Amy (15)

It's a funny feeling, going in to a film when you already know the ending.

Yet, just like with Senna, director Asif Kapadia constructs an enthralling narrative, building the tension as the inevitable conclusion looms.

It helps, of course, if you can't remember the actual all-important date. And if you can't, don't go looking it up before you go.

Compiled through home-filmed footage, YouTube clips, news bulletins and other documentaries, Amy delivers a raw and brutally honest portrayal of a woman never built to be the huge star she became.

Starting in 2001, we are guided through her early career, the highs, lows and creative inspiration as Amy builds towards her debut album.

What becomes immediately apparent is that this is someone with good friends, who care for her as much as she cares for them.

What also shines through is her talent.

Sure, we've all got the albums, we've all heard the singles, we all know she could sing - but when, in the opening minutes, you see her sing Happy Birthday to her friend, you are mesmerised.

This isn't a Britney wannabe. This is someone with a gift.

As the story unfolds, Kapadia does an excellent job in apportioning blame.

Father Mitch - never a stranger to the media spotlight - has already spoken out about how he is portrayed in this film, and he's right.

He doesn't come out of it well.

But it's not anything to do with the editing or a pre-determined narrative.

It's from the horses mouth.

Well, actually several horses.

By using interviews with everyone involved at the various stages of Amy's life and career, points when people should have intervened are flagged up and allowed to just sit with the audience.

You are left to make your own mind up.

But it's fair to say sympathy for a man who had the power to send her to rehab and didn't is hard to find.

But, much as I'm sure he'd like it to be, this isn't a film about Mitch.

No, it's a touching, engaging and emotive story of a woman who just wanted to sing, but became too famous for her own good.

Insights from doctors and rehab practitioners allow you to judge what went wrong, with whom and when, but again Kapadia is not directing the audience.

Although how anyone could walk away thinking well of her manager is beyond me.

No, Kapadia is just telling the story in a warm, sensitive way.

And the thing he captures perfectly is the vulnerability and beauty the tabloid tales chose to ignore.

As the collage of clips is assembled, you fall for the future jazz star. You're enthralled by her.

Actually putting her lyrics on screen as she sings goes a long way to enforcing this as well.

And when it all starts to crumble, you just want to reach out and help, or shout at someone else to do something.

In fact, you're so wrapped up in the tale, that the final chapter has huge emotional weight.

You are almost shocked, but you are also left feeling angry that those best placed to save her let her down.

This is not a conventional documentary by any stretch, but then Amy Winehouse was never a conventional artist.

But by combining such different footage - and adding a certain pop video sensibility to some of the proceedings - Kapadia has proven himself to be a master of the genre.

There will be those who don't think they need to see Amy because the tabloids told them everything, but that misses both the point of this film and the chance to see a true star in action.

Mr. Holmes (PG)

Sometimes the universe is a kind and generous place.

For weeks I have been hoping to find the time to get to see Mr Holmes. After all, it wasn't going to be a big box office hit so I had to be quick.

Fate conspired against me again and again, and yet Mr. Holmes kept being around. Clearly this was proving to be a bigger hit than first seemed possible.

And finally, the sun shone down.

Literally and figuratively.

And as an added bonus, it was every bit as good as I hoped.

Based on the book A Slight Trick Of The Mind by Mitch Cullin (which seems to have been repackaged as Mr. Holmes), the story centres on the world famous Sherlock thirty years after he retired from active duty.

Through flashbacks and "current day" musings, we see Sherlock piece together his final case while fighting the ageing process and the onslaught of Alzheimer's.

Taking centre stage with what should become one of his defining roles is Sir Ian McKellen, who captures the old man perfectly while also bringing the classic character to life in his prime.

And it's this balance that helps make the film what it is.

It would be easy to use make-up and prosthetics to show the aged Holmes, but McKellen uses something known as acting instead.

His physical changes and the mannerisms he employs capture perfectly a man no longer at home in his body and mind.

It's the subtlety of his performance that makes the role of Holmes - and the film as a whole - the modern classic it will surely become.

But he doesn't carry this film on his own.

Oh no.

By his side is one Milo Parker.

Now, if you haven't heard of this kid don't be surprised, as this is only his second film project, but for a young boy he delivers a performance of depth and control that should be way beyond his years.

