After inadvertently stranding his ship and all its inhabitants on a harsh, unforgiving wasteland of a planet, Buzz Lightyear (Chris Evans) launches a series of desperate test missions to ensure the colony can one day escape. When the latest of these missions goes awry, Buzz finds himself having to depend on a group of oddball fellow space rangers (Keke Palmer, Taika Waititi & Dale Soules) in order to save the colony from the evil Zurg (James Brolin) and find his place amongst the stars.
⭐⭐⭐⭐⭐⭐⭐
Rating: 7 out of 10.
Starring: Chris Evans, Keke Palmer, Peter Sohn, Taika Waititi, Dale Soules, Uzo Aduba & James Brolin
Watch it now in cinemas
Pixar Animation Studios, 2022
Lightyear exists both as a whole new franchise and a backdoor prequel to Toy Story – the film that supposedly sparked Andy’s obsession with Buzz and subsequent purchase of the toy. It’s an unnecessary connection that really only serves to trade off the goodwill afforded it through the Buzz Lightyear name; this is far closer to Pixar’s attempt at a gritty space adventure in the vein of Ridley Scott’s The Martian or, surprisingly, a more existential piece like Blade Runner 2049, than it is a goofy adventure. And sure you could get lost in the minutiae of inconsistencies the film creates with Toy Story but these are movies based on toys and spacemen, so let’s not do that.
All that is to say that Lightyear feels as if it would fare much better as Pixar’s attempt at a brand new space adventure, rather than carrying this convoluted baggage of a beloved established franchise with it. The story it tells is amongst Pixar’s more middling offerings; a perfectly serviceable, if predictable ride that constantly propels itself forward with exciting action and solid humour, but one that rarely surprises or offers anything truly emotional outside of an early montage. Where a fresh start may have presented Pixar with a chance to really hone in on developing a story that hits with the emotional depth of their other work, Lightyear feels constrained by its Toy Story ties, and like Buzz himself, unable to reach its full potential.
Pixar Animation Studios, 2022
Where the film isn’t held back is in its visuals. Lightyear is consistently jaw-dropping to look at and, as with almost every new Pixar film, their most gorgeous film to date, proving that the veteran animation studio remains dedicated to being on the cutting edge of the genre technologically. Going back and comparing this to Toy Story on a purely visual level is proof of just how far animation has come, with close to photorealistic character models (not including the gravity defying size of Buzz’ head) and dense, richly populated landscapes creating an optical treat at every turn. The stunningly realised sunsets and hyper-galactic travel sequences compete with even the most lavishly produced live-action sci-fi, a feat that works, for the most part, to effectively mask the story’s shortcomings.
Much was made of the decision to cast Captain America himself, Chris Evans, in the titular role, taking over from series veteran Tim Allen. The change is slightly jarring at first and it does take some time to get used to after the instant recognisability of Allen’s performance, but Evans performs admirably, imbuing his voice with a range of emotions that effectively capture Buzz’s development and the lowering of his walls as the adventure progresses. It is Peter Sohn’s SOX, however, that steals the show. A robotic cat companion gifted to Buzz, Sohn demonstrates terrific comedic timing; his deadpan delivery always manages to score a laugh and acts as the perfect foil to Buzz’ militaristic attitude. Also along for the ride are Palmer, Waititi and Soules as a ragtag crew of space ranger rookies with varying phobias and foibles. They’re all voiced with heart and humour, but not all manage to take off in their own rights; one note characters whose arcs are fun but safe.
Pixar Animation Studios, 2022
That really is the defining label for Lightyear: safe. Pixar’s latest doesn’t take the usual story risks the boundary-pushing animation house is known for, delivering a fun but forgettable adventure. The excellent technical innovation and solid voice acting do well to counteract those shortcomings, but can’t shake the sense that we’ve seen this all before in one way or another in other places. An enjoyable enough time, but not quite to infinity and beyond.
