Reviews

It feels like a privilege to have watched the true life journey of 'Antwone Fisher' played brilliantly by Derek Luke. The whole cast gave wonderful support and memorable perfomances. No-one failed here. The pace, the acting and script are equally perfect too.

The real hallmark of an A-list star is that their presence vitually guarantees a movie will be top quaity, and we have that here in Denzel Washington's first feature length film as director. He also co-stars.

Antwone is a troubled person which, in the course of events, leads him to meet senior naval officer Jerome Davenport (Denzel Washington). What happens is genuinely moving and most definitely worth watching. The fact that certain parts focusing on adult themes are deeply uncomfortable lends gravitas and serve to make proceedings believable. This little known film comes with the strongest possible recommendation. Rating? Easily 10/10.

Fun, witty, stylish, sometimes baffling, fast and excellent. This is perhaps the best of all 'Hustle' episodes. Without doubt the plot is different to the usual shannigans the team engages in, which aim at low brow nasty, but rich villians. This time, however, they take on the most ambitious heist - the mother of all heists. Surely, we are led to believe, it must be impossible, or lead to the team spending the rest of their lives in jail. Every ruse and loose end is played out several times, so eventually we see what really happens. But don't blink because endless twists take place.

Micky, Stacie, Albert, Ash and that young whipper snapper Danny, excel. The film work and dialouge are superb. If you have seen some episodes of Hustle before, you'll find this edition is utterly different to previous stories, and not to be missed.

And it is correct that this has shades of Mission Impossible, and just for good measure a few bars of its famous theme are played. The question is, will this one-off play you as well? Emphatically, yes!

Well worth watching.

This is a fictional story of the French military's special forces operating in the Middle East against terrorists. Besides the plot, the brilliance of this series rests on attention to detail, fantastically timed camera work from many angles, superb acting and dialogue, and the cinematography brings the series to life. It all rings true. Though many unforeseen circumstances events often do not go in favour of the special forces. It is edge-of-your-seat viewing and compulsive.

One key member of the main team is killed, while another Sab gets into deep water and the team needs to rescue her. It makes the plotline unpredictable too. Nothing mundane here.

The joy of episode 4, Tarek, is when they burst into song while driving, a scene worth endless re-watching!

The first series concludes with a tense cliff-hanger and you will find it hard to wait for the second series. This is top notch filmwork.

The only downside is the realism of this action-for-TV story comes at a time when humanitarian tragedies are happening in Ukraine and Gaza. People searching for Black Hearts note when aired by the BBC in 2023 for some obscure reason it went by the title 'Dark Hearts'.

The series is superb and highly recommended.

Bring on series two!

As long as this film is watched as an early black and white sci-fi film it is entertaining. For some unclear reason IMDb categorises this fare as horror. Children aged 8 and over could happily see this. Afterall, young children eagerly watch Dr Who, a long running British TV series syndicated worldwide from the 1960s through to the 2020s. By comparison Dr Who is much more frightening.

The principle actors deliver complex lines and act well, particularly the beautiful Joan Taylor who steals the film. The general drift? Aliens announce in advance they may destroy Earth in 56 days time issuing an ultimatum to us mere earthlings - and that will happen unless our leaders meet and speak with them first. In no time a grand battle to save our world ignites. Of course the flying saucers are dated, as are the aliens who land and walk about rather stiffly. That's fair for a sci-fi movie released in the mid-1950s. Regardless, the story gets going when the American military and scientists band together cleverly to put up good resistence.

This typically is how early space / alien fifties movies were. Regardless, the tale holds up well. And any children watching will be fine.

Co-produced by Kim Hendrickson and Kate Elmore, and directed by Stig Bjorkman, this well made depiction of Ingrid Bergman documents the ups and downs (mostly ups) of her lifetime. The Swedish actress born in 1915 hit the heights of the silver screen by the age of 17 to become one of the most heralded stars in cinematic history. She had roles in many of the most well known classics including Casablanca (as Isla Bund) with Humphrey Bogart, and took the leading role in Alfred Hitchcock's 'Spellbound'. Nominated for seven Academy Awards Bergman collected Oscars on three occasions.

The biographical oriented film shows how popular she was on both sides of the Atlantic Ocean with audiences, media and within the industry until her publicised relationship with Roberto Rossellini in the late 1940s. Already married to first husband Peter Lindstrom at a time when the USA had very different social norms to those of the 21st century her widespread popularity suddenly soured. Having acted in the 1946 classic Notorious she became exactly that, notorious by repute. Effectively she was hounded out of the USA. Years passed before, with the support of many top artists and authors, including Cary Grant and John Steinbeck, she nervously returned to the USA, now married to second husband Rossellini. Her return met with further starring roles, and much deserved acclaim.

However this film delves significantly deeper than her public life and vividly brings the persona of Ingrid Bergman to life. Her upbringing, early friendships, infatuations, family life and losses, and gifted young acting abilities are explored. As are her unmistakeable warmth with people, her passion for poetry, fun, laughter and even a song that she wrote. The wonderful song beautifully sung (by Eva Dalgren) is easily the highlight of this film. An expression really of how she viewed life generally. Bergman trod lightly in this world. She was a joy. She was acting right up to her final moments in 1982 in Golda, which also won an Emmy. This film is good because it never drags or loses sight of entertaining us, the viewers. It's a good watch about a fascinating light-hearted, family-centred woman - who happened to become a Hollywood legend.

