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In Jurassic World: Fallen Kingdom, we rejoin the story three years on: An impending volcanic eruption threatens to wipe out the surviving dinosaurs on Isla Nubla, and Claire Dearing (Bryce Dallas Howard), has created the 'Dinosaur Protection Group' in an attempt to save the dinosaurs from extinction. After the U.S. Senate rejects plans to rescue the dinosaurs, Claire is contacted by John Hammond's former partner, Benjamin Lockwood (James Cromwell), who is planning to move the dinosaurs to a new island sanctuary. Whilst discussing the rescue operation, Eli Mills (Rafe Spall) – Lockwood's aide – voices concerns that locating Blue, the sole surviving velociraptor, will be near impossible, compelling Claire to recruit Owen Grady (Chris Pratt) to help on the mission. J.A.Bayona directs this sequel to Colin Trevorrow's, Jurassic World. Jurassic World: Fallen Kingdom promises to be a "darker film", one more "scary"; exactly what you'd expect from Bayona. However, with a huge franchise production such as this, there's always going to be a back-and-forth between the director and studio; usually resulting in any influence the director has being significantly watered down. Regrettably, that's exactly what's happened here. Bayona does what he can with a lacklustre script, naff story, and a franchise too afraid to take risks. There are – and entirely to Bayona's credit – some visually beautiful and brilliantly put to together scenes; some of which are actually quite scary. The opening scene – one of the best – Is full of promise: The pitch dark setting, tropical thunderstorm, lashing rain, and general murky gloominess provides a sincere horror movie ambience; comparable in tone to Jurassic Park's opening scene. And again, during the third act, there's a remarkable scene, set in a sprawling gothic style mansion, which sees the indoraptor – Henry Wu's (BD Wong) latest lab manufactured horror – hunt Maisie Lockwood (Isabella Sermon, playing Benjamin Lockwood's granddaughter), who is seeking solace in her bedroom. The creature, slowly creeping over the rooftops, silhouetted against the moon, strikes an imposing figure; the iconic Wolfman look. The scene shifts to a Nosferatu feel as the creature, with long reaching claws, purposefully and delicately opens Maisie's bedroom window and enters her room: Shadows creep slowly across walls, and claws tap menacingly against the wood floor as the creature moves in a measured, loury manner towards Maisie; hiding under the covers of her bed. Extreme close-ups of both subjects follow; creating a palpable sense of uneasy closeness. Making good use of long unbroken shots, slow purposeful movement, and intense close-ups do add a tangible sense of dread: I enjoyed these sections of the film very much and really appreciated the directors nods to various classic horror monsters. Unfortunately, these scenes are few and far between; any sense of threat is quickly extinguished within the first quarter of the movie as you realise this is the safe franchise film you knew you should have expected. The cast is adequate if not exemplary, and Chris Pratt and Bryce Dallas Howard obviously enjoyed a friendly working relationship. There are a slew of new faces, all of whom do a perfectly acceptable job in their respective roles, most of which are destined to end up as one-hit wonders. And therein lie the problem. Neither of the main cast has anything in the way of character development (They're reunited in this movie in exactly the same way as in Jurassic World; with Claire having to recruit Owen, who's at his trailer, at the behest of somebody else, after an awkward break-up), and none of the new characters are worth spending any time or effort on as they'll never be seen again. Much of the storyline seems rushed and badly paced, particularly the island rescue scenes: There was a good deal of build-up to this section of the film, and many people were anticipating a Jurassic Park: Lost World kind of feel; those people must be feeling let down. Too much time was spent on scenes either side of the island rescue section, but particularly just after it takes place. The section of the movie between the Isla Nubla rescue and Lockwood estate scenes is long, unnecessary, and just boring. Much of this could have been scrapped and more time could have been spent on Isla Nubla, developing characters and giving us more dinosaur action. From a technical point of view, Jurassic World: Fallen Kingdom has some wonderful cinematography, and is perhaps where J.A.Bayona's influence is felt most staunchly. The use of