In today’s television landscape it seems like there is a new streaming service almost every other week. The rise of streaming titan Netflix has seen the emergence of several competitors, some more successful than others, including Amazon Prime, Disney+ and most recently, Apple TV+. The latter has been treading water for a few months now and with its initial lineup offering little hype for the service, consumers have been left wondering just when we’d see some more genuinely exciting, must-watch content. Well that wait is over with the release of Defending Jacob, Apple’s latest crime-drama limited series starring none other than Chris ‘Captain America’ Evans in a role far removed from his super-hero alter-ego. Whilst it may not be the must-see series that turns people onto the service, Defending Jabob is nevertheless an engaging, if familiar at times, legal procedural/murder mystery which is raised above other similar series by stellar performances from Evans, Michelle Dockery, Jaeden Martell and J.K Simmons.
Defending Jacob begins as former District Attorney Andy Barber (Chris Evans) takes the stand to be questioned at a trial. The circumstances of the trial are not clear to us but the series of questions asked of Barber serve as the impetus for flashbacks retelling the main series of events. The book on which Defending Jacob is based, written by William Landay, utilises legal transcripts as a framing device to take the reader back to this trial. It’s an inventive concept in the medium of a book but in terms of a crime-procedural television series, it unfortunately doesn’t come across this way and feels clichéd given this device’s prevalence in the genre. Within these flashbacks we focus on the murder of a young boy named Ben Rifkin (Liam Kilbreth), a classmate of Andy’s teenage son Jacob (Jaeden Martell). Initially in charge of investigating the case, Andy is unceremoniously removed when Jacob is accused of the murder and taken into custody. From here on out we follow the Barber family, including matriarch Laurie (Michelle Dockery), as they prepare for a trial to prove Jacob’s innocence, uncovering a web of secrets and lies that haunt the Barber name and which threaten to destroy the peaceful Massachusetts community of Newton and the show’s well meaning, seemingly ordinary family.
Apple TV+, 2020
Whilst the framing device of the trial might not be the most original, what differentiates Defending Jacob within the genre is the decision to focus not on the murder itself per se, but on the psychological aspect of committing a murder. How does one commit such a despicable act and do Andy and Laurie really believe that their son is capable of such a thing? It’s a fascinating route to go down and creator Mark Bomback and series director Morten Tyldum play with viewers’ expectations in giving you almost all the details of the case and the factors that are at play from the outset. The series doesn’t rely on cheap twists (for the most part) and instead presents a deep dive into each of the three members of the Barber family, making you question whether you really know any of them at all at one point or another. Evans and Dockery are fantastic (we’ll get to them later) but the central cog in the wheel here is Jacob himself, Jaeden Martell. He’s so perfect in the role as what some might consider the typical annoying teenager but he takes it a step further, switching gears constantly to make you feel for the terrified boy thrown in the deep end and facing life in prison but who also seems to be harbouring a darker side – just off-kilter and dark enough to give you serious doubts about his innocence. It’s a difficult juggling act to keep you so invested without making you feel he is completely innocent, completely guilty or so unlikeable that you don’t care anymore and the young actor pulls it off with a finesse that many veteran actors would be unable to achieve.
The series’ decision to let the story breathe and just sit with these characters for so much of the show might just be audiences’ biggest problem with it. While it allows for rich development of the characters, the series often introduces plot lines, seemingly to fill some of the air time, often leaving them unfinished and potentially leaving some viewers feeling cheated. The series doesn’t necessarily abandon these plot lines however, so much as it leaves them open-ended for interpretation. Take the characters of Ben’s parents for example: they have just lost their only son and are obviously struggling under the ridiculous weight of such a traumatic event. Tyldum and Bomback revisit these characters periodically throughout the show as an examination of how people cope with these situations and to illustrate the impact of the murder on the wider community outside of the Barber family. Other, less psychologically reflective storylines which are left unanswered can confuse and frustrate the audience, just as the characters in the series are confused and frustrated. This feels more like an intentional choice which works wonders to invest you and put you in the shoes of the characters, rather than to fill run time with unfinished storylines.
Apple TV+, 2020
Despite its weekly episodic role-out, Defending Jacob is very much suited to the binge-watching streaming era, and this is the way I would recommend you watch it. Continuous immersion in the story and characters only deepens your investment and for a show that wants to make you think and potentially reflect on your own life, the longer it can keep you thinking that way the more successful and impactful it is. Whilst the ending may be polarising to some (no spoilers) it is very much in line with what has come before and your satisfaction with it will likely be elevated if you have continuously lived with these characters and their struggles.
