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(Release Info London schedule; January 30th, 2018, Institue of Contemporary Arts, 18:00) "Loveless" Zhenya (Maryana Spivak) and Boris (Aleksey Rosin) are going through a vicious divorce marked by resentment, frustration and recriminations. Already embarking on new lives, each with a new partner, they're impatient to start again, to turn the page, even if it means threatening to abandon their 12-year-old son Alyosha (Matvei Novikov). Until, after witnessing one of their fights, Alyosha disappears. Born in Novosibirsk. In 1990, Andrey Zvyagintsev graduated from the acting program at 'The Russian University Oof Theater Arts' (GITIS), under the tutelage of Evgeny Lazarev. He went on to take part in independent theater productions and had a few bit parts in TV shows and movies. In 2000, he made his debut as a director. In 2003, Zvyagintsev shot his first feature film, "The Return", which became one of the the cinema sensations of the year. A debut not only for the director but for the majority of the crew as well, it was accepted for the main competition at 'The Venice Film Festival', and won the top prize, the Lion. It also garnered the award for 'Best Debut', with the commendation; a sublime film about love, loss and coming of age. His second film, was presented at 'The 60th Cannes Film Festival', where the lead, Konstantin Lavronenko, became the first Russian actor ever to receive the festival’s award for 'Best Actor'. The international premiere of third film, place in 2011 at 'The 64th Cannes Film Festival', where it was awarded 'The Special Jury Prize' in 'The Un Certain Regard' competition program. His most recent film and, "Leviathan", screened in 'Ofcial Competition' at 'The 67th Cannes Film Festival' and won the award for 'Best Screenplay'. "Leviathan" also became the first Russian film since 1969 to win a 'Golden Globe Award' and was nominated for 'The Best Foreign Film Academy Award' Zvyagintsev draws parallels between "Loveless" and Ingmar Bergman’s Scenes from " A Marriage", transplanted to a diferent era and acted out by diferent characters; urbanites devoid of any real self-awareness or doubt, an average middle- class couple today. Sick of each other after many years of marriage, a man and a woman are going through a divorce. It’s an unremarkable situation. Only, both have new projects. They want to turn the page, begin a new chapter of their lives, with new partners and new emotions that will help them to feel complete and full of promise. Past experience has disheartened them a bit, but they remain confdent in the future. All that remains for them to do is to ofoad the burden that stands between them and happiness; their son, Alyosha, a stranger to both of them, who becomes a ragdoll that each throws vindictively into the other’s face. These are the thoughts of people who blame others for their fascos. In the end, the only thing you can really change is yourself. Only then will the world around you glow once more; perhaps only a terrible loss can allow this to happen. Our post-modern era is a post-industrial society inundated by a constant fow of information received by individuals with very little interest in other people as anything else than a means to an end. These days, it’s every man for himself. The only way out of this indiference is to devote oneself to others, even perfect strangers, like the volunteer search coordinator who combs the town looking for this vanished child, with no promise of reward, as if it's his life’s true purpose. This basic task imbues his every action with meaning. It's the only means of fghting dehumanization and the world’s disarray. Among the snowy high-rises of modern Moscow lives stocky salesman Bori and Zhenya, a youthful salon owner. Having migrated to shiny new partners, the couple's relationship is coming to a bitter end and the fate of their 12 year-old son Alyosha is the last thing on their minds. When Alyosha goes missing without a trace, his parents can barely grieve in unison. "Loveless" is a story about a heartless marriage on the verge of collapse faced with tragedy. It also illuminates multilayered dichotomies embedded in Russian society. Battles between old and new beliefs, public and private institutions, post-Soviet infrastructures and nouveau riche establishments linger throughout. is the master of crafting a drama with the cinematic tropes of a thriller. Moreover, he's an expert at exposing his world for what it has become. We watch as the director's countrymen ruthlessly step all over each other in order to claw to the top. As Vladimir Putin flexes his muscles and expands westward, "Loveless" may at first appear to be about a specifically Russian phenomenon, but it's not. "Loveless" is universal.

