Review Category: Movie

LEPRECHAUN RETURNS

The eighth (yes!) film in the Leprechaun series returns to its roots with a direct sequel to the original 1993 movie. While previous instalments have sent the little green monster to a casino, into the “hood” (twice) and even into space on his neverending quest to reclaim his lost gold, Returns takes us back to where it all began.

This time, a group of eco-friendly college students are renovating a farmhouse, intending to turn it into their new sorority house. They’ve got the solar panels set up and all that kind of stuff, but still need to find a water source. Luckily, there’s a well in the yard and after testing the water they decide it’s perfectly fine to use. But wait! Is this the same well that the Leprechaun himself was thrown into at the end of the very first film? Yes indeed, you bet it is! And, of course, one of the girls also happens to be the daughter of Tory, Jennifer Aniston’s character from the original. What follows is a campy, silly, gory and ultimately massively enjoyable 90 minutes as the Leprechaun… erm… returns… and sets off on a killing spree that he hopes will restore his power and increase his chances of finding his gold.

When hearing the words “TV movie” and “made by Syfy” (which is what Returns is), most of us will immediately think of Sharknado and its over-reliance on ropey CGI and cheesy dialogue. Leprechaun Returns thankfully manages to buck the trend somewhat – there’s still plenty of occasionally-grating daft dialogue, but CGI is used sparingly here, replaced by deliciously squishy practical effects that will delight those of a less sensitive nature.

The film is also much more well-shot than you might expect from a TV movie, and the acting is surprisingly decent all round. The script by Suzanne Keilly (Ash Vs Evil Dead) allows the cast to ham it up pretty much constantly, and you can tell everyone’s having an absolute whale of a time. Mark Holton (Chubby from the Teen Wolf films) plays a pivotal part in reprising his 1993 role as Ozzie, and while many of the characters might be a little one-note (there’s the uptight square, the drunk party girl etc), it’s fair to say that character development isn’t totally necessary in a film of this nature. Canadian actor Linden Porco takes the lead role as the Leprechaun, and more than capably fills Warwick Davies’ shiny shoes. Porco’s Leprechaun is as disgusting and foul-mouthed as ever (we’re ignoring 2014’s Origins, because that’s the right thing to do), and while he’s very much the bad guy, he’s portrayed with such joy and glee that it’s impossible not to root for him.

With some riotously inventive kills, a load of silly humour, and a few throwbacks to the original, Returns should please long-time fans of the series and newcomers alike. If over the top nonsense is your kind of thing, you really need to seek this one out. More please!

LEPRECHAUN RETURNS / CERT: 18 / DIRECTOR: STEVEN KOSTANSKI / SCREENPLAY: SUZANNE KEILLY / STARRING: LINDEN PORCO, TAYLOR SPREITLER, PEPI SONUGA, MARK HOLTON / RELEASE DATE: 11TH DECEMBER

THE HOUSE THAT JACK BUILT

Lars Von Trier has coasted along as the enfant terrible of cinema for so long that now, finally, his use of shock tactics have lost their bite.

In The House That Jack Built, Matt Dillon’s Jack, seemingly in conversation throughout with an omnipresent male being, Verge, (Bruno Ganz playing either God or the Devil) reads like a straight, white man’s solipsistic manifesto on toxic masculinity as art in the age of #MeToo, but it’s also brimming with a playfulness that enlightens what is otherwise too long, too repetitive, too in love with its own ideas.

Jack represents the Portrait of the Artist as a Young Psychopath; with the murderer and violence standing in for Von Trier, the artist, his art, and the suffering along the way (mainly of women, because their suffering is ‘more interesting’), the inevitable sacrifices needed to create his final masterpieces.

Jack is a character that is detached to the point of being a tragic fool, almost playing the victim. He is Ted Bundy, luring women into a false sense of vulnerability, only for obstacles to constantly belittle him: his OCD when cleaning up a blood stained carpet, the familiar obsessiveness of the sufferer coming alive, akin to remembering that the back door hasn’t been locked when you’re already halfway down the motorway; the mockery of a family he creates just to use them for a sadistic picnic. It’s a Norman Rockwell picture of familial togetherness turned into a grim spectacle.