animatronics is something which has been sorely missing from these movies for many years and make a welcome return here: A shame then that the movie relies far too much on CGI throughout much of the duration and never uses it to its full potential. While the CGI isn't bad in and of itself, it does feel unsubstantial and holds no weight. The scenes using animatronics were instantly noticeable and more enjoyable: Consequently, this leads to many of the scenes using CGI to feel a bit limp. Verdict Maybe I expected too much from a child-friendly franchise movie, maybe I'm being overly harsh; I just couldn't help but feel massively disappointed. In all fairness, Jurassic World: Fallen Kingdom achieves what it sets out to make; a loud, fast, and entertaining enough action-adventure movie which families will flock in their thousands to see; I have no doubt that it'll have a huge taking at the box office. I just wish J.A.Bayona had more free rein, or that the studio had been more willing to take risks. What we've been left with is a movie which is as average as they come: A movie which showed such promise, and really could have been something special. For me, the movie is saved from falling into complete mediocrity by the (admittedly few) windows of greatness that could have been; something I attribute to the director. Should you go see it at the cinema? Yes, absolutely. Is it something I'd want to purchase on release? Probably not. 6/10

(Release Info London schedule; January 25th, 2019, 63 - 65 Haymarket, Westminster, 20:00 PM) "Second Act" As Maya Vargas (Jennifer Lopez) celebrates her 43rd birthday, she has one wish. A promotion. After 15 years at 'Value Shop', the past six as assistant manager, she’s ready to run the big box store in Queens. Her resumé doesn’t scream upper management, but her track record sure does. She’s an innovator who listens to customers, knows what they need and finds a way to deliver. But 'Value Shop' hires 'the right man for the job', a man with an 'MBA', not 'GED'- certified Maya. Maya’s boyfriend Trey (Milo Ventimiglia) and best friend Joan (Leah Remini) try to boost her spirits, but Maya is frustrated as once again street smarts doesn’t equal book smarts. Was her entire future determined when she was 16, or can she actually reinvent herself in her 40’s? Maya’s prospects brighten when she lands an interview at the Manhattan consumer products firm, 'Franklin & Clarke'. When Maya’s friends show up to make breakfast before her first day at 'Franklin & Clarke', a spontaneous 'Salt-N-Pepa' dance party breaks out in the kitchen. Anderson Clark (Treat Williams) wants to meet her and invites his daughter Zoe (Vanessa Hudgens), a rising star at the company, to check out Maya, too. While Zoe is skeptical, Anderson is dazzled by Maya’s ability to think on her feet, not to mention her 'Wharton' degree, 'Peace Corps' service, 'Mastery Of Mandarin' and overall power player vibe. But unknown to Zoe, her father, and initially even Maya herself, those credentials were invented by Maya’s godson, who surprised her with a brand-new online identity for her birthday. Thanks to her years of experience working at 'The Value Shop' Maya lands the job, although she’s uneasy about the deception, and unsettled about her other secrets, she’s confident she can do the job. Her first day at 'Franklin & Clarke' pits Maya against Zoe in a big product development competition. 'Franklin & Clarke’s' heavy hitters align with 'Team Zoe', but Maya and her tiny crew of corporate misfits are determined to succeed. Maya Vargas, a born-and-bred Queens girl, is having her 'Is that all there's'? moment when "Second Act" begins. She's disappointed when we meet her first. Maya has ridden the bus to 'The Ozone Park Value Shop' in Queens for 15 years. Each day, she puts on her smock and name tag and handles the store’s business with a firm and friendly hand. She knows she has what it takes to be the boss. The problem is convincing the chain’s 'CEO' that she’s qualified. But Maya, still wrestling with choices made as a teenager, has lived with regret ever since, and it’s holding her back. The people close to her would say she’s suffered long enough. But Maya has never even told her longtime boyfriend about this part of her life, and keeping that secret from him adds to her burden. Maya really is an every person. We all have dreams and often don't achieve them all. Maya is a person who made certain choices because of things that happened early in her life. There's a lot of regret about how it could have been different. As she tries to climb the ladder and things don't go her way, she sees