Taken 4, sorry, The Commuter, is Liam Neeson’s 2018 off the rails thriller. Former policeman Michael MacCauley (Neeson) is a family man with money troubles, and when a mystery woman offers him $1 million cash on his daily commuter train to find someone “who doesn’t belong”, he accepts. The film’s opening sequence sees MacCauley and his family in their day to day life. The various scenes fit together nicely and it is a clever approach to display the location of the movie, New York, by Jaume Collet-Serra. Various seasons pass by and the audience becomes familiar with the family: their son’s college dream, their interests, their troubles. As the narrative sets off in the city, viewers slowly lose their interest in Michael’s life and the dialogue lead scenes bore the action-seeking audience. It is no different to your everyday commute. Predictably, Michael is very recently unemployed, a patriarch with the view that he has been de-masculinised by losing his job. Stranger, Joanne (Vera Farmiga), plays on this fear, offering Michael money she knows he can’t refuse. Finally, the real story begins. Neeson’s performance in The Commuter is to the same low standard as in both the Taken sequels. Unfortunately, as per his previous performances, he isn’t ground breaking. This is partly because Neeson always plays the same role; as expected, he throws people about a lot and answers the phone a lot. Nothing new for Neeson. The character of Michael doesn’t do the actor any favours either as the audience grow tired of him. Michael goes out of his way to do the least logical things and to draw attention to himself, concerning other passengers on the train and then acting confused as to why they’re all looking at him. His excuse for his odd behaviour is that he is an ex-cop; he knows protocol. It’s Neeson, he always does. The majority of the action in the film takes place on the train as Michael searches for “Prynne”. In his search (WARNING: SPOLIERS) he benevolently saves the train’s passengers and, of course, survives being thrown from an exploding carriage. Granted, this is the type of action many audience members expect, however what they do not expect is a slow and confusing conclusion to the movie. Somehow Michael’s friend from one of the slow scenes at the start of the movie is in cahoots with whoever Joanne is working for, of course Neeson is no stranger to this sort of twist and understands the confusion perfectly. On the other hand, the audience are left one step behind the movie until concludes. Overall, The Commuter is a film you’ve seen before. There is nothing new or ground-breaking in the narrative, and the performances feel manufactured. Whilst mildly entertaining in the action scenes, the ending provides nothing but confusion for audience. The Commuter is a train wreck.

Cast: #francesmcdormand #samrockwell #woodyharrelson Director: #martinmcdonagh Entering into a local advertising firm and negotiating the rental of a few billboards which have controversial messages on them directed at William Willoughby (Woody Harrelson), who's the town's chief of police. They accuse him of failing to properly investigate the rape and murder of her daughter. Directed by Martin McDonagh (#sevenpsychopaths, #inbruges), Three Billboards Outside Ebbing, Missouri has received critical acclaim across the board and won the People’s Choice Award at #torontointernationalfilmfestival. Oscar-winning actress Frances McDormand (Fargo) gives a stunning performance as the grieving mother with a fiery agenda, and Woody Harrelson (War for the Planet of the Apes) plays the conflicted police chief. MY FINAL THOUGHTS It's that time of year again when all of the most likely #Oscar contenders get released at the same time at your local cinemas. It's hilarious it reminds me of delayed public transport buses when one is behind schedule they end up arriving in a dozen. Talk about buses they have some fantastic advertising #Billboards at some bus shelters, with some eye-popping digital screens nowadays. Only thing missing now is for them to become touchscreen and us to be able to book your tickets on them. Overall I gave this emotionally roller-coaster movie a big thumbs up 5/5 Stars 🌟🌟🌟🌟🌟 This unromantic comedy deserves the hype surrounding it's success with the recent award ceremonies at the #GoldenGlobes and the recent #sagawards, I had to see it to believe it. I found this movie intriguing from start to finish this mouthwatering film has everything you could wish for. It has laughter, sadness and action and violence. #cinema #entertainmentnews #filmcritic #greatmusic #musicnews #music #soundtrack #composer #carterburwell #song 🎶Billboards On Fire 🔥#kamaras_reviews

