THE KARATE KID part II (15)
THE KARATE KID part III (15)
KEITH LEMON: THE FILM (15)
KELLY'S HEROES (PG)
THE KENTUCKY FRIED MOVIE (18)
THE KID (aka DISNEY'S THE KID) (PG)
D: Jon Turtletaub
Buena Vista/Disney (Hunt Lowry, Arnold Rifkin, Christina Steinberg, Jon Turtletaub & David Willis)
W: Audrey Wells
DP: Peter Menzies, Jr.
Ed: Peter Honess & David Rennie
Mus: Marc Shaiman
Bruce Willis (Russ Duritz), Spencer Breslin (Young Russ), Emily Mortimer (Amy), Lily Tomlin (Janet), Chi McBride (Kenny)
Disney's The Kid is a Disney movie. That's important to know for some reason. This "It's A Wonderful Life" style family movie stars Bruce Willis as an image consultant who comes face-to-face with his younger self, who acts as a conscience so he can change his obnoxious ways for the better. Strangely, other characters are able to see the kid as well, where the film may have worked much better if it was only Bruce who could see his younger counterpart giving him wise advice.
Simplistic, but perfectly watchable, although the annoying music score which plays throughout may have you wanting to tear your ears off.
Remember, it's a Disney movie.
A trio of brilliant performances and an intelligent, realistic screenplay make this a very good film.
Annette Bening & Julianne Moore play a married lesbian couple whose kids want to discover who their surrogate father is. They secretly meet him (Mark Ruffalo) and he interlopes in the close family unit, much to the chagrin of Annette Bening's character.
There's been a few movies which have explored this type of theme in the past but they come across more as plots for a sitcom (Made In America a prime example), this balances the scales of comedy and drama perfectly.
Annette Bening is absolute brilliant in this. A career best performance and any other year she would have won the Best Actress Oscar (she lost to Natalie Portman for Black Swan).
A highly recommended watch.
THE KILLING OF A SACRED DEER (15)
D: Yorgos Lanthimos
A24/Curzon Artificial Eye/Film 4/New Sparta (Ed Guiney & Yorgos Lanthimos)
W: Yorgos Lanthimos & Efthymis Filippou
DP: Thimios Bakatakis
Ed: Yorgos Mavropsaridis
Colin Farrell (Steven Murphy), Nicole Kidman (Anna Murphy), Barry Keoghan (Martin), Raffey Cassidy (Kim Murphy), Sunny Suljic (Bob Murphy), Alicia Silverstone (Martin's Mother)
Anybody who's seen Yorgos Lanthimos' previous film, The Lobster, would be expecting his latest effort to be equally surreal, and it's probably more so. The Killing Of A Sacred Deer is one of those films which will be enjoyed more the less you know about it, so if you don't wish to have the plot spoiled, now is a good time to stop reading.
The film will make you uncomfortable from its opening moment, a close up of open heart surgery which might leave some audience members immediately reaching for a sick bag. The story then develops with Steven Murphy, a hospital surgeon, and a 16-year-old boy called Martin and their strangely uncomfortable relationship. It later emerged that Steven was the surgeon who operated on Martin's father, who passed away during treatment and Steven feels guilty due to some malpractice on his part.
The uncomfortable relationship between the two of them then becomes even more sinister when Steven's children become sick, and he is told by the strange young man that he must choose which of his family members to sacrifice, or they will all die. A twisted revenge plot which is designed for Steven to experience the pain of losing a beloved relation.
The twisted screenplay features comedy so black, the Coen Brothers will surely look on with envious eyes and the film unravels like one of David Lynch's surrealist nightmares. It's partially a modernisation of Greek myth, but one could also summarise it as Michael Haneke's version of Sophie's Choice.
The film won an award for its screenplay at Cannes Film Festival, and it wouldn't be a huge surprise to see it nominated at the Oscars.
The performances from the entire cast are excellent, including Alicia Silverstone, who surprisingly only appears in one scene, but nearly steals the entire movie with it.
This psychological thriller is definitely not for mainstream audiences, but those whose acquired taste it appeals to will most certainly enjoy it.
