A Royal Night Out (2015)

We've seen royal daughters or the daughters of American Presidents going incognito to experience 'normal life', from Roman Holiday to Disney's Aladdin, and the twist here is that this movie tells of an actual example from history in which Princesses Elizabeth and Margaret embarked one night out of the palace to celebrate the end of the war, which may well have happened but almost certainly not as it is presented in this easy-enough-to-watch but heavily, heavily fictionalised comedy romance. 

★★★☆☆

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Bird on a Wire (1990)

Mel Gibson's mullet and wild-eyed "loose cannon" routine feels self-conscious and tired here - after Lethal Weapon 1 and 2 - but he and Goldie Hawn generate chemistry together, and occasional laughs, as former lovers fleeing killers from his pre-witness protection life, and helping bind the wafer-thin plot, action and comedy together into a palatable something is the Neville Brothers' easy-listening cover of Leonard Cohen's Bird On A Wire.

★★★☆☆

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If I Had Legs I'd Kick You (2025)

Mary Bronstein, who appears as Dr Spring, wrote and directed the engrossing and exhausting If I Had Legs I'd Kick You (no comma), apparently basing it on her own traumatic time caring for a sick child, and its the truth at the core, along with Rosie Byrne's "performance of a lifetime", that makes this unflinching look at motherhood - the guilt, the shame, the obsession, and the killer power - so utterly captivating: a comedy so dark it more than verges on horror, and you've got to love the reviewers, many male, saying it (read 'two hours of motherhood') is monotonous, too long, and not the entertaining experience you want when you go to the cinema!

★★★★☆

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The Fall Guy (2024)

As battle-scarred stuntman Col Seavers, Ryan Gosling does his gormless The Nice Guys schtick that he is so good at, and with terrific chemistry between him and Emily Blunt's Jody Moreno - she's the lead actress of a film-in-production that Seavers is working on - this romantic comedy action blockbuster overcomes its middle-stretch of ennui (during a stunt sequence set in Sydney, Australia, the film starts to feel like it has no place to go) and becomes, ultimately, utterly charming.

★★★★☆ 

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American Ultra (2015)

This is a charmless blend of stoner comedy and one of those "dormant sleeper-agent wakes up" action movies of the Jason Bourne and The Long Kiss Goodnight sort, starring Jesse Eisenberg and Kristen Stewart as an uncharismatic Bill-and-Ted pair of small-town America stoners who one day find themselves thrust headlong into a CIA conspiracy inspired by the MKUltra experiments of the 50s and 60s.

★☆☆☆☆

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Dungeons and Dragons: Honour Among Thieves (2023)

D&D, that role-playing game enjoyed by unwashed geeks sitting for days at a table talking about charisma points and elvin lore, is adapted in this movie with Chris Pine - charming as always - playing the roguish leader of a misfit band of thieves who must traverse wild monster-strewn landscapes collecting magical items to help them overcome some wizards hellbent on fantasy-world domination, and it is a funny and fresh adventure, and you do not need to be a fantasy-loving unwashed geek to thoroughly enjoy it.

★★★★☆

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Clue: The Movie (1985)

The actors are about as animated and have as much personality as the boardgame's character cards and it disconcerts that they are not the colours they are supposed to be — Mrs Peacock has feathers but is brown and Mrs White isn't the cook but a black-clad Goth — and the stage sets very wearily, like at the start of a board game when noone is sure of the rules, but stick with the carry-on because there are some laughs to be had towards the end as the initially easily shocked troupe grows increasingly unfazed by all the murders happening around them while Tim Curry grows increasingly irreverent as Wadsworth the butler of the Cluedo mansion.