The most charming aspect about Lady Bird is the idea that there is no great twist or typical structure to the movie, but instead is a catalogue of engaging moments. Greta Gerwig's directorial debut is a refreshing blend of her quirky, indie roots and commercial, mainstream familiarities which is roughly based on her own story. Yet Lady Bird is also a film that everyone can relate to and enjoy whether they are male or female and regardless of age. The brilliant Saoirse Ronan plays Christine "Lady Bird" McPherson, a teenager growing up in Sacramento in 2002. Throughout the movie we follow her journey through the late stages of a Catholic school, her first exploits with the opposite sex, and her general coming of age growing up in a family struggling financially. Most importantly though, we are introduced to the incredibly strained relationship with her mother (Laurie Metcalf), summed up in the opening scene of the movie. It is this relationship that is the backbone of the movie, and Metcalf is the perfect counter to Ronan's punchy character. It seems like it will be a shootout between Metcalf and Kristin Scott Thomas (Darkest Hour) for Best Supporting Actress. Special mention must also go to Tracy Metts who plays Lady Bird's gentle, depressed father. Gerwig tells this story so genuinely and honestly that it is so relatable for so many people who would have had similar struggles at that stage of their lives. Yet there is a quirky teenage charm to it all that is very much down to her and the movie's cast who are all on top form. Lady Bird guarantees laughs and tears, but will leave you with an overwhelming feeling of melancholic warmth. @SceneItMovie

(Release Info London schedule; February 23rd, 2018, Curzon Soho, 18:20) "A Fantastic Woman" Marina Vidal (Daniela Vega) and Orlando (Francisco Reyes) are in love and planning for the future. Marina is a young waitress and aspiring singer. Orlando is 20 years older than her, and owns a printing company. After celebrating Marina’s birthday one evening, Orlando falls seriously ill. Marina rushes him to the emergency room, but he passes away just after arriving at the hospital. Instead of being able to mourn her lover, suddenly Marina is treated with suspicion. The doctors and Orlando’s family don’t trust her. A woman detective investigates Marina to see if she was involved in his death. Orlando’s ex-wife forbids her from attending the funeral. And to make matters worse, Orlando’s son threatens to throw Marina out of the flat she shared with Orlando. Marina is a trans woman and for most of Orlando’s family, her sexual identity is an aberration, a perversion. So Marina struggles for the right to be herself. She battles the very same forces that she has spent a lifetime fighting just to become the woman she's now, a complex, strong, forthright and fantastic woman. Marina is a 27-year-old waitress and singer. She's Orlando’s partner, with whom she has an adult, loving, and committed relationship, in spite of their differences in age and social class. Marina, though far from being perfect, is a resilient woman who has quite an impressive level of compromise with her own life. She loves deeply, and this gives her the opportunity of loving herself and overcoming any adversity. She’s a brave fighter who doesn’t falter when the world puts her to the test. She has a vital force that's capable of carrying her through against all odds. Today, while all of us are somehow standing on the edge of a precipice, she doesn’t even look at it, and searches for beauty instead. She understands that even Orlando’s death, or what her being transgender means to everyone else, will not keep her from pushing forward. Orlando has broken away from his family. With the exception of his brother, who admires him greatly. He has neither his ex-wife’s nor his son’s comprehension, nor that of the rest of the family, whom after his death, unleash all of the violence provoked by ignorance and vulnerability before the unknown onto Marina. But this is not an issue for him, and he surrenders to his relationship without considering anybody’s opinion or stance. He doesn’t question himself over whether the person he loves is a man, a woman, or a transgender person, and this honest and authentic attitude surrounds him with a natural aura that prevents other people from interfering with him. There’s no intellectual or ideological defense of his relationship with Marina. His great defense is the authentic love that he feels for her. To Orlando, Marina is an inspiring being that gives him new wings with which to enjoy life, that connects him to his love for what's honest, and allows him to find peace, affection, and company in her. Although he appears to be a regular man, he possesses a great internal strength, freedom, and courage that allows him to see Marina and recognize her as an extraordinary and kind being. For her part, Marina, whose life is a constant struggle to live harmoniously within her social setting, recognizes in Orlando the simplicity and authenticity of this mature man, and discovers a refuge in him: a true and calm love. The two meet in their courage and in the conscious or unconscious search for what specific beautiful and authentic. It’s a story of true love; Marina and Orlando simply love each other, and after meeting, they've discovered a refuge in one another. To them, the differences in their ages and sexual cultures are not barriers. It’s inspiring to see how two beings whose intimacies are unknown to us, and whose lives we could prejudge maliciously, surrender themselves without hesitation, without fear, and without fuss, to a relationship in which judgments on good and evil, on what’s correct and what’s incorrect, what’s normal and abnormal, simply aren’t issues. Where a space for love is simply made evident and recognized. This film is about the way in which we understand relationships and affection, as well as the way in which we conceive love. The film, like Marina, it's central character, is