★★★★ Directed by: #RobLetterman Written by: Rob Letterman #DanHernandez #BenjiSamit Starring: #RyanReynolds #JusticeSmith #KathrynNewton #BillNighy Film Review by: #ChrisBuick Since taking the world by storm in the mid-90s, Pokémon has become a massive globally recognised franchise that has continued to go from strength to strength, spanning across video games, anime series, card games and even dabbled in augmented reality. And now, the brand has ventured into its first live-action/animated feature, Pokémon: Detective Pikachu. In a world where Pokémon and humanity live side by side in near perfect harmony, 21-year-old Tim Goodman (Justice Smith) is actually quite content selling insurance and living with his grandmother without a Pokémon companion, unlike almost everyone else around him. But when he receives news that his detective father has gone missing, he heads to the huge metropolis of Ryme City to investigate where he encounters his fathers’ ex-partner, a Pikachu. Realising they are both invested in discovering the truth, the two pair together to solve the case. Those who had reservations about the film when announced (myself included) needn’t worry and it’s easy to see now where the confidence has come from in already greenlighting a sequel. The film doesn’t fail to deliver on entertainment value and there are plenty of laughs throughout, with jokes and moments for both young and old to enjoy. The film does a great job of not only introducing the world of Pokémon to those unfamiliar with the franchise but is also laden with a plethora of treats and little details for long-time fans to discover. It is evident that the world building has been carefully thought out, with several Pokémon from all versions are present (gotta spot ‘em all!), and thankfully none of them seem shoe-horned in needlessly. In terms of cast performances, there isn’t a bad one in the bunch. Justice Smith (previously starring in Jurassic World: Fallen Kingdom) does really well sharing the stage with Reynolds’ Pikachu and the back-and-forth between them is constantly refreshing and amusing. Kathryn Newton also holds her own and the chemistry between herself and Smith is quite endearing. Others such as Bill Nighy and Ken Watanabe don’t get too much to do here but they do it well. But the real magic ingredient of the film is undoubtedly Reynolds as Pikachu which is perfect casting, brilliantly combining the actors unmatched charm and wit with the brand’s flagship and arguably cutest Pokémon (although the film may try and tell you different). The overall plot is perhaps a little generic overall but honestly doesn’t need to be overly complex because there is lots to be entertained by elsewhere. Unfortunately, the film does seem to lose some steam towards the end, which is a real shame considering all the good that comes before it. Despite slightly lacking in the final act, Pokémon: Detective Pikachu is, funny, heart-warming and thoroughly entertaining from start to finish, with plenty to offer for both fans of the franchise and newcomers and is a great step for the future of the brand on the big screen. Watch the Pokémon: Detective Pikachu movie trailer below.

★★ Directed by #KellyAsbury Written by #AlisonPeck Starring #KellyClarkson #NickJonas #JanelleMonae #WandaSykes #BlakeShelton Film Review by #HopeMadden We open on what is essentially the Island of Misfit Toys. This is the moment when the adults in the UglyDolls audience need to make a choice: accept these notions stolen from far superior toy-related children’s fare as homages, or bristle at inferior product skating by on copy-catting. It’s your choice, but your kids will mainly see a perfectly sweet, upbeat and unimaginative tale of an ugly duckling. Even better, an ugly duckling who doesn’t need to become a swan to be happy. That duck, or that blobby pink thing, is Moxy (voiced by Kelly Clarkson). And she lives happily in Uglyville with other merrily misshapen beasties (Wanda Sykes, Blake Shelton, Pitbull, Leehom Wang, Gabriel Iglesias). But Moxie yearns for more. On a songtastic adventure to fulfill her dream, Moxy and gang run afoul of the pretty dolls, whose leader, Lou (Nick Jonas) intends to keep them from finding the boy or girl who will love them. Will that stop Moxy? No! She yearns for her very own Andy. I feel safe in saying that because there’s no question director Kelly Asbury (Shrek 2) and screenwriter Alison Peck (working with characters created by Su-min Kim and David Horvath) have seen Toy Story. Man, that was a good movie, eh? The whole series, actually. In fact, there’s one scene in Toy Story 3 that made me cry harder than any scene in any film ever. It obviously made an impact on Asbury and Peck as well, because it is lifted shamelessly for the emotional climax of UglyDolls. When it’s not distracting you with its borderline plagiarism, UglyDolls is sledgehammering its theme. Janelle Monáe voices Mandy, a pretty doll who might be ugly deep down (a good thing). She helps beat the point home that we do not need to conform to be happy. Which is a great theme, and one that a well-made film (like, say, Shrek) can deliver without losing sight of storytelling. The big screen leap for these critters amounts to a sweetly mediocre marketing strategy for some unattractive (but lovable!) toys. Watch the UglyDolls movie trailer below.

