In a world where all kinds of animals try to live in harmony, rabbit Judy Hopps (Ginnifer Goodwin) is going against the grain. She’s joined the police force – not usually the domain of “cute” (a racist insult in this world) little bunnies in a world where lions and lambs are meant to exist side by side – and even being a traffic cop doesn’t come free of prejudice.
At first glance this film adaptation of Alan Bennett’s play and memoir sounds like the worst kind of treacle: an introverted writer (Alex Jennings, playing Bennett) finds his life turned upside down when a fiery, obnoxious and somewhat odorous old lady (Maggie Smith) parks the van she lives in outside his London home.
It’s been a while since the Coen Brothers have made a straight-out comedy (perhaps because their reputation there is a little hit-and-miss); Hail, Caesar does a pretty good job of highlighting both their strengths and weaknesses when it comes to getting laughs.
We’ve seen a few crime films of late that have suggested crime is turning America into a warzone, but this cranks it up a notch: here Atlanta is a city torn between murderous Latino gangs who leave severed heads on car bonnets just for fun, and the all-Jewish Russian Mob who have a stranglehold on the “tied up people in car boots” market.
Michael Bay doing a based-on-a-true-story war movie should be a no-brainer in more ways than one, and it’s fair to say that this features both a lot of impressive action sequences and not a great deal of insight into the causes of those action sequences.
There’s a lot to like about Zoolander 2. For one thing, rarely has there been a feature-length comedy so devoted to the comedy potential of people pulling silly faces, which might sound like damning with faint praise but face facts: face pulling can be really funny if done right.
On the one hand, Deadpool is about as traditional a superhero movie as you can get: it’s the origin story of remorseless killing machine Deadpool, AKA Wade Wilson (Ryan Reynolds), just your regular average gun-for-hire who, after being diagnosed with cancer, underwent an experimental “treatment” (more like torture) at the hands of Ajax (Ed Skrein) that unleashed his mutant powers (he basically can’t be killed) but turned him into a hideous freak.
Five-year-old Jack (Jacob Tremblay) lives with his mother (Brie Larson) in a room that, we gradually discover, they never leave. Jack doesn’t mind; never having known any different (let alone a haircut) this one windowless room is his entire world.