not afraid of pleasure and, like her, has a striking and shiny surface. It tries to combine the narrative and the visual pleasure in games of appearances that want to captivate, a sort of 'Trojan Horse' loaded with humanity. So, regardless of his or her beliefs, values, or vision of the world, from watching her so much, the viewer ends up feeling like her, and from empathizing with her so much, the viewer wants to see her survive and prevail. The film invites us to feel like others, to experiment emotions that are often new to us, and these discoveries occur not within the film, but within the viewers themselves. The film prepares us for life and allows us to explore our spiritual elasticity. The film asks the viewer to surrender him or herself to a challenging journey, and to do so with wide-open arms. To feel that he or she has seen something beautiful, to feel that he or she was in contact with beauty. The film is a more complex construction than "Gloria", because it's several films at the same time. But in spite of the fact that "A Fantastic Woman" exists in a different cinematographic territory that operates far beyond realism, it has, just as with "Gloria", a higher inclination towards questions than towards answers. At the same time, it examines and exalts a powerful female character, yet for several reasons, "A Fantastic Woman" is much more than a film about a woman. "A Fantastic Woman" is a film of aesthetic splendor, narrative vigor, tension and emotion. Polytonal, multi- experiential, multi-emotional. It’s a film that's both a celebration and examination of it's main character, Marina Vidal. What will the viewers see when they see Marina? A woman, a man, or the sum of both? They will see a human being who constantly changes before their eyes, who flows, vibrates, and modifies herself. What they're seeing isn’t precisely what they're seeing, and this condition turns Marina into a vortex that attracts the viewer’s fantasy and desire, inviting them to explore the limits of their own empathy.

I had been been waiting months to see this and finally I did and I wasn't disappointed, not blown away, but a very good film. Didn't hit the emotional peaks like with Three Billboards Outside Ebbing Missouri, but had more consistent humour through-out. Any scene that involves a nun or a priest (Lois Smith and Stephen Henderson) be prepared for a hearty chortle, though with a little bit of guilt at the context. I had been been waiting months to see this and finally I did and I wasn't disappointed, not blown away, but a very good film. Didn't hit the emotional peaks like with Three Billboards Outside Ebbing Missouri, but had more consistent humour through-out. Any scene that involves a nun or a priest (Lois Smith and Stephen Henderson) be prepared for a hearty chortle, though with a little bit of guilt at the context.I had been been waiting months to see this and finally I did and I wasn't disappointed, not blown away, but a very good film. Didn't hit the emotional peaks like with Three Billboards Outside Ebbing Missouri, but had more consistent humour through-out. Any scene that involves a nun or a priest (Lois Smith and Stephen Henderson) be prepared for a hearty chortle, though with a little bit of guilt at the context. Christine, or ''Ladybird'' (Saoirse Ronan) as she likes to go by, plays a high school senior on the verge of going to college. We see her dealing with all too familiar and real elements from all our teenage years i.e. her battle to make the grades to get out of her town and go to a college in the big city, entering into her first relationships with boys and also dealing with the love/hate relationship with her mum Laurie Metcalf (aka Sheldon's mom) who gives a fantastic performance which for me almost steals the show. Watch out for up and coming star Lucas Hedge, who plays Ladybird's love interest who has a limited supporting role but gives depth to his and Saoise's characters. He is quickly becoming your film award nomination guarantee, recently also appearing in Three Billboards and Manchester by the Sea. I think this film is deserving of the plaudits it has been receiving, but I don't think gives us much new in an American coming-of-age film, but has a realistic grounding, think more Boyhood than Superbad. If you haven't considered going to see it, then you will find it a heart warming gem of a film and will not be disappointed. 4/5.

Regrettably, my journey to Wakanda was via Snoozeville. Never thought I'd be saying this but I couldn't get over how much this film reminded me of the god awful Star Wars Ep.1 the Phantom Menace. Slow pace scene after slow pace scene of people sitting around in circles talking, standing around...talking...with nothing interesting actually going on. Then to top it off, for the final battle to keep cutting away from the main protagonist's action to the supporting characters' generic, CGI shoot-em-up (a la Obi Wan and Qui-Gon vs Darth Insidious). Marvel needs to revamp their formula from quick quips then big punch em up as I think this is the point where we've had our fill. Don't get me wrong, this is not a bad movie. If it had came out a few years ago it could have been considered great and enjoyable. But we've been so beaten over the head with Marvel it is the straw that breaks the armoured plated rhino's back. A mediocre 2.5/5.