some of those past decisions as the reason. But then she gets to cross the bridge! With that crossing, she becomes 'Manhattan Maya'. The film shows how women support each other through thick and thin. Maya is destined to be bigger than her friends. Joan is focused on being a mom, but wants Maya to get her chance. She believes that out of all of their friends, Maya is the one who will make it. But when Maya starts to lose sight of who she really is, it’s Joan who keeps her grounded. Of course, not every woman is as supportive. Hildy (Annaleigh Ashford), the product development executive assigned to work with Maya, sees her as a rival. They’re supposed to collaborate and come up with a product together, but Hildy wants to be top dog and will do anything to get there, including stomp on her fellow lady. She’s also one of the first people to see through Maya, and question if something else is going on. Zoe, 'The CEO’s' ambitious daughter, has her guard up, too. Zoe is not Maya’s biggest fan when she arrives at 'Franklin & Clarke'. She’s another woman. Another woman is a threat. But gender is also the reason Zoe’s attitude quickly changes. To see another woman hold her own in a male-dominated space is something that most women look up to. Zoe respects Maya and through that, they form a connection that Zoe didn’t expect. Maya in Queens is a bit sassier than 'Manhattan Maya', with a big hoop earring and bigger hair. Attitude! Borough girls naturally know how they want to look because they’re exposed to a lot of street style. Maya becomes the chic girl in Manhattan, some silks, some softer silhouettes, without completely abandoning the original. Because you can't do that. It's not a lobotomy. The original has to remain there to be believable. You always have to consider what a garment is going to do in a scene. It's not only the look of something, you've to tell the story. It's not a fashion runway. It's interesting for people to see combinations they wouldn't have thought of. This film is about reinvention, because so many people are stuck in lives they don’t want dreaming of lives they do, only to realize they had the power all along to change. It's about a woman who feels she never got a fair shake. But then she gets an amazing opportunity, albeit not entirely honestly, that changes everything for her. Maya learns she does not have to be stuck forever. You can always reinvent. You can always make a change. You can always keep growing and to me that message has so much relevance for everybody, but especially for women. She gets to know what life is like when your dreams come true. And of course she has to deal with the fall-out of lies while achieving the goal. In one of the favorite scenes at Michael Jordan’s 'The Steak House N.Y.C.' at 'Grand Central Terminal'. Maya, Zoe and her dad are having lunch when Maya’s Queens friends, posing as old 'Ivy League Chums', pop by to check on their girl. The film gets all of the women together and we see them interact, and that’s when the real soul of the movie comes out. "Second Act" inspired many conversations about second chances and reinvention and not giving up. About women empowering themselves and each other. About not letting one event become your whole story. About going for your dream, no matter your age or background or zipcode. This movie itself is a reminder that everything deserves a second look, a second chance. It's coming to the world at a time where people need to be reminded you just have to get creative when you’re thinking about what you’re going to do with the next 40 years. "Second Act" always means the second act of the show, when all the good stuff happens. It’s where we back up the story; it’s where the hero confronts their biggest battles, and where we've the opportunity to make the biggest, boldest choices. The mantra for "Second Act" is the only thing stopping you is you. You don’t have to hide. You really can just let all those feelings go.

Jessablle is a 2014 American horror film directed by Kevin Greutert and written by Ben Garant. The first time I watched this movie, I wasn't expecting much. Most horror films have the same old boring storyline; people move into an old house with withering walls and strange things start to happen. This movie, however, grabbed my attention straight away. I was gripped. Jessabelle is a movie that has it's hold on you from start to finish, and even has you thinking about it long after it's horrors have been revealed. The twist and turns in the plot will have you on edge and yelling at the TV screen. This film is a must watch and needs to be more widely noticed.