Co-directors Richard Phelan and Will Becher crafted a fun animation that carries equal enjoyment for children and adults alike. The animators did a truly superb job. The cogent story is supported by a fitting soundtrack - but unusually, uses no words, thus satisfying children of any nationality regardless of their language who may follow events.

The drift is sheep or mainly one sheep in particular, of unlimited Mensa sheep-level intelligence stumbles across a cute blue blob of an alien from outer space. The nervous little alien hiding from view cautiously befriends our heroic sheep and together they set off on a singleminded quest to return the alien back home - before the sinister 'Ministry of Alien Detection' tracks down the blob! Yes, it's faintly reminiscent of ET.

Many incidents along the way involving slapstick humour, enterprising farmers, unsuspecting sewage painters, voyeurs, fly-posters, emotional robots, and various hard-to-explain assorted others, not forgetting the homesick alien itself will keep children glued to the screen and entertained, while movie-buff adults with longer memories will appreciate subtle passing references borrowed from sy-fi classics such as: Dr Who; Close Encounters of a Third Kind; and 2001 A Space Odessy. A slick soundtrack weaves in Richard Strauss' Blue Danube, and his much loved Zara Thrusta theme used by NASA.

Verdict? Seamless fun from beginning to end. Even the end credits are funny. An animation definitely worth seeing. 10/10.

In the daunting challenge to save the lives of 12 children and their football coach trapped somewhere inside a deep 10 kilometre long cave rapidly filling with rainwater - by combining excellent narration, talking heads, actual news footage, expert knowhow and military personnel contributions - the real life mind-boggling complications, practical difficulties and ever changing environmental conditions are shown and explained most clearly by this compelling film. The scale of the formidable potential rescue is jaw dropping. Saturation coverage kept the waiting world appraised. The first task? Locate the missing children, and discover if any are alive.

At breakneck speed many caving experts of different nationalities came together in Chile; each beset with unique insurmountable hurdles to overcome. Not only was time against them, the rescuers had language and communication issues, differing levels of skills, and diving equipment that often was incompatible or unsuited for the task.

The film's camera crew picked up every nuance: children's mothers, the preparation of waiting paramedics and ambulance staff. Journalists hovered. Police were the there, and fire crews to pump away the water gushing into the cave network. Engineers laid in huge pipes. In fact thousands of people were packed tightly into a small area... in dark wet cold conditions for many days. The burning question on everyone's mind, could a rescue be mounted? Would the children be found let alone be rescued? Or was this improbable mission doomed before it began?

The producers, directors (Jimmy Chin and Elizabeth Chai Vasarhelyi), editor (Bob Eisenhardt) and principle narrators, mainly cavers, construct the story superbly keeping it tight, aided by footage from multiple mobile phones. All perfectly compiled leaving viewers in no doubt what was needed for this rescue to succeed - a miracle. Atrocious weather resulted in faster, serious flooding deep underground isolating the children somewhere at the far end of the complex cave network, while their air runs out. The frantic and chaotic situation above impelled the cavers plus the Thai military Seals to consider many plausible ideas. Could another shaft be dug in time; would that hasten the flooding? Was it conceivably possible for young children (who had walked into the famous cave and never dived before) to swim kilometres in scuba gear carrying heavy air tanks navigating themselves through tiny holes in the rocks in cold water and in complete darkness? The potential swim would take each child hours to reach safety. Their air supply would probably run out. If they panicked it would spell disaster. The documentary shows the challenges faced were truly formidable.

Even the experts were unsure and undecided. The military seals bravely attempted a rescue but soon found that neither their equipment nor specialised training was suited. So if you don't know of this true story or what happened - you must watch! This award-winning film is about ingenuity, the unquenchable human urge to save lives, and many heroes - with each person entering the cave system putting their own lives in great danger - and this is not to be missed. Rating: easily 10/10.

Unlike the majority of Christmas fare featuring a love match, this movie wisely avoids excessive sentimentally or mush. All the characters are realistic and certainly likeable. What really makes this different to other Christmas films is that this is really about people being sensible and nice to others, and supportive when they are facing problems. Jesse Metcalfe (Nick) and Autumn Reeser (Julie) convicingly develop a wonderful relationhip. Clarke Peters (Clem), who is about to lose his family business, is excellent in his role. Look out too for Kharytia Bilash who has a minor contribution. The script is good. The story works. The film is refreshing all round. Hallmark did well with this.

'The Law of Unintended Consequences' is real the theme of 'The Place Beyond the Pines' and could easily be the film's alternative name. The cleverly structured story splits into three phases and is most definitely worth watching. The direction by Derek Clanfrance (who also directed The Light Between the Oceans) makes this movie a cinematic masterpiece. Allied to that is superb acting by the entire cast, with an absorbing script for the most part, great cinematography and score.

