Directed by J. J. Abrams Starring John Boyega, Daisy Ridley, Harrison Ford, Mark Hamill, Adam Driver & Oscar Isaac Film review (WITH SPOILERS) by Alfie Shaw Star Wars Episode VII: The Force Awakens works best when it is focused on its own plot, which is a shame, as it seems so hell bent to not only set up the rest of the trilogy, but also refer back to the original films at every chance it gets. Helped in part by a plot structure similar to the original film, it delivers a fun and engaging piece of entertainment. Visually, The Force Awakens is a delight. Each dogfight or sweeping landscape is beautifully shot, with J. J. Abrams drastically cutting back on the lens flare that plagued his Star Trek films. Each planet the action shifts between benefits from a thorough level of design – easily convincing the viewer of not only how diverse this universe is, but lived in. It’s this eye for detail that will suck you in and the action moves from each locale at a steady pace. The two and a quarter hour run time zips by, and never once lets up. Where the film succeeds in balancing the past and the present is its careful balancing of the new and ‘legacy’ characters. Leia, Han and Chewbacca are each given a large share of the screen time, but they compliment the new arrivals rather than overshadowing them. Daisy Ridley’s Rey and John Boyega’s Finn are incredibly likeable from the off, and the film gives them both room to breathe and develop. The pair’s relationship is one of the core foundations of the film and also one of its strengths. Finn and Rey’s romantic attachment to each other is handled deftly, with simple touches, and is never allowed to overshadow the main plot. It aids in their respective developments instead of stifling either of them. Similarly Adam Driver’s Kylo Ren debuts as a fully rounded villain. He is quickly established as a vicious warrior, an imposing presence and deeply insecure within his first few scenes. It was a smart move to help distinguish him from previous villain Darth Vader. Vader was minimalist and in control, whereas both Ren’s fighting style and personality are erratic and unpredictable. The new cast is not a carbon copy replacement of the original characters and this is one of the aspects that make the film shine. However, it must be noted that some characters (such as Gwendoline Christie’s Captain Phasma and Domhnall Gleeson’s General Hux in particular) come off as one-note due to limited involvement in the narrative. It’s a shame that Captain Phasma turns out to be a throwaway character with the whole purpose of the character being to set up a single, but still rather good, reference to the first film. This underpins one of the main issues with the film. Abrams did have a difficult task to balance the old with the new and too often favours winking back to the previous films. The soundtrack in particular is guilty of this, relying heavily on familiar stings and motifs from episodes IV through VI, and contributes to the feeling that the film is screaming, “LOOK, WE MADE STAR WARS AND WE MADE IT GOOD. WE’VE GOT THE MUSIC AND THE SCROLLY TEXT AND EVERYTHING,” at you. More variety in the music would have been appreciated and helped to differentiate it from the previous films. Whilst the film’s mirroring of Episode IV’s structure ensures the fun tone and bedazzling space battles, it also complicates the plot. One of the main issues is Andy Serkis’ Supreme Leader Smoke. The character is fantastically realised, setting an imposing and sinister tone whenever on the screen, but his existence has never been acknowledged in the Star Wars canon. Whilst this was acceptable when Palpatine did likewise in The Empire Strikes Back, the crucial difference is that we only have one film for it to fit into in terms of continuity. The Star Wars universe is now seven films long and spans two major time zones. Not once is the towering, able-to-train-Sith Lords zombie-looking fellow mentioned. Not once! His presentation in the film sets him up like he could easily go toe to toe with Yoda in his prime, but we’ve never heard of him! This problem with backstory also applies to a lesser extent with Rey. The film alludes to the fact that she’s left her family behind on Jakku and they’ve come to some tragedy, possibly death. Since we don’t know those people and are only shown them briefly, it’s hard to invest in this plot strand and adds unnecessary baggage to the character. Where the film succeeds is the introduction of Finn and Poe Dameron (played by Oscar Isaac). They are introduced as Stormtrooper and ace pilot respectively and their stories unfold from there. Like Leia and Han Solo in the original trilogy, it doesn’t matter where these characters came from; we’re enjoying the adventure they are on. Each of the new characters is painted quite broadly in the tradition of the space opera genre, but the fantastic performances help ground them. The Force Awakens also suffers from bizarre plot points, particularly in its latter half, and it’s strange a film that gives so much attention to its world building allowed these to slip through. In particular Daisy Ridley’s Rey goes from thinking the Jedi are a myth to just happening to be able to do Jedi mind tricks without anyone training her. Luke can’t even manage to do it until Return of the Jedi and yes, whilst Anakin does learn to do it between Episodes 1 and 2, he still hasn’t learned to act by the end of Episode 3. In contrast with Luke, her use of the force is based entirely on the audience knowing that Jedi Mind Tricks are an option, but as a character she has no way of knowing. The level of credulity is then spread even thinner when, during the climactic fight, Rey is about to kill Kylo Ren