Credit must go to director Bill Condon, a man who's CV (The Fifth Estate and the last two Twilight films among others) far from suggested he could produce a film so gentle and delicate.

Yet, somehow, he pulls stellar performances from the entire cast, while making a film that evokes memories of a bygone age (think 80s Marple mixed with a smidge of Downton).

But this isn't just a nostalgia piece.

Amidst the mystery - which adheres to the traditional tropes created by Sir Arthur Conan Doyle - is a story about grief and loss, age and friendship, with emotional punch and weight.

And it's this that makes the film what it is.

It could have been fluffy, it could have been a simple homage to a literary legend, but instead you get a serious drama - with laughs - made with warmth and humanity that is attracting audiences of all ages (at least going by my screening).

In an age where the fifth Terminator movie is with us, a fourth Jurassic Park is still there and a fifth Mission:Impossible is looming large (not to mention the ever-rolling Marvel juggernaut), to see a simple story prove such a success is heart warming.

There's no gimmicks here, no tricks. Sure it pulls at the heart strings, but that's down to the characters and the actors portraying them.

Without any flash or bang, Mr. Holmes lives long in the memory, reminding you of a time when the story was what really mattered.

The Longest Ride (12A)

I have never knowingly watched a film based on a Nicholas Sparks book, and this is something I've been quietly very proud of.

And it seems I've accidentally proved myself right, because despite seeing the trailer and thinking it looked pants I found myself sat in front of his latest offering today.

I'd quite forgotten what the trailer had featured, such was its impact, and I'd either missed or forgotten that Sparks (he of The Notebook, Dear John etc) was ultimately to blame.

The story, such as it is, follows the path of true love with student and future art-loving intern Sophia (Britt Robertson) and bull-riding bare-buttocked man hunk Luke (Scott Eastwood), who throw themselves together after pulling Ira (Alan Alder) from a burning car.

And rescuing his box of letters. These are vital to everything.

From here, and having previously agreed that they couldn't be together what with her moving to Manhattan n all, our loving couple set about being a couple while Sophia spends the hours she's not studying or smooching visiting her new hospitalised friend.

Contrived would be an understatement.

Through these hospital chats, however, Ira (I'm pretty sure Alder only took this part because he wouldn't have to stand or try to actually act) tells the story of how love conquered all for him and his beloved way back in '41.

There are subtle parallels being drawn between the two relationships, which could pass you by if you're not paying full attention.

By that I mean not fall asleep.

Because if there's one thing this film doesn't do, it's subtle.

The dialogue is weighty and meaningful to the point of making you laugh out loud, scenes of longing stares and love-filled smiles smack you between the eyes on a regular basis, while the product placement around the bull riding sequences would give the Bond team food for thought.

Basically, if this was on the Hallmark channel on a Sunday afternoon you'd think it a bit OTT. It's so sweet and sugary it should come with a health warning for diabetics.

And you'd really better love Country. And not just the music. Everything that's Country.

You get line dancing, the bull thing, more Nashville ballads than Dolly's managed in her entire career, boots and hats for all, and a massive ranch.

Obviously.

In fact, this film is so full of people looking longingly at each other in a Country way that bits of the plot seem to have dropped out.

It's the only explanation I can find for the number of times things are mentioned - and accepted as fact - despite never having been mentioned before.

It's like whole other conversations have gone on behind closed doors.

Or maybe while Ira's banging on about life and love in a bygone age.

And the damn thing is so polished you almost need shades to watch it. Even the nostalgia scenes have the same sheen.

Even the bit of war action is bloody polished! It's the best looking muddy field you'll ever see.

And it's long. So so long.

It's actually only two hours, but it feels like twice that. At least.

Which is hugely ironic given you only have to hang on to that bull for eight seconds. It takes skill to make eight seconds feel like a lifetime, but somehow director George Tillman Jr has mastered it.

His other half must be delighted.

All of this pales into insignificance, though, because what has annoyed me most about this film - more than the smouldering looks, the clear use of beefcake to appeal to a certain graphic, the slow-motion horse riding and the appalling dialogue - is that it made me laugh.

Just once, right at the end, and with a "twist" so cliched and obvious I'm ashamed by my own reaction, but sadly laugh I did.