★★★★ Directed by #JonathanLevine Written by #DanSterling #LizHannah Starring #CharlizeTheron #SethRogen Film Review by #GeorgeWolf Long Shot's first success comes before the opening credits even start rolling. It's right there on the movie poster: "Unlikely, but not impossible." So before you can scoff at the idea of Charlize Theron giving Seth Rogen the time 'o day, your protest of the premise is a) acknowledged, and b) set aside, leaving plenty of loophole to just appreciate an R-rated romantic comedy that's brash, smart, timely, and pretty damn funny. Rogen is Fred Flarsky, a scruffy, sweatsuit-loving online journalist known for cutting-edge exposes such as "F*&^ You, Exxon," and "The Two Party System Can Suck a D&^%." When media monarch Rupert Murdoch, er, I mean Parker Wembley (Andy Serkis) buys the digital magazine Fred works for, he quits in protest. Theron plays Secretary of State Charlotte Field, a graceful, brilliant stateswoman who's ready to make a run for the Oval Office and could use a speechwriter. Back in her teens, Charlotte was Fred's babysitter (!), and after they cross paths at an ill-fated fundraiser, he's brought on to give Charlotte's speeches a little of that Fred Flarsky feeling. The surprising (but not impossible!) romance that follows doesn't thrill Team Charlotte (the slideshow explaining how it might impact her poll numbers is a scream) but credit writers Dan Sterling (The Interview) and Liz Hannah (The Post) for having more on their minds than a dude makeover. Keeping just enough of that Rogen stoner-comedy vibe, Long Shot skewers Bernie Bros, female candidate double standards, romantic comedy tropes, celebrity presidents and, most pointedly and hilariously of all, Fox News. Theron and Rogen elevate every bit of it, working as a comedic power couple out in front of an ensemble cast full of standouts, most notably June Diane Raphael as Charlotte's disapproving Chief of Staff and O'Shea Jackson, Jr. as Fred's motivational best friend. Director Jonathan Levine (The Wackness, 50/50, The Night Before) keeps things grounded and character-focused. Just when the parody or implauseability is in danger of running amok, he gets us back in the semi-real world of crowd pleasing entertainment. And though that does mean a third act that gives in to overt sentimentality, Long Shot has the heart, charm and hilarity to win you over long before then. Watch the Long Shot movie trailer below.

★★★★ Directed by #AlexRossPerry Written by #AlexRossPerry Starring #ElisabethMoss #AgynessDeyn #DanStevens Film Review by #HopeMadden “Kill your idols.” “Give them enough rope and they will do it themselves.” Apt lines from Alex Ross Perry’s new rock and roll meltdown, Her Smell. You may think you’ve seen “Behind the Music” style self-destruction, but you have never seen anything quite like this. And how great is that title?! Writer/director Perry has a soft spot for unlikeable people. That is the most common element running through his work—Color Wheel, Listen Up Philip, Queen of Earth. So it’s no huge shock that he hasn’t made a profitable film yet. That’s a tough sell: come spend 90 minutes—or in the case of Her Smell, 144 minutes—with someone you’ll have a tough time tolerating. Which is not to say Perry makes bad movies. He makes really good movies, they just try your patience. Her Smell has a couple of things going for it, though. First of all, there’s train wreck appeal. Becky Something (a ferocious Elisabeth Moss) is so outrageously tough to love that you cannot look away from the downward spiral Perry dares you to witness. The second and most important strength is Moss’s stellar turn as Something, a rocker facing the inevitable consequence of drug abuse, pathological insecurity and the shifting dynamics of the music world. The film itself is a dizzying, self-indulgent mess, which only seems appropriate. Sean Price Williams’s restless camera captures it all. All of it. All all all. And Moss’s toxic, mascara-smeared maniac is such a loathsome explosion, you almost wish rock bottom would come, already. Uncharacteristic of the filmmaker, though, regret and redemption color the film’s second half. It’s here that Moss’s rawness and the deeply felt character work from her supporting cast (an especially wonderful Agyness Deyn, in particular) repay you for the abuse you’ve taken for more than an hour. The music itself—much of it, anyway—is the film’s real weakness. But Moss, who has more than proven her mettle in basically every role she’s ever taken, is more than fearless here. She is bare, ugly authenticity and there is something transcendent about sticking it out with her.