Insights into the psychopath can be interesting without needing to be moralistic; films such as Henry, the Portrait of a Serial Killer, and I Am Not a Serial Killer offer an interesting empathy and understanding to the most maligned of minds. Dillon is the film’s saving grace, playing Jack with a knowing wink, never taking its subject too seriously.

Von Trier utilises his usual format of chapters, and here they are used in a predictable manner, intercepted with the use of Bowie’s Fame, and Jack, holding up signs that allude to his ‘works of art’, each chapter standing in as an account of one grisly act of murder, each one as absurd as the last.

The most interesting pieces are farcical elements that, surprisingly, play like black comedy: Jack and his OCD subsequent to strangling and then stabbing an old innocent lady to death, or rearranging a dead child’s body into a grimacing feat of taxidermy. Jack’s monologue on women and their stupidity reaches levels of self-parody and Riley Keogh (nicknamed ‘simple’) and Uma Thurman are almost exaggerated stereotypes of women fantasised by a misogynist. It is difficult to feel offended when their own characterisations cannot be taken as anything but sensationalist shock tactics.

If the expected joke is, indeed, on us, a two-and-a-half-hour practical prank on the liberal, PC-viewing audience, then sadly, the film still doesn’t defeat its own boringness, with nothing original or even insightful to say about the artist’s experience, or even the male one. It’s easier to opt to hate it, than try and articulate how it may stand out as memorable or well-acted, both ways in which it actually succeeds.

THE HOUSE THAT JACK BUILT / CERT: 18 / DIRECTOR & SCREENPLAY: LARS VON TRIER / STARRING: MATT DILLON, BRUNO GANZ, UMA THURMAN, JEREMY DAVIES / RELEASE DATE: DECEMBER 14TH

Expected Rating: 4 out of 10

MORTAL ENGINES

“We should never have gone into Europe!” With this line, uttered by the Lord Mayor of a mobile fortress London, Mortal Engines veers perilously close to becoming “The Brexit Movie”. Thankfully,’ despite the presence of St. Paul’s Cathedral, bowler hat-wearing beefeaters and “mind the drop” gags, the cool historical Britannica set dressing never overwhelms this steampunk Star Wars.

Based upon Philip Reeve’s 2001 Young Adult novel, the Lord of the Rings screenwriting group of Fran Walsh, Philippa Boyens and Peter Jackson has produced an entertaining post-apocalyptic action adventure while streamlining some of the book’s later sections.

Hundreds of years after a “60 minute war” using quantum weapons decimated the planet, giant predator cities and smaller mobile settlements roam the not quite so cursed Earth in search of resources, many engaging in “municipal Darwinism” or devouring the smaller towns. Think Mad Max but with much, much, much bigger vehicles. Mad Max comparisons aren’t helped by the presence of Fury Road composer Tom Holkenborg/Junkie XL on the soundtrack, but he provides a distinct, if equally propulsive, soundtrack.

In this town-eat-town world, scarred wanderer Hester Shaw (Hilmar) and London historian Tom Natsworthy (Sheehan) are thrown together off London and into the wastes, after Hester tries to murder elite scientist Thaddeus Valentine (Weaving). The far more capable Hester leads Tom on a tour through the fallen world of land pirates, hidden histories and revenge as Tom learns more about Hester, her ties to Valentine and what Valentine might have in store for London and the “anti-tractionist” “static cities” of the world outside Tom’s comfortable London life.

Unlike the ham-fisted world building in the recent Fantastic Beasts sequel, the world of Mortal Engines is teased out organically throughout the film’s running time and through the interaction of the engaging characters. One of the best characters comes in the form of what seems to be a fully CGI creation, Shrike; a terrifying remnant from the old times who seems at first to be some kind of steampunk Terminator who reveals a heartbreaking back story. Stephen Lang’s cries of “Hester Shawwwww” will stay with you long after the credits roll.

That wasn’t a joke about Star Wars. Hester may well be on her (anti) hero’s journey by the start of the film but it culminates in a trench run against a weapon of mass destruction by a squadron of plucky pilots. One of the few flaws of the film is that these aviators aren’t quite as fleshed out as most of the other characters, making it difficult to care about their fate. Similarly, badass aviatrix Anna Fang (Jihae) comes off as a little too badass and one note. Audiences might also may find themselves screaming at the screen in frustration at the obvious location of the MacGuffin required to thwart Valentine’s plans.

