Prime Time: Deep Cover (2025)

Tom Kingsley has a fair bit of directorial experience in the world of TV, but this is the first feature that he has helmed solo. He's done himself a favour, however, by getting a good group of writers together and a central cast all eager to have a lot of fun. The end result is a very entertaining comedy that works due to everyone leaning into the silliness of it all.

Bryce Dallas Howard is Kat, a young woman spending her time teaching improv. Some of her students are moving on to successful careers. Kat isn't. She's stuck with people like Marlon (Orlando Bloom), an actor who always needs to find a darkness in every character he plays, and Hugh (Nick Mohammed), a nervous young man just hoping to develop some confidence that will help him avoid being ignored and/or used at his workplace. When Kat is asked to do some absolutely safe, and not due to escalate at all, undercover work by a cop named Billings (Sean Bean), she ends up heading along with Marlon and Hugh to an encounter with Fly (Paddy Considine). Fly is a criminal, but he's not at the top of the chain. That would be Metcalfe (Ian McShane), and our trio end up becoming entangled with him in an increasingly messy situation that they may struggle to escape alive.

It's a testament to the performances of the leads here that you wouldn't think it took four people to write this. While I can't help feeling that the nature of some scenes may have allowed some of the performers to improv in line with their characters, credit goes to Derek Connolly and Colin Trevorrow for the story, and Ben Ashenden and Alexander Owen for the screenplay. The premise is great for comic potential, and everyone works hard to make the most of it.

Kingsley may not show any great ambition or creativity in his direction, but he does enough to keep everything rolling along nicely. It's not all that cinematic, but there are moments when it throws in some gags or stunts that are impressive enough to remind you that it's a movie with some money behind it. Even if a lot of that money may have been used to secure the stars.

As for the stars, Howard does well acting as if trying to control the two problematic men alongside her, but it's both Mohammed and Bloom getting to deliver more of the laughs. I expected Mohammed to do well as someone slightly shy and awkward, but Bloom shows a real talent for comedy with his hilarious arrogance and thick-headed attempts to add unnecessary backstory to every character he portrays. Considine is a convincing crook, as he's shown us in other films, Bean does very well with what he needs to do, and McShane is so good as a powerful heavy that even his ill-advised attempt at a Scottish accent doesn't make him any less intimidating. There's a good selection of supporting cast members, all in line with the tone, but they're all elevated by sharing scenes with the leads.

It's very predictable, very much in line with a number of straight-to-streaming movies that have that, sometimes indefinable, straight-to-streaming movies feel, but saved by the fact that it's also occasionally very funny. Most of the biggest laughs come from Bloom, but everyone gets a chance to shine, and the 100-minute runtime is perfect for the material.

7/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

Ballerina (2025)

From the world of John Wick, that's what we were all sold on here. Okay, there's also the draw of Ana de Armas kicking ass while looking damn fine doing it, but this film definitely wants to please fans of Wick. Does it succeed?

After some scenes showing a girl called Eve having her childhood interrupted by the execution of her father, and then being given a home within the Ruska Roma organization, Ballerina starts to show the training and maturation of a skilled killer (De Armas). She wants revenge though, and that isn't allowed. The Director (Anjelica Huston) explains that the man who murdered her father is the head of a large group that they just tend to leave to their own devices. That doesn't satisfy Eve, however, and she soon embarks on a journey of vengeance that will only end in the death of The Chancellor (Gabriel Byrne) or her own demise. And her own demise might be facilitated by John Wick himself.

Apparently directed by Len Wiseman, but with extensive reshoots overseen by Chad Stahelski, Ballerina is a bit of a mess, but it's a hell of an entertaining one. The visual style and onscreen world-building keeps it nicely within the "Wick-verse", but writer Shay Hatten can't do enough to make anything feel truly consequential. A number of the action sequences feel shoehorned in because they needed to make the 124-minute runtime bearable (and even then, it's disappointing that one great moment isn't shown, the film making use of the aftermath for some humour and explanation of how skilled our lead now is). 