★★☆☆☆

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Bros (2022)

The point is made that members of the LGBTQIA+ community need to be seen - in schools, in gallery exhibits, in movies - and that their lives are not heteronormative...and then a story as mawkish as a traditional Hallmark romance plays out with one of the two main characters even needing love to help him open the chocolate shop of his childhood dreams - perhaps I missed the irony - and that the film stays close to our central couple who have very little chemistry, and that there are no peripheral characters whose names, stories or faces you'll remember make Bros pretty irritating and boring, and anyway, Hallmark released its first gay romance in December 2022, so check out that schmaltz instead, maybe, if romance is your thing.

★★★☆☆

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New Year's Eve (2011)

On a New Year's Eve, the Times Square Ball gets stuck, neither up nor down, and this same inert state befalls a veritable Love, Actually ensemble of New Yorkers whose lives grind to a stop in deeply uninteresting, go-nowhere situations like the nurse (Halle Berry) who tends bedside to a dying man in hospital (Robert De Niro) - that's everything - or the man in pyjamas (Ashton Kutcher) who gets stuck in an elevator with a singer (that woman from Glee) - the end - or the pregnant couple who are, well, pregnant - and still pregnant each time the movie unnecessarily returns to them - or, in the most peculiar of the go-nowhere vignettes, a delivery guy (Zac Efron) escorts a woman (Michelle Pfeiffer) around NYC on a scooter skimping on her bucket list that she has no reason to rush through before midnight when, spoiler alert, the Times Square Ball drops and this dull romcom ends and life starts moving again.

★★☆☆☆

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Parenthood (1989)

 

Steve Martin stars and is perfectly uptight as Gil Buckman, a family man trying not to freak out on the rollercoaster of parenthood, but there's a veritable Love Actually-sized ensemble here too: a single mother (Dianne Wiest) struggles to raise a teenage boy (a young Joaquin Phoenix) while trying to steer an older daughter (Martha Plimpton) away from no-hopers like Tod (Keanu Reeves playing Ted again), and more (Rick Moranis, Tom Hulce, Mary Steenburgen, and Jason Robards) all in Ron Howard's comedy smash hit about the trials and tribulations of the privileged white raising kids in traditional family units.

★★★☆☆

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A Rainy Day in New York (2019)

In Woody Allen's inconsequential, breezy romantic comedy - which I quite enjoyed - Timothée Chalamet's gloomy Gatsby Welles shuffles hunch-shouldered, arms in pockets around a rainy New York City, spending a day with sunny partner Ashleigh that doesn't go to plan, and just as you think it yourself about his slight and self-aware performance, Allen has Chalamet say - ostensibly about another character but far too applicable to his own performance to be coincidence - "[He's] a James Dean minus the acting chops".

★★★☆☆

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Charlie's Angels (2019)

The earlier movies were especially vacant exercises with Drew Barrymore, Cameron Diaz and Lucy Liu not so much playing the Angels as playing themselves playing at being Angels in a series of spoofs that seemed more of a lark for the cast than for viewers, but this 2019 re-fashioning delivers to audiences a reasonable action plot (albeit one far too long and predictable) set in a spy agency that believes "hugs work" and includes some intelligent humour, refreshing girl-power messages and Kristen Stewart, Ella Balinska, and Naomi Scott saving the world, helped along the way by their "Bosley", director and star Elizabeth Banks.

★★★★☆

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Ghostbusters: Afterlife (2021)

Because they (Ivan Reitman's son Jason, who writes and directs the movie, and a group of producers that includes Dan Ackroyd) are trying here to make a movie that appeals nostalgically to kids of the 80s but also enthuses a new generation of millenials about the Ghostbuster franchise (after the vapid Melissa McCarthy one pretended the original didn't exist and aimed itself solely at the pre-teen market), the set up of Ghostbusters: Afterlife is necessarily laboured with the movie adopting the deliberate pacing of, say, the original Christopher Reeve Superman movie to build links between the ghostbusting action in 80s Manhattan and that in 2021 smalltown Summerville, Oklahoma where young Phoebe and her brother Trevor stumble across Ghostbuster research into ghouls called Zuul and Gozer.