Despite Peter Jackson’s name being all over this, Christian Rivers (not a religious rock band) makes an impressive feature directorial debut in this enjoyable post-apocalyptic adventure. Not just for Young Adults.

MORTAL ENGINES / CERT: 12A / DIRECTOR: CHRISTIAN RIVERS / SCREENPLAY: FRAN WALSH, PHILIPPA BOYENS, PETER JACKSON, PHILIP REEVE / STARRING: HERA HILMAR, ROBERT SHEEHAN, HUGO WEAVING, STEPHEN LANG / RELEASE DATE: 8TH DECEMBER

THE POSSESSION OF HANNAH GRACE

A police officer named Megan Reed (Mitchell) has just gotten out of rehab and takes up a night shift at a morgue in the city. On her first day there, she learns of an exorcism gone wrong on a young woman named Hannah Grace (Johnson) who was possessed by a spirit and passed away while it happened. During her work hours, Megan begins to witness unusual events as another evil entity begins to manifest itself in Hannah’s body.

For the most part, this has been a brilliant year for horror cinema, with films such as Hereditary, Suspiria, and A Quiet Place all showcasing their unique creative flair and style. Unfortunately, none of those elements are present in The Possession of Hannah Grace as it’s riddled with clichés and dreadfully uneventful. Many scenes could have worked relatively well, but director Diederik Van Rooijen opts for the traditional route every time instead of crafting something that feels original, all too often relying on tied jump scares.

It’s also a painfully forgettable experience, which could be due to the film’s incredibly short running time, not even surpassing the hour and thirty-minute mark. Just when you may think the narrative will begin to pick up, it ends abruptly. Mitchell does do a fairly decent job here as Megan, drawing sympathy from the audience, and the makeup team also do an impressive job at creating the look of the evil Hannah Grace. Ultimately, though, The Possession of Hannah Grace leans on too many familiar horror elements to be unsettling.

TITLE: THE POSSESSION OF HANNAH GRACE | DIRECTOR: DIEDERIK VAN ROOIJEN | SCREENPLAY: BRIAN SIEVE | STARRING: SHAY MITCHELL, GREY DAMON, KIRBY JOHNSON, STANA KATIC | RELEASE DATE: OUT NOW

MOWGLI: LEGEND OF THE JUNGLE

Since being published in 1923, Rudyard Kipling’s The Jungle Book has been adapted for pretty much every era in a multitude of mediums. Most famously, Disney’s 1967 animation brought Kipling’s world to life; introducing the world to man-cub Mowgli and his anthropomorphic friends. In Mowgli, the second feature film directed by Andy Serkis, you won’t find any happy songs or care-free adventures. Serkis’ adaptation goes right back to the source, highlighting the anthology nature of The Jungle Book and zoning in on the moralistic survivalist of Mowgli’s chapters.

First off, Serkis has set himself a tough challenge. The Jungle Book is one of Disney’s most loved properties, and it only just got a gritty remake in 2016 from Jon Favreau. The proximity of adaptations is a bit weird and maybe not the best business decision, especially when the two adaptations share so many gritty modern sensibilities. It seems a particular shame that Serkis‘ film was pushed back, to avoid going head to head with the Favreau project, when it seems to have been kicked off first and offers a fresher perspective on such a well-loved character.

Serkis has cut the songs, and the light-hearted adventure of the Disney adaptation, in order to strip the story back to Kipling’s nature-wary caper. The jungle is dark and dangerous; built on laws and hierarchy, survivalist, and team work. There’s a visceral danger to the whole thing which puts it a bit outside the kid-friendly arena Disney’s adaptations stayed in. For one thing, Serkis doesn’t shy from realism and has no qualms with letting his animals be animals, human voices or not. The fight sequences are visceral and blood spattered, chases are exhilarating and wonderfully kinetic, fully utilising the jungle environment. It’s a tooth and nail world where wandering from the pack spells certain death and the dangers are not limited to a tiger and some hyenas.