The director's trick is shifting the narrative seamlessly through time across the generations; without needless flashbacks, Each section is itself a whole story. As they conclude it feels like the friends we now know on the silver screen are lost, and we begin again with a new set of actors. When this happends you'll no doubt wonder what is going on. But this trick works so well, and it is compelling because the continuity editors have also done their task sublimely too. The story builds and builds ultimately into a satisfying climax.

Many fine performances come from Ryan Gosling, Bradley Cooper, Eva Mendes, Rose Byrne, not forgetting Ray Liotta as a chilling psychopathic corrupt cop who, as ever, you would not want to accidentally bump into one dark night. The story twists unexpectedly more than once and it is challenging to anticipate where it might go. While the theme makes use of a highly unusual motif stranger things have happened, so it is always entirely believable.

There is a crucial downside, Dane Dehaan plays his role brilliantly as the obnoxious, toxic young tearaway Jason, and so convincingly he is someone all normal people would try their damdest to avoid. Thus the only part hard to swallow is that Bradley Cooper's son willingly, and gullibly, teams up with Jason. And it is through their partnership the unintended consequences occur, with each generation oblivious to the repercussions of people who come later, which reflects reality. The significant passage of time film moves through gives it a cryptic Kane and Abel vibe. The film won 5 awards to date and was nominated for countless others. Despite what some reviewers say this gripping film does not overrun. Rating: 9.5.

Describing the end of films on IMDb is strictly verboten. Suffice to say, without giving away anything the finish sends shivers through one's spine. So unique is the story, and how it is filmed by director Vadim Perelem there is absolutely no way to foresee how most of the film will go, let alone foresee its conclusion.

In modern cinematic history this is surely a masterpiece. The characters, their motivations, experiences, and ever changing situations are well fleshed out, and may perhaps even lead to viewers shedding tears at times. The sadistic "kind" cook Klaus Koch (played by Lars Eidinger) and 'Max' Rottenfuhrer Beyer (Jonas Nay who drew fame from roles in Deutschland 83 and 86) are convincing as Nazis without souls. None of the many other Germans including the Commandant (Alexander Beyer) are anything less than brilliant, including the vindictive stenographer (Elena Stetsnko) who each make every minute watching harrowing to the core.

The story, initially set in 1942 moves through time of World War Two, and centres principally on 'The Persian' (Nahuel Pérez Biscayart) as Gilles who is utterly superb. This absorbing movie is set to be one of the film industry's all time classics. It thoroughly deserves a bag full of Oscars; and at the very least, a place in IMDb's all-time top 250 movies.

The three day journey condenses into three hours. The TV film makes the most of the incredible Australian scenery along the entire Adelaide-Darwin route. Great use is made of drones from distant perspectives or close-ups. The ride is by no means cheap, thus 'The Ghan' is used by people of means. Stopovers along the way allow passengers to wander smaller towns (one with a population of 47) or the outback.

Interesting anecdotes are made now and then by amusing captions, as to the history of Oz, events concerning the marathon railway and construction. Two diesel engines haul 36 carriages carrying 295 passengers. It's roomy and luxurious inside, with something like 9 fare-payers per car. No train journey in Europe is ever like this. On the three day 3,000km journey mostly sitting it's a wonder that one carriage is not devoted solely as a gym letting people stretch their legs or work up an appetite.

Natural sounds provide a well thought out soundtrack. Best part of the made-for-TV documentary? The total absence of pointless intrusive tuneless music, a near absence of talking and no-one is shooting guns or mindlessly blowing up things! This film is for adults, not teenagers.

Rating: 10.

This film is brilliant. From the very first scene, a man frantically digging ice, without need of spoken explanation it rapidly becomes evident why as the camera shot panning out does the work to provide clarity. That opening sequence is indicative of the top-notch shooting quality of the entire movie.

The man in question, Overgard, is stranded and alone, in the bleakness of the Arctic, attempting against the odds to survive . He is desperate, though alive after a plane crash. A tiny forlorn figure in the white freezing vastness and howling Arctic winds, and doubtless inconspicuous to any searching rescue plane that may happen his way.

Regardless, as the days pass, and keeping his spirits up, Overgard thoughtfully persists in maximising attempts to be rescued and is overjoyed when a helicopter finally spots him. That short-lived joy turns to dismay and consternation when the chopper also crashes. Overgard mounts a rescue mission, only to find a dead pilot and a scarcely alive badly injured woman passenger.

Now his troubles intensify. With scant resources running low, fighting against frostbite and the cold all the while, fish hard to come by, he now has the responsibility for another person's life. What can he do? The distant outside world knows nothing of his crash let alone their remote whereabouts. Their situation is perilous and would take most people down. No heat, no food, almost no medicine, the prospects are indeed bleak. There is no quick fix here. But hey, this Mads Mikkelsen we're talking about! The filming is done in such manner that we can almost 'see' what Mads is thinking at every point. That's incredibly clever, and as actors will tell you, difficult to portray on celluloid. His facial expressions and deeds are worth a thousand words. Such is his quality of acting, Mads gives a masterful performance throughout.