The other key element which elevates Defending Jacob from a mundane crime drama is the phenomenal cast, led by Evans, Dockery and Martell. Evans is amazing here, given the chance to do something wholly different to Captain America: a suburban father with a dark past who has buried feelings of guilt and anger deep within himself and finds himself flung into the spotlight, forced to reflect on his life; bringing long buried emotions to the surface. It’s a quiet measured role, with Evans taking the full span of the series to unfurl Andy’s motivations and worsening emotions as the screws tighten around the family. Whilst his chemistry with Dockery isn’t anything particularly special, he is clearly in command of his own character and through his facial expressions and carefully considered dialogue we feel for the Barber patriarch, who is either undergoing a particularly bad spell of luck or is receiving his just desserts, depending on which way you look at it.
Apple TV+, 2020
Dockery, similarly, is great; given more of a chance to show her character’s emotions outwardly, her response to certain secrets and revelations is truly heartbreaking and you feel that this is a woman in the terrible situation of having to confront the fact that she may not know who her son is; that he may be far more evil than she ever could have imagined given their seemingly enviable suburban life. Last but certainly not least is the great J.K. Simmons, who plays the small but integral role of Billy Barber, Andy’s incarcerated father whose involvement in the case is seemingly limited at first but comes to have more significance than expected. Simmons is outstanding as the slightly unhinged estranged grandfather to Jacob who has been absent his whole life. There is a sadness behind his eyes as his attempts to reconcile with Andy are batted away and Simmons displays an extraordinary ability to switch between that sadness and a blinding fury in the blink of an eye.
While it may not be enough on its own to entice you to subscribe to Apple TV+, Defending Jacob is nonetheless an outstanding slice of courtroom drama/crime procedural television which is given significant weight and purpose through outstanding performances from the entire cast, led by Chris Evans, and the director and creator’s willingness to deviate from the norm and explore an aspect of these stories that is often underdeveloped or forgotten about entirely. Despite some clichéd story beats which have become a staple of the genre and a lack of chemistry between Dockery and Evans, Defending Jacob is still an engrossing watch that will introduce you to a new side of Chris Evans, and if this is any indication of things to come, then the former star-spangled Avenger’s future looks bright.
Apple TV+, 2020
Defending Jacob stars Chris Evans, Michelle Dockery, Jaeden Martell, Cherry Jones, Pablo Schreiber, Betty Gabriel & J.K. Simmons – Streaming on Apple TV+ now.
Old-school murder mystery tales are always a bit of fun, aren’t they? Made famous since the days of Poirot and similar grand detective tales, these Cluedo-style adventures have since become a whole genre of recognisable stereotypes and traditional storytelling. Yet despite having a generic template to follow, murder mysteries are deceptively hard to pull off in practice. The cast of suspects must be large enough to keep the audience guessing, but each character needs room to flourish unique personalities and motives. The plot and twists need to properly fool the viewer, without coming off as ridiculous or foolish themselves. Then there’s the act of nailing a smart and definitive grand finale, one that could either make or break all the events that precede it. The list reads as a minefield of challenges for any film in the genre, however it’s also a list of tropes that Knives Out deftly delivers at damn near every turn. Featuring a larger-than-life cast, expert writing and a zippy pace, it’s no mystery that Knives Out is one of the best adventures you’ll find in cinemas this year.
As expected from any entry within the genre, Knives Out wastes no time in introducing its crime, suspects and lead detective. Private investigator and ‘last gentleman detective’ Benoit Blanc (Daniel Craig) is called to the Thrombey family mansion after a reunion evening ended in death. Blanc’s heavy southern accent is a bit jarring at first, however it’s cleverly folded into the humour of the film and Craig does an excellent job of bringing the complex key character to life. Ruling all members of the family as suspects, Blanc quickly finds his hands full with the troublesome Thrombey clan as each present their own twisted story of the night’s events. You’ll hear from the aggressive and self made Linda – played expertly by a fiery Jamie Lee Curtis – before her anxious husband Richard (Don Johnson) provides his own contradicting alibi. There’s also the case of their adult son Ransom (a scene-stealing Chris Evans), whose playboy lifestyle and abrasive attitude have all but cut him from the family completely. Each character is expertly crafted as instantly recognisable and completely unique, and we’ve yet to even scratch the surface.