Los Angeles has had its fair share of both cinematic love letters and deconstructions down the years. For every ‘Singin’ in the Rain’ extolling the virtues of Hollywood and pursuing ones dreams, there is a ‘Mulholland Drive’ that pulls back the bedsheets to expose the dark underbelly of corruption. It’s rare to find a film that manages to portray the magic and hypocrisy of Hollywood simultaneously. But Damien Chazelle’s La La Land takes a wide aim at the movie business while still managing to show why so many flock to Tinseltown to chase their dreams – even if most of them end up writing think pieces in between their shifts at Starbucks. Mia (Emma Stone) is an aspiring actress looking for her big Hollywood break. Through a chance encounter on the highway she argues with Seb (Ryan Gosling) a jazz fanatic desperate to start his own club and reinvigorate the disappearing art he has devoted his life to. As they both struggle through tedious day jobs to pursue their dreams, a chance meeting at the bar Seb works at, and a later incident at a party convince the two that there are sparks between them. They begin dating, and their individual passions power their romance. But as each becomes more successful and closer to their dreams, the demands of success threaten to tear their relationship apart. Also there’s a lot of singing. Movies about moviemaking are regular fixtures on the Oscar-hype train. Many cases are incidents of Hollywood giving itself a nice, self-indulgent slap on the back over how wonderful, mysterious or difficult their lives are. With La La Land however there are quite clear reasons why awards will be heading its way. The film is stunningly directed, with some wonderful and original ideas in its presentation. It can be difficult to offer any innovative scenes in a city like LA, which has been covered head-to-toe in cinema leaving practically all corners a cliché. But every scene in La La Land is drenched in classic Hollywood style and mixed in with modern Hollywood vanity. It’s like existing in a present with a filter of the past covering everything you see. Colour bursts from the screen presenting the world as a land of opportunity at all the right times – when our characters meet and fall in love. This is later drained and unsaturated as reality kicks in, and issues between the characters arise. More impressively, this never becomes a distraction to the story. The subtle differences are what stand out, in lighting, wardrobe and shooting, which work to amplify the story we see played out. The plot itself is not anything particularly special, but the ways the story is told elevate it to greatness. Ryan Gosling and Emma Stone are both inspired choices for the leads. Stone’s Mia is a hopeful but frustrated dreamer. Her acting career is headed nowhere when we meet her, yet her creativity and spirit remains intact. As Seb enters her life things begin to look up, despite little progress being made. Stone then gets to bring out the characters true feelings of despair as her relationship begins to suffer, despite her creativity blossoming and eventually seeing some payoff. The role is filled with the typical boisterousness you would expect from Stone, and it’s easy to pull for her to achieve her dreams. Gosling’s Seb meanwhile is himself a dreamer, albeit a much more aloof one with a touch of arrogance. His passion for Jazz is the only driving force in his life, to the point where he is willing to join humiliating 80’s cover bands to fund it. Despite his reserved attitude, Gosling brings a warmth and maturity to the role that plays incredibly well off of Mia’s vulnerability. Despite being the standoffish type, it is Seb who is the one supporting the more outgoing Mia and pushing her to aim for the stars. She in turn opens his eyes to new opportunities and ways to make his love of Jazz more relatable to the people he is so desperate to attract. It’s very easy to root for the characters to be together because of these performances, whilst still seeing all the differences in them that make them strong individuals. It’s food for thought maybe that the next person you flip off on the motorway could be your soulmate, at the very least. La La Land’s strongest point is the theme of the film and the battle it tells through the story between chasing your dreams and dealing with reality. The whimsical musical numbers are often interjected with humorous quips regarding the actuality of life outside of the movies. The growing apart of the characters is facilitated not by typical Hollywood misunderstandings or coincidences but by fundamental issues in their relationship relating to the characters careers. Seb’s life on the road as a keyboard player for example and the stress a long distance relationship puts on Mia. These matters are what facilitates the drama of the movie and raise the questions over what we need to compromise on when two sides of a relationship have different goals and dreams. It is clear as these characters become closer that each side requires sacrifice from the other to fulfil their goals. Seb’s goals involve being on the road to earn enough to start his club, leaving Mia alone. Mia’s require Seb to be more present in the relationship where she can stay in LA to secure acting roles. And while both are at a crucial point in their careers, their demands of each other threaten their dreams. In an old Hollywood movie, they would each know exactly what to say and do to solve their issues, and live happily ever after with all their dreams come true. But that isn’t the world in which La La Land exists. It’s a world where people make mistakes. It’s a world where people don’t always know the perfect thing to say. And it’s where people have to give up some of the things that mean the most to them to find what they need to be happy. It’s hard to imagine that a film about an aspiring Hollywood actress and a Jazz sensation falling in love in the Hollywood hills can be applicable to most people on the planet – especially in today’s culture of anti-elitism and disdain for all things metropolitan. But despite all its whimsy, La La Land is one of the most realistic films of the year. Final Thoughts La La Land is no average LA love story. Much like Damien Chazelle’s previous film Whiplash, central to the film is the price that must be paid for success. It’s the story of two creative individuals with hopes and dreams and what they have to sacrifice in order to attain them. Whilst far more optimistic in its outlook than Whiplash was about doing what it takes to achieve greatness, La La Land isn’t afraid to ask questions about whether the pursuit of dreams will truly lead to happiness, and whether relationships can survive against the demands of a passion. Looking past the toe-tapping songs and excellent performances, and the richness of this modern day classic is on full display. If it sweeps the Oscar’s, it won’t be because of Hollywood’s need for self-indulgence (alright, not JUST because of that). It will be because no other film takes the same risks in telling an original story about love, commitment and creativity as La La Land has done. Now, if only J.K Simmons’ cameo appearance could have been changed to feature him screaming ‘NOT MY TEMPO!!!’ at Ryan Gosling, it would have Whiplash beat in every way.