and the ground literally separates the two, which saves him. I don’t care how important it is that your big bad survives to the last film, that is a Deus Ex Machina if ever I saw one. It’s a shame as a series that is propelled by imagination uses such a clichéd get out. The last major bit of nonsense the film pulls is in relation to Luke Skywalker (Mark Hamill). During the build up to the film, much of the hype revolved around Luke’s role in the plot. Well, I’ve now seen the film and still have no idea. Sure, he functions as a great McGuffin. Everyone wants to find Luke, basic plot arc for the film. However, he receives a similar amount of screen time to Jar Jar Binks in Revenge of the Sith and has the same number of lines (none). The twist of him doing nothing was incredibly underwhelming, the upshot of which wasn’t me leaving the film going ‘well that was awesome,’ but rather ‘what was the point of having Luke in the film at all?’ It’s here that Episode VII suffers for having to set up a future film. I’m certain that in the future, when we are able to view the trilogy as a whole, it will be seen as a necessary step. In the context of a standalone film however, it just feels like a sucker punch. The other main sticking point of the film is that the whole thing is so utterly predictable. Yes, they don’t really try to hide Kylo Ren’s identity as it’s revealed early on, but you can pretty much guess his identity from the off. What’s worse is Han Solo’s death. As soon as they set off to the Starkiller base, you can pretty much tell that this is Han’s last flight and as soon as he gets into the giant chasm place, you can tell he’s a goner. It was a fantastic scene, with Ren killing a fan favourite instantly cementing himself as a completely evil villain. It is such a pity that he is pretty much beaten convincingly by Rey in the subsequent fight as it reveals the flaw in contrasting Ren with Vader. Vader was scary and imposing because he won for two and a half films. Having Ren lose in the first of the trilogy (even on the promise of ‘let’s get him better’), makes him suffer as a credible threat. Rey practically kills him first time and she’s about to be trained by Luke. To the credit of The Force Awakens, it is a film that I actively want to go and re-watch. It has both substance and style, but is punctured with moments that were baffling, either by their reliance on cliché and audience knowledge or not following the established in-universe logic. The references to the older films are implemented extremely well in places, but their overuse is wearing on the viewer. It suffers from the same problem that the Marvel films are currently experiencing. By being part of a larger universe, plot holes are created by not addressing how all of the new elements fit into the franchise. It also has to set up for future instalments and while The Force Awakens sensibly doesn’t dedicate too much time to this, it does result in some unwanted plot contrivances. The strong interplay between the characters, as well as the all-round excellent performances and visually sumptuous set pieces go a long way to help make up for this. It’s old school Star Wars, where the lightsaber fights were duels, not streams of barely named Jedi fighting mindless droids, where you’re invested in if the characters survive the set pieces instead of wishing they’d died, where no one once mentions trade routes or any other kind of economic problems! So, despite some irksome flaws, I can’t help but recommend you go see the film. It’s not only a good film, but also a good Star Wars film. It’s got the music and the scrolly text and everything. Watch the Teaser trailer for Star Wars: The Force Awakens below... #filmreviews #TheatricalReleases #InUKCinemasNow #filmreviewsUK #HarrisonFord #JJAbrams #Disney #LucasFilms #AlfieShaw

★★★ Directed by Joe Scott Starring Sabrina Dickens, Alexis Caley, Clare Langford & John Altman Indie film review by Monica Jowett Music comes together with untold secrets and ghosts from the past in this indie film from director Joe Scott. Reiga (Sabrina Dickens) is 21 years old and has a mysterious and troubled past. Haunted by visions of three people – a man, woman and young girl - along with songs about Reiga’s current emotional state and her experiences in life bring the young woman to find out their meaning. Reiga is a talented music student and along with stress of upcoming exams and auditions she is confused by an image from her past. To reach her future goals in music she must first overcome the stress and secrets buried behind her, and so she seeks assistance from the nuns who took her in and raised her when she was seven, Mother Superior (Alexis Caley) and Sister Clare (Clare Langford). With help from a psychiatrist Dr. Tom (John Altman) she begins to realise she has no idea what has been happening to her; the accidents she is having and why she has had visions of people. Though she has sought help from others, we don’t know if they are trying to help her or hinder her from knowing the truth and everyone seems to be hiding something. The story is slow moving, and Reiga’s past is revealed piece by piece, which adds to the suspense and thrill, but feels undeveloped or unexplained at times. Standing out is Dickens in the leading role. She captures the tormented and vulnerable side of Reiga but also shows the determination to uncover her past. She goes through an array of emotions in the course of the film and we are caught up with her as well. Supported by some veteran British actors who play their parts well, My Lonely Me however is let down by the stereotyping of minor roles. Composer Andrew Simon McAllister brings the music to life and it feels like another character due to the prominence of music throughout the indie film. Dickens has a great voice that holds a lot of emotion, and each song carries on the story. Whether Reiga is dreaming the singing or does it herself, each piece is enjoyable to listen to. With good performances and an entertaining music score, Joe Scott’s My Lonely Me is a solid piece of filmmaking, but the many plot twists in the story makes the film confusing at times and the overall outcome falls short of closure. Dickens stands out as her role as Reiga, and we hope to see more of her work. Click here for more film reviews . #SupportIndieFilms #IndieFilm #filmreviews #filmreviewsUK #MonicaJowett