The film is never dull. In fact it zips by. The story is truly gripping and immensely powerful. There is hardly any dialogue but it is unnecessary because the cinematography is utterly spectacular; the camerawork is creative, and direction (by Joe Penna) superb. Despite a few imdb critics' harsh views the film ends cleverly. This imaginative film contains many surprises, and is most definitely worth seeing. Another facet of the film though the onscreen mini-cast comprises just three, the supporting crew number hundreds and hundreds of people as shown by the end credits. They all deserve acknowledgement. 'Arctic' was a privilege to watch.

A lightweight pleasing tale about two normal very likeable people Matt (Henderson Wade) and Daphne (Getenesh Berhe) making their way in the world who meet, and for various reasons, form a fake relationship as a couple. However, nature lends a hand and gradually find they have much in common and mutual feelings. This film works because of their convincing onscreen chemistry and they engage in a tender first screen kiss, well, three in fact.

Other reviewers point out they enjoyed this film too, probably because one cannot help but end up with an unmistakable, warm fuzzy feeling. The characters they play would be welcome in anyone's lives. Though the film has no fireworks or trauma it does not need to. This is a good, really believable story; which is well acted and deftly crafted. Hopefully both Wade and Berhe will star in many more movies, and maybe co-star together again in the future.

This sweet entertaining tale is better than most lightweight movie romances. The onscreen love match works particularly well because Brant Daugherty (as Jason Humphrey) is quirky, awkward and definitely funny in his pursuit of Hayley Sales (as Pen Campbell), a highly desirable budding author. Formerly a couple in their adolescent years they went their separate ways. One summer though, both coincidentally return to their hometown and meet up again. The charm of the story is compounded by their two mischievous well meaning but meddling grandmothers who match-make at every opportunity. The chemistry between Jason and Pen is believable as it would not be a stretch if they were a couple in real life. Jan and Pen decide to form a pact fooling their grandmas that they are dating to ease the pressure. The run time is perfect, the script is realistic, and the support cast lend credence to the story. It's enjoyable to watch.

In 'Collision Earth' meteors bombard our planet. A meteorite lands behind a house, forcing a woman to fall yet the house is undamaged. There is no crater. An hour later, scientists arrive to investigate.

While they do other meteors, falling vertically, land mere meters away. They all tumble, a few sods of turf and stone debris fly upward. Still no craters.

At this juncture because Earth spins later meteors, unless coming from other directions would land at least 1,000 miles away, not the distance of a coronavirus sneeze. This indicates filming is badly flawed. Our intrepid scientists are injured. They gad about madly in a car, with meteors narrowly missing by inches. Explosions abound with all the force of a hand-grenade made of jelly, plus a few puffs of smoke.

They make it to a military medical facility where an injured scientist is seen to sit several times in repeated badly edited clips. A bandage is applied to his gaping torso wound - without stitches or even applying 'trump' disinfectant!

Dr. Armstrong, the movie's apparent heroine, delivers her lines in mumblegate fashion at phenomenal speed, nasally, and unintelligibly. Sound quality throughout is inconsistent, yet Eric Roberts, a general in command at a nuclear facility who continuously twirls two metallic balls in his arthritic right hand, speaks crystal clearly. Roberts has featured in 300+ movies, in many excellent roles and usually does better fare than this. Dr. Armstrong (Kate Watson) could be uttering Vietnamese or Martian for all clarity she offers.

Then a military female computer operator punches in keyboard commands frenetically to launch nukes, no less, while chatting and typing awkwardly with excessively loooooooong fingernails. The scene is ludicrous.

Meteors zoom in horizontally, diagonally and vertically (an impossibility from one celestial source). More nukes launch from a fighter plane, piloted by Dr Armstrong, in the path of the largest meteor. Naturally she saves the planet and parachutes down next to an appreciative applauding crowd plus boyfriend gasping in awe; and everyone lives happily ever after. Except for the inconvenient truth, real science determined meteors travel at such enormous speed any nuclear explosion will create tens of thousands new meteors, still very large, travelling at thousands of miles an hour, and still impact Earth. Known physics debunks the film's solution.

One wonders why in sci-fy disasters everyone rushes about in cars and the military always resort with tunnel vision to their obsession of using nuclear devices as the panacea to all known evils.

To conclude, Eric Roberts apart, 'Collision Earth' released in 2020 is dire. A masterclass how not to make a so-called movie. Rating? Minus 10.

Madame Secretary is aired in the UK about 7 weeks after it is screened in the US. How fortunate Imdb reviewers had not previously written chapter and verse about this episode. One of the very best this incredible series has produced. Surely Madame Secretary is surely the the pick of all the American TV series that come to Britain. Absolutely entranced, and at times we were holding our breath! May there be many, many more episodes of Madame Secretary to look forward to. Rating? Easily... 10/10

Rave reviews are given to this unusual story but for present-day psychologists or geneticists this subject is nothing new.

As a film goes its high ratings are unjustified. The first 50 minutes involves telling the audience using endlessly repeated clips, the same message again and again. If the audience fails to pick up the first 37 times that three individual strangers suddenly found out in New York at the age of 19 they are not only estranged brothers but triplets - then nothing will convey that point.