At a runtime of two hours, Justice League is a short film in comparison to director Zack Snyder’s previous efforts. That said, it’s two hours too many for this shambles of a comic book movie. It’s a mystery Snyder is still allowed anywhere near these projects given the mess he has already caused in the DC Universe, which has so far been severely disappointing. It’s difficult to describe the plot given there isn’t really much of one, but simply put, Bruce Wayne aka Batman (Ben Affleck) sets out to put together a team of super-humans to fight an alien enemy, headed by the unsubtly CGI’d Steppenwolf. Batman’s team compromises of Wonder Woman (Gal Gadot), Aquaman (Jason Mamoa), The Flash (Ezra Miller) and Cyborg (Ray Fisher). The movie picks up where last year’s Batman vs Superman: Dawn of Justice left off, both narratively and in terms of quality or lack thereof. Snyder clearly hasn’t learned his lessons from the critical response of his previous effort as this is just more of the same loud, over CGI’d and poorly written nonsense that we had to endure last year. The entire film is just one over-egged fight or explosion after the other, much like we have come to recognise with Snyder’s movies. There is absolutely no attention to character detail and there are far too many moments in the movie that leave questions unanswered and the whole thing makes absolutely no sense. There was a shining light for the DC Universe with the entry of Patty Jenkins’ Wonder Woman which added a bit of colour and charm to what was a bleak cinematic franchise. And you can’t help but feel sorry for Gal Gadot who doesn’t deserve to be in such a mess of a movie after her efforts earlier this year, as she is by far the best thing about Justice League (though that’s not saying much). Ben Affleck has already discussed leaving the franchise and it’s clear to see in his performance that he isn’t keen on staying there too much longer. Little can be said for the other characters in the movie, as we’re either not offered a a full understanding of them or they are just plain annoying. This obviously isn’t helped by the shoddy writing of Snyder who is less concerned about making sense of the movie and instead wants to make a giant spectacle of shouting, fighting and blowing things up over and over again. The dialogue is also incredibly poor and nonsensical, again reiterating what a dour job of writing these DC movies Snyder has done. Yes, Justice League is a superhero movie and therefore shouldn’t be over-analysed, but the Dark Knight movies, along with every Avenger movie, has proved that comic book movies can carry substance and portray more than a vast spectacle. But when a director like Snyder is at the helm, unfortunately that is exactly what we have come to expect and that is what we get from Justice League. Once again, he produces a boring mess of a superhero movie which deserves so much better. @SceneItMovie sceneit3.wordpress.com

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Hostiles film review. Writer and director Scott Cooper follows the success of moving drama Crazy Heart (2009) and hard-bitten crime thrillers Out of the Furnace (2013) and Black Mass (2015) with arresting and haunting western Hostiles. Set in 1892 the film follows Captain Joseph Blocker (Christian Bale) who, along with a small group of fellow soldiers, is tasked with transporting dying Cheyenne war chief Yellow Hawk (Wes Studi) and his family from New Mexico to their tribal homeland in Montana. Cooper’s unflinching, dextrous direction together with Masanobu Takayanagi’s sweeping cinematography perfectly captures the harsh, unforgiving terrain of the American frontier and the atrocities that took place within. One particularly upsetting sequence sees Blocker passively watching his men as they torment a Native American family in their custody. While Cooper and Takayanagi’s work is remarkable, it is the performances of the central cast that linger in the memory long after the end credits roll. Most impressive is Bale. The actor beautifully conveys the battle-hardened Blocker’s gradual respect and affection for Yellow Hawk. It is an astonishing performance and one that will hopefully not be overlooked this awards season. Rosamund Pike is equally effective as grief stricken widow Rosalie Quaid who is forced to join Blocker’s party. Praise must also be given to Studi’s quiet, dignified performance as Yellow Hawk and Rory Cochrane’s scene stealing turn as Blocker’s world-weary second in command, Sergeant Thomas Metz. Handsomely shot and superbly directed, Hostiles is a spellbinding, harrowing work of beauty.