The best thing that this film has going for it is De Armas, a star who still deserves a real blockbuster success built around her. She can handle the action, and also deals with the breadcrumbs of emotional baggage given to her character. Huston also does well, reprising her role from previous movies and being just as strict and severe as ever. Byrne is a decent villain, but really only powerful enough because of how many people he can mobilise and control to attack one enemy, and Ian McShane adds his usual suave greatness as the constant calm presence of Winston. Catalina Sandino Moreno is wasted, and don't even start me on the third act moment that is delivered without any care or impact, Norman Reedus also doesn't really register, and it's a sad truth to say that any time we get Keanu Reeves making a cameo just serves as a reminder of how much better the Wick movies are. Robert Maaser is an impressive henchman, particularly in the jaw-dropping moments that involve some powerful flamethrowers, and Ava McCarthy is convincingly vulnerable and sweet as Ella, a young girl who ends up in the clutches of the baddies, which gives an extra motivation to our deadly lead.

All of the action is staged well, and it's all enjoyable enough, but things only feel truly inspired in an extended third act that makes great use of an interesting setting and a whole swathe of enemy combatants to deliver the kind of unique and inventive fights that have been a hallmark of this franchise. It's also good to be invested in something that feels as if, either way, there will be a consequential resolution to everything.

I enjoyed Ballerina, despite how it may seem from what I have said here. While there are things I have misgivings about, there's a consistency in the gorgeous cinematography, the excellent score, and the choreography and composition all working to keep De Armas framed as the star that she is. I just wanted it to be a bit better, and maybe there will be a step up in quality if we ever get a sequel to this. I'll rewatch this in the meantime, but I'll only after I have rewatched the superior John Wick movies first.

7/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

John Wick: Chapter 4 (2023)

Keanu Reeves is back as John Wick, with Chad Stahelski once again directing, and writer Shay Hatten (who worked on the last film) now joined by Michael Finch, and many people are saying this is the best film in the series. I would disagree, but the third act has a number of major sequences that easily jostle for a spot amongst the action highlights of all four films.

Still looking for a way out of his predicament, John Wick is coming to the inevitable conclusion that he may just have to die. He won’t go down without a fight though, and aims to at least try to take down everyone who is sent after him. The armed goons are being sent in their droves by a determined Marquis (Bill Skarsgård), but the biggest threat comes from a skilled assassin who was once a friend (Caine, played by Donnie Yen) and a tracker (Shamier Anderson) who wants to keep Wick alive until the bounty on his head reaches his desired amount. 

I have complained about some other films that start at a point not allowing for any decent sense of escalation, and you might think that John Wick Chapter 4 would have the same problem, considering the first half of the lengthy runtime, but don’t worry. While there is a risk of fatigue setting in, considering how many fight moments consist of people shooting at one another while lifting up their Kevlar jacket collars to protect their face/head, there is just enough inventiveness and style to keep you entertained until you get to the moments that truly feel as if they are taking things to another level. Every main action set-piece set in Paris, whether it involves the busy traffic going around the Arc de Triomphe or some fluid overhead camerawork showing our hero destroying numerous enemies with a gun that fires out incendiary ammo, sets the bar about as high as it can go for this kind of thing. And I cannot tell you how many times I winced during a battle on some steep steps that saw one stuntman after another take many painful tumbles.

Reeves is still perfect in the lead role, more action than words (but able to show both his determination and tiredness while leaving piles of corpses in his wake), and all of the returning players, such as Laurence Fishburne, Lance Reddick (RIP, his role here is all the more poignant), and Ian McShane, continue to have great fun in their supporting roles, with the latter once again effortlessly stealing some scenes with a raised eyebrow or delightful turn of phrase. Yen is a formidable opponent, and brings with him the legacy of his entire body of work (I hope those new to his skills will hunt down some of his greatest hits), and the same can be said for the great Hiroyuki Sanada, in a relatively small, but pivotal, role. Anderson is good fun, and he gets to give orders to the talented killer dog in this movie (which is great, but sadly not as entertaining as the dogs owned by Halle Berry in the previous instalment). Then there’s Bill Skarsgård, playing his main villain - or, arguably, just the new boss charged with re-enforcing rules and fixing what was broken by Wick’s rampage - with a smug air of superiority, a general lack of concern for what he sees as the inevitable outcome that will go his way, and an entertainingly overdone French accent. There’s also room for Clancy Brown (always welcome onscreen, here lending his talents to the role of Harbinger), Rina Sawayama (playing the daughter of one main character, and someone who may end up on a revenge mission of her own one day), Scott Adkins, Natalia Tena, and the lower half of Marie Pierra Kakoma’s face as she DJs at a radio station named WUXIA.

