BLOODSHOT

Cert 12 Stars 2

Based on a character from Valiant Comics this derivative revenge sci-fi action thriller was intended to kickstart a franchise, but the film’s disastrous box office performance underscores the it’s star Vin Diesel is only a bums on seats draw when in his Fast and Furious franchise or in his xXx films.

Diesel bullies his way through a lacklustre plot as a Marine who was killed in action and reborn with enhanced powers by a powerful organisation intending to use him as a weapon. Toby Kebbell, Talulah Riley and Guy Pearce do their best in this anaemic shoot-em-up.

EXTRACTION

Cert 18 Stars 3

Thor star Chris Hemsworth uses his considerable bulk to batter his way through this blood-soaked and bullet-riddled action thriller which is terrific when it barrels along all guns blazing, but a little unsteady on its feet when it stops to pause for breath.

Forgoing his over-abundant charm and gift for comedy in favour of a no-holds barred intensity, Hemsworth plays a world weary mercenary called Tyler whose latest mission is to extract the teenage son of an Indian drug lord from the clutches of a rival drug baron in Dhaka, the densely populated capital of Bangladesh.

Tyler is fast on his feet and with his fists for a big man, he always brings a gun and grenades to a knife fight and he’s also pretty handy with a blade.

But as Tyler’s mission begins to transform into a repentance for a lifetime of killing and his failings as a father.

Extraction is produced by Joe and Anthony Russo, who wrote and directed Marvel blockbuster Avengers: Endgame, and is directed by their stunt coordinator Sam Hargrave.

He brings inventive flair and highly polished technical skill to the exhaustingly brutal and extraordinarily well-executed scenes of multiple slaughter.

Immersive and fluent camera work puts you in the heat of the brutal action, and there’s room for the script to reflect on cyclical nature of violence and how the sins of the fathers are visited upon their sons.

At its best it rivals Keanu Reeves’ John Wick films for relentless carnage, but lacks its unique otherworldly sense of time and place.

Plus the dialogue and plotting is functional at best, and I hope Hemsworth isn’t getting paid by the word.

Iranian actress Golshifteh Farahani is underused as a rare female character but still manages to impose herself on proceedings, and if there’s a sequel then it would be great to see her take centre stage.

 

COLOR OUT OF SPACE

Cert 15 Stars 4

This inventive, bloody and disgusting cosmic horror is a trippy rainbow of the gory and the grotesque, a nightmare of techno-fear, eco-occult, alien infection and bodily torment.

Based on a short story by famed horror writer H.P. Lovecraft, it stays true to his spirit ,when a meteor lands in the garden of the isolated woodland Alpaca farm, and unleashes a dark power resulting in violence and death.

Elliot Knight plays a fresh faced hydrologist surveying a lake for development when he encounters a teenage girl attempting witchcraft who introduces him to her family.

Lavinia’s mother is a stockbroker, her elder brother is a dope fiend, the younger one talks to imaginary friends, and her dad is played by the Nic Cage.

A long time favourite actor of mine, Cage brings his unorthodox delivery and unique sensibility to the role as he switchbacks between ineffectual father and demented conduit of chaos, and seems at times on a separate astral plane to everyone else.

There’s humour and humanity amid the increasingly weirdness, and will appeal to fans of John Carpenter’s The Thing, and David Cronenberg’s The Fly

The 3 minute video top 10 box office countdown

THE INVISIBLE MAN (2020)

Cert 15 Stars 4

A 21st century makeover is given to H.G. Wells’ 19th century classic story in this slick, scary and daftly entertaining slice of Friday night popcorn horror which delivers gas-lighting from beyond the grave.

Originally planned as a big budget star vehicle for Johnny Depp as part of Universal Pictures blockbuster Horror-verse films, it’s been reconfigured as a low budget project for the #MeToo generation by Blumhouse Productions, who along with trusted writer and director Leigh Whannell, previously made The Conjuring horror franchise.

The story is given fresh impetus by being told from the victims point of view, as well as tech-billionaires, online stalking, and computer hacking.

Star of TV’s Madmen, Elizabeth Moss anchors the action with a wonderfully twitchy performance as Cecilia, the survivor of an abusive relationship. But after her ex is found dead, a campaign of terror by an unseen assailant makes people doubt her sanity.

Old school special effects mix effectively with modern CGI, plus there are cheeky nods to the iconic film version of 1933 and Schwarzenegger’s Terminator 2. See if you can spot them.

The 3 minute video top 10 box office countdown

UNDERWATER

Cert 15 Stars 3

Kristen Stewart is in deep water and under enormous pressure in this claustrophobic survival sci-fi horror which left me gasping for air.

The Twilight star is typically terrific as an engineer seven miles down in an ocean bed oil drilling station, which suffers mysterious tremors leading to a catastrophic collapse and leaving most of the crew dead.