Around the halfway point the film's most interesting real-life character is introduced. Natasha Josefowitz, now a distinctly elderly lady, with a warm disposition and exceptionally sharp mind, adds depth and amazing clarity to proceedings in her description of events. She is someone who lends gravitas to what had been lightweight. Close friend of President Obama, Robert Redford, Al Gore and more all of whom she is proudly photographed with socially. As research assistant to Dr. Peter Neubauer (who passed away in 2008) she threw timely light in the documentary on his investigations.

One needs to understand that until the 1990s ethical considerations were not de facto in ad hoc psychology experimentation. The infamous unethical prison studies concerning Nazism and the role of authority conducted by Millgram, and subsequently by Zimbardo are known to every first-year psychology student. Back in the 1950s, and 60's ethics played little or no part in experimental design on people or other species. Deceiving subjects was commonplace too.

Records of the study are sealed at Yale University until 2066. Journalists and twin subjects of the study, according to this film, have all failed to obtain the records of their participation and the purpose behind deliberately separating the triplets at birth. As the documentary strains to hammer home, if you were separated from your siblings at birth and found out later, you'd want to know why.

The way to find out is indirectly, by looking back at the preponderance of other twin studies of the time, circa 1950s to early 1970s. The crucial question of that era was to determine the precise role and effects of 'nature versus nature' - in the development of newborns, infants and children far into adulthood. In other words are we all the product of heredity or our individual unique differences? To rule out the genetic differences such studies were always done on identical twins, who were separated early in life and had different upbringings. Samples sizes tended to be small (often a cause of criticism) as few separated twins can be found.

To save everyone time - the answer came later, from the 1990s onward - we emerge as one-third developed by genetics, and two-thirds by our unique environmental experiences. This revelation is supported by genetic evidence, particularly the relatively new field of epigenetics.

Investigative journalist Lawrence Wright, author of book-turned-TV series 'The Looming Tower' questions the value of an immoral study that its 'victims' cannot see, and no legal right to access. It's a striking question.

A clinical psychologist who was transiently in the 20 year longitudinal study for only ten months as a junior researcher had kept his field notes and also shed light on past events. Comparisons were made of monozygotic (same embryo) twins or triplets, separated at birth and raised in separate environments by adoptee parents. Therefore, the question arises would the triplets show identical traits in their behaviours (they did), reasoning and other social abilities - throughout their development to reveal whether they posses free-will? Were they the products of nature or nurture, essentially? It's all there in the documentary.

Ultimately the only absolute way to know for certain prior to 2066 is to gain access to Yale University Library Adoption Study Research - for which current US law would have to be overturned.

The "remarkable coincidence" that each of the triplet brothers had an adoptee older female sibling by 2 years - reveals that was no coincidence but was part of the design used by Dr. Neubauer, who was aided by the placement company 'Louise Wise Services'.

As a film it was far too repetitive ... 'look at these three guys folks, separated New York triplets who found each other aged 19.' How many times does that statement stun viewers? So this film will probably remain shocking to the general public, but not to psychologists or geneticists already familiar with the ways of unethical experimentation back then. On a brighter note, ethics is now fortunately at the forefront of science and repetition of those dark and psychologically damaging studies would not be allowed in today's western universities.

Film rating: 6

This high quality drama is an edgy political thriller throughout, and directed brilliantly by Yoon Jong-bin. The cinematography, the strong cast, the pace, minimalist score and crafted camera work dovetail beautifully to produce a fictional re-telling of a story largely based on truth. The ideologies of two opposed political systems rooted in sister countries of North and South Korea confront one another through the actions of Kim Jong-il (Leader, General and King of the North) and the National Intelligence Service of the South. The quest of the NIS is to determine by whatever means they can devise whether the North is developing nuclear capability, and how close that may be to full militarization. Itself no simple matter! The answer the Director of the NIS is instructed to follow is: send one of his prized assets, a soldier Park (Hwang Jung-min), first to China in the guise of a greedy businessman to build a network of contacts, then if possible, eventually move on to Pyongyang, and Seoul to get close to and manipulate General Kim. Assessing the nuclear threat is agent Park's foremost priority.

That said, the already apparent complicated plot is made more so by believable lucrative and labyrinthine business dealings that have to be set-up and we follow in real time. Agent Park, now businessman Park, is under suspicion from the off and continually tested by an ever cautious communist security service chief. Any mistake by Park in his new persona will lead to exposure and imminent death. The tension and austere nature imposed by DPRK security is palpable, and makes very edgy viewing indeed.

However, while Park progresses and begins to infiltrate into the top echelons other complications arise in his home country. The longstanding ruling Party of 50 years faces a general election in which a new opposition Democrat candidate (allegedly a covert communist sympathiser) wants to reaffirm friendships and form closer trade relations with the North. That level of uncertainty (or as seen by some NIS members, a 'threat' that the South dare not tolerate) compels many of the principle protagonists to either switch their allegiances or change their modus operandi, compounding the cinematic intrigue.