The soundtrack is another corker (Tyler Bates and Joel J. Richard also having been a part of the series since the first film), the production design throughout keeps things well-balanced to show us bright colours and neon lighting in between moments of stealth in more shadowy areas, and there’s an equally fine job done, as ever in this series, of blending the editing and special effects with an overview of the frenetic action.

I doubt the series will end here, but I will not be unhappy if it does. It’s hard to think of what they could do to top this. You have all of the violence and death, all enjoyably creative, you could hope for, but there are also a couple of thematic strands running through the whole thing that give it some more weight, and keep you remembering what everyone has at stake. And you shouldn’t underestimate the glee you can experience from watching our hero repeatedly smack someone in the head with nunchucks. It’s almost downright cathartic.

8/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews

Netflix And Chill: Case 39 (2009)

A high point in the filmographies of both director Christian Alvart and writer Ray Wright, Case 39 is a slick and enjoyable, and quite ridiculous, mainstream horror movie that takes some familiar faces and unapologetically keeps them grounded in circumstances that keep getting more and more outrageous.

Renée Zellweger is Emily Jenkins, a social worker who finds her spidey-sense tingling when she is handed the file for her 39th "live" case, that of young Lilith Sullivan (Jodelle Ferland). It looks as if Lilith is being threatened by her parents (played by Callum Keith Rennie and Kerry O'Malley), and Emily wants to get her to a safe space, helped by her boss (Wayne, played by Adrian Lester), a psychologist friend (Doug, played by Bradley Cooper), and a detective (Ian McShane). But things star to occur that make Emily think she has misread the situation. Were people trying to harm Lilith? Or were they trying to protect themselves from something else?

I first watched Case 39 a few years ago. It was never high on my list of priorities, and I basically dismissed it as a very standard horror movie, with twists and turns easily spotted by those with even the most cursory interest in the horror genre. That was probably a little bit unfair. Although full of moments that you've seen before, Case 39 also has a few really good set-pieces and tries to plot everything out with a passing nod to some kind of reality. 

Alvart directs it well enough, making good use of some decent CGI and not shying away from some of the bloodier moments (one or two should make you wince). Wright clearly knows that he's walking a tightrope between something nasty and something quite silly, and he shows that in a number of scenes in the third act that allow for some more playful interactions between Emily and Lilith, with a more truthful picture exposed and the two characters testing one another.

Zellweger is very good in her lead role, whether she's a concerned worker or someone who ends up at the end of her rope. McShane puts in another of the many great performances he has been delivering over the past few decades, Lester and Cooper are both very good (with the latter getting what I would say are the two best scenes in the movie), Rennie and O'Malley get interesting character arcs, and Ferland has a lot of fun in her role. Everyone pitches their performance at just the right level, which helps enormously, especially as things hurtle towards an enjoyably entertaining ending.

Still not a title I would suggest people prioritise over many other viewing options, Case 39 does at least deliver a fun time for those after some undemanding horror. And it's a nice riff on the many "bad seed" movies we have seen over the years. It's also a reminder to check out the wonderful cosplays that Ferland does nowadays (check her out on Instagram at . . . @jodellecosplays).

6/10

https://ko-fi.com/kevinmatthews

Hellboy (2019)

Hellboy is the weakest film yet from director Neil Marshall, who has been away from cinema screens for far too long (his last solo project was Centurion, almost a decade ago). But a weak film from Neil Marshall is still something that I'll happily watch ahead of films from many other directors. Because Marshall has consistently provided me with entertainment, thrills, and some of the best moments in modern genre cinema. So, despite the critical and commercial failure of this movie, I was always going to give him my time.

David Harbour is the actor now taking on the main role, and Ian McShane is his father figure, but this will all feel very familiar to fans of the property. All you need to know is that an evil sorceress, a "blood queen" named Vivienne Nimue (Milla Jovovich) is trying to come back and get her revenge, despite having been dismembered and her body parts placed in different locations, and part of her plan involves Hellboy taking charge of Excalibur and unleashing a kind of hell on Earth. Hellboy is helped in this adventure by a young woman who can communicate with the dead (Alice, played by Sasha Lane) and a skilled soldier type (Ben Daimio, played by Daniel Dae Kim).