★★★★ Directed by #RyanWhite Starring #RuthWestheimer Film Review by #CatMcAlpine Ruth Westheimer stands only 4’ 7” tall and she knows it, mentioning her small stature frequently throughout the documentary Ask Dr. Ruth. She believes being small made her less intimidating when she took the world by storm talking frankly about sex. Ruth’s small stature also came in handy when she was grievously injured in the 1947-49 Palestine War, as she was able to stay in an overcrowded hospital by sleeping on a bookshelf. Oh, that’s right. Ruth didn’t become Dr. Ruth until her 40’s. First she survived the holocaust in a Swiss orphanage, emigrated to Palestine, became a sniper for a Jewish paramilitary group during the war, started her education in Paris, fell in love and was married three times, emigrated to the United States, and raised a family. Director Ryan White curates a beautiful narrative that explores Ruth’s constant position at the forefront of change and upheaval. The story flickers between a retelling of Ruth’s early life, the beginning of her career, and a reflection of what she’s managed to accomplish today. At 90 years old Ruth is still teaching classes, performing speeches, writing books, and giving advice. At one point she’s asked “Why write another book now, at 90?” (she’s published at least 30). She replies with good humor, “What a stupid question.” Ruth herself is a marvelous star. She’s proud of what she does - she’s kept recordings of all of her performances and you can spy flyers and posters of her appearances tacked up in her New York apartment. She’s warm and welcoming, a care-giver to her core, but she is also shockingly stoic for her jovial nature. Ruth keeps the events of her life at arm’s length. Accounts of past wars and lost loves are highlighted with animated re-enactments. This is the point where I typically balk at documentaries. Animation or actor re-enactments often feel like a necessary evil in telling a story that cameras weren’t present for. I find the mixed media style off-putting and, honestly, tacky. In Ask Dr. Ruth though, the effect works pretty well. It helps that the dreamy animation is done with vignettes rather than characters mouthing a voice-over. Toward the end of the film, there’s a super-cut montage of Ruth’s life. Black and white photos alternate with the beautiful animations and clips from 80’s talk shows. It's wild and crazy, happy and sad, and so very, very Ruth. This film is a heartwarming tale of what life is like as a refugee and an immigrant, a feminist icon who denies the label, and as a doting mother and grandmother. Allow yourself to be delightfully surprised by Ask Dr. Ruth.

★★ Directed by #DeonTaylor Written by #DavidLoughtery Starring #DennisQuaid #MeaganGood #MichaelEaly Film Review by #GeorgeWolf If you caught Dennis Quaid creeping around your house on numerous occasions, would you be scared, or just figure he was bringing over some mac and cheese? (Liquid gold!) Quaid might be one of the ultimate likable dudes, and his playing waaay against type is one of promising threads that The Intruder squanders in its warmed over dish of jump scares and borrowed ideas. Beautiful couple Scott (Michael Ealy) and Annie (Meagan Good) are living the good life in San Francisco, but Annie feels it's time they move to the country and start a family. She finds her dream house at the Napa Valley home of Charlie Peck (Quaid), and as quickly as you can say "overly rushed setup," they're moving in. Charlie says he's selling to head South, so why is he still coming over to mow the lawn, assist with the Christmas decorations, and find reasons to be alone with Annie? Whaddya bet he's not really retiring to Florida, or that some guy at Scott's office would like nothing better than dig into Charlie's past to find what he's hiding? Director Deon Taylor (Traffik) and writer David Loughery (Lakeview Terrace) are both treading familiar ground, too much on autopilot to successfully mine the contrasts they introduce. It's old ways versus new, city versus country, and a red hat wearing white guy terrorizing a black couple. That's plenty to chew on, but everyone goes hungry while characters make one idiotic decision after another on the subtlety-free ride to a finale lifted verbatim from a 90s thriller. At some point, Taylor and Loughery needed to chose a path: logical, layered tension or unhinged, over-the-top fun. It's clearly evident which one Quaid wanted, but both he and the film end up undecided on the remodeling plans. Like that old, musty spare room with the bad wallpaper, The Intruder is a little creepy, too often unintentionally funny and in need of some work.