Seem of that physicality and danger comes hand in hand with the motion capture used to bring the animals to life. Serkis has become synonymous with Mo-Cap after his work on the Apes films and the Lord of the Rings, so it makes sense that he’d bring that technology to Mowgli in an attempt to give it a vibrant modern makeover. It seems there’s no shortage of A-List actors when it comes to adapting classic Disney either and Serkis has called in, amongst others, some of his LOTR and Hobbit fellows, for a less cuddly ensemble than the 2016 film. Serkis himself makes a great gruff cockney Baloo, Christian Bale is a colder Bagheera, Peter Mullan is a mercurial Akela, Benedict Cumberbatch is an underwhelming Shere Khan in the face of Idris Elba’s, but Cate Blanchett is a better Kaa than Scarlett Johansson was. There’s no signing Christopher Walken or cuddly Bill Murray like there was with Favreau so even in the casting department it feels a bit bolder.

Serkis was right to sell his adaptation as darker than the one Disney produced two years ago, but, as you might expect, it’s not as much fun. Clearly bored of the same old Disney-isms, Serkis wants to peel that cosy layer off Kipling’s work and deliver a true adaptation which doesn’t avoid the realities of animal life or the natives who live near-by. The result is a balanced and cathartic jungle caper with a decent core message about staying true to who you are. It’s got a lot of heart, plenty of shocks, and doesn’t overstay its welcome.

MOWGLI: LEGEND OF THE JUNGLE / CERT: 12A / DIRECTOR: ANDY SERKIS / SCREENPLAY: CALLIE KLOVES / STARRING: CHRISTIAN BALE, CATE BLANCHETT, BENEDICT CUMBERBATCH, NAOMIE HARRIS, ANDY SERKIS / RELEASE DATE: OUT NOW

Expected Rating: 5 out of 10

AWAIT FURTHER INSTRUCTIONS

Family Christmases are fraught at the best of times, particularly when there’s a new member being introduced to the clan and that pressure cooker situation we’re all familiar with is the perfect setting for this very British slice of sci-fi horror.

The Milgrams are your average middle-class family and are being joined for the Yuletide celebrations by prodigal son Nick (Gittins), who is returning for the first time in several years. He’s also bringing his new girlfriend, Annji (Naik) and he’s already apprehensive about the reception she’ll get. Tony (Masters), his father, is locked away in his study and will say hello ‘in his own time’, his heavily pregnant sister Kate (Weston) and her more brawn-than-brains husband Scott (Sadler) have an air of superiority, while Grandad (Bradley) is a nasty throwback, revelling in the turmoil caused by his prejudice. Mother (Cruttenden) is timidly trying her best to keep everything together. Within minutes of arriving, his suspicions are proved as the family’s reaction to Annji ranges from awkward glances to downright racism. It’s all too much for Nick and he decides they will leave in the morning. Come the dawn, however, and the pair finds that the house has been sealed by a black impenetrable substance.

Tensions mount as their only contact with the outside world is messages delivered through the television. They assume it’s a government emergency system and that there’s been a terrorist incident. From the ominous first instruction to await further instructions, they are then given orders that oddly seem to follow the mood within the gathering and push the relationships even further apart.

Gavin Williams’ script has managed to pre-empt so much of the division and bias that we see in today’s society and skilfully focuses it back on the root problem: hereditary abuse and toxic masculinity. Tony is desperate to convey his position as master of the house, despite being constantly undermined and bullied by his own repulsive father (a superb turn by David Bradley), but he instantly and blindly follows the directions seen on the TV as he assumes whoever is sending them must know best. In doing so, he literally becomes a puppet for a system that it destroying them and all they hold dear.

The internal struggle within the household boils over as the commands become increasingly sinister and cryptic (at one point, they are told to isolate an infected one of their number, leading them to turn on Annji further as she arrived with the sniffles), before eventually devolving into an orgy of chaos and violence.

Superbly shot by cinematographer Annika Summerson, it’s almost unbearably claustrophobic and once the suitably OTT climax arrives, everything takes a Cronenbergian/Lovecraft turn, evoking memories of Videodrome and Richard Stanley’s Hardware. It’s perfect anti-Christmas viewing, subverting the nativity, tradition, and heritage equally, and will hopefully have audiences questioning what they are told by the idiot box in future.