That doesn't make up for the previous 115 minutes, though, even if it was a good laugh.

Jurassic World (12A)

Seriously, what do you want from me? It's not like you're going to pay attention to what I say when there's a dinosaur on the loose-about.

It's not even like you don't know what's going to happen this time round - the whole damn thing is in the trailer.

Even if you've never seen any of the other three, all shocks and surprises are served up in the three-minute taster.

Just in case you haven't picked up on the subtlety and nuance of the back story, however, here's a refresher.

Man with money makes big amusement nirvana with monsters. It all goes to poop. People are surprised that this could happen.

They even reference the first park (although politely ignore Lost World and III) without learning from their own history.

Mind you, neither have we - which is why we're watching this balloon juice.

Of course, this is not a mere repeat of earlier films, no no. That would be too easy.

Yes, there are moments of racing dinosaurs through the fields. Yes, people get chased through jungles. Yes, the aviary is still an issue.

But this time (and you'll like this new twist) they've made a new dinosaur.

A whole new one. Who can, it seems, hide it's body temperature, camouflage itself, hatch a complex escape plan...

All of which will be explained using expositional dialogue so leaden it could have been hewn from the rock the original fossils were found in.

And even if the obvious stuff doesn't bother you (and it should), there are subtler issues that annoy.

Things like it having seemingly rained just before the helicopter takes off, a man who has seen live action with the army yet doesn't remember what safety harnesses are for, oh and would you look at my Apple Watch it's time to mention the product placement.

How the dinosaurs manage to get away with running about without any branding is beyond me, because this film couldn't exist without the non-too-subtle advertising that's going on.

Frankly, it makes a Bond film look measured and principled.

If you can, try and keep count, and see how far you get before the final big fight scenes. I was well into double figures.

Once they start trashing the gift shop and mall, you'll lose count.

And yet none of this would matter if the plot was worth a damn.

Points are made all through the film that Aunt Claire doesn't stay in touch with her nephews and doesn't even know how old they are (NEWSFLASH: She doesn't have to, that's a parent's job).

And yet, knowing full well where she works and how little interest she takes in children, Aunt Claire is seen as the perfect person to send the children to for a weekend.

No pre-amble, no back story, just a swift "hey, kids, you're too young to remember all the times a dinosaur theme park went tits up - have a great trip!"

And again, if the plot was anything more than gossamer thin, this wouldn't bother you.

But this film has been stitched together after a meeting in a pub with people who only half remember the original, been wrapped in carrier bag from the stores of the world and just thrown at the screen.

To be fair to him, Chris Pratt does his best to carry the whole thing - and he clearly isn't taking it too seriously - but the rest of the cast are either out of their depth (in this puddle, I know) or clearly bored.

Bryce Dallas Howard has the look of a woman who remembers being in The Help and can't believe she let her agent talk her into this, while Judy Greer carries the air of a woman who remembers what it was like to be given a back story.

Lauren Lapkus, meanwhile, is the woman with two masters degrees and a PHD who can't believe she's being employed to answer a phone.

The only other person who comes out of this with any credit is Jake Johnson, whose years on New Girl have finally paid off as his comic timing and knowing subtle air almost makes the more ridiculous scenes bearable.

I should be more annoyed by this film than I am. I should be livid that I spent precious hours of my life watching a multi-million pound blockbuster that still - at times - managed to look shonky and cheap.

I should be annoyed that a film I approached with low expectations failed to meet them.

I should be annoyed that this film was a screaming pile of pterodactyl poop.

But I can't be.

Because when it has the word Jurassic in the title, we know what to expect. And even when it's this bad, it's still better than any other film about dinosaurs running wild YET AGAIN in a dinosaur theme park.

Can't wait for the next one...

Survivor (12A)

I was wrong about Survivor.

Last week, when I reviewed Spy, I lumped it in with other films that had Bond pretencions.

Now, in my defence, this is what the trailer would have us believe - Pierce Brosnan may have changed sides, but he was still the running, jumping, shooting guy he so loved being before being retired in favour of Daniel Craig.

But the trailer was misleading.

Instead, Survivor is a simple action movie with ambitions of being a thriller. And to be fair, at times it almost gets there.

The story focuses on Kate Abbot (played very well by Milla Jovovic), a government agent who thinks she's on to something.