4.5/5- I saw this film last year but it has only recently come out on general release. This is an excellent film that revolves around a mum (Frances McDormand) who sets up three billboards that directly questions the local police chief (Woody Harrelson) as to why the killer of her daughter has not been brought to justice. The comedy is well toned but never overshines the dark subject matter. The film boasts a superb supporting cast of Sam Rockwell, Peter Dinklage and John Hawkes. You never know which way the story is going to go. You can get two or three judgements on each character once you see the situation from their point of view. This was one of my favourite films of last year. I urge you to go and see it.

This film opens in a dark world. The shots are decent, but the lighting is very poor. I understand that the director was trying to make the planet look terrible, but not being able to see Han's face subtracted from the aura. The hero then divulges himself as he exits the scummy planet he has called home for so long. Even Donald Glover's snide attitude could not save this film. Once again, the writers of the New-age Star Wars movies decided to use a droid for comic relief in the film, and it did not pay off. There was an attempt by the writers to make the audience feel sympathy for Glover's character as he lost his partner L3, but there was no connection. However, there are silver linings in the film. The relationship between Chewbacca and Han is developed, Darth Maul is introduced, and the concept of the rebellion is mentioned. All these aspects of the film help connect it to the mainstream series. Overall, I would see the film if you like the Star Wars saga. If you are looking for a film Roger Ebert would appreciate, you are better off going home and watching "Call Me By Your Name" on HBO.

Fun, fashion, fabulous, fierce, forgettable. Just a few F’s to sum up this star studded girl-power instalment in the latest Ocean franchise. Unfortunately as a heist film it doesn’t do what heist films do, I didn’t feel thrilled by what was happening, I didn’t think the stakes were high enough, I didn’t believe the characters. That for me was the problem with this film is that it all felt like an episode of Ugly Betty (not a bad thing, but not what I want from a heist film). A bit too glam, a bit too fake and a bit too cheesy. It all just felt a little flat, which is a huge shame because the cast are actual queens of the screen. When you think that Sandra Bullock, Cate Blanchett, Sarah Paulson, Helena Bonham-Carter and Anne Hathaway are some of the biggest and best names in Hollywood it really does feel that the film just didn’t live up to the potential of the names attached to the film. The film itself is a very important movement for feminism in Hollywood, obviously there is a lot of talk about an all female film not making money, well Ocean’s 8 has already made 100m. However as great as it is that the cast are all female and that it passes the sometimes dubious Bechdel test there are two reasons why I think it looses its message of female empowerment. One, the director is a bloke. I think it would be very refreshing and needed to have female directors, stories about women told by women. I don’t want some middle aged white guy directing women, I want a woman directing women. It’s really not hard for Hollywood to do this. Whilst the representation on screen of women might be improving with the help of this and the rebooted Ghostbusters film and others, behind the screen, is there that same movement and representation? Another problem I had was that the real aim for her to do this heist, other than money, was to get back at her ex, a man. Does a man really need to be the motivation for her? Yes she made money on the side, but I think the film really sets out to make it look like that was the real aim. I don’t know if the film needed that, it needed a side motivation, but I think they could’ve found a different reason to that.  2/5 A film with a great cast, apart from the ever appearing James Cordon, a straight-forward story but with a lack of thrill, laughs and entertainment. The making of the movie and what it can hopefully do for females within Hollywood will hopefully have a more lasting impact than the film will have on the viewer.