AWAIT FURTHER INSTRUCTIONS / CERT: TBC / DIRECTOR: JOHNNY KEVORKIAN / SCREENPLAY: GAVIN WILLIAMS / STARRING: SAM GITTINS, NEERJA NAIK, GRANT MASTERS, DAVID BRADLEY, ABIGAIL CRUTTENDEN, HOLLY WESTON, KRIS SADDLER / RELEASE DATE: DECEMBER 7TH

SPIDER-MAN: INTO THE SPIDER-VERSE

While the idea of standalone animated Spider-Man sounds like a cynical attempt to cash in on Peter Parker joining Marvel’s Cinematic Universe, the end result is a spectacular, joyous love letter to Spider-Man, in all his/her/it’s forms.

Ostensibly a retelling of the superhero origin of Miles Morales, one of the Spider-Men from Marvel’s Ultimate line of comics who managed to survive the death of that series, Into the Spider-Verse splices his origin story with the tale of a gang of ‘Spider-persons’ from alternate dimensions who need to team up to keep the Kingpin (Schreiber) from destroying the world. That may sound like standard superhero fare, however every molecule of the film has been infused with passion, style, humour, and emotion that elevates it above what’s gone before, even above some of the adventures in the MCU!

Visually striking, the cel-shaded character design and Roy Lichtenstein-style printing dots littering the backgrounds mimic its comic books roots beautifully, but even visuals this sumptuous fall away as the flourishes in storytelling and action come to the fore.

Once he gets his powers Miles (Moore) teams up with the jaded Peter B. Parker (Johnson) , a much older Spider-Man who, along with Miles’ father Jefferson (Brian Tyree Henry) and Uncle Aaron (Mahershala Ali), forms Miles’s key relationships of the film.

Like apparently everyone involved in this production, these voice actors bring their A-game. However, singling out these roles above Hailee Steinfeld’s fantastic Spider-Gwen, Nic Cage’s instantly iconic Spider-Man Noir or any of the cast, feels unfair when every role is this good, even those small roles with big name actors (stay after the credits!)

The plot that brings these characters together is a real rollercoaster. Regularly funny, often touching, and, most importantly, exciting. For those of you sick of origin stories, Spider-Verse features not one, but seven origin stories but the way they are handled will bring a smile to the face of the most cynical ‘superhero fatigue’ victim.

It’s not all sunshine and rainbows, however. The core tale, Miles’s story, is unique in this version, in that he’s not alone as comes into his Spider-powers. Unlike Peter, Spider-Gwen or the others, he has help, even if he can’t truly become Spider-Man until he can do it all on his own. It’s yet another smart variation on a well-worn facet of the character, his isolation from those around him.

All of this is before you get to the sharp variations on classic villains, Lily Tomlin’s Aunt May, Spider-Ham, the menacing elephantine, hip hop roar that accompanies the Prowler whenever the villain appears, Liev Schreiber’s ‘Noo Yawk’ accent as the Kingpin and multiple universes worth of comic book references and Easter eggs like inter-dimensional Kirby dots, a universe where Miller and Lord’s own Clone High got a sequel in Clone College, and even THAT dance from Spider-Man 3, the film is packed full of treats for almost every Spider-fan.

Not just an incredibly confident, entertaining animated Spidey film, Spider-Man: Into the Spider-Verse is up there as one of the best, if not the best, Spider-Man film, period.

SPIDER-MAN: INTO THE SPIDER-VERSE / CERT:PG / DIRECTOR: BOB PERSICHETTI, PETER RAMSEY, RODNEY ROTHMAN / SCREENPLAY: PHIL LORD, RODNEY ROTHMAN / STARRING: SHAMEIK MOORE, HAILEE STEINFELD, JAKE JOHNSON, NICOLAS CAGE, JOHN MULANEY, KIMIKO GLENN, KATHRYN HAHN, LIEV SCHREIBER, LILY TOMLIN / RELEASE DATE: DECEMBER 12TH

Expected Rating: 7 out of 10

SUPERGRID

Over the past several years, Lowell Dean has become quite the favourite amongst genre fans thanks, amongst other things, to his two fur-tastic WolfCop movies. And now, the highly talented Canadian is back with his latest offering: post-apocalyptic Western, SuperGrid.

Whereas those adventures for alcoholic werewolf lawman Lou Garou were completely over the top in the most brilliant of ways, with SuperGrid we’re given a far more serious picture from Dean. At the centre of this ensemble piece, we have two brothers (Leo Fafard and Marshall Williams) who find themselves having to embark on one last mission across one of the most dangerous pieces of land in this gone-to-shit world. In this world, a virus has hit mankind hard; every single day is a struggle for those unfortunate enough to still be alive in this ravaged time of suffering.