I could spend just as much time writing about all of the little mis-steps that stop this from being a great movie, but I am choosing instead to try and heap a little praise upon it. Enough people have told you why you should give it a miss. I am going to try and convince you to give it two hours of your time.

First of all, forget the previous Hellboy movies. They are fantastic, and few people have the same attention to detail when it comes to creating cinematic worlds as Guillermo del Toro. So it's important to remember that as you go into this. It's not a Del Toro film, and it's not trying to be. I think too many people gave this a viewing while still holding on to their love (and well-earned love, at that) for those other movies.

Second, this is a good cast. Harbour does well in the main role, and McShane has become a master of stealing scenes while appearing in smaller roles in recent years. Jovovich has a blast as the big baddie, and is especially fun in the roles that have her still waiting for her body to be fully assembled. It's a shame that Lane and Kim aren't as much fun as they could be, let down by a script that doesn't seem to know what to do with them for large sections of the runtime, but that's compensated for by the performances from Sophie Okonedo, Thomas Haden Church (in a brief cameo), and Stephen Graham, voicing a "henchman" creature named Gruagach.

Although the script by Andrew Cosby may not be as strong or interesting as it could be, everything moves along energetically enough, with some fun set-pieces interspersed throughout that allow Marshall to deliver some blood and guts around people who roll their eyes and swear at the monsters attempting to push them off their mortal coil.

The special effects are varying in quality, the score from Benjamin Wallfisch is foot-stampingly good, and the whole thing is just a flawed bundle of messy fun. Which is sometimes the best kind of fun (hey, get your mind out of the gutter). Give it a watch and you may agree.

6/10

You can buy the movie here.
Americans can buy the movie here.

John Wick: Chapter 3 - Parabellum (2019)

Here we are then, the third in an action movie series that has gone from strength to strength as more and more people have discovered it. If John Wick was a little action movie that seemed to come out of nowhere and blow away fans of the genre with the action set-pieces, and the second film took what was good about the first and tried to expand the cinematic universe in some interesting ways, this third film has the pleasure of making everything that much bigger, and arguably better. There are more people after John, there are more fights, more deaths, we find out a bit more about the power structure of the people that John used to work for, and there are set-pieces here that are jaw-droppingly good.

The story follows straight on from the end of the second film. John is given one hour to make himself disappear. Then he's done. Ex communicado. And with one hell of a bounty on his head. This leads to the first of many great action sequences, involving books, knives, and horses, as the opening act rattles along at a pace you know can't possibly be maintained. John has a plan to save himself, it's a long shot though, and he is going to call in every last favour he can, which includes getting back in touch with a woman named Sofia, who has two of the best-trained dogs you'll see in action cinema. Considering the size of the bounty, the huge array of firepower about to be aimed at him, and the sheer number of his enemies, the odds of John Wick staying alive for a day or more are just about even.

Perhaps the best thing about this series is the consistency when it comes to those involved. There haven't had to be any changes in the lead players, Chad Stahelski has directed every one (and has proven himself to be one hell of a talent in the process, and Derek Kolstad has shaped the journey along every step (here joined by Shay Hatten, Chris Collins, and Marc Abrams). As well as Keanu Reeves still kicking ass in the lead role, you keep getting wonderful supporting turns from Ian McShane and Lance Reddick, and there is always a dog by the side of our hero (thankfully, I don't mean that in a literal sense, that would just be too intense). New additions this time around include Asia Kate Dillon as The Adjudicator, someone working for the High Table, who seem disappointed in the actions of Mr. Wick and those who have helped him, Halle Berry enjoying her best role in some time as Sofia, and Mark Dacascos as a charismatic villain who is prone to fanboying whenever close enough to also fight his new main target. Anjelica Huston and Jerome Flynn also join in the fun, in much smaller roles, and there are some excellent scenes for a returning Laurence Fishburne.

With the bright, clear visuals and the pounding soundtrack, from Tyler Bates and Joel L. Richard, you would be forgiven for being wary of this film leading to sore eyes and/or ears. That's not the case, however, as this series continues to show how major fight sequences can best be presented. The editing and smooth camerawork make every moment a joy to behold, as your eyes dart around to take in every move and impact without being pained by over-enthusiastic editing or poor shot choices. And the soundtrack works perfectly in sync with the visuals, so much so that I immediately added it to my playlist when I got home and now have it playing while writing this review.