"The Commuter" In this action-packed thriller, Michael MacCauley (Liam Neeson), an insurance salesman, whose daily commute home quickly becomes anything but routine. After being confronted by Joana (Vera Farmiga), a mysterious stranger, Michael is blackmailed into finding the identity of a passenger on his train before the last stop. As he works against the clock to solve the puzzle, Michael is unwittingly caught up in a criminal conspiracy that carries life and death stakes for himself and his fellow passengers. The commuter trains into New York travel from the suburban areas into the inner city, terminating in the Financial District. Along the way, they pick up all kinds of people from every strata of society and, because there’s no first class, the passengers all mix in together. The story centers on Michael MacCauley, a former cop and a now mid-level manager at a faceless insurance company, who lives with his wife Karen (Elizabeth McGovern) and son Danny (Dean-Charles Chapman) outside of New York City. Like so many hard-working family men, he's facing a financial breaking point, trying to make ends meet on a paycheck that is stretched to the rafters and a son who's about to go to college. Michael has been taking the same train for 10 years, five days a week, and then one day he's fired. He doesn't know how to tell his wife, and he's double-mortgaged on his house. At the end of his last day in the office, Michael gets on the train ready to face his family and admit that he has been fired and that the family faces bankruptcy. After having a drink in the local bar with an ex-cop friend of his, he takes the commuter train back to face the music. Into the seat opposite him slides a woman who's not one of the regular commuters Michael knows. She introduces herself and makes him a strange offer. Would you do one tiny, little thing for $100,000? Something of hers has been stolen on the train and she needs help finding it. If he agrees to help, he’ll be generously compensated. Joana literally shaking up his otherwise mundane existence. We all come to a fork in the road at times where we're quizzed on morality versus need, and she's that quiz master. Of the hundreds of people on the train, most are just normal people who are innocent bystanders. But Michael is forced to trust a handful of passengers who offer their help. One is Walt (Jonathan Banks), a commuter pal. Another is Tony (Andy Nyman), a regular New York guy who s always on the train, who lends Michael his phone. Others who raise suspicion include college girl Gwen (Florence Pugh), Dylan (Killian Scott), a young guy with a tattoo who Michael vaguely recognizes, Vince (Shazad Latif), a Wall Street type, Jackson (Roland Møller), a burly construction worker, Oliver (Kobna Holdbrook-Smith), a tired-looking guy with a guitar case, Eva (Clara Lago), a panicked nurse and Sam (Colin McFarlane), the train’s conductor. Following the worldwide success of "Unknown", "Non-Stop", and "Run All Night", Liam Neeson and director Jaume Collet-Serra reunite for a fourth time with the explosive thriller "The Commuter", about one man‘s frantic quest to uncover the truth about a train passenger before it's too late. The screenplay proves irresistible, not just for the bravura of the action and the thrill of the suspense, but for the moral conundrum the protagonist faces and it's consequences for him, the passengers on a New York City commuter train, and his family. On his commute home, the passenger sitting opposite him puts a proposition before him, find a passenger on-board the train who doesn’t belong, in return for a handsome financial reward. As an ex-cop with a strong moral sense of right and wrong, this is not an offer Michael takes lightly. Apprehensive to return home after just having lost his job, Michael eventually agrees to find the suspect amongst the sea of passengers, using his wit and skill to uncover their identity. But he soon realizes that he's at the center of a deadly conspiracy that only he can stop. If someone asked you to do something that seems insignificant, but you’re not sure of the outcome, in exchange for a considerable financial reward, would you do it? That’s the philosophical choice that our central character, a man of 60 who’s just been fired, has no savings, and mortgage he cannot afford, is faced with. Is he thinking just about himself or is he going to take into consideration the possible moral consequences of what he’s asked to do? It's really important to have Michael as someone who belongs to both worlds, he works in the financial district, but he's a real man who’s probably from a blue collar background and he has fought his whole life to give his family the best possible life. On the train ride home, he’s with a bunch of strangers who are also going through their own personal dramas, large or small. They all start off as strangers, but by the end, there’s a real sense of community between them, and it's very important to end it that way. The story almost plays in real time. The main character realizes what he’s set in motion; and sets out to identify the person that holds the key to the conspiracy. The tension cranks up at every stop as new passengers get on, and another clue is left for him. The danger gradually gets greater and greater and the film becomes this really fast-paced psychological thriller along the lines of a Hitchcock‘s "Strangers On A Train" or "North By Northwest". The audience is with him every step of the way, so we learn that his family is in danger only when he does. The film keeps the camera on the train, but imply that his family was in danger without showing it. "The Commuter" disguises a morality tale as a genre film. Michael strikes a Faustian pact with this mysterious woman and, once he’s agreed, the film plays out his deep regret. Joanna is the catalyst, a temptress who entices him, coaches him, and pulls his strings throughout. The film notes of mystery around some of Michael’s co-commuters, who may or may not be players in the conspiracy engulfing him. So when you meet a new character, you’re not sure why they’re on the train or what’s in their bag or why they’re acting the way they do. They’re rounded characters, so you care about what they’re thinking or what they’re up to. It's very important to keep our interest in them going throughout the movie so the payoff at the end is more satisfying. It's a spiritual sequel to "Non-Stop". With a mystery evolving around your central character, it has more impact if your protagonist is a normal guy. How much is he willing to do for money without knowing the consequences of what he's going to do? When extraordinary events happen to regular people, it's important that the first choices that these characters make are choices that we, as an audience, agree with, and that the action escalates plausibly from those choices.

