The Good Liar (2019) covers its tracks a little too well.

Although there have been a few remakes of “Bedtime Story”, such as “Dirty Rotten Scoundrels”, but Bill Condon’s twisty con man mystery is the first to remove the comedy (unless, I guess, you count “The Hustle”) and play the story straight. Despite Condon’s best efforts, though – and an acting masterclass from McKellen and Mirren…

Gordon Gekko lied to us. Greed (2020) is not good.

Michael Winterbottom’s unfortunately unfocussed polemic takes a swipe at the lifestyles of the rich and the shameless, or maybe at the grotesque exploitation underpinning the ‘fast fashion’ industry or perhaps at the financial chicanery that underwrites those big blockbuster boardroom deals you read about in the Metro while on your commute or even the humanitarian…

Last Christmas (2019)’s heart is in the right place, but it still flatlines.

Based on the most Dad-joke reading possible of the first two lines of the Wham! song “Last Christmas”, Paul Feig’s slight rom-com wears its genre clichés on its sleeve and uses copious fairy lights and tinsel to distract from its threadbare plot. Kate (Emilia Clarke) is a cynical, self-destructive Christmas shop worker, estranged from her…

Holmes & Watson (2018) Review

The 1988 Michael Caine/ Ben Kingsley movie “Without A Clue” asked what would happen if Holmes was actually an idiot and Dr Watson was the genius but “Holmes & Watson” dares to ask what if they were both imbeciles, in a crass and witless farce? The answer is excrementary, my dear reader. When the trial…

Mary Poppins Returns (2018) is an exercise in Lucasian poetry

Assembled more like one of Disney’s current ‘live action’ adaptations of their animated back catalogue than a genuine sequel to the 1964 original, “Mary Poppins Returns” brings back cinema’s premiere Nanny to answer another Banks crisis. In Depression-era London, a now-grown Jane (Emily Mortimer) and Michael Banks (Ben Wishaw), along with Michael’s three children, face…