Flash Reviews: Baby Driver, Cars 3, Dunkirk And 47 Metres Down

Baby Driver

Baby is a getaway driver who relies on his collection of retro tracks to do his job – or at least in style. But when his latest task goes horribly wrong, he must figure out a way of hitting the road with his waitress love-interest and starting anew before his violent teammates figure out what he’s up to. With plenty of groove, solid storytelling and charm in its engine, Baby Driver is the most stylistic and soulful wheel-based flick since 2011’s Drive, and with an opening chase so wonderfully-choreographed, you’ll realise it’s not all about being fast and furious.

The House Definitely Doesn't Win...

The comedy movie. It's a tough nut to crack. Hell, it's probably easier to scare the audience than it is to make them laugh, and even that is no easy feat. And of course there have been countless comedies that have failed miserably in this way. But never - at least not that I can recall - have I ever seen one that is as groundbreakingly-unfunny as Will Ferrell's latest.

War For The Planet Of The Apes Review: All Of Cinematic History Has Led To This Moment

“The best and most groundbreaking film since Jurassic Park”

There can’t be a human being alive who isn’t familiar with Planet of the Apes, whether it’s the classic 1968 original starring the late Charlton Heston and the late Roddy McDowall, along with its four sequels and 70’s TV spin-off, or Tim Burton’s hugely-panned 2001 remake starring Mark Wahlberg and Helena Bonham Carter, or now Rupert Wyatt/ Matt Reeves’ groundbreaking trilogy. Add to all of that the animated series, the video games, the graphic novels and all the old-school cosplay that has populated comic conventions the world over since the dawn of ape, and you have a franchise that rivals the likes of Star Wars and Star Trek, but one which speaks to the audience on a deeper level with its commentary on our society as well as our treatment of primates not so deep within its subtext.

It Comes At Night Review

Paul (Joel Edgerton), his wife Sarah and their teenage son Travis, live in a cabin in the woods during a seemingly post-apocalypse, the unseen outside world having apparently been ravaged by a deadly virus. Their survival depends on a set of airtight rules, which is made clear from the offset when they are forced to shoot dead and then burn Sarah's father having discovered he is infected. But when stranger Will tries to break in one night, Paul is forced to make some new rules.

The Mummy 2017 Review

When Universal Pictures very prematurely announced that The Mummy would be the first in their cinematic universe named, ahem, Dark Universe, my eyes – like many others’ – rolled. I’ve nothing against shared cinematic universes. Hell, I’m all for it. Look at the incredible job the MCU has done, with the DCEU being taught lessons by Wonder Woman and her lasso, and even this year’s Kong: Skull Island breathing some much-needed fire into Warner Bros. and Legendary's new monster franchise. But those guys? The Wolfman, Swamp Thing, Frankenstein, Dracula et al? Really? But if the filmmakers really think it’s going to work – and they surely do given such an early promise of a shared universe, and it’s got Tom Cruise - I’ll make the effort to go watch this new reiteration of The Mummy even if it does seem overly action-focused and starring a very out of place Tom Cruise, and see what it is they've done. And that’s just what I did.

Snatched Review

When down-on-her-luck and newly dumped Emily Middleton (Schumer) realises her life is going nowhere, she turns to the only true friend in her life; her much less-spontaneous and retired mother, Linda (Hawn). After much persuasion, Linda accompanies her daughter to a resort in Ecuador, South America, but before long things go even souther when they’re both kidnapped by a violent gang who demand a ransom from their annoying and agoraphobic brother/ son Jeffrey (Ike Barinholtz). Luckily they escape, but through much less luck they wind up lost in the jungle with the merciless gang hot on their tail.