There are some flaws. You start to feel the lengthier runtime during the middle section, and there are a couple of moments that feel fairly unbelievable, despite the skilful work of those who have generally turned this outrageous symphony of violence into a cinematic world that is all too easy to buy into. And there are a couple of sequences that I wish had gone on a bit longer (I hope we can see some more motorbike/vehicular action in any future instalments). But I really can't think of anything more that takes points away from this. Characters are developed in ways that remain true to their essence, the unfolding plot holds your interest without ever getting in the way of the action, and it retains the sly sense of humour that has been there from the first film, allowing everyone to grin and chuckle just as much as they wince.

John Wick: Chapter 3 - Parabellum isn't just a fun time. Like the first film, it is the new standard which all other mainstream action movies should aim for. I doubt many will get there, but it will be a lot of fun for us audiences to see others try.

9/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

John Wick (2014)

Oh boy. John Wick is jaw-droppingly good. There's no point in holding back here. This is the most fun I've had with an action movie since The Raid 2: Berandal or The Guest. Which makes 2014 a bit of a banner year for action movie fans.

Keanu Reeves plays the titular character, a skilled killer who is now retired. When one character remarks that he is made to sound like the boogeyman, another immediately corrects him. John Wick is who you would send to kill the boogeyman. So why is anyone bothered about him if he's retired? Well, a daft lad (played by Alfie Allen) decided to break into his home, beat him up a bit, kill his dog, and steal his car. And it's the death of the dog that spurs Wick back into action. The daft lad may have a powerful criminal for a father (played by Michael Nyqvist) but that won't help him. Perhaps nothing will.

I'd like to read the screenplay for John Wick, written by Derek Kolstad, because I can only imagine that there are a few pages of character set-up before eighty pages that just contain the words "Wick shoots everyone in the face" - possibly scrawled in red ink. Because that's what makes this movie so fantastic. It's not a sanitised film trying to get a more lenient rating that will allow younger viewers to check it out in cinemas. This is a violent, bloody, brilliant piece of choreography.

Chad Stahelski, and David Leitch (who co-directed and co-produced with Stahelski), can bring the pain. They obviously worked closely with the stunt team to showcase physical routines that blend cinematic magic with details and moves that feel very real. Throw a lively soundtrack on top of the frenetic action and you have an easy crowd-pleaser for action junkies.

Reeves is better than ever here, adding to his not-inconsiderable roster of classic action movie heroes with another performance that requires him to be at his very best, both physically and in terms of attitude. The fact that none of the supporting players feel completely overshadowed is testament to the efficient script and the great casting. Allen is amusing as the hot-headed youngster acting brave until in very real danger, Nyqvist is great as the man who fears and respects Wick, while also doing everything he can to protect his foolish son. Willem Dafoe may be out to help our main character, may be out to harm him. Either way, he's excellent. And Adrienne Palicki is enjoyable as a dangerous female looking to score big when a price is put on Wick's head. Lance Reddick, Ian McShane and John Leguizamo round things out nicely, all making the best of their limited screentime.

It's genuinely hard to imagine any action fan disliking this movie. Okay, animal lovers will be upset by the motivation for the main killing spree, but it's that seemingly minor plot point that also makes this such a pure, enjoyable experience. Wick is a good man capable of very bad things, and you never once feel that he's going too far when the extent of just what he's had taken away from him becomes clear.

One to see/buy as soon as possible. I know that I'm already dying to rewatch it as soon as I've finished writing this review.

9/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

Cuban Fury (2014)

It's an age old story. Boy loves salsa dancing. He excels at it. He is then bullied on the way to a major competition and falls out of love with salsa dancing. He grows up to be a man without fire in his belly (Bruce, played by Nick Frost), but finds his passion reignited when he falls for a woman (Julia, played by Rashida Jones) who, yep, enjoys a bit of salsa dancing. That leads him to finding his old salsa dance instructor (Ian McShane), and also pits him against a repugnant colleague (Chris O'Dowd) who has also taken a shine to the lovely Julia.

Okay, maybe it's not quite the same old story that we've seen/heard so many times before, but the structure of this film is obvious and predictable. Yet, it's also none the worse for it. This is absolutely wonderful, crowd-pleasing stuff. The predictability of the plotting makes it as comfortable as the favourite sweater that you look forward to wearing whenever the temperature starts to drop, and the script and performances provide some big laughs.