Movie Quiz by UK Film Review Film Feature by #ChrisOlson Do you think you know your Gringotts from your Grindlows? Got a handle on your Rickmans and Radcliffes? Well, it's time to put the Sorting Hat on at separate the wizards from the muggles. UK Film Review, not only happy to provide some of the best movie reviews and trailers around, want to provide joy to our loyal readership. And what better way than by creating an interactive Harry Potter movie quiz for all to enjoy? Via the wonders of YouTube, we have created a series of videos linked by the answers in the description. Click the wrong answer at your peril. If you success and click the correct answer in the video's description you will be taken to the next question - until the last one (p.s. there are 20 in total in case you start wondering). As with all things great and beautiful, please do SHARE with your friends. The quiz is based on Harry Potter and the movies, so even if they only like one of those things (rare but they are out there) then they should still get a kick out it. So, wands at the ready...(make sure you watch via YouTube in order to see the description).

★★★ Directed by: #DougNichols Documentary Film Review by: #JackCameron The Last Captain is a #documentary by Doug Nichols that tells the story of legendary Hungarian fencer and coach, George Peller. The story of Peller, born at the end of the 19th century covers a fascinating period of history with him bearing witness to some incredibly important events and all the while maintaining his passion and talent for fencing. Told mainly through photographs and talking heads the film's story unfolds through a myriad of different sources; sporting champions, Hungarian officials, military officers all contribute to the life of this man. It’s an impressive collection of people and shows that Peller was born at a time when many different traditions and world events were coinciding and developing; the world is changing, technology is advancing and fencing (primarily a military tradition in Hungary) along with it. Peller who has just as many war stories as fencing victories comes across as a clearly brave and talented man, who would soon go on to lead the Hungarian team as a coach. Under his tutelage and development of modern techniques Hungary became a world champion team and the nation to beat at the Olympics. In recent years there have been some truly great documentaries. Asif Kapadia has demonstrated how to get under the skin of a subject with Amy and, with Senna, made a story about Formula 1 accessible and enjoyable to those who knew nothing of the sport. The Last Captain has many awe-inspiring stories of Peller charging from the trenches armed only with his saber, but the film does not deliver any coherent picture of this man. Instead, we hear a lot about how he changed the sport, but to most audience members the subject matter is niche and no effort is used to make it accessible. Similarly, it seems the questions are geared more to the lives of the interviewees rather than to the film's subject. We end up with a lot of stories about what it was like living in Hungary at the time from people who happened to know George Peller rather than what it was like to live and work in Hungary with George Peller. The film opens and closes on an American student of Peller's Charles Senburg. He has little to do with the story, only appearing at the top and tail, and yet this framing twists the story to be about Peller's impact on American fencing. Senburg describes Peller in three ways, but none of these are made clear to the audience throughout the film's course. Instead of following a three-act setup, the film is told in about twenty different sections that don't cohere or connect and, again, make Peller appear more like a collection of facts tagged on to a history lesson. The stories of George Peller are fascinating and inspiring, especially that a man could climb so high while his world imploded around him. The story of The Last Captain, however, is messy and unclear, and structurally feels strange that an emphasis is put on his time in the States when he only spent three of his sixty years there and the film only needs ten minutes to cover it. Taken as a collection of scenes the film delivers some fascinating anecdotes and the people who tell them are clearly in awe of this man. However, as an audience member, George Peller, compared to subjects in a Kapadia film, remains an elusive figure and the changes he made to his sport unclear.