Those brothers, the Campbell boys, aren’t exactly bestest of buds these days, which in turn brings up far more personal demons than the oddities that await them on their journey. Throw in amazing action, an extravaganza of explosions, raucous roadside rascals, a charismatic cock of a bad guy, and a plot that has plenty of heart, and the end result is something mightily impressive. Added to that, across the board there are some spectacular performances on display throughout SuperGrid. Considering the sheer number of characters with significant roles here, it’s a testament to those behind the film that each and every role feels important and has a purpose – something that bigger budget Hollywood efforts so often struggle with.

There are, of course, some standout performances amongst the bunch, though. The dynamic between the Campbell brothers is a multi-layered joy to watch play out, with both Fafard and Williams on fine form, be that whether they’re involved in all-out action, exploring emotional beats, or simply quipping wise at one another. And for those familiar with Leo Fafard as the titular furball of the WolfCop pictures, SuperGrid brilliantly showcases another side of the actor. Similarly, WolfCop’s Jonathan Cherry is along for the ride in a far different role here. Rather than playing the funny slacker sidekick, Cherry dials up a truly marvellous villainous turn as Lazlo, the man forcing the Campbells to partake in their suicide run. Cherry’s nefarious Lazlo is suave, smooth, charismatic, and a thorough bastard of the highest order – and he’s all kinds of sinisterly entertaining to watch as he devours scenery whenever he’s on scene. And talking of scenery-chewing, Jay Reso (better known to wrestling fans as Christian) is a hungry piece of work on that front. Playing a tough-talking, grimace-wearing cowboy of sorts here, Reso gets the majority of the film’s best lines and his facials are simply outstanding.

On the other side of the camera, there are so many who deserve a whole lot of praise. First and foremost, cinematographer Michael Jari Davidson makes this $1 million picture look absolutely jaw-dropping. Largely filmed in Saskatchewan, the landscapes and scenery are just simply stunning. Then there’s praise for director Lowell Dean, who handles this story with a poise and precision that manages to keep a steady hand on the ever-expanding plot. Likewise, there’s plenty of praise to lavish on Dean and editor Tim Thurmier for how SuperGrid never feels stale or stagnant despite covering so much literal and proverbial ground.

So often over the years, any movie with a loose post-apocalyptic vibe to it can feel so-so, rehashed, or simply soulless. With SuperGrid, we have something that bucks that trend. Stunning to look at, grim when needed, action aplenty, and littered with fantastic performances, this is a picture that may sadly fly under the radar of many but is something that is certainly worth hunting down.

SUPERGRID / CERT: TBC / DIRECTOR: LOWELL DEAN / SCREENPLAY: T.R. McCAULEY, JUSTIN LUDWIG / STARRING: LEO FAFARD, MARSHALL WILLIAMS, NATALIE KRILL, JONATHAN CHERRY, JAY RESO / RELEASE DATE: DECEMBER 14TH (CANADA), TBC (UK)

ANNA AND THE APOCALYPSE

Dennis Pennis desk-dancing as a demonic headmaster, an ingenue actress out-sexying Kylie’s “Santa Baby”, and teenagers that you don’t want to see garrotted? The least likely thing about director John McPhail’s’s Anna and the Apocalypse is that it swings from heart-bursting feelgood to swear-at-the-screen horrifying without losing you for a second.

Anna is a typical teenager (wait for it…). She’s bored of her provincial Scottish town and her sweet-but-safe BFF, and yearns for the world before university. She’s in the middle of having a sort of row with the school activist about who has the worst lot when the zombie apocalypse happens. Concerns switch from useless relatives to staying alive.

The entire cast here are phenomenal. Ella Hunt (as Anna) has a sunny disposition and singing voice that really would fit in High School Musical, and when she really does have to fend off unwanted advances, you feel genuinely angry along with her despite the superbly-timed knock-out sight gags and loveable support from bestie John (Malcolm Cumming). Paul Kaye is delightfully bonkers but with a horrific undertone as headmaster Savage, who recalls Oliver’s Bill Sykes in the dastardly stakes. Ben Wiggins (Nick, to his utter credit) does a wonderfully non-ironic ripoff of “Greased Lightning”, Sarah Swire is sonically and sweetly believable and powerfully voiced as Steph, and Marli Siu reinvents innosexy as Lisa with the help of stunningly choreographed backing dancers. Siu is not your typical bombshell, and you don’t realise it until after you’re floating around in orbit.