Directed by Brian Henson Starring Michael Caine, Dave Goelz and Steve Whitmire Christmas film review by Chris Olson With so many incarnations of the abominable Scrooge and his Christmas Eve night terrors, it seems every film adaptation of the classic Charles Dickens story needs to have some element of gimmickry or a touch of originality. The Muppets Christmas Carol not only has a unique casting situation (with the majority of the characters being played by colourful puppets) but the Christmas film is also a musical - and a phenomenal one at that. From the outset the movie creates a brash tone which is synonymous with the Muppets, who are able to transcend the usual confines of human narrative. They regularly break the fourth wall with their two narrators, who are also in the shot rather than performing as an overvoice. Their version also massively picks up on the comedy elements of Dickens' beloved literary classic, even poking fun at the great author himself. Playing the notorious Scrooge character, though, is not a wisecracking puppet, but instead a rather solemn and affecting Michael Caine. His dour demeanour and violent outbursts are dramatically gripping in the beginning half of the film, and when he experiences the inevitable arc from witnessing the past, present and future of his humbug behaviour, delivers a phenomenal depiction of desperation and redemption. Caine's performance of Ebeneezer Scrooge is the most legendary on film. The sets are all deliciously festive, capturing a wondrous ye olde England with light touches of snow and bustling streets populated with a bizarre range of Muppets. The blend of a quintessentially British story could have been an uncomfortable mix when coupled with the vibrancy of Jim Henson's creations, but the two fantastic worlds combine beautifully in a coalescence of colour and creativity to regale a new version of this timeless tale of the human spirit. The glue being Caine’s portrayal of Scrooge, which is timeless. The Muppets Christmas Carol delivers everything you could want from a Christmas film, whilst caring not at all for decorum or grace - such is the way any rendition of a festive film should be. #ChristmasFilm #ChrisOlson #filmreviews #filmreviewsUK #MichaelCaine

Directed by Les Mayfield Starring Richard Attenborough, Elizabeth Perkins, Dylan McDermott, & Mara Wilson Christmas film review by Chris Olson Though there may be many Christmas films, and nearly as many versions of Santa Claus, many agree that the closest we have to a true onscreen depiction of Santa is Richard Attenborough's portrayal of Kriss Kringle in the beautifully warm Miracle on 34th Street. A remake of the 1947 version, this is the story of a man claiming to be the real deal when it comes to being Santa, who is given a job working at a department store called Coles, in New York and captivates every child and adult he comes into contact with. His success with the people, though, gets the backs up of a rival department store "Shoppers Express", who are on a mission to crush Coles, regardless of how un-merry this is! As well as possibly saving this business from destruction, Kriss also takes on the personal mission of convincing Coles employee Dorey Walker (Elizabeth Perkins) that he really is Santa, with the help of her plucky daughter Susan (Mara Wilson), who also struggles as a non-believer. With intensely warm colours and soft-angled framing, Les Mayfield’s film is almost a dreamlike story about a picturesque American family at Christmas. There is no small amount of hokeyness to the plot or the script, but it all seems so forgivable when wrapped in such a tender rendition of a Christmas film, and Attenborough is utterly brilliant. Few performers achieve the gravitas and humanity that he does with this endlessly portrayed character, and his depiction is the only one which shows a fragility - such as being "baited" by a rent-a-Santa whom he replaced at Coles, or being angered by a lawyer who accuses the jolly man of being insane and selfish. Overall this is actually a really meaty and deep character exploration with a lot of sumptuous trimmings. Perkins has a tremendous onscreen conflict with her belief system, attempting to shield herself and her daughter from the lying evils of the world whilst being totally enamoured with Kriss' story. Her "it's complicated" relationship status with tireless suitor Mr Bedford (Dylan McDermott) is also thoroughly fleshed out. One of the all-time great Christmas films, Miracle on 34th Street is a humanely moving piece of drama and light comedy, a touching story that is driven by brilliant performances and an unyielding dedication to warmth and love. #ChristmasFilm #ChrisOlson #filmreviews #filmreviewsUK #Familyfilm