Vincent Cassel’s noble captain attempts to lead his five remaining crew on a desperate bid for safety across the sea floor to a sister platform and its precious escape pods, but as morale and oxygen run low, they face even more monstrous terrors.

Refreshingly the script is angled more towards a conspiracy theory than an eco-message, and the faint residue of philosophical musings are washed away by a welter of crowd-pleasing blockbuster thrills.

Uncharitably described by a co-star as a ‘flat-chested elfin creature’, Stewart anchors the action with a gutsy physical performance, the latest left turn in a career marked by its impressive range and constant evolution.

END OF WATCH

Stars 3

The writer of the Oscar winning smash hit Training Day, returns with another gritty police thriller set in South Central LA, but with a Denzel Washington-shaped hole where the charisma should be.

Writer and director David Ayer, shot entirely on location in fidgety, semi-documentary, police-cam video style, creating a loud and tense gun and drug movie where the highest ambition police officers have is to survive their shift and have their timesheet signed off, End Of Watch.

Jake Gyllenhaal and Mike Zavala Michael Pena are patrol car partners who come across a safe house belonging to a Mexican cartel who immediately put a price on their heads for disrupting their lucrative drugs trade.

The cops aren’t the brightest guns on the street but they are mostly honest and unquestioningly brave. Patrolling is a series of verbal abuse, brutal fist fights and vicious gun battles, and even the music is aggressive.

Off duty, Anna Kendrick and Natalie Martinez provide strong acting support as their wives, with America Ferrera and Frank Grillo as their fellow officers.

Watching this film is like being trapped for two hours in a small steel cage with a pair of uniformed, squabbling, slurping, chattering caffeinated kids, before being released on a regular basis to be shot at by angry Uzi abusing gangsters.

Ayer doesn’t wholly commit to his handheld format which reduces its authenticity, and the last two scenes are unnecessary and lessen the films impact.

Despite this the two officers hold your sympathy and attention because although they’re not as interesting or entertaining as the film believes they are, even the most basic police work involves being screamed and shot at.

Their wives are the only lightness in their lives and in the movie and are a sweet and sassy counterpoint to the constant aggravation the men experience on duty.

This is a portrait of a city in a state of siege, and the only advice the script can offer is to wear comfortable shoes and a bulletproof vest.

SPIDER-MAN: FAR FROM HOME

Cert 12A 129mins Stars 4

You won’t believe what you’re seeing in this comic book action adventure as Spider-man hits the high spots in a deliciously deceptive head-spinning romp.

A direct sequel to blockbuster smash, Avengers: Endgame, this is a mischievous mix of sweet high school romcom, fun teenage spy caper and exciting superhero CGI spectacular.

Peter Parker is in romantic pursuit of classmate MJ, on their school’s European vacation, when his costumed alter-ego Spider-man learns heroes don’t get holidays. 

Grumpy secret agent Nick Fury teams Spider-man with superhero Mysterio, which will be a surprise to long-time Spidey fans as Mysterio is one of the web-swinger’s best known arch-villains.

But re-inventing Mysterio as a dimension-hopping hero with a tragic past makes him a more interesting character while also tying this version of Spider-man into last year’s animated Multi-verse adventure.

Parker identifies Mysterio as the man to replace Iron Man as his mentor, and they set about battling the Elementals, extra-dimensional giants with power over air, earth, wind and fire.

Returning with a winning chemistry as Peter Parker and MJ, Brit actor Tom Holland and pop star Zendaya are the beating heart of the film, with her self-contained charisma making MJ the best superhero squeeze since Margot Kidder’s Lois Lane, in 1978’s Superman.

And they’re reunited with the key young cast members of Spider-man: Homecoming, and Marvel fan favourites such as Samuel L. Jackson, Jon Favreau and Marisa Tomei reprise their roles as the adult guardians.

Indie movie star Jake Gyllenhaal brings his unique brand of loopy intensity to Mysterio, and while he often gives the impression of a man with the weight of the world on his shoulders, it’s a useful quality to have when playing a guy trying to save the planet.

Having Parker unveil various old and new Spider-suits is part of a stream of call-backs to previous films, which will have fans cooing in delight.

Plus a pair of fat-rimmed hi-tech spectacles are a knowing wink to Michael Caine’s 1960’s spy, Harry Palmer, and neatly magnify the script’s central concerns.

While the film wears the frothy air of an espionage caper, the tone disguises some very serious thoughts about fake news and multi-media manipulation, while reminding us Parker was employed in other incarnations as a photojournalist.

From dealing with the fallout of Endgame to deciphering what Marvel has in store for Spider-man, there’s a lot to uncover in this, and one of the best secrets is kept until after the credits, so make sure you stay until the absolute end.