★★★☆☆

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The Jane Austen Book Club (2007)

The fact that the ensemble of characters in this romantic comedy (based on a Karen Joy Fowler bestseller) spend each month reading a Jane Austen novel and meeting to discuss it simply means that they are forever comparing Austen's troubled marriages, burgeoning romances, and complicated love triangles to their own: these parallels come thick and fast but are superficial, meaning you can smile - very gently - at this romcom even if you've never read a word of Austen yourself.

★★★☆☆

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The Mystery of Henri Pick (Le Mystère Henri Pick) (2019)

In this jaunty comedy-mystery, like an Agatha Christie but without the murder, a book critic, smarting after losing his job and marriage, sets out like a detective to prove that a deceased pizza maker in Brittany was not the author of a bestselling novel.

★★★☆☆

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Bruno (2009)

Someone needs to audit this documentary-style comedy from Sacha Baron Cohen to determine how many of its players — its US police officers and focus group participants and army sergeants and gay conversion therapists and hotel concierges and aspiring baby model moms — are plants in on the joke and how many are actually American citizens caught up in Cohen's audacious web, because surely Cohen would have been killed were everyone here exactly who they are purported to be — Americans having both their greatest quality — their polite and gracious accommodation of others — and their worst quality - their ugly extreme right-wing conservatism — thrust back in their faces by Cohen's  outrageous persona, the wrong-on-so-many-levels but hilarious follow-up to Borat, Bruno the fame-hungry homosexual Austrian!

★★★★☆

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Book Club (2018)

Older females, book club members reading the Fifty Shades soft porn chick-lit series, are inspired by Christian Grey and Anastasia Steele's exploits to take on the challenges of modern romance, embarking upon online dating, initiating sex again with long-since-celibate partners, rekindling past romances and daring to love again after grief, and it is pretty funny in a very minor way - my 79-year-old mum particularly found it a fun watch.

★★☆☆☆

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Shadows and Fog (1991)

Woody Allen's star-studded comedy (even Madonna appears), filmed in black and white and filled with visuals recalling Nosferatu and The Cabinet of Dr Caligari, had critics calling it an homage to German Expressionist cinema, but to what end is not clear: when John Cusack's brothel patron sighs, with Nietzschean bleakness, "There's no point to anything," he seems less to be musing on existence than reviewing the film itself, especially after so much of the comedy proves only intermittently amusing and the plot - in which Allen's Kleinman is enlisted, Kafkaesque-style, into a disorganised vigilante street gang hunting a serial killer - feels like just another Woody Allen contrivance; the late turn to weighty talk of God and man and his volitional and unvolitional or natural and unnatural impulses lands as a sudden lofty flourish atop prolonged tedium.

★★☆☆☆

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6.9 on the Richter Scale (6.9 pe scara Richter) (2016)

A gormless actor working on a musical theatre production dreams constantly of devastating earthquakes, but it is the arrival into his adult life of his long-lost pilot father and the increasingly strained relationship he has with his depressive wife that rocks him during his waking hours, in this colourful, sometimes amusing, but incredibly chauvinistic sex comedy from Romania centred on an especially irritating couple.

★★☆☆☆

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Hector and the Search For Happiness (2014)

Things momentarily improve when Toni Collette turns up in the last third and shines brightly as the only genuine thing on the screen, but otherwise this is a nauseating affair about a psychiatrist (Simon Pegg) - a sometimes accident-prone Mr Bean, a sometimes naive trenchcoated Monsieur Hulot, an occasionally slapstick Charlie Chaplin, once a midair doctor, and at other times a wide-eyed Walter Mitty fantasist - who zips around the world like that Eat Pray Love person, searching for happiness, which he finds and packages up in fifteen one-line platitudes that appear on the screen occasionally throughout the movie like patronising summary statements of all the nonsense that has come before - cartoon sequences, a brutal kidnapping, mawkish travelogues, cloying romance, slapstick - a series of events seemingly intended as a "wondrous kaleidoscope" of the human condition but just irritating.  

★★☆☆☆

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