Nick Frost is a very likable lead, Jones is an entirely believable object of affection, and O'Dowd has a lot of fun as the asshole making everything more difficult for the main character. McShane is wonderful as the gruff, grouchy dance instructor who resents Bruce for what he threw away in his youth, but the supporting cast also includes some fun turns from Rory Kinnear, Olivia Colman, and, especially, Kayvan Novak.

The script by Jon Brown is full of great lines, with one of the first comments made by O'Dowd about the loveliness of Jones actually making me howl with laughter for a good while, thanks to the unexpected crudity and inventiveness of it. And it wasn't the only bit of dialogue to make me laugh aloud. You might think that's the minimum requirement for a decent comedy, and you'd be right, but it's also increasingly rare to watch something that hits the funny bone so precisely throughout, especially a romantic comedy. James Griffiths doesn't have to work too hard in the role of director, or so it would seem, but he puts everything together well and certainly helps to make the most of the expected touchstones (the montage moment, the inevitable dance-off, the grand finale, etc.).

The other big plus point for the movie is that everyone, to a certain degree, sells it so well. I'm well aware that a mix of techniques will have been used to achieve the desired final effect, but there are plenty of moments that show how nimble on his feet Nick Frost can be. The same goes for Jones, Wilde, and O'Dowd. Considering the fact that the whole movie is focused on salsa dancing,  everyone looking as if they CAN actually salsa dance makes it easier to enjoy the whole thing as it spins and twirls you to a satisfying conclusion.

Don't rush to see Cuban Fury when you want to see something challenging and/or unique. But definitely give it a go if you fancy keeping a smile on your face for just over 90 minutes.

7/10

http://www.amazon.com/Cuban-Fury-Blu-ray-Ian-McShane/dp/B00JAQLMO8/ref=sr_1_3?s=movies-tv&ie=UTF8&qid=1404965560&sr=1-3&keywords=cuban+fury

Hot Rod (2007)

Personally, I think that Hot Rod is hilarious. It's inconsistent and not one of my favourite comedies of all time, but it's damn good during the many moments when it hits that sweet spot. I also know that many people absolutely hate it so do remember that, just in case you somehow take in my praise of the movie, give it a watch one day and end up hating it so vehemently that you feel the need to track me down at home and urinate all over my movie collection.

Rod Kimble (Andy Samberg) is a young man who spends his time creating and taking part in fearless stunts. He's supported by a team that includes his younger brother (Jorma Taccone) and two good friends (Danny McBride and Bill Hader). The only problem is that Rod isn't a very good stuntman. In fact, he's rubbish. When it comes to light that his stepfather (Ian McShane) is very ill, Rod is determined to finally do something right and to raise the money needed to save his life. He will have his own courage, the spirits of the animal kingdom, a number of '80s power ballads and a very cute lady named Denise (Isla Fisher) to help him. But will it be enough?

You either like this kind of comedy or you don't. It's not surprising to learn that this was initially created as a vehicle for Will Ferrell, but Samberg brings the same unrelenting silliness to the role and proves to be fairly likeable in the lead role, even if his character teeters on the edge of being a complete douchebag at times.

Director Akiva Schaffer does a perfectly acceptable job with the material and the script by Pam Brady is full of fun lines, though I assume that a lot of improvisation was also incorporated considering the people involved.

Ian McShane has good fun throwing insults at his onscreen stepson and beating him in many fights, Will Arnett sneers dismissively (and hilariously) at Rod and his chums and there are many great lines and moments from Taccone, McBride, Hader, Fisher, Chester Tam (always dancing and eager to help the troupe) and Chris Parnell (promoting the magic of AM radio). Sissy Spacek may not get as much to do, but she's the kind, calm centre of Rod's life.

Featuring the best use of classic tune "You're The Voice" by John Farnham and a hilariously brilliant spoof of a memorable Footloose scene, this movie may have its heart in the '80s, but it's a comedy that fans may well find themselves revisiting again and again in the future.

7/10

http://www.amazon.co.uk/Hot-Rod-Blu-ray-Sissy-Spacek/dp/B001S3GDQS/ref=sr_1_2?ie=UTF8&qid=1359208278&sr=8-2