KINDERGARTEN COP (12)
THE KINDRED (18)
KING ARTHUR: LEGEND OF THE SWORD (12)
D: Guy Ritchie
Warner Bros/Weed Road/Safehouse (Akiva Goldsman, Joby Harold, Tory Tunnell, Steve Clark-Hall, Guy Ritchie & Lionel Wigram)
W: Joby Harold, Guy Ritchie & Lionel Wigram
DP: John Mathieson
Ed: James Herbert
Mus: Daniel Pemberton
Charlie Hunnam (King Arthur), Jude Law (Vortigern), Astrid Berges-Frisbey (The Mage), Djimon Hounsou (Sir Bedivere), Aidan Gillen (Goosefat Bill), Eric Bana (Uther Pendragon)
Guy Ritchie brings his East End cheeky chappy style to Arthurian Legend, also throwing in whatever he can magpie from Lord Of The Rings, Game Of Thrones and whatever else he pilfer, all to very poor effect.
Charlie Hunnam is the title character, an orphan who believes he grew up in Londinium, but is actually the son of Uther Pendragon, the previous king who was murdered by his supplanter and he escapes a beheading to lead the people in a revolt against evil king Vortigern.
The clash of styles employed by Guy Ritchie really doesn't work, the dialogue is boisterous, loud and two characters talking about how West Ham United got on at the weekend wouldn't have felt out of place with the filmmaker's Cor Blimey approach. Charlie Hunnam can't deliver a British accent convincingly, despite being British, and the whole film is a complete and utter mess.
Legend of the Sword? More like Legend of the Bored.
KING KONG LIVES (PG)
THE KING OF COMEDY (15)
KING OF THIEVES (15)
D: James Marsh
Studiocanal/Working Title (Tim Bevan, Eric Fellner, Ali Jaafar & Michelle Wright)
W: Joe Penhall
DP: Danny Cohen
Ed: Nick Moore & Jinx Godfrey
Mus: Benjamin Wallfisch
Michael Caine (Brian Reader), Jim Broadbent (Terry Perkins), Ray Winstone (Danny Jones), Tom Courtenay (John Kenny Collins), Charlie Cox (Basil), Paul Whitehouse (Carl Wood), Michael Gambon (Billy 'The Fish' Lincoln)
Aka The Over-The-Hill Mob, King Of Thieves reconstructs the events surrounding the robbery of a Hatton Garden safe deposit, where over £200 million was stolen in cash, gold, jewellery and diamonds, of which some has still not been recovered.
Michael Caine is the leader of the group and he is joined by a cadre of elderly, experienced thieves with the only young member of the criminals portrayed by Charlie Cox as an alarm systems expert.
As a crime caper, the film only has one joke of "the thieves are old" which is beaten to death. However, as a reconstruction of events, it's quite well done and maintains interest over the running time.
Of the cast members, Michael Caine and Ray Winstone do their usual, but Jim Broadbent is very much against type as a right 'orrible c**t.
Reasonably well helmed by James Marsh, it isn't the finest heist movie you'll ever see, but it is a good timekiller.
KINGSMAN: THE GOLDEN CIRCLE (15)
D: Matthew Vaughn
20th Century Fox/Marv (Matthew Vaughn, David Reid & Adam Bohling)
W: Jane Goldman & Matthew Vaughn [based on characters created by Mark Millar & Dave Gibbons]
DP: George Richmond
Ed: Eddie Hamilton
Mus: Henry Jackman & Matthew Margeson
Taron Egerton (Gary 'Eggsy' Unwin), Colin Firth (Harry Hart / Galahad), Julianne Moore (Poppy Adams), Mark Strong (Merlin), Pedro Pascal (Whiskey), Jeff Bridges (Champagne), Halle Berry (Ginger Ale), Channing Tatum (Tequila), Edward Holcroft (Charlie Hesketh), Hanna Alström (Princess Tilde), Elton John (himself)
The first Kingsman movie was to the spy genre what Kick-Ass was to superhero movies, and was amongst the pleasant surprises of the year when it was released in early 2015. A sequel was inevitable, but alas, this is little more than a cash grab.
Like a Bond film, no time is wasted waiting for the first action set piece, when Eggsy is attacked by rogue applicant Charlie Hesketh, now with a bionic arm, outside the Kingsman tailor shop and secret headquarters.
Before the first act concludes, all of the Kingsmen except Eggsy and Merlin are bombed at their homes, leaving the two survivors to unite with their American counterparts, the Statesmen, in order to defeat villainess Poppy Adams, a drug dealer who holds the world to ransom when her modified products cause users to suffer blue rashes, paralysis and ultimately death. The good news is that the original Galahad (Colin Firth) is alive and well, because bullet wounds to the head are not fatal (seriously, the film gives us that explanation, so we should just go with it.)