Directed, Written and Produced by Genlin Documentary film review by Hannah Sayer ‘The greatness of a nation and its moral progress can be judged by the way its animals are treated.’- Mahatma Gandhi. This upsetting but truthful call-to-action documentary about the threat of the eating and selling of dog meat in Asia begins with this quote. The poignancy with which Eating Happiness begins begs for the audience to realise the inhumanity of the people involved with this brutal and illegal dog trade. This is undeniably not a hard task for those of us who are unable to even fathom how people allow themselves to commit this cruelty on these beloved household pets. This is certainly a subject matter that tugs at your heart strings. Writer, director and producer Genlin guides us on a journey through the rural areas and urban backstreets of Vietnam, Thailand, South Korea and China to record and expose the horrific realities of the Asian dog trade. The documentary film is made up of interviews with various parties, those who oppose the trade and those who endorse it due to the profits it brings them. When speaking to a dog trader in Hanoi, Vietnam, he explains that it is such a popular trade in Asia because it is cheap therefore makes a considerable profit. The dog meat is sourced outside of Vietnam, from Thailand, to satisfy the demand. The inhumanity of this trade doesn’t need to be made any clearer. Interspersed within the narrative are disturbing and heartbreaking clips of dogs being attacked, stolen or killed. It is shocking when it is revealed that 30 million dogs are killed annually to sustain the trade, with 70% of them being dogs stolen from their owners. Footage is also included of activists stopping trucks carrying and attempting to traffic caged dogs, saving thousands of animals in the process. There is hope from parts of the film which show that people are trying to prevent this from continuing. Genlin succeeds in highlighting the difference in culture between these four countries and the United States, as the film shows how dogs are endangered species in China compared to elsewhere around the world where dogs are man’s best friend. The beautiful shots of vast, rural, uninhabited landscapes contrast dramatically with the urban and industrialised areas documented where the dog trade is especially prevalent, and with the brutal reality of the situation in Asia. Genlin explains at the end of the documentary film how his life mission is to be dogs’ champion. It is clear that he has made a brutal, sometimes overly dramatic, study of the severe violence and abuse faced by dogs at the hands of these malicious traders. It seems that the main aim from this project is to force audiences to reflect on the powerful and upsetting footage in the film and think about society and humanity and how things need to change. All the net proceeds from Eating Happiness will be donated to dog-related charities. #HannahSayer #Documentary #filmreviews #filmreviewsUK #SupportIndieFilms #IndieFilm

Directed by Henry Selick Starring Chris Sarandon, Catherine O’Hara, Glen Shadix, Edward Ivory, and Ken Page Christmas film review by Chris Olson Only a bespoke group of movies cause mass hubbub when the question of genre classification comes up at Christmas. To make it on to a list of “Festive Films” the criteria can differ greatly from person to person, such is the experience for a film like Die Hard (1988) or franchises which viewers typically watch at Christmas time, such as Star Wars or Harry Potter. But none of these movies compare to the intensely heated debate which arises when one tries to classify Henry Selick’s movie, written by the incomparable Tim Burton, The Nightmare Before Christmas. With equal armies in the Halloween camp as the Christmas camp, is it safe for UK Film Review to review this title as part of our #ChristmasFilmCountdown series? Hell yeah! If only because it has the word “Christmas” in the title, Santa in the story, and enough references to easily compete with the likes of Home Alone (1990) or White Christmas (1954). With a sumptuous animation delivered through stop motion, The Nightmare Before Christmas was originally conceived by gothic hero, Tim Burton, and has come to exist in infamy as one of the most creatively inspirational movies of all time. A generation of artists and creative doodlers were reared on this animated classic, introducing them to the darkly imaginative outlets that artistic expression can lead to - not to mention a fuck load of pencil cases and school backpacks. The story centres around Jack Skellington (Chris Sarandon taking the dialogue and Danny Elfman the singing), a prodigy when it comes to delivering the perfect scares at Halloween, and beloved hero of Halloween Town (he has even earned the nickname, The Pumpkin King). Jack suffers a momentary low, though, after another successful October outing, and stumbles aimlessly through the woods. Having travelled through the night, he finds himself at a juncture where multiple doors lead off to other fantasy worlds (all themed). He chooses the one with the big Christmas tree on, and lands himself in the snowy landscape of Christmas Town, where he discovers a world very much unlike his own, and yet he feels strangely drawn to the candy canes and present-giving. He then decides to promote himself to “Sandy Claws” in order to deliver the next Christmas event, using his Halloween minions to kidnap the real Kriss Kringle in the meantime. Bizarre, fantastical, and bewilderingly creepy, The Nightmare Before Christmas will inevitably divide audiences. For those who like their Christmas films as pure as snow, Burton’s horror-strewn landscape of ghouls and weirdos will certainly not inspire much festive cheers. However, the movie, which has a huge cult following, has a lot to offer to the genre of Christmas films. Like several other Christmas movies, The Nightmare Before Christmas is a musical - delivering anthemic melodies that have remained in the popular mindset since the film’s release. By