★★★ Directed by: Kyle Acosta Starring: #KyleAcosta, #JAdamYoung, #BryanFretwell and #KristinShowalter Indie Film Review by: #BrianPenn Watching a film that runs for three hours, fifty three minutes and nineteen seconds is like being handed a Victor Hugo novel; you know its long and you just hope it’s going to be good. So give yourself a chance and break it down into bite size chunks like a box set. Well that was the plan as one sitting was unlikely to do the job. The story opens with a dishevelled TK (Kyle Acosta) facing another day as a drug dealer. Years of ducking and diving have taken their toll and local mister big Charlie Barker (J. Adam Young) wants out. Barker is ready to hand the business over to his nephew Rothschild (Bryan Fretwell). However, Barker is not entirely convinced his nephew can be trusted; so expects TK to keep an eye on things. But he is reluctant to babysit and is distracted by his terminally ill mother in hospital. To make matters worse, blue haired cop Kate Crise (Kristin Showalter) is getting horribly close to a very big deal. Barker’s long white beard gives him a God like appearance and seeks retribution when $250,000 goes missing. Rightways Down certainly doesn’t lack ambition but fails to properly utilise the time available. It’s longer than the Godfather, Goodfellas and Heat; so has to offer something special to hold the attention. What we get is a familiar tale of a drug deal gone wrong and the recriminations that inevitably follow. All of which is competently done, but there simply isn’t the depth to make it stretch for nearly four hours. So we are frequently left with empty frames that don’t move the story along and visuals that are largely meaningless. Applying a Hollywood standard to an indie film is unfair but they do need to get the basics right. The lip synching was miles off and sound mixing could have been a lot better. However, there is something very likeable about this film. We might have all the standard #gangster clichés; a drugs deal, car chase and a shoot-out, greedy light fingers leading to a spot of torture. But strip away the ballast and there is a good story to be had. If only it had kept to the standard 90 minute format?

★★ Directed by: #ArunKumar Starring: #MidhunKumar Short Film Review by: #NathanialEker Alike is the story of a man (Midhun Kumar) who discovers he has a doppelgänger wandering the streets. Murderous antics ensue. The fear of something similar, yet different, is an interesting one that has been explored in many great works of art. Regrettably, Alike isn’t one of them. It’s unfocused and suffers from ambitious but misplaced directorial choices and clunky acting. There is certainly some level of talent behind this production, but it seems that director Arun Kumar simply threw a number of clever filmmaking tricks at the wall, without any rhyme or reason. The chief issue with Alike is its poor dialogue. Screenwriting rules aplenty are broken, with the lead character and the man on the phone outright stating their intentions and feelings. This makes everything sound forced and unnatural, hurting the realistic, credible tone we can only assume the director was going for. Unfortunately, the grammar and intonation are both scrappy too, which is distracting. Equally, the word ‘dude’ is used to within an inch of its life. Looking at the positives however, there are some nice musical cues. The soundtrack by various different artists doesn’t always gel, but in the home invasion sequence towards the film’s end, the tense motif does successfully build a sense of dread. Equally, there are commendable #filmmaking and editing techniques scattered throughout. A split screen to show the duality of the protagonist and his alter ego, and the time lapse from day to night is wonderfully done. However, many techniques are used without coherence. We’re constantly shown the time, for seemingly no reason. The events happen over two days, so it doesn’t seem a relevant factor. Equally, some of the transitions between scenes are jarring and do not fit the tone of a tension riddled thriller in the slightest. The acapella ringtone is equally random and, while impressive, it doesn’t really add anything. Pacing and narrative structure are also issues. Things seem to happen without much cause and effect. It isn’t clear what the doppelgänger wants, other than to murder the friend of the lead. Other than that, the audience is left in the dark. This isn’t a case of being intentionally ambiguous, but rather a lack of clear vision. The pacing is sluggish, which really damages attempts at suspense. This is particularly problematic in the chase scene, which lacks any kind of interest due to our lack of investment into the wants and needs of the players. Despite so much dialogue, not much is said. In review, Alike is unfortunately, a mess. It at times has good camera work, some creative editing, and a strong score that supports the tone. But despite these achievements, the largely incomprehensible narrative, poor pacing, wooden acting, and scattergun approach to directing hurt it. With more focus and a tighter edit to remove the more random elements, this has the potential to be a really cool, tense short #thriller. As it is, this is one doppelgänger, you’ll want to avoid.