There's a none-too-subtle allegory for the Trump presidency shoved down our throats before the Kingsmen and Statesmen get to work.
Though the action set pieces maintain interest of this spy spoof, the humour is nowhere near as funny as the original film and the suspension of disbelief requires a little too much from the audience. Some cameos are wasted entirely, such as Channing Tatum, who barely gets 10 minutes screentime, and Elton John, playing himself to embarrassingly unfunny levels with what is, frankly, a one-joke part.
There are some good scenes, but the overall film is a bit of a mess which doesn't capture the magic of the original film. Disappointing.
KONG: SKULL ISLAND (12)
D: Jordan Vogt-Roberts
Warner Bros/Legendary/Tencent (Thomas Tull, Mary Parent, Jon Jashni & Alex Garcia)
W: John Gatins [based on the screenplay "King Kong" by Merian C. Cooper & Edgar Wallace]
DP: Larry Fong
Ed: Richard Pearson
Mus: Henry Jackman
Tom Hiddleston (James Conrad), Samuel L. Jackson (Lt. Col. Preston Packard), John Goodman (Bill Randa), Brie Larson (Mason Weaver), John C. Reilly (Hank Marlow), Toby Kebbell (Jack Chapman), Jing Tian (San Lin)
The Hollywood reboot machine continues to churn, even going as far as to ask us to ignore that classic films ever existed and just pay our money, sit out asses down and watch what is presented.
The plot of 1933's King Kong is the victim here, regurgitated into an anti-Vietnam war parable with the action based in the 1970's, rather than the roaring thirties.
A joint military-scientific mission sees a large group sent to the island of the title, where they are met with hostility by the giant ape after dropping destructive bombs willy-nilly.
Those who survive must find their way to the north side of the island to await rescue with a host of large, prehistoric beasties ready to gobble them up at every turn. The twist soon emerges that King isn't the real beast, and is actually a protector for the indigenous people of the island, but this doesn't matter to militant colonel Samuel L. Jackson, who had revenge in mind for all the blood spilt.
As a standalone film, Kong: Skull Island is very enjoyable, with some superb visual effects, and the Vietnam allegory does work for the most part. Unfortunately, sticking the knife in a classic film just doesn't sit well for me, at all, and I would have had more respect if this was a completely original work, but it's becoming increasingly clear that originality doesn't belong in Hollywood, and without slapping fake nostalgia over everything they touch, they just aren't willing to take a gamble.
It's worth noting that director Jordan Vogt-Roberts doesn't seem to take to criticism of his film well, and has defended it on Twitter with various posts... and this film is probably a good example of too many cooks spoiling the broth, as it's obvious that studio involvement was a hindrance. It's actually very well directed, but it's still a huge insult to the 1933 film, which should always be hailed as a cinematic masterpiece.
It's probably on a par with Peter Jackson's version, and is an improvement on both the 1976 King Kong and the atrocious 1986 film King Kong Lives.
THE KRAYS (18)
KUBO & THE TWO STRINGS (PG)
D: Travis Knight
Focus Features/Laika (Travis Knight & Arianne Sutner)
W: Marc Haimes & Chris Butler
Mus: Dario Marianelli
voices of: Art Parkinson (Kubo), Charlize Theron (Sariatu / Monkey), Matthew McConaughey (Hanzo / Beetle), Ralph Fiennes (Raiden), Rooney Mara (Karasu / Yukami), George Takei (Hosato)
Some might mistake Kubo & The Two Strings as a Japanese produced anime film from the promotional material, and though the story takes root in ancient Japan, the film is produced by American production studios Laika, who previously brought films like Coraline and Paranorman to the big screen.
The story revolves around Kubo, a one-eyed boy with magical powers which revolve around his shamisen musical instrument, which can bring origami figures to life.
He is pursued by his two evil aunts and wizard grandfather, who tries to steal Kubo's other eye to prevent the boy from seeing into people's souls. When his mother is murdered, Kubo is assisted by a talking monkey and a samurai beetle, on a quest to find an unbreakable sword and protective armour, so he can defeat the evil spirits which haunt him.
The most impressive factor of Kubo & The Two Strings is the stop-motion animation, which is the best I've personally ever seen, while the story does present a heartwarming message about the importance of personal memories, especially surrounding family, which are deemed to be the greatest magic of all.