In answer to a few Imdb reviewers who suggest that this movie is slow, they could not be more wrong! To enact the largely historically truthful story in all its glorious intricacies any less accurately by going faster, while maintaining such a superb level of entertainment would be nigh on impossible. This movie is acted slickly and make no mistake is superbly directed. The long build-up in the first half seems necessary to make the story intelligible. Without giving away how the story pans out in the latter half, suffice to say, it makes for an enjoyable, entirely satisfactory, time well-spent coherent watch. Director Yoon Jong-bin especially, and others, particularly the scriptwriters, and supporting cast deserve nominations in the Best Foreign Film category at the Oscars. This film comes highly recommended.

What could prove limiting to its worldwide box office appeal is that for English-speaking audiences the dialogue requires subtitles, and that usually reduces audience figures. Don't let that put you off. 'The Spy Gone North' (aka Gongjak) merits 10/10.

Before describing the film it is worth remarking this effort deserves ten and a half out of ten; unfortunately, Imdb's rating system is too mean to allow such uniqueness, so we'll have to settle for a miserly 10 out of 10.

The casting is simply perfection, as is the direction (Lone Scherfig), and the period setting, capturing every nuance of how Britain once was; a way of life long since replaced by the era of Thatcherism and its disciples. That British-ness does still exist today in upper crust society and in educated rural circles but for the mainstay of Britain's public those are days gone by, superseded by present consumerist values and the uncomplicated, uneducated Brexit-loving class.

While a throwback to wartime Britain the story is nuanced throughout with humour, sensitivity, a multitude of surprises, and is unquestionably creatively satisfying. All the cast, especially Bill Nighy, probably the UK's finest male actor, the impressive Sam Clafin (as Tom Buckley), the bewitching Gemma Arteton (as scriptwriter Catrin Cole), both sets of twins, Henry Goodman (as Gabriel Baker), Paul Ritter (as the unassuming Parfitt, who utters the wonderful line "God! The American's teeth, can they be real?"), Jeremy Irons (Government Secretary of War), and Richard E.Grant (Roger Swain) are developed beautifully as characters. Comic sequences are also gently woven into scenes, even the odd Mr Bean type moment requiring Catrin Cole to slide into a space too small to access her desk. There are witty one-liners aplenty, and much poignancy. Even a 'token' American is essential, one of the clever twists... because this is a story that starts off with a film studio deciding to make a movie about 'real life' twin sisters who daringly set out to rescue soldiers stranded in France during the Dunkirk evacuation. However, by degrees the studio's intended British morale booster (during the darkest days of the blitz) becomes integral to the British wartime effort, and crucially, the ensuing decision by the Government to appeal more importantly to American movie-goers to win their hearts and minds. To achieve that end, the story is stolen by the Government propaganda machine, and the 'token' American, a highly successful decorated air force pilot Capt Lundberg / Brannigan (played by Jack Lacy) is reluctantly conscripted to participate. The problem for the studio, is this handsome dashing hero, is unable to act. The American Government knows but insists on his participation regardless. The film crew, are no longer just making forgettable low budget entertainment for the British audience alone, it must become a blockbuster to thrill 90 million move-goers across The Atlantic Ocean. And in colour no less. Superb!

No celluloid masterpiece could ever be complete without piquancy and dollops of tragedy. 'Their Finest' offers that in abundance. Twists and unexpected turns keep the well-paced story alive. Even a love sub-plot or two for good measure. By the end of the film only the most emotionally unintelligent, or the long-since dead, will be left unmoved. If you haven't seen this film, yet, do please. Two hours well spent.

Rhona Mitra adds a touch of class, as hostage negotiator-turned-lecturer, to director Adrian Wills' movie ostensibly about a bank robbery that swiftly goes awry. The robbers find themselves in a situation they cannot escape and must resort to holding bank staff and customers hostage. The police call in Caroline Grainger (Mitra) their regular negotiator. Superficially it appears that straightforward to the police, only we soon discover the plot is more labyrinthine. One of the robbers Eric Sanders (Zack Peladeau) has contrived the situation because he has a score to settle with the negotiator. From there on, this develops into a battle of wits between the two lead protagonists. The story is neatly laid out by Wills, events move along at a brusque pace; including finding sufficient time to reveal the angst felt by everyone. The robbers are in a desperate fix, the terrified customers in equal peril, the police face a dilemma, the inevitable swat team arrive twitchy and unpredictable, while Grainger realises she is personally involved at the core of proceedings in more ways than the police are comfortable with. In a nutshell, it makes for a compelling view. Rhona Mitra's charismatic presence, as an intelligent, calm, canny, confident woman is what makes this tale work well. She really ought to be an A-listed star.

Imagine you have an original story for a movie that you are about to pitch to the umpteenth financial backer you meet. When they ask what the film is about, you say a thriller, an action-busting crime story with an odd dash of humour ...... all set on bicycles in Manhattan! Before the executives finish laughing security kicks you out of their office. Raising finance for such an idea would present a challenge and an accomplishment in itself. Yet it happened. A visionary at Columbia Pictures took a risk. Though 'Premium Rush' initially made a modest box-office loss, from ensuing worldwide distribution and subsequent TV deals it thankfully turned a profit.