★★★ Directed by: Josh Lobo Written by: #JoshLobo Starring: #AJBowen #ScottPoythress #KarenBurke Film Review by: #HopeMadden Jordan Peele is not the only one preoccupied with The Twilight Zone. First time #filmmaker Josh Lobo obviously has a soft spot for one of their episodes. Don’t look into which one, though. In fact, don’t even watch the trailer for Lobo’s indie #horror I Trapped the Devil, because not knowing the outcome is half the fun. Lobo takes us along on a Christmas visit with family. You know, those awkward gatherings where maybe your brother is a paranoid schizophrenic who keeps a man captive in his basement. Or, maybe your brother’s right and that man is really Satan. But let’s be honest. It’s probably the former. As Steve (Scott Poythress) tries to convince brother Matt (AJ Bowen) and sister-in-law Karen (Susan Burke) that it’s really the latter, Lobo hovers over issues of family dysfunction, grief, and the evil in the world. He pulls none of those strings in a way that is particularly satisfying, but he is onto something. The film’s narrative offers a nice subversion of horror’s standard “is she crazy or is there evil in the house” trope. Historically, the genre relies on some kind of common assumption about feminine hysteria to drive a tension that asks the audience to wonder whether we are witnessing a mental breakdown or whether the protagonist’s feminine intuition has led her to pick up on something malevolent. I Trapped the Devil overturns those gender assumptions and grounds the tension in something more scientifically intriguing. Is Steve a violently disturbed man with a captive in his basement, or has he, indeed, trapped Satan? We the audience are supposed to be weighing our options. How realistic is it that his family is kicking around the options? Not very. Committed performances from the trio help develop a sympathetic mood. Still, Lobo struggles—as does his cast—to get reasonably from Point: There’s a Guy Locked in a Closet Downstairs to Point: No, Let’s Not Phone the Authorities Just Yet. He also leaves too many unexplored ideas on the table: the maddening grief, the weird images on the staticky TV, how Steve got the guy down his basement in the first place. A little ambiguity can lend to atmosphere. This much tends to feel more like lazy screenwriting. There are flashes of real terror now and again, though, and the mystery of the man in the closet remains a tense one to the seriously creepy closing image. Lobo’s horror instincts are sound, and even though his knack for fleshing out details is lacking, his movie’s a pretty solid scare.

★★★ Directed by: Laura Steinel Written by: #LauraSteinel Starring: #TaylorSchilling #BrynVale Film Review by: #HopeMadden On occasion, film reps send us links to preview their film for review. Often, these links are password protected. Once, the password was bouncehouse. Yes, please. The film in question is called Family, writer Laura Steinel’s directorial debut, and it plays like a fun update of Uncle Buck with Juggalos. That’s right! We open on an uptight executive sprinting, face painted, through an Insane Clown Posse gathering and reflecting, “It’s kind of like a fun county fair where you could also, potentially, be stabbed.” That reflective exec is Kate, and Kate is maybe Taylor Schilling’s best cinematic character. She takes to Steinel’s dialog with a flat affect that’s entirely, awkwardly enjoyable. Kate is Uncle Buck, basically. Only she’s not. She’s a driven businessperson who actually got where she is because she has literally nothing else in her life to draw her attention or energy. And then she has to babysit her 11-year-old niece Maddie (Bryn Vale, spot on) and next thing you know—right, life lessons. We’re all familiar with the John Hughes handbook, but Steinel updates it with less schmaltz and more belief in nonconformity. And juggalos. When Maddie says, “Magic is my passion,” I had to hit pause because I was afraid my snorting would drown out the next piece of comedy gold. There are problems with Family (besides that inanely generic title). It is funny, and its comical scenes are delivered by an entirely winning cast (which includes the unreasonably hilarious Kate McKinnon and the unreasonably talented Brian Tyree Henry). That’s not the problem. Steinel also inverts and subverts the tropes of the genre. There are two upended “makeover” scenes that are both funny and insightful. It’s also just a savvy look at being socially awkward. No, the problem here is that the many colorful and fun scenes are strung together more than they are foundational to a whole. And the keen insight Steinel uses to sharpen individual jokes softens when the time comes to finish the story. She John Hugheses it. But a well-placed “sorry for your loss” is surprisingly funny and there are at least a dozen scenes here that I kind of love. Family is smart, R-rated comedy that ultimately caves to the pressure to conform, but its struggle to be itself is laudable. Plus, those Juggalos. They have hearts of gold. PS, this is what all my sisters thought I would be like as a parent. And I wasn’t. Entirely.