Warmth. Wonder. Wishfullness. As each moment passed, the importance of family filled my heart. The spectacular story that rose Pixar back from the dead - Coco. Suitable for all ages, Coco conveys the appreciation for heritage, as it brings longing, joy, and moving music to the big screen. Coco tells the story of a young Mexican boy, Miguel, determined in becoming a successful musician, like his idol, Ernesto de la Cruz. However, due to his family's ban on music, Miguel finds himself having an adventure in the breathtaking Land of the Dead. Coco manages to make its audience question, "how long will it be before I am forgotten?" This was a powerful route for Disney Pixar to take, but it's not surprising that it worked. How often do they disappoint? Family is the most extraordinary bond on the planet; this is what Coco suceeded in proving to its audiences. However, they not only did that, but showed the world how huge of a role that music plays in our souls. This is clearly showed as 'Remember Me' won an Oscar for Best Original Song. 'Remember Me' conveys that love has no barriers, especially when it comes to distance. No matter how far away a loved one is, they will always be there in heart; this is a significant message within both the song, and the movie as a whole. The power of music is also conveyed in Coco, as we see it tear a family apart, however see an ambitious young boy use it to bring them back together. Coco continues to please audiences as it also ticks off the list for context. This magical masterpiece not only creates characters that are easy to sympathise for, but places them within the very real environment of Mexico. The culture is the very centre of the movie, as it is based around the events of Día de los Muertos (Day of the Dead), and Pixar clearly went to great lengths to ensure that Coco was culturally correct. Disney Pixar created vibrant visuals for their refreshing, comforting movie. Although Coco was familiar to other Pixar films surrounding the topic of family, Coco is undeniably one of their best! 4.5☆

On Sunday night, my friend and I came to the decision that it was finally time we crawled out of the pits we students call beds, and head to our nearest Curzon to watchThree Billboards Outside Ebbing, Missouri (McDonagh, 2017). We staggered in from the cold, with smuggled bags of popcorn, sweets and other junk we could manage to remotely hide as we flopped into our seats. Despite being told multiple times by a variety of people that the discovery of a 50p bag of popcorn stuffed under my jumper, will not lead to my dismissal from the cinema with my head buried in shame. Nevertheless, the myth haunts me to this very day and I choose to walk in with the same sweat on my brow, as if I were walking through customs with a bag of heroine strapped to my stomach, instead of a bag of Nik-Naks from the corner shop. Finally settled, I allowed my excitement to take over. I have been eagerly waiting for a film that dares to delve down the tricky path that is dark comedy. Three Billboard executes the genre flawlessly and managed to send both my friend and I on a rollercoaster of emotions, discussing uncomfortable topics, exposing us to brutal violence and even accomplishing laughter here and there amongst the upsetting drama. We follow Mildred Hayes, played by Frances Mcdormand, a stern, seemingly emotionless woman who demands justice over the painful loss of her daughter. Sadly, her daughter was brutally raped and murdered with not a peep to be heard from the police over catching the monster that inflicted such agony. Mildred begins to take matters into her own hands and sticks up three billboards to mock and encourage Chief Willoughby (Woody Harrelson) to come out of hiding and find the culprit. Of course Mildred’s act of vengeance brought attention from the media which only helped bring the case to light. However, the billboards also attracted negative attention and much backlash, especially from Deputy Dixon (Sam Rockwell), an emotionally unstable and abusive character with mummy issues coming out the ying yang! Sam Rockwell’s performance has to be the most challenging and simultaneously, the most captivating throughout the entirety of the film. Without giving too much away, Rockwell manages to make the transition from a notoriously hated, senseless being to an empathetic and caring character seeking redemption. However, it seems that the film did not hold a real ‘hero’ so to speak. McDonagh has produced multiple characters who are flawed and enduring the suffering that life, unfortunately, has to deal out in one form or another. I think that’s what I enjoyed the most, the fact that you were able to connect