Prime Time: The Map That Leads To You (2025)

Although The Map That Leads To You is based on a novel by Joseph Monninger, you'd be forgiven for thinking it was based on a novel by Nicholas Sparks. There are attractive leads, romance blossoming after an inauspicious start, and a secret that could make or break the potential future of the relationship. So, yeah, it's a "Nicholas Sparks movie" in all but name, essentially.

Madelyn Cline is Heather, a young woman on a holiday to Europe with her two friends (Connie, played by Sofia Wylie, and Amy, played by Madison Thompson) before she's due to head home, where she will start her career in the world of banking.  She meets Jack (KJ Apa) on a train, and we know he'll become a main character because he's the kind of free spirit who climbs to the overhead luggage racks in order to try sleeping during this part of the journey. Connie ends up getting on with Raef (Orlando Norman), who is a friend of Jack, and it's not long until Heather is won over by Jack's charm. 

Adapted into screenplay form by Vera Herbert and Les Bohem,  two writers who have a decent bit of variety in their respective filmographies, this is very comfortable and predictable stuff. It's aimed squarely at those who want something romantic to watch, presents everything through a filter of glorious sunshine and idealism, and there are enough moments throughout to make you smile in between the manipulative moments that try to make you leak slightly from your eyes.

Cline and Apa are perfectly fine leads, with the latter having the benefit of playing the more fun and livelier of the two characters, and they're matched by Wylie, Thompson, and Norman, all defined by their youthfulness and looks ahead of any really deep characterisation. Josh Lucas has a couple of scenes, required to do nothing more than play the concerned father, and he's not bad either. The locations are the real star though, in specific terms and as a reminder of the beauty of a world that far too few people have the time to truly appreciate, with the exception of that one annual holiday when we often want nothing more than relaxation and some tanning time.

Director Lasse Hallström may not put any unique stamp on things, but he approaches the material with the skill and finesse that he has had throughout his lengthy film career. I would recommend at least half a dozen other movies from him ahead of this one, but none of them would necessarily hit the exact same sweet spot that this hits for those in the mood for glossy romance. Mind you, that's only because I would be unlikely to recommend either Dear John or Safe Haven (both based on, yep, novels by Nicholas Sparks) ahead of the likes of Chocolat, My Life As A Dog, What's Eating Gilbert Grape, and a few others.

This wasn't made for me. The fact that I didn't hate it is more to do with how easygoing I am when I sit down to watch any movie. It was nice to watch with my partner though, considering the many times she has had to sit there and tolerate movies that were much more in my wheelhouse, and sometimes you just want something that can play out while you have snuggles, whether those snuggles are with a partner, with a pet, or with a tub of your favourite ice cream.

5/10

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Yule Love It: The Nutcracker And The Four Realms (2018)

Here's another film that wants to tell you "the story you know" in a fresh reworking, allowing them to advertise it as "the story you think you know", or some such. It's a visual treat, in places, and you hear familiar musical refrains throughout, of course, but this take on The Nutcracker is ultimately a Christmas confection that looks sweet but has nothing decent at the centre of it.

Mackenzie Foy is Clara, a young woman who is upset on Christmas Eve, first by a gift left for her by her deceased mother, a puzzle egg that she can't figure out, and then by an argument with her father, stemming from her refusal to dance with him. But everything changes when Clara ends up being taken to a different world by Captain Philip Hoffman AKA The Nutcracker (Jayden Fowora-Knight). There are four realms, and Sugar Plum (Keira Knightley) tells Clara that they are all currently under threat of attack from Mother Ginger (Helen Mirren). Things happen. Characters fight. Everyone looks like they just lost a wrestling match with a Christmas tree.

Initially directed by Lasse Hallström, and then a month of reshoots were overseen by Joe Johnston, The Nutcracker And The Four Realms was a film I was looking forward to, despite the poor reception it had at the box office. I like both directors involved, I like a number of the main cast members, and you should know that I certainly like me a Christmas movie. The fact that this ended up so poorly handled is a surprise, because all of the elements would seem to be in place to make it quite the magical adventure.

The script, by Ashleigh Powell, isn't terrible, but is perhaps a shaky foundation upon which the movie rests. The plotting feels as if Powell was constantly wary of making sure that she checked off everything we would expect from the story, while she was also striving to make it feel a bit fresh. It turns out that trying to manage both isn't possible, at least not in this instance.

But a script that may lack some confidence can be overlooked while you are being treated to some razzle dazzle in the visual department. Weirdly, this looks nice throughout, but never fully embraces the look and feel of the season in the way that the main characters do. The costume designer knew what to do, but it seems that others were afraid of giving everything a sprinkling of magic and stardust. There's some, and it's good, but not enough.

Foy is a decent enough, if rather bland, lead. Fowora-Knight is the same. Thankfully, Knightley has a lot of fun in the role of Sugar Plum, and Mirren delights as Mother Ginger, simply because she's Helen Mirren. There are fun little roles for Omid DJalili, Jack Whitehall, and Richard E. Grant, while Matthew Macfadyen, Meera Syal, and Morgan Freeman portray the main adults that we see in the real world, with Macfadyen the father just hoping to dance with his daughter.

Ironically enough, this could work like so many Hallmark movies do, as something pretty to have on while you wrap presents and do other Christmas Day prep. But unlike those movies, it wasn't designed for that purpose. It was supposed to be one of those films billed as "a classic tale, reinterpreted for a new generation". And it isn't. It's just a slightly-below-average fantasy film.

4/10

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