Then things go boom, Brosnan's The Watchmaker (no, really) comes after her and she has to go on the run and try to stop a thing.

And that's pretty much it.

And it could have been brilliant.

Sadly, however, someone forgot to suggest a more subtle approach, and as a result this is a thriller where you don't have to do any thinking as the plot points are explained along the way.

Which is criminal, because with some better writing and more judicious editing, there could have been twists and turns instead of a laboured dash in a straight line.

Then there's the dialogue.

Clunky would be a kind word to use. Ridiculous and at times just down-right daft could also be brought in to play.

But it does look nice.

Cinematographer Danny Ruhlmann has done a fine job in making it look slick and atmospheric, with a lot of shadows helping to add atmosphere to cover up the lack of depth.

And, as I said earlier, Jovovich is in great form.

She is thoroughly credible as the American agent battling against the odds. She can handle the action scenes with ease, while being thoroughly believable when it comes to showing actual emotion.

Which is just as well, because Brosnan left his acting chops in his trailer.

Now, granted, playing the world's most wanted assassin (again, really) was never going to require a Shakespearian performance, but at times it feels like even he can't quite believe what he's being asked to say and do.

Brosnan that is, not Shakespeare.

And then there's his action scenes.

Not wishing to be unkind, but Pierce isn't getting any younger. Not a problem when playing a divorced dad in, say, The Love Punch or A Long Way Down (in both of which he is excellent), but when he has to slide down a light fitting?

Yes, it looks great, and has some lovely lighting techniques along with it, but he doesn't look comfortable doing it.

And running after Jovovich is no walk in the park either.

This, on the back of The November Man, would suggest it really is time he accepted he's not 007 any more and got on with making films with substance. Or intended laughs.

Mind you, he's not the only one who fails to have any sparkle.

Dylan McDermott, Frances De La Tour and Roger Rees are just three of the assembled cast who don't seem quite sure why they're there.

But even among all these negatives, there are some positives.

As well as looking nice, the action and explosions are good, and there is a brief spell where - even though you know who is doing what when - you do find yourself edging forward in your seat.

Which actually came as a bit of a shock, because not five minutes earlier I'd been picking apart another scene for it's basic daftness.

And not just because I enjoy doing that sort of thing, no. With Survivor, they kind of leap out at you.

Want to enter a cordoned off bomb scene? Just say "American embassy" to the Bobby on duty and he'll let you through. Need to meet someone at St Pancras around Christmas time? No bother, just drive there and park right outside. Want to stop a car getting in to a busy city centre? Don't speak to the driver, tell the passenger in the back...

Amazingly though, the positives do outweigh the negatives.

Sure, it's unsubtle (wait till you see what's on screen right at the end, just before the credits roll) and does all your thinking for you, but treat it as a 90-minute nuts-and-bolts action romp and you won't come away too disappointed.

Spy (15)

You may not have heard, but there's a new Bond film coming out later this year.

But don't worry if you can't wait that long, because there are two films out right now that will keep you ticking over.

Survivor clearly has aspirations to Bondhood, and even has a former Licensee To Kill at the helm in Pierce Brosnan. (There was also Spooks of course, but the less said about that the better).

Spy, meanwhile, has gone for a slightly different approach.

As you'd expect from Paul Fieg - the man who brought us Bridesmaids and The Heat - it's not a straightforward look at the spy genre.

Instead, it's got it's tongue firmly in it's cheek, it's heart (and there's a lot of love for Bond here) in the right place and - as you'd expect from Fieg and Melissa McCarthy - a bucketload of gags.

The story is not what you'd call complicated - after watching her spy partner Jude Law get shot, McCarthy steps up to go after Rose Byrne's Roya Boyanov, enlisting the help of Miranda Hart (yup, that one) and Peter Serafinowicz.

And the hindrance of Jason 'The Stathe' Statham.

And no stone is left unexploded in the team's bid to pay homage to a franchise everyone clearly loves.

There's a small amount of lampooning, as the women tend to come out on top, but this isn't a Spy Harder or a Hot Shots Part Deux.

Instead, it's Statham and Law's chance to play 007 with slapstick and puke gags thrown in for fun.

And fun it really is.

It's loud, brash, violent (all the blood never spilt in a Bond film is shed here), gross, ridiculous and - perhaps most surprisingly - subtle.