New York boasts 1,500 bicycle dispatch riders, all daily risking life and limb, hour-by-hour... hand-delivering documents across the City. In the lead role, Wiley (Joseph Gordon-Levitt) a law-school dropout prefers the harum-scarum rush of life on the road speeding past heavy traffic on two wheels. Other messengers use brakes, Wiley has none, and he never stops at junctions. We see his imagination work overtime (in CGI) to instantly determine the best paths to avoid fatal accidents, or injury. Vanessa (Diana Ramirez) his girlfriend is also a messenger, and we intrude on their relationship as it falls on rocky ground. They converse via headsets while zipping about town, arguing. Enter Vanessa's flatmate Nima (Jamie Chung). She has a deeply important personal issue, and entrusts a valuable envelope to Wiley to be delivered to Chinatown within two hours. Without knowing why the contents are vitally important Wiley promises to help her. From that moment the story becomes a maelstrom of events.

The contents of that package also concern corrupt detective Monday (Michael Shannon), who will go to any lengths to retrieve it, however illegal or brutally. Shannon plays the dirty cop very convincingly, always ready to lie, intimidate or assault those standing in his way. He must obtain the envelope before 7pm, or his life is in jeopardy. In essence that's the plot. Can Wiley deliver? What is so vital to Nima about the envelope? And why is the NYPD cop hellbent on doing anything to obtain it for himself?

The story plays out with crazy complications, cops on bikes chasing messengers, and stunt after stunt on the streets. Many stunt crew were involved, some of whom were injured during filming, as was lead star Gordon-Levitt.. the daring action is relentless. Detective Monday is increasingly desperate and in their efforts to elude him our heroes take ever more perilous hair-raising risks.

If this feature movie was only about the adrenalin rush it could be boring. During rare calmer moments Wiley and Vanessa warm to each other. The repartee between messengers is authentic, as is camaraderie between them all, a genuine fraternity. Sporadic humour adds to the interaction. The cyclists look the part, lean athletes forever on the move. But it's Nima who, in a very surprising twist, steals the show. Her secret issue lends pathos key to the plot. All-in-all this film is original. How many adrenalin-thumping thrillers have been made before about city dwellers on bicycles? None! In truth this isn't a cinematic masterpiece, but because this film is unique I heartily recommend you watch.

This film is a French remake of the 1968 original film 'Charly' (starring Cliff Robertson and Claire Bloom); also the 2000 version of 'Flowers for Algernon' (Mathew Modine, and Kelli Williams), and several adaptations since... The title role is closely based on Daniel Keyes' moving novel "Flowers for Algernon." Here, the Gregory Gadebois, the film's only actor depicts the life of an ordinary but simple man, Charlie, whose low IQ, of 68, prevents him from having more than a superficial understanding of other people. He works as a school caretaker, yet his work colleagues make him the butt of their jokes. Charlie is a warm well-meaning, individual lacking insight, and can barely read or write. Under the supervision of two surgeons Charlie undergoes innovative though speculative brain surgery based on the transformation of a research mouse 'Algernon'. If the treatment is successful, Charlie is informed, he will become super intelligent, his IQ will triple. "I didn't know I had an IQ" Charlie exclaims! The film moves slowly up to this point, then moves apace. True to their promise, post-surgery, Charlie's mind transforms gradually at first, then supremely fast. He reads the classics and sciences prolifically, learns languages, how to play a cello, and for the first time... to court a woman and form a first relationship with his counsellor. Life is rosy at last. Charlie becomes Charles, and is transformed. His knowledge of neuropathology surpasses that of the two surgeons - until they the day they tell him that the health of Algernon, the research mouse, is deteriorating. It falls upon Charles to find a cure before potential disaster strikes. Is this possible? To find out you must watch this curious tale, deftly directed and co-written by Yves Angelo, along with writers Gerald Sibleyras, and Daniel Keyes the story's original author.

Based on a book of the same name, 'Me and Luke' also goes by the title 'A Dad for Christmas'. As the alternative title suggests, this story unapologetically centres on family issues, in a wholesome way.

Well-crafted family dynamics focus on the lives of a newborn baby Luke and his young parents. Each main character shines sufficiently to make their motivations clear. Matt Bessing (Kristopher Turner) is the young 19 year-old student father. However, Megan Eubanks (Emma Taylor-Isherwood), the mother, decides college and career is her destiny, not the newborn whom she alone now chooses to give away for adoption. People's lives forever change, and Pam (Lindsay Ames, of Metropia; Gossip; and The Vow) steps into Matt's life. She too has mapped out her own future, away from the small American town where the events unfurl. Louise Fletcher and Jack Shepherd feature as doting grandparents Glennie and Bert (a retired attorney who warmly gives Matt encouragement to do the right thing) amidst a major legal problem concerning Luke's custody.

There are no fireworks, just healthy family interplay – of the kind often missing in busy modern life – though the film's only rogue, Benson, has other devious ideas. Under Eleanor Lindo's directorship warmth wins the day without allowing the film to nosedive into unnecessary cheesy schmaltz. Lindo's entire directorial career is in TV movie-making. Consequently, the situation and characters are always believable and draw you right in. Both titles are somewhat misleading, as the film would be better called 'Pass the Baby' and Christmas is incidental.

