Carroll Shelby and Ken Miles collaborate on a car to take on Ferrari for Ford at Le Mans. Old-fashioned, well-made and undeniably stirring, this is nevertheless a conventional sports drama that can’t quite convince in its attempt to tell an underdog story. Still, it’s fun, has a great if showy Christian Bale performance, and is blokey as hell.
A famed mystery writer is killed; an unconventional detective arrives. Sharp, witty and well-constructed comedy-thriller, a love letter to Agatha Christie and to the likes of Deathtrap and Sleuth. Bags of fun, with a game cast of character actors all enjoying themselves. Recommended.
A meteorite causes hallucinations and mutations to spread across a New England farm. Well-made adaptation of the HP Lovecraft short story. A slow burn that earns its weirdness well, accumulating details carefully, and playing properly with madness. Played commendably straight, though with many subtle genre nods for horror fans.
Members of a Norwegian Antarctic research base find an alien specimen. Prequel/remake of the 1982 John Carpenter-directed movie. Okay as far as it goes, but perfunctory plotting and reliance on CG over practical effects mean this doesn’t really compare, despite good efforts from the cast.
Another viewpoint wanted? We got you.
A documentary exploration of the life and music of Little Feat frontman Lowell George. Overlong and reverent but still engrossing overview of the career and life of George, linking him and Little Feat to the LA of the 60s and 70s. Niche, inevitably, but well-researched and with plenty of input from the likes of Van Dyke Parks.
The Tenth and Eleventh Doctors face their past, personified. Splendid movie-length episode made in 3D and cinema-released to celebrate the show’s 50th anniversary. A witty time-travel adventure typical of its then-showrunner, made with both love and a keen sense of the show’s heritage. Recommended.
Elsa and Anna have to leave Arendelle to find out the secret of Elsa’s powers and their family history. Overly-complicated sequel with OK though derivative songs, and reliance on goodwill from Part I to see things through. Some good moments, but second time around, this is no classic.