While the big laughs come with McCarthy throwing up after killing someone, or fainting over another corpse, the real gems are in the Bond geek moments.

Ever noticed how Bond films always feature a mildly patronising "local culture" scene every time Bond arrives somewhere knew (which is also handily spelt out on the screen)?

Fieg has.

And every new location is treated to this, and never in a way the local tourist board would appreciate.

Then there's the fight scenes.

Fieg gets right in close, so you can feel every bone break (as well as see and hear it). Every twatting with a frying pan rings around the cinema.

But it's not just a slapstick barf fight.

As well as the glamour and the action, Spy knows it has to have some sort of story with twists and turns (and a large amount of the ridiculous to hold it together) and Fieg delivers here too.

People pitch up out of nowhere to save the day, coincidences handily tie the story together, and there's a casino scene which will have Casino Royale fans grinning like idiots.

That's not to say Spy is perfect.

Miranda is asked to do nothing more than play Miranda - which may help shift her TV show stateside but adds nothing extra here - which is a shame when she can clearly act, and there's a very odd moment when Byrne has overdubbed herself. Obviously so.

There's also a point about an hour in when it feels like you've been in the cinema for days, but somehow Fieg manages to claw it back for his grand finale.

And the celebrity cameo is painful.

But.

All that said.

Spy is a whole bunch of swearing-stuffed fun.

Statham, Law and Serafinowicz are all clearly having the time of their lives, with Serafinowicz in particular almost stealing the show from McCarthy.

Not that that was ever really going to happen.

This is, after all, her show, and again she shows why she is one of the best comedy film actors around today (Mike & Molly never happened, OK? NEVER).

She gives her character depth, her delivery is faultless and she even takes on the action stuff head on and wins.

Spy isn't hard hitting, gritty or satirical. But it shouldn't be.

What it is is a massively fun way to while away a couple of hours.

It won't change your life, but it will make you laugh. A lot.

And that's almost the same thing.

Pitch Perfect 2 (12A)

I still remember watching Pitch Perfect for the first time.

A Glee episode with a better cast was not my idea of fun, but it had so much heart and humour you couldn't help but fall in love with the damn thing.

And they had the decency to leave it as a stand-alone film...

Or not.

Sigh.

Oh well, what else you gonna do on a sunny Sunday afternoon?

Picking up three years after they left us, PP2 has the girls still together and still hugely successful on the acapella scene.

Until Fat Amy has a slight accident in front of the President.

Still, from such unlikely scenarios comedy sequels are born, and so the girls set about regaining their reputation while having personal growth moments en route to the World Championships in Denmark.

Where else?

If you saw and loved PP1, PP2 has everything you want. It's not quite as good as the original (but hey, what is?), but that really doesn't matter.

Anna Kendrick and Rebel Wilson again lead the way, re-energising their characters with huge amounts of warmth and humour, while (as before) the rest of the cast help add to the chaos and the fun.

Holding the whole thing together once more are John Michael Higgins and writer/director Elizabeth Banks as the bitchy commentators who are now running their own podcast and seemingly somehow not getting sued in the process.

Granted, this is not as flawless as the first film - a lot of scenes end up feeling like sketches that have been loosely linked and the German group feel more than a smidge cliched - but it makes you laugh.

There are cheap gags, clever gags, slapstick gags, moments that make you squirm... It's got the lot.

And more cheesy pop and rock songs than you can shake an oar at.

Plus a list of cameo stars that no self-respecting dog could sniff at.

And that's why you can forgive the flaws - up to, and including, the fact no one actually sings acapella as there's always a sodding drum machine kicking about somewhere.

And everyone's been auto-tuned beyond repair.

But hey, that's the modern music industry folks. Quibbles over...

One of the clever tricks PP2 pulls is to sneak in some really dark bits of humour to puncture the more sweet moments, meaning you're never quite sure where it's heading next - while at the same time knowing exactly where it's heading.

It's not dark, or edgy, but that doesn't matter - it's a comedy, it's job is to make you laugh, and it manages that in fine style.

And yes the ending is about as saccharine as you'd expect, but by then you won't care about the fact your eyes seem to be leaking.

Just make sure you stay for the post-credit Voice sequence.