opting for this dramatic form, the animated film is able to transcend the rigid borderlines between genres like horror, animation, children’s movies and the like, and instead focus on literally sculpting its own place in the Christmas narrative. Indeed, Jack’s struggle to be more than just a scary icon is much like the film’s struggle to cast off the chains of genre labelling, which it does magnificently. The film is weird and wonderful in equal measure, proving that the confines of artistic limitation are self-imposed. At times the movie is wincingly scary (see the Boogie monster made of bugs and a burlap sack), and this only serves to fuel the audience’s excitement about the hero’s journey, a character who is terrifying, but not terrible. He simply wants to be something else. Whilst the animation may look a little hokey now, it has to be on the Christmas Film Countdown. There is simply too much to love about Selick’s film, and Burton’s creations, for it to be confined to the shackles of animated horror. In fact, this is a film for October, December, and any month you want to see a hugely impressive piece of animated genius. The Christmas film reviews are nearly finished...two more to go! #ChristmasFilm #ChrisOlson #TimBurton #Animation #Stopmotion #filmreviews #filmreviewsUK

Directed by Richard Donner Starring Bill Murray, Karen Allen, Alfre Woodard, Robert Mitchum & Carol Kane Christmas film review by Sam Bowles There is a wonderful sequence towards the end of Scrooged. Bobcat Goldthwait (I wonder how he got on at school) plays Eliot Loudermilk, the recently fired, and highly disgruntled, ex-employee of Scrooge-a-like Frank Cross (Bill Murray). Loudermilk returns to his former workplace to dish out some retribution with a double-barrelled shotgun. In this moment the movie becomes a live action cartoon in the best possible sense; Goldthwait exudes the madcap energy of Daffy Duck or Sylvester the Cat at their most maniacal. Alas, this is a rare highpoint in a film that’s ultimately something of a disappointment. Scrooged is one of those films you watch with the slowly dwindling hope that it will live up to its promise. It’s got a decent set-up: A Christmas Carol updated to tell the story of a ruthless TV network president. It’s got Bill Murray in it. Esteemed critic Pauline Kael liked it. It should be great. So, what goes wrong? Unfortunately, the Christmas film just never takes off the way you hope it will. This is mainly to do with Murray’s performance. Of course he has funny moments, but the character never quite sings the way his other characters do in Ghostbusters and Groundhog Day. However, the film has still got things going for it. Mainly the cinematography by Michael Chapman who also shot Taxi Driver and Raging Bull for Scorsese, and the supporting cast which includes Karen Allen, Alfre Woodard, Robert Mitchum, Carol Kane and a fair few cameos. Even Miles Davis turns up at one point! Most Christmas movies make you want to vomit up your turkey then go out and massacre some carol singers. So Scrooged could be a heck of a lot worse. Yeah, it may not be as good as Groundhog Day, but that’s set in February…so what can you do? #ChristmasFilm #SamBowles #BillMurray #Comedy #filmreviews #filmreviewsUK

★★★★½ Directed by Scott Cooper Starring Johnny Depp, Joel Edgerton, Benedict Cumberbatch, Rory Cochrane, Jesse Plemons Film review by Kieran Freemantle In recent years Johnny Depp has been the source of ridicule, starring in blockbuster flops (The Lone Ranger), critically derided films (Mordecai) or making ill-advised cameos (Jack and Jill and Tusk). Fortunately, Depp has returned to form, leading Scott Cooper’s ensemble cast in the crime-drama Black Mass. Depp stars as James “Whitey” Bulger, an Irish-American gangster in South Boston who makes a deal with John Connelly (Joel Edgerton), an FBI agent investigating organized crime in Beantown. In exchange for information about the Mafia in North Boston Connelly would get the FBI to turn a blind eye to Bulger’s activities, as long as they are not involving drugs or murder. Bulger and Connelly’s destinies become intertwined, rising up the ranks of the criminal and investigative worlds before falling from a great height. Depp gives one of his best performances in recent years and easily one of his darkest in his career: it makes a nice change of pace from him playing larger than life eccentric characters like Jack Sparrow and Tonto. As Bulger, Depp was a menacing presence, someone who was a cold, calculating character where it is safe to presume that you are permanently on his bad side. Depp plays Bulger with a deliberate restraint, a man who shows little emotion: he is calm and collected when threatening someone and when Bulger does express anger after a tragic event he still holds back. Depp is surrounded by a huge cast, containing the likes of Joel Edgerton, Benedict Cumberbatch, Corey Stoll, Peter Sarsgaard, Dakota Johnson and Kevin Bacon just to name a few. Cooper is a director many actors clamber to work with, his debut movie had Jeff Bridges winning an Oscar in Crazy Heart and Out of the Furnace had Christian Bale, Casey Affleck and Zoe Saldana. Black Mass has Cooper's biggest cast yet and most of them deliver strong performances - the least we would expect from a cast of this calibre. Even recognisable actors like Juno Temple appear in very minor roles. Whenever any true life American gangster story is brought to the big screen the spectre of Martin Scorsese will hang over it. Black Mass does have a Scorsese air to it, focusing on violent crime, gang wars and internal gangster conflicts - setting the film in a working class area with a close sense of community and a distrust of law enforcement