Begins well, develops at a steady pace, ends suitably, and makes a worthwhile watch.

Set in the 2017 run-up to Christmas centring on a young woman who pines for love. Sarah (Ashley Newbrough) has only ever lived in her small home town. In her sheltered environment she seldom meets suitors, romance never sparks. A pact is made with her childhood best friend Nick (Adam Hurtig) to build a snowman every Christmas until she finds the man of her dreams - oblivious to Nick's dreams. Their snowman pact and strong friendship continues for twenty years, into adulthood. Yet Sarah remains utterly blind to what the audience knows; ever since that pact Nick has deeply loved Sarah. Believable thus far, however, the next part is not. You are supposed to believe a red scarf, once belonging to her deceased mother, if placed on the snowman will bring Sarah a man specifically named Cole, and love. Worse follows.

As if by magic, a handsome stranger called Cole (Jessis Hutch) knocks on her door next day at 9am, returning the red scarf that had blown away. Sarah is invited to lunch, and out on a date. Meanwhile, lovesick, spurned best friend Nick obsequiously accepts the intruder into Sarah's, and his life. Cole, weirdly obsessed by all things snowy, behaves peculiarly, yet charms Sarah into potentially leaving with him to Europe on Christmas Eve. Will she travel with him? That is the rub in the 90 minute runtime you'll never get back.

Tension in the movie is absent. The three main characters do not carry the film sufficiently for this to be more than a long, slow yawn. A dozen supporting characters are unaccredited; one of whom, Sarah's father, catches the attention most. Kind, tolerant, understanding, he has all the best lines and steals the show! None of Sarah's work colleagues are remotely realistic. Always late, she chatters about love, eats nonstop… and eventually deigns to open her laptop. How exhausting! Her boss praises Sarah for all the non-existent work. Anything Sarah does is sycophantically praised. Doubtless romantic movie buffs will watch. But this made-for-TV-movie is simply wasting precious time.

'The Cradle Will Fall' is actually known by three titles. On British TV the original title 'La Clinique du docteur H' is contracted to 'Le docteur H', making this movie hard to locate on IMDb.

A strong cast and superb direction gives this implausible story credence. Numerous strands develop throughout adding depth and twists, which intertwine neatly as the plot thickens. Nicolas Marie (well known as the principle character, President of France Alain Marjorie in the thriller 'Spin') plays Detective Serge, chief of the police department. Serge has a much younger wife. He suspects her of infidelity, but rather than risk direct confrontation and losing her, he sets out to dispose of her lover in a convenient but convoluted manner, by seizing the opportunity to pin the murder of a young woman on him. In his predicament, the truth to Serge is irrelevant.

Meanwhile, a young reporter, who wonders why the death happened, sets out to investigate and discovers that the victim was receiving fertility treatment. She tracks down other women also receiving fertility treatment at the same clinic. One of whom is Serge's wife. The reporter requests an interview with the clinic's director, gynaecologist Docteur H. All seems perfectly in order. The medical doctor answers her questions with aplomb, such things happen, the victim was a normal young woman who wanted to conceive, c'est la vie. It soon becomes apparent that hyper-intelligent Docteur H (Aurelien Rocoing) is not only hiding a great many secrets, but he is as mad as a hatter. Rocoing hams up his character to great effect. The archetypal mad movie scientist whose chief mission in life is to further his medical research at any cost, completely disregarding his Hippocratic oath 'to do no harm'. Docteur H kills his patients incompassionately. This element of the story bears an uncanny similarity to the real life British mass murderer Dr.Harold Shipman, who took the lives of at least 200 victims before being caught.

So, the police should catch wicked Docteur H right? That's how movies go? Wrong! Not in this movie. Beset by insane jealousy and anxieties, Serge cunningly pins the murder on his wife's lover! Fortunately, another cop Cathy (played by the beautiful Elodie Franck) realises events are not as they appear. While deeply confused by her boss's certainty as to whom the murderer is - she suspects that Docteur H is implicated. But how? Excellent detective work leads her to the discovery Docteur H has a criminal record in Canada, has been skipping prosecution, taking on false identities and working in country after country - implanting foetuses into infertile women. I did allude to this tale as implausible. Rejection alone would render this improbable, but, of course, this is a movie. The suspension of one's disbelief is quickly glossed over, the key art of movie-making.

More deaths happen. In haste Docteur H takes events, extreme events, into his own hands, making serious mistakes that spiral out of control. Cathy, is the one character who unravels the truth, yet Serge steadfastly stands in her way. Serge has much to lose if she exposes the unlikable doctor, and is not above planting evidence. And so it continues!

If you followed the machinations thus far the film is for you. Olivier Barma's direction is tight, producing a gripping story that easily holds the attention. While the score is unobtrusive, the direction and script give the main characters plenty of material to bite on. The only downside, Rocoing is seemingly an impossible figure in real life, but wait, the equally insane Harold Shipman was too. Final verdict? Worth watching!