Lionsgate, 2019
We have Christopher Plummer as the wealthy-yet-scorned family patriarch Harlan Thrombey, assisted by his kindhearted caretaker Marta (delivered brilliantly by a talented Ana de Armas). Harlan’s bitter son and business manager Walt (Michael Shannon) has his own agenda, and wife Donna (Riki Lindhome) is quick to fire up when the time calls. Their socially unstable son Jacob is also at the scene of the crime, with the brooding character played well by Jaeden Martell following the recent It films. Rounding out the cast is the hilarious Toni Collette as Harlan’s daughter-in-law and struggling ‘lifestyle guru’ Joni, desperately trying to put her daughter Meg (Katherine Langford) through a prestigious school. There’s quite a lot to unpack there, but know that each personality effortlessly carves out their own little niche of the film – while still managing to form a cohesive, albeit dysfunctional family when all together. As with most similar films, you’ll spend most of the runtime trying to pick the culprit yourself despite the red herrings and plot twists – of which there are many. Knives Out manages to work in some of the smartest twists the genre has seen, however it also makes some bold choices around the halfway mark in an effort to set itself apart from the rest.
Knives Out essentially has two distinct chapters – the first adhering to what audiences can expect from a traditional whodunit, and a second that attempts to spin something almost entirely unique. It would spoil far too much to dip into specifics, however it’s definitely worth noting that this shift does nothing but lift the film even higher, almost as if introducing a second mystery before you’d even put the first together. There’s also a decent shot of adrenaline in the later half, again setting Knives Out apart from films such as 2017’s Murder on the Orient Express, which generally tend to follow somewhat of a slower pace. All of these wild events are of course leading to the expected grand finale, and it’s safe to say that Knives Out has no trouble ending on a dramatic high.
Lionsgate, 2019
For such an integral part of the film, Knives Out offers up a satisfying conclusion that keeps you guessing right up until the final pieces of the puzzle fall into place. The climax is also brimming with the film’s sharp writing and dark humour, all resulting in a worthy ending to the rollercoaster of events that came before it. This is mainly thanks to writer and director Rian Johnson, who has really created something special with Knives Out. Expertly written and delivered, the film soars off the back of its huge and immensely talented ensemble cast. It’s also a tale that never takes itself too seriously, managing to inject a ton of life and humour at every possible opportunity. It’s hard to say much more without spoiling what is easily some of the most fun you’ll have at the movies this year – but just know that it is without a doubt a mystery worth solving.
Lionsgate, 2019
Knives Out stars Daniel Craig, Jamie Lee Curtis, Chris Evans, Toni Collette, Ana de Armas, Christopher Plummer, Michael Shannon, Don Johnson, Katherine Langford & Jaeden Martell – In cinemas now.
It’s almost impossible to talk about Avengers: Endgame, the latest and possibly greatest offering from Marvel Studios, without spoiling it. The film is filled to the brim with the Marvel goodness that fans have come to love and expect over the 11 year franchise and there’s something for everyone to be found here; whether it be the jokes, the bonkers action (on FULL display here) or the perfectly crafted character interactions that make us all feel like kids playing with our action figures again. While the film will undoubtedly please most and shatter box office records, an uneven pace and some odd character choices may leave some slightly dissapointed.
Let’s start with the story, which I can only describe without spoiling things, as truly epic in scope as the Avengers must come to terms with the losses they have sustained and formulate a plan to fight back against Thanos (Josh Brolin). There’s been a lot of talk lately surrounding this film and the term “love letter” has been thrown around a lot. There’s really just no better way to describe it. Endgame works as its own individual story remarkably well, although it’s really a reward for the people who have stuck with the franchise through the last 21 films. The references are numerous and range from the totally obvious to the tiniest easter egg and I can’t wait to revisit the film time and time again to discover new tidbits, as I’m sure most Marvel fans will. The Russo Brothers and writers Christopher Markus and Stephen McFeely prove once again just how adept they are at taking the traits that we love about these characters and playing them off one another in new and exciting ways. This shouldn’t be a surprise given how great the character interactions were in Infinity War, but the additions of Ant-Man (Paul Rudd) and Hawkeye (Jeremy Renner) in particular, inject some new life into proceedings after so much of it was turned to dust. Rudd in particular gets to showcase why his particular comedy senses work so well in the Marvel universe and watching him interact with the founding Avengers was comedy gold.