and having the aforementioned rise and fall narrative. Cooper and the writers also use multiple voiceovers, through the framing device of police interview, being a strong way to exposit information without it being too forced. One of the most interesting aspects of Black Mass is the relationship between Bulger and Connelly and how Connelly protects Bulger from his superior officers, blinded by community loyalty. Bulger and his gang engage in the usual gangster activities of murder, beating, threats, extortion - all that fun stuff. It was a minefield within the FBI as Connelly has to convince his superiors to allow him to run his operation and how Connelly has to fight off everyone questioning his decisions, including his FBI colleagues, investigative lawyers and even his own allies. The lines between Bulger and Connelly become more and more blurred and Black Mass acts like a role reversal Donnie Brasco for Depp. Setting some of the film in Florida does also help to bring these mental connections. Cooper and his cinematographer Masanobu Takayanagi excel at showing a dark, unpleasant criminal world. There is no glamour in being a gangster; it is just violence and bloodshed and Bulger's image as a local hero slowly erodes. He is a thug and a cold-blooded killer who distances himself from everyone. Despite his power and wealth as a gangster he still lives in South Boston and he does not use his money to buy properties or cars or anything like that. Takayanagi is a cinematographer who has specialised filming in rough working class areas of America; his previous films were Warrior, Silver Linings Playbook and Out of the Furnace and he gives Black Mass a slightly grey, drab look. Black Mass is set far away from the Boston of Boston Common, Copley Square and the Freedom Trail and the skyscrapers of the city are miles away in the background. Black Mass focuses on small, rundown homes, dive bars and wastelands. Black Mass is set over a 10 year period and Cooper and his writers try to incorporate as much of the Bulger story as possible in its two hour running time. A valiant effort but considering the range of criminal activities Bulger and Connelly got up to some parts of the story were only briefly touched on. An example is Cumberbatch playing "Whitey's" brother, a successful politician but he was underutilised and it was barely touched upon as to how having a gangster brother affected his political career. The film could have easily have focused on Connelly and his corruption with Bulger being a supporting character. Black Mass was originally conceived as a four hour long mini-series which goes to show how much story there is. Junkie XL, the composer for 300: Rise of an Empire, Run All Night and Mad Max: Fury Road supplied the music for Black Mass. He is a talented musician but his signature percussion sound was toned down, making his score for Black Mass a more standard film score and sadly his most forgettable. Black Mass is a delight for fans of gangster and crime films, being wide ranging with its story about "Whitey" Bulger and the people who protected him. Depp excels in his role and shows what he is capable of when he actually tries. Cooper was trying to bring out his inner Scorsese and he succeeds for the most part. Want to read more film reviews? #KieranFreemantle #filmreviews #filmreviewsUK #ScottCooper #JohnnyDepp #BenedictCumberbatch #JoelEdgerton #Crime #Drama

Directed by Jon Favreau Starring Will Ferrell, Mary Steenburgen and James Caan Christmas film review by Chris Olson As another Christmas film which blends reality with festive fantasy, Elf tells the story of Buddy (Will Ferrell), a human being who ends up being raised as an elf at The North Pole amongst Santa and his minions. However, after landing in New York at Christmas time, Buddy seeks out his real father (James Caan), a children's book publisher who has less Christmas spirit than a zombie Scrooge. Buddy's unique upbringing has left him a naive and exuberant soul, who nearly passes out at any mention of anything Christmas. As he settles himself in with his real family, Buddy begins to transform their humbuginess into hearty festive cheer, but can Caan come to enjoy Christmas? If you are not a fan of Ferrell's brand of comedy, Elf will be liking sticking candy canes up your nose. He is on top form in terms of huge comedy here, delivering an unforgettable performance which has cemented Elf's position as a beloved classic. What makes Elf stand out is Ferrell. Other than that, the movie does has a wearisome pacing which is exhausting and the story is not that fulfilling. The more emotional strings are never plucked with much fervour, in particular the subplot of Zooey Deschanel's bored sales assistant and love interest. Caan and his family are left pretty vacant, and the themes of the movie are never lifted above the surface, in favour of letting Ferrell do his thing. That being said, there is a reason that Elf comes back each year, and that is the comedy. Laughs are spilled across this movie like a battlefield of snowballs. From Ferrell getting hit by a taxi to Ferrell eating a diabetic nightmare, or Ferrell decorating a department store to Ferrell throwing snowballs, this film has a lot of funnies from Ferrell. You may be sensing a theme here. Fans of Ferrell will find a hugely enjoyable Christmas film with Elf and it stands the test of time for the comedic elements, but it won't deliver the hearty punch that other festive outings achieve. #ChristmasFilm #ChrisOlson #JonFavreau #WillFerrell #Comedy #filmreviews #filmreviewsUK #JamesCaan