(Release Info London schedule; July 6th, 2018, Cineworld, Leicester Square) "Uncle Drew" After draining his life savings to enter a team in 'The Rucker Classic Street Ball Tournament' in Harlem, Dax Winslow (Lil Rel Howery) is dealt a series of unfortunate setbacks, including losing his team to his longtime rival Mookie Bass (Nick Kroll). Desperate to win the tournament and the cash prize, Dax stumbles upon the man, the myth, the legend Uncle Drew (Kyrie Irving) and convinces him to return to the court one more time. The two men embark on a road trip to round up Drew's old basketball squad and prove that a group of seniors can still win the big one. Dax Winslow is the man who unexpectedly brings Uncle Drew back to the court. He proves to be both Drew’s comic foil and true friend. Though always a diehard basketball fanatic, Dax has never had the chance to really feel a part of the game. Ever since missing his one chance to hit a winning shot as a kid, he’s been hustling to prove his worth, nearly forgetting why he wanted that success in the first place. He thought he was on the hunt for the next young hotshot, only to find himself trying to wrangle a limping, if also swaggering, team of guys who haven’t rebounded since the 70s. Dax is a young man searching for family. He doesn’t see it coming, but in the course of putting together this team of old guys to play at 'The Rucker Tournament', he finds that. They teach him some things about what matters. It’s Dax who shows how everybody ends up gaining something from the mix of new and old school. Dax defies stereotypes as a protagonist. He's this guy who isn’t that cool, who’s a little nerdy, who's kind of sweet and doesn’t have all the answers. Dax is an orphan, so from the start, basketball is his way of finding friends and family. He just forgets how important that's until he meets Uncle Drew. He’s felt unappreciated, betrayed and unable to trust anybody. He makes his life about the hustle and being in it for himself. At first, he’s skeptical Uncle Drew is even real, let alone even the longest shot contender all these years later. When guys in the barbershop talk about Uncle Drew, Dax doesn’t believe any of it. So when he finally meets Uncle Drew it's like seeing 'Santa Claus' or the 'Easter Bunny' in person. But as Dax and Uncle Drew set out on a trek to locate his old team, their cross-generational friction leads to a deeper connection and Dax comes to feel needed as he never has before. At first, Dax and Drew are just two strangers in a van. They’re having all this back-and-forth about music and basketball and not agreeing on anything. But by the time they get to Harlem, Dax realizes he's experiencing a feeling he always wanted, the feeling of family. He’s now surrounded by people who actually love him for being himself. Once the competition starts at 'The Rucker Tournament', Dax realizes something different is on the line than what he imagined. More than a win or the cash, what matters now is that he can’t to let down his friends. It’s become about so much more than money for him. He has the chance to gain the respect and affection he always wanted. Dax is unsure of himself and Uncle Drew matter-of-factly tells him, don’t need you to be great all the time, youngblood, just need you to be great one time. Big Fella (Shaquille O’Neal) is the giant who brings power to the team, he’s the anchor. In the beginning Big Fella seems full of anger but then he shows us a guy who he can break dance and has a heart as gigantic as he's. Big Fella is a very conscious, focused individual, but also one with a grudge. Uncle Drew did something to upset him long ago, and Big Fella has not forgotten. Yet, he's also understanding and caring, and he's a team player who will do whatever is necessary for the team to win. Wilbur 'Lights' Wallace (Reggie Miller), in his heyday, was one of the greatest gunslinger shooters of his time. As father time caught up to him, his eyesight went, but he refuses to admit it. Everyone around him knows that he’s legally blind, but in his mind he thinks he’s making every shot. Lights may be a little hazy, but he's not out of touch. He’s still the cool guy in this geriatric crowd, dressing to be noticed. He wears Capri shorts, pastel colors, Kangol fedora hats, high white socks and fresh white Reeboks. 'Lights' is good to go all the time. He even has a gold tooth rocking. Boots (Nate Robinson) is the team’s silent scorer with a sneaker superstition. Uncle Drew might find his old friend sitting wordlessly in a retirement home, but Drew knows the brilliant old Boots is still in there and it’s just a matter of reigniting his spirit. Having given up basketball, Boots thought he was done with life. Then, Uncle Drew and Dax arrive to change his fate. Finally, his gang is back together and life has meaning and purpose again. Boots still doesn’t say much, but he’s the guy you want on your team. Boots keeps everybody going. When he’s playing, it’s always a show of dunks and high-flying stuff. Boots is like this beautiful tree that’s grown over centuries, with his massive hair, the beard and just the age in his face. But you also feel his wisdom, and the way Nate plays him, you really believe him as Boots comes more alive and becomes indispensable. Preacher (Chris Webber) has replaced his basketball with 'The Good Book Of The Lord'. Preacher is a cross between Al Sharpton and James Brown, with that kind of power of oration. He's a guy who wears his emotions on his sleeve. He's the leader of the crew spiritually, but he's also the wildest member at one time so everyone respects how he has learned to stick to discipline. Betty Lou (Lisa Leslie) is Preacher’s no-nonsense wife, who's in hot pursuit of him all the way to 'The Rucker'. She wears the pants in Preacher’s household. There's her fierce, take-no-prisoners persona; and her skepticism about letting Preacher return to basketball with all it's temptations. Betty Lou is feisty, independent and she doesn't take any mess. She's bossy and she likes to be in control but, she's also very in love with her husband and she wants what's best for him. She just wants to make sure Preacher stays on a positive path. When Casper (Aaron Gordon) switches teams, Dax