How The Grinch Stole Christmas). The finished result is absolutely mesmerising and the only giveaway is the familiar twinkle in Oldman's eyes. Needless to say I'm gunning for all the awards for both Best Actor and Best Makeup because both would be thoroughly deserved. In Oldman you have a seasoned actor at the peak of his career, able to captivate his audience just like his character, to the point where you fully forget who Gary Oldman is for a moment.

The first few weeks of Churchill's career as Prime Minister included Operation Dynamo, otherwise known as the dramatic evacuation of Dunkirk. Whilst it's not as thrillingly tense as 2017's Dunkirk (also doing well in the awards stakes), it shows the upsetting behind-the-scenes decisions, including abandoning the troops in Calais as a distraction. You could almost watch both films simultaneously as part of a History lesson.

Darkest Hour showcases some excellent cinematography and score, as well as all the usual things you'd expect from a period drama. At over 2 hours long, however, it does tend to drag a bit in places. There's also a scene on the London Underground which is moving, but probably using a lot of artistic license - it's a little bit corny and will be like Marmite to audiences. Where it goes over and beyond lies within the sublime acting. I watched Darkest Hour at a screening before Christmas (thanks to my friend Jamie!) and all I've been going on about for the past few weeks is how bloomin' amazing Gary Oldman is. On the whole, this is another Winston Churchill story brought to life, but it will be the one that everyone keeps talking about for years to come.

Darkest Hour is in cinemas now.