Directed by Kira Richards Hansen Short film review by Monica Jowett Danish short film Wayward from director Kira Richards Hansen follows on from her previous short Damn Girl centred round a tomboy who at 14 years old struggles with her position in the group of teenage boys she is friends with, and dealing with becoming a young woman. Alex (Rosalina Krøyer) is a tomboy on the search for her identity, facing her own challenges and those set by others around her. Despite these changes that are happening, she continues to keep her tomboy appearance and identity, as she finds comfort and familiarity in that side of herself. However, unlike when Alex was younger, the changes she is going through are more obvious and beyond her control. In the opening scenes of the short film, Alex is hanging out with her friends, carrying on how she wants to and enjoying being a part of their gang. It is clear to see her relationship with them has not changed as they have grown older, she is very much still part of the group and all of them look to her as just another friend as they tease one another and mess about. But Frede, one of the group notices her, once accidentally touches her breast as they play around, which Alex ignores in her desperation to fit in with the guys. In her determination to fit in and be one of the guys, she angers another boy with her teasing and mocking, so he comes back for revenge on Alex, humiliating her in the process. The journey Alex goes through to hide her humiliation and take back her position as one of the “guys” is difficult as she begins to realise it might not always be the same as she once wanted, due to the changes happening to her body and identity. Differing from Damn Girl, Wayward gives a glimpse of Alex’s family, her father who lets Alex reign free, and her mother who is the complete opposite of Alex yet wants to be close to her daughter. We see an insight in how these two adults in her life have shaped her identity and how Alex is now making her own choices in becoming who she is. Hansen once again has captured the youthfulness and the difficulties of growing up and finding out who you are in Wayward. It is a different process for everyone, yet Alex’s story is familiar and moving as we see her struggle and overcome. I really want to see more of her story. Read the short film review for Damn Girl. #Shortfilms #Shortfilmreviews #filmreviewsUK #filmreviews #ShortFilms #MonicaJowett #SupportIndieFilms #WorldCinema #Shortfilm

Directed by Sarah Smith & Barry Cook Starring James McAvoy, Bill Nighy, Jim Broadbent, Hugh Laurie and Ashley Jensen Christmas film review by Chris Olson Produced by the legendary Aardman Animations, along with Sony Pictures Animation, Arthur Christmas has a pedigree right off the starting line. Marry this with an immense cast and a script with so many jokes it’s like a blunderbuss going off in your face every 30 seconds, and you have absolutely no reason not to fall in love with this outstanding British comedy film. As with other Christmas films, the plot of Arthur Christmas concerns itself with family tensions that arise when you are a member of the Claus clan - this time displaying the egotism which can enter the festive period when you have generations of Santas living under one roof. James McAvoy plays the title character, an altruistic worrier, who is happy out of the limelight which comes with being a Claus, as long as every child gets what they asked for! His brother, Steve (Hugh Laurie), is the COO of the North Pole, executing the delivery of presents with military precision (and also his goatee is in the shape of a Christmas tree) who hopes to becomes the next Santa. Father to Arthur and Steve, and the current Santa, is Malcolm (Jim Broadbent) - reaching the retirement age and sleeping his way through most of Christmas, he surprises all his family by announcing that he will not, afterall, be quitting this year - much to Steve’s annoyance. After what they think is a successful delivery of presents, the clan are shocked to learn that one child has been missed - and Arthur steps up to ensure that the gift gets delivered, which in turn causes a lot of posturing from his family members, all of whom think they have a better plan. There is a universal theme running through this animated film about how Christmas represents a quirky balance of tradition and evolution. Personified with the different characters, and revealed with the excellent script, Arthur Christmas captures the often unspoken element about Christmas that is: how it represents an inevitable end of an era whilst we cling to that which we hope to carry forward with us. As previously mentioned, the laughs in this film come hard and fast, like a hyperactive conveyor belt operated by cocaine-riddled elves. Tiny touches and flourishes are scattered throughout the film like an endless ream of fairy lights, constantly providing guffaws and keeping the film at an utterly enjoyable level - such is the Aardman way. There is also a quaint Britishness to the proceedings, delivering a hearty mash-up of wit, charm and subtlety that demands the attention of an avid viewer with our sensibilities in order to get the majority of the jokes. McAvoy is on top form as Arthur - delivering a worthy character portrayal who is believable if a bit simpering at times. Bill Nighy, who plays the endearing Grandsanta, is also excellent in this comedy role. Laurie and Broadbent are equally impressive in offering differing personalities on the man in the big red suit. Ashley Jensen also turns up (with a higher pitched voice) as an elf with OCD when it comes to gift wrapping - a wonderful turn. Fans of animation and comedy will find few films better than this when it comes to choosing a Christmas film to put on. It is unrelenting in its charm and touching in its sentiment, whilst offering an alternative discourse about the meaning of Christmas, and how it relates to our lives. #ChristmasFilm #ChrisOlson #Britishfilmmaking #Animation #JamesMcAvoy #BillNighy #Comedy