It actually feels cruel singling these few out as you don’t notice “acting” at any point, and considering most of the cast are pretty much unknown, that is a truly terrific feat. Even Sarah Swire’s choreography (yep, same Sarah) is spot on, from Matilda-esque numbers with props and great timing to a delightfully ditzy semi-improvised number that (in the most loving way possible) puts the mighty Shaun of the Dead in the shade. The only tiny niggle that breaks this very British realism is when some actors momentarily slip into American accents mid-song, though the switch back makes you feel warm and fuzzy regardless.

The blessing and trick of this film is its arc. It has feelgood showstoppers that are appropriate within the story, are easy to sing along to, have a terrific beat and the actors really sell the emotion. It is also, however, very much a horror film. There is enough gore to make you squeal but the actual end-of-the-world thing may wrongfoot some viewers. A simple song about the sour side of social media is so beautifully directed by McPhail that the stakes genuinely feel through the roof. It does not wuss out.

Anna and the Apocalypse is a knee-bouncing, zombie cracking adventure that has the guts to put its daring artistic vision forward without compromise. It’s sickly sweet and genuinely original. Grab a candy cane and find a singalong a-sharpish!

ANNA AND THE APOCALYPSE / DIRECTOR: JOHN MCPHAIL / SCREENPLAY: ALAN MCDONALD, RYAN MCHENRY / STARRING: ELLA HUNT, MALCOLM CUMMING, SARAH SWIRE / CERT: TBC / RELEASE DATE: TBC

RALPH BREAKS THE INTERNET

Six years after the events of Wreck-It Ralph, Ralph (Reilly) and Vanellope von Schweetz (Silverman) are now best friends, and are inseparable from one another. However, Vanellope is now growing extremely tired with her own game, Sugar Rush. She now knows how to win every single race, and nothing in the game is a challenge for her anymore. When trying to race through a new track one day that Ralph builds for her, Vanellope crashes her car, and in the real world, the wheel on the Sugar Rush arcade cabinet breaks. This causes Mr. Litwak (O’Neill) to get ready to unplug the machine. After much panic and worry, Ralph and Vanellope discover something known as the ‘Internet’ in Game Central Station, and embark on a mission to find Vanellope a new steering wheel so her game can be saved.

Something that the movie’s predecessor did such a great job with was delivering the heart and emotion while also sprinkling fun tidbits of nostalgia throughout. That same balance is present in Ralph Breaks the Internet. Directors Rich Moore and Phil Johnston have made sure that audiences of all ages can enjoy the film; there really is something for everybody here.

Easily the strongest aspect of this sequel is how it handles its main protagonists and the way it challenges their relationship. Ralph and Vanellope are two peas in a pod – they share all the same interests and they do everything together. This is why it’s so interesting when the pair eventually do disagree and get into arguments; they’re not simply the kind of one-note characters you’d find in ordinary animated fare, these both have arcs that drastically alter them.

Much like many other Disney animations, Ralph Breaks the Internet can be quite the emotional rollercoaster. There are a couple of scenes in particular in the third act that are extremely powerful, and will most certainly impact most viewers. Conversely, other scenes can sadly slow the pace down and pull you out of the story. For instance, when Vanellope finds a new game in the internet called Slaughter Race (which she loves because it has a ton of adrenaline and adventure, unlike her own video game), it feels like too much of a departure from the actual narrative. But with an emotionally compelling story at its core, interesting character dynamics and lots of humour, Ralph Breaks the Internet is a rare sequel that actually improves upon the original.

DIRECTOR: RICH MOORE, PHIL JOHNSTON / SCREENPLAY: PHIL JOHNSTON, PAMELA RIBON / STARRING: JOHN C. REILLY, SARAH SILVERMAN, GAL GADOT, TARAJI P. HENSON, JACK MCBRAYER, JANE LYNCH, ALAN TUDYK, ALFRED MOLINA, ED O’NEILL / RELEASE DATE: NOVEMBER 30TH