Marvel Studios, 2019
Speaking of the founding Avengers, they all turn out the usual stellar performances which have been honed since their first stand-alone features, with Chris Evans and Robert Downey Jr. in particular proving why they are the faces of this truly massive franchise. Downey really gets to play with the psyche of Tony Stark in ways we haven’t seen before and it’s a joy to watch him tip between an overwhelming sense of failure and a rousing desire to fight back. Josh Brolin delivers another impressive turn as Thanos, imbuing the character with a sense of righteousness and confidence which is a hallmark of the best villains: he believes what he is doing is fundamentally right. Whilst Brolin’s motion capture work is extraordinary, Mark Ruffalo as the Hulk proves that he is one of the most impressive actors working today to sport the green tights and face dots. He’s given a lot more to work with here than in previous Avengers instalments and it is remarkable to see him stretch his dramatic and comedic acting muscles, displaying so much emotion through facial expressions alone. Speaking of comedy, an interesting decision was made here in regards to the treatment of Thor (Chris Hemsworth), who is saddled with the task of carrying majority of the film’s humour on his back. While he certainly manages it, and believe me there were some big laughs from him, the choice just seems like an odd overreaction of Thor’s response to the emotionally weighty events of the last film, and I can’t help but wish they’d done something different with him which stuck closer to how the character was represented in Infinity War.
Marvel Studios, 2019
Endgame clocks in at a meaty 3 hours and while this is necessary to conclude this chapter of the Marvel story, the pacing of the film suffers as a result. While we start off at a clip, carrying the momentum over from Infinity War, the film almost stalls and restarts as momentum must be rebuilt moving into the action-heavy final act. It’s an understandable shift given the events that happen yet it’s still jarring, and I found myself slightly let down that the film seems to lose the sense of urgency it establishes in the beginning at certain points. The scenes that do feel stretched out are weighted down by jokes and it almost feels at times as if the writers have been forced to meet the “Marvel quota” for laughs. While these scenes never stopped me from enjoying my time watching the film, they did diminish some of the emotional weight carried over from Infinity War. It doesn’t all have to be doom and gloom, but Marvel has proved before that they are more than capable of throwing in jokes that fit with the tone and don’t distract from the story being told.
Marvel Studios, 2019
As far as action goes, Endgame delivers in every way possible with some of the most ambitious fight scenes ever put to film. I won’t spoil anything but the last hour is jaw-dropping and worth the price of admission alone. The Russo Brothers began their Marvel career helming some of the best action set pieces in the franchise (the excellent elevator fight scene in Winter Soldier) and continued to top themselves in terms of scope in the Airport fight scene in Civil War and the Battle of Wakanda in Infinity War. This is easily their largest fight scene to date and it is ridiculously impressive how the duo managed to pull off fights this large in scope, whilst keeping the action completely grounded with the characters. The audience always has a sense of what is going on because the action is always tied to one of the heroes we have grown to love in past films.
Avengers: Endgame marks the end of an era, the culmination of an unprecedented franchise spanning 11 years and 22 films. Whilst not perfect, this is a wonderful celebration of the Marvel universe and a reminder of why we fell in love with these movies in the first place: they allow us to escape from our normal lives and enrapture ourselves in fantastical stories and characters that show us just how great we can be, whilst still being human and relatable at the same time. I felt like a kid again, sitting there staring at the screen in wide-eyed joy with a huge smile on my face for 3 hours. Is that not one of the most pure cinematic experiences you can hope to have?
Marvel Studios, 2019
Avengers: Endgame stars Robert Downey Jr., Chris Evans, Chris Hemsworth, Scarlett Johansson, Mark Ruffalo, Paul Rudd, Jeremy Renner, Karen Gillan, Brie Larson and is in cinemas now.