is left in the lurch, which ultimately leads to his fateful search for Uncle Drew. Casper is the cocky, arrogant, young up-and-comer who doesn’t respect those who paved the way before him. He doesn’t understand what it means to be a team player; he just wants to win. Mookie Bass is the villain of the movie. Ever since Mookie blocked Dax’s shot in a tournament final as kids, Mookie has viewed Dax as the secret source of his power. In Mookie’s mind, he sees the two of them as being like Bird and Magic, two iconic rivals, who feed off. He's obsessed with Dax because it makes him feel big, whose whole agenda is to constantly get energy from defeating this person. Maya (Erica Ash) is , Boot's loving, levelheaded granddaughter who joins the road trip to keep tabs on her grandfather, but starts to have feelings for Dax in spite of herself. Maya is the voice of reason in this band of merry men. She becomes just one of the guys on this cross-country road trip, but with her own voice. The greatest players in the world have played on 'The Rucker Court'. If they hadn’t played there, 'The Rucker' dates back to the 1940s when a playground director and teacher named Holcombe Rucker set out to uplift kids in Harlem by combining sports with education. Rucker created a series of summer youth leagues that gave local kids a chance to shine. His motto each one, teach one, became as famous as he did, reflecting his belief that by passing on the fundamentals of what you learn to others, you grow a stronger community. Through his tournaments, Rucker helped hundreds to attain college scholarships that changed their lives. In 1956, 'The Tournament' gained steam when it began hosting pro and semi-pro players in the off- season. The park would soon become the sacred mecca of a faster, wilder street version of the game, a liberating place where ballplayers could create, experiment and display their best. 'The Rucker' is the most iconic stage in the sport. It's a great equalizer because it doesn’t matter what color you're, how old you're, male, female, if you can play, you’re respected. What makes streetball unique is there’s less rigidity and when you lose some of that formality you get more fun, you get more theatre. Everyone essentially has courtside seats in a place like 'Rucker', so the crowd is interacting in real time with these amazing plays they’re seeing. It’s much more communal you also get a lot of vibrant showmanship. In the spring of 2012 audiences first met the unforgettable Uncle Drew, a rickety-looking, white-haired, older gentleman who rose gingerly from a park bench to school a bunch of youngblood ballers in a fiercely competitive pick-up game. Uncle Drew is the real deal, a lost legend from another time whose love of the game and courage to keep driving the ball against the odds had apparently never faded over the decades. On the contrary, his skill had only been sharpened with a cantankerous wisdom. His appeal was palpable. The documentary style Pepsi campaign quickly went viral. As it turned out, Uncle Drew is an old legend being played by a vibrant, young legend. Uncle Drew’s 'YouTube' videos have been viewed over 100 million times. After four webisodes people still wanted to see and to know more. Who was this trash-talking, proud old baller with so much game? What had happened to him? What drove him to keep playing in the park? And what would he do with one last shot at greatness? The idea is to take the character on a larger journey that, like the webisodes, would be as enjoyable and moving for audiences who are passionate about basketball as for audiences who wouldn’t know a foul from an alley-oop. The film explores Drew’s fascinating life history and supernatural skills but take him on a comedic adventure to reunite his old teammates into a true family, even if they all appear more likely to compete for the early bird special than New York’s most illustrious streetball tournament. This movie is so special that it maintains the authenticity of how sports can bring people together around something they love. The basketball’s great, the comedy’s hilarious, but the message of family behind the story is even more awesome. In the film, Uncle Drew is called back into action by Dax , a young man who has been on a life-long losing streak and at first doesn’t believe Uncle Drew is any more than an urban legend But once he finds Uncle Drew; and joins forces with him to assemble a last-minute squad for 'The Rucker Classic', the Harlem tournament where countless basketball legends made their names, Dax learns that Uncle Drew has much more to give than just buckets. For Uncle Drew, this journey is about reconciling the mistakes he’s made in his life and with his teammates. Uncle Drew may have lost his way but now it’s time for him to put the team back together and find his purpose again. It’s a wild journey, but in the end, he and Dax and his long-lost friends become a true family, and it’s a beautiful thing. You don’t stop playing because you get old. You get old because you stop playing. While high humor, family, friendship and the dream of returning to the Rucker drive "Uncle Drew", it's equally important to capture some visceral basketball action with his unprecedented cast of hoop legends. To get to the heart of the beauty, the flow and the flying spirit of the game; from simple hand-offs to 3-point miracle shots. With all that's going on in this movie, the film focuses on the relationships, the funny dialogue between characters and the basketball. Luckily, the character-driven script really lent itself to that which is exciting. Dax and Uncle Drew’s generational gap might be obvious in their contrasting clothes, style, music and banter, but it’s beneath the skin that they ultimately connect. “Uncle Drew" shows you that no matter your age, the prime of your life is right now. "Uncle Drew" reminds us that wherever you're at, you can still deliver. He encourages us to never quit doing what we love. What makes "Uncle Drew" timeless is that he devotes himself to what he loves. This movie will be relatable to everyone. It pays homage to Uncle Drew’s love of basketball, but at heart it’s a story about staying true to the things and the people you love most.