with a majority of the characters because of the realism they portrayed and how they all dealt with pain and grief in their own individual way. I think it’s safe to say that Mildred can be regarded as the epitome of girl power throughout the film. Her straight faced, determined, ambitious, don’t f**k with me attitude truly places her above all the men that attempt to stand in her way. She chooses to ignore and challenge those that argue her approach is too cruel, such as her abusive ex-husband Charlie (John Hawkes), Chief Willoughby and Deputy Dixon. Mildred’s drive and spirit fuels the story to the point where the audience almost feels the need to jump on the bandwagon of the fiery rage that burns within her and demand justice. Mildred pulls out a massive two fingers towards the naysayers and sticks to her gut, despite those closest to her attempting to sway her decision at any given opportunity. Although sad at times, McDonagh has carefully balanced the melancholy with wittiness so hopefully you will not be put off and think the story is nothing more than bleak and depressing. Nonetheless, there is a light at the end of tunnel and I hope that light leads to an Oscar!

Having heard and then read about the tragic way, news reporter Christine Chubbuck had committed suicide live on air while reporting the news in 1974, I was interested in watching this film and seeing how she had come to the end of her tether and decided that life was no longer for her. Christine was a 29 year old television reporter who wanted to bring people the real news and not what the station wanted her to put out there just for ratings. She is constantly at log a heads with her boss who wants her to do pieces on crime and not human interest pieces. She begins to fall for one of her co-workers who she later finds out is dating someone else in the station. Christine starts experiencing stomach pains and after visiting the doctor, she learns she has to have an ovary removed which will reduce her likelihood of having children along with the fact she is still a virgin and has never had a boyfriend in her adulthood. The owner of the station comes to search for talent he can take and set up a new station in Baltimore. She is so eager to please her boss and get the opportunity to move to Baltimore that she goes and buys a police scanner and listens to it in hopes to get grittier stories. She is asked out to dinner by the co-worker that she has a crush on and accepts. They talk about one an another's insecurities and they then head to a self-help group that her co-worker attends because he wants to help her. The co-worker drives her home after the self-help group and before she exits the car he tells her that he has been offered the job at Baltimore. She sits there in silence for a few minutes and then exits the car. She gets in to her car and drives to the boss's house and talks to him about the job in Baltimore and that she knows the co-worker got the job and asks if there is still room for her. The boss tells her that the co-worker had already asked for someone else to attend with him, the women he is dating who reads the sports. The next day she arrives at work and asks her manager if it is okay for her to read a piece and a few minutes of talk about it he agrees and she goes to get ready to go live on air. She starts to read the piece which includes a video bit, however the video gets jammed and she is asked to just carry on reading. She then goes on to tell the viewers that they are about to see a live suicide attempt and she pulls out a gun a shots her self behind the ear. Her manager at first believes it is all a joke but quickly realise it is real and call an ambulance. She is taken to the hospital where she dies 14 hours after the incident. The manager finds the script that Christine was reading from when she had shot her self and it was all written on the script, and it also had what she wanted them to say to the press, "TV 40 news personality Christine Chubbuck shot herself in a live broadcast this morning on a Channel 40 talk program. She was rushed to Sarasota Memorial Hospital, where she remains in critical condition." This film brings to light the effects of depression and how some individuals struggle everyday with it. The struggle they face on a daily basis and how some believe there is no hope and have only one way out. It is a great story with heart and not just focusing on the event that the film is based on. The back story, although unsure if it is true to her real circumstances, shows us that people just want to be loved. I highly recommend this film. The cast are great, Rebecca Hall won 3 awards for her portrayal of Christine Chubbuck.