★★★★★ Directed by J. J. Abrams Starring Mark Hamill, Oscar Isaac, Adam Driver, Jason Boyega & Daisy Ridley Film review by Jack Bottomley Have you ever watched a film that left you drained, left you weak, left you a little bit speechless? Way back in 1977 many people will have arguably applied such descriptions to a space opera action/sci-fi called Star Wars (later retitled Star Wars Episode IV: A New Hope). What was at many points during production considered a certain box office bomb, George Lucas’ film went on to inspire and captivate generations. An even greater film followed in Irvin Kershner’s 1980 classic sequel The Empire Strikes Back and Richard Marquand’s Return of the Jedi closed a trilogy many consider one of the greatest in all of cinema. George Lucas’ prequel trilogy followed from 1999-2005, with a far more mixed reception, but whatever the case Star Wars has become a fun and invincible cultural juggernaut. So when Disney purchased Lucasfilm in 2012 and the house of mouse announced that more was to come, fans everywhere gasped with nervous trepidation. Not only would the next film be following up an era of Star Wars that is heralded by many as “the greatest” but the man charged with the task would be director J. J. Abrams who has had his fair share of fan backlash over his work on the Star Trek series (mostly regarding the 2013 film Star Trek: Into Darkness). So, in spoiler deflecting fashion, we ask, does the force awaken? Indeed it does. To avoid ruining anything for you, we have had to make this review vaguer than a Yoda tongue twister but prepare yourself because here are some minor plot details. The film sees Luke Skywalker (Mark Hamill) missing and lead resistance fighter pilot Poe Dameron (Oscar Isaac) hides information regarding Luke’s whereabouts on his loyal droid companion BB-8. But the evil First Order, led by Kylo Ren (Adam Driver) is on the prowl, which leads Poe to meet reluctant stormtrooper Finn (Jason Boyega). Meanwhile BB-8 flees into the company of scavenger Rey (Daisy Ridley). Soon fate brings BB-8, Rey and Finn together on an adventure of unexpected discovery. Now if you are seeing parallels to A New Hope (plans on a droid, young person discovering themselves, masked baddie, etc.) you are not mistaken but this is no mistake or lazy rehash. The Force Awakens is a remarkable, often overpowering, piece of big screen cinema that marries the old with the new. The plot may have referential elements and the hype may have been down to the nostalgic power of seeing the original trilogy leads back but that does in no way mean that The Force Awakens brings nothing to the table. For stretches of this film, it takes time to adjust to seeing Star Wars back, especially a Star Wars like this. Abrams’ film is both the Star Wars you know and the one you don’t but overall it is a Star Wars we can all embrace. The franchise’s ever-present ideals of good and bad fighting to balance the force is here, as is the atypical plot structure of a Star Wars adventure. This is a film that feels almost like it was inspired by the now un-canon expanded universe and in the process the script (by Abrams, Michael Arndt and returning scribe Lawrence Kasdan) embraces the triumphs of the franchise as well as the rougher flaws of the series! Like the direction, the pace is swift and effective and uses the old to help prepare us for the new. There is no doubt this is a whole new Star Wars; updated dialogue, a stronger racial and female presence - but it is still in many respects that same galaxy far, far away. Some may call it fan service but The Force Awakens proves that the series has more in store for a promising future. The original cast members - Mark Hamill, Carrie Fisher, Pater Mayhew and Anthony Daniels - all make their presence felt, though perhaps Harrison Ford makes the biggest impression. As the gun slinging Han Solo he remains the cool character we all fell for when he first shot Greedo in the head (or did he?) but at the same time has developed and Ford is brilliant back in action. Although the new cast are equally, if not more, impressive, with the cute and superbly developed BB-8 stealing many scenes with his mechanical mannerisms. Though the human element is equally strong in this one, as Daisy Ridley makes a damn fine hero in Rey. She is a strong role model and very likable and boasts a superb chemistry with the great (and very funny) Jason Boyega’s Finn. Stars like Domnhall Gleeson and Oscar Isaac make for brilliant support but there is no doubting the strength of the villain of the piece. Adam Driver’s unhinged antagonist Kylo Ren is a well thought out and an obsessive villain and one of the film’s greatest strengths. From grand action set pieces, practical sets and effects and their seamless blending with CGI and some of the greatest cinematography in Star Wars history thanks to Dan Mindel, this is quite the adventure. This film leaves you reeling and urgently contemplating a re-visit. The Force Awakens is exhausting, powerful, funny, entertaining, emotional and just a huge experience. From John Williams’ ever excellent scoring (and soundtrack) throwing us straight back into the franchise with the opening crawl, to the well shot and exciting climax, there is no denying that this may be different at times, similar at others, but like Han says to Chewie, “we’re home”. Click here for more film reviews, or watch the Star Wars: The Force Awakens movie trailer below... #JackBottomley #TheatricalReleases #InUKCinemasNow #JJAbrams #Disney #filmreviews #filmreviewsUK