"You put a dime in him, you've got to let the whole song play out." When Arthur C. Clarke wrote that any sufficiently advanced technology was indistinguishable from magic I doubt whether atomic scientist finger wizardry from former Cat-Women was exactly what he had in mind, yet that is the barely explained science thing we are asked to buy into during the closing moments of Ant-Man & The Wasp which, not unlike the rest of the movie, leaves a lot to be desired. Finding Evangeline Lilly's bite-sized mother is the name of the game in Peyton Reed's second stab at bringing Ant-Man to the big screen. To achieve this Scott Lang (Paul Rudd) - who is currently serving house arrest after the events of Captain America: Civil War - must first be abducted, then put in a position where he must choose between the debt he owes the Van Dyne crew (Lilly and Douglas) and his own young daughter, all because he dreamed he was Michelle Pfeiffer once (and really, who among us?). They've got some kind of quantum connection, the Van Dyne's contest, because they've both shrunk to sub-atomic level and they need to get inside his head to find her. It's the kind of ambulatory plot contrivance that super-hero movies are often forgiven for and wouldn't be as much of an issue if it weren't indicative of the kind of laziness on display throughout the rest of this thoroughly uninspiring movie. Chief among it's flaws is the fact that despite ostensibly being something approaching a comedy, Ant-Man & The Wasp manages to be so consistently unfunny. Rudd has his moments and Reed is able to construct one or two decent sight-gags, but the lion's share of the humour is delivered by Michael Pena who - while being fantastic in this movie - isn't in nearly enough of it to keep the script from moments of eye-roll-inducing tedium. Asking Michael Douglas and Evangeline Lilly to shoulder any kind of comedic burden is like telling a child to disarm a bomb: it's unreasonable of you to ask and will almost certainly end in tragedy. The script here is so lacking in anything resembling actual jokes that it feels almost as if Pena must have ad-libbed his lines, he is that far removed from everyone else in terms of quality. Not pictured: Taika Waititi and Chris Hemsworth high-fiving as Thor Ragnarok's stock as a comedy retrospectively rises. The absence of good comedic writing would perhaps not be as noticeable if the rest of the movie weren't so lacking in any kind of tonal consistency, or even just a script which didn't feel like it was written with nothing but getting it's characters out of stupid situations in mind. Lang's daughter video-calling her dad while he is being held hostage, with his kidnappers holding the phone up to his face out of frustration, is a relatively funny idea. Attempting to sow dissent between the kidnappers literally seconds later as they argue - very seriously - about whether they should also abduct his daughter is - at best - clumsy and - at worst - wildly misjudged. And this movie is full of these kind of tonal handbrake turns; a moment played off for humour which is also required to move the story forward and carry emotional weight. Neither the writing nor the direction is competent enough to achieve all three of these goals in one scene and so the movie frequently fails at all of them. And the constant sense that events are simply occurring because the plot demands them to compounds this lack of quality. Visually, this is boring. The occasional uses of licensed music are fairly entertaining although this is purely because the song choice is good and it really can't be over-emphasized how funny Michael Pena is here. It's no coincidence that the best sequence of the movie is narrated entirely by him. It's just a shame that this wasn't a film which focused around his character. This is a movie which would have been better as schlock. It tries to give the kind of villains who explain their plans to you a heart instead of having them twirl their mustaches, while the good guys stand around telling bad jokes and staring wistfully at each other with slight smiles while strings play softly behind them without a shred of irony. This is a super-hero movie where no one feels villainous and the heroes - like the film in general - are boring as hell.