A New York teen finds he is Poseidon’s son, and is wanted by the Gods. Straightforward tick-box fantasy quest from the bestselling Rick Riordan books. Slumming starry character actors help, but aping of the same director’s Harry Potter formula reinforces the schematic way the monomyth is handled here. A sequel followed.
No-hoper Icelandic childhood best friends dream of winning Eurovision. Ferrell adapts his sports comedy template to fit, with generally appealing results. While it’s overlong and needs more jokes, everyone’s having fun, the musical parodies are good, and there are plenty of in-jokes and guest appearances for the faithful.
In 1979, a student has romantic adventures in the Med; this links with the present. Both sequel and prequel to Mamma Mia!, this ABBA-based jukebox musical is part-reprise, part deconstruction. More fun than the first, and as impermeable to criticism as its predecessor. You’ll either love it, or be baffled.
A Chinese ex-soldier targets the former IRA boss he holds responsible for his daughter’s death. Enjoyable tho daft flick which struggles to reconcile its dated Troubles backstory with 21st century geriaction revenge concerns. Solid direction, good performances, and some deft stuntwork make this more than watchable.
Bond teams up with an NSA agent to uncover the truth about a conspiracy involving conflict diamonds and North Korea. Fourth, last, and least of the Brosnan Bond flicks. The central performance is good, but the script is a lazy series of puns and there’s an over-reliance on iffy CG throughout.
Very solid 90s Bond, refitting the cycle into post-Cold War realities, excepting dated then-new internet gubbins. The best of the Brosnan flicks, though it recycles (yet again) You Only Live Twice, plot-wise.