Solo: A Star Wars Story

There’s been a lot of scepticism surrounding this latest spin-off from the Star Wars universe. It had a famously troubled production, with original directors (The Lego Movie’s Chris Miller and Phil Lord), effectively ‘let go’ by the studio well into the shoot, over creative differences. Reportedly, the duo wanted a tone closer to the zippy self-referentiality of the Guardians Of The Galaxy franchise, whereas Lucasfilm were aiming for a nostalgic feel, more in-keeping with the original Star Wars trilogy.

  Veteran director Ron Howard was brought in, and apparently shot around 70% of the finished film - but the joins aren’t noticeable at all.

It’s a fresh, funny, very exciting addition to the lore of the canon, that’s an extremely entertaining adventure in its own right, but also pays homage to the spirit of the earlier instalments. This is particularly evident in John Powell’s score - listen carefully, and there’s a few reprises of John’s Williams’s triumphant theme!

  It obtains the right balance between being old-fashioned in its almost Western-esque sensibilities, while also telling us the humble origins story of one of the most iconic, best loved characters in the franchise: Harrison Ford’s Han Solo.

  Alden Ehrenreich (hilarious in the Coen Bros. Hail Caesar) steps into those swaggering shoes - and he handles it terrifically, with the perfect mix of smooth charm and edgy recklessness. He doesn’t need to copy Ford’s grouchy cynicism, but captures just enough of the essence of Han’s slightly morally unorthodox methodology - plans that seem risky but always win the day - to definitely convince us.

  There’s plenty of dazzling special effects and energetic set-pieces -  chases on speeders, trains and the Millennium Falcon. There’s also an impressive supporting cast: Emilia Clarke as Qi’ra, Han’s mysterious love interest, Thandie Newton as no-nosense trooper Val, cute little co-pilot Rio - and a brilliant villain in Paul Bettany’s Dryden, brandishing red laser-boomerangs. There’s a huge surprise at the end too, but I won’t give it away!

Rating: * * * *

Avengers: Infinity War

Never before has a Marvel superhero movie been more hotly anticipated, either by the in-built fan-base - or occasional admirers alike, than Avengers: Infinity War. This is the much hinted-at culmination of the now 10-years standing MCU - that’s Marvel Cinematic Universe to the uninitiated. A unique bringing together of the vast majority of a lively assortment of Marvel characters - for the very first time.

The titular Avengers - Robert Downey Jr.’s fan favourite, Iron Man (his fast-talking cynicism’s wearing a little thin), straight-laced stoicism from Chris Evans’ patriotic Captain America, Chris Hemsworth’s hammer-wielding Thor, Mark Ruffalo’s ‘smashing’ interpretation of The Hulk, and Scarlett Johansson’s slinky but lethally athletic Black Widow - finally team-up with that brilliant rag-tag bunch: The Guardians Of The Galaxy.

  I have to be extremely careful not to give away any plot spoilers - so much so that the Twittersphere goes into meltdown. This leviathan installment, sees them collaborate in their inimitably unconventional style, to battle Josh Brolin - (in impressively expressive motion-capture) - as relentlessly sadistic, giant purple warlord Thanos…

The customary, trademark zippy dialogue, sees characters clash, bouncing off each-other as wonderfully as ever, meaning the vital element of occasional blasts of humour, is mixed in amongst all the action spectacle.

 The hype’s justified - this is an extremely entertaining piece of mainstream block - or rather ‘Hulk-buster’ filmmaking, at its most ambitiously elaborate. The intricately delicate calibration, of balancing and intertwining over thirty superhero’s narrative arcs, is handled expertly by director brothers Anthony and Joe Russo.

 My favourite character is Star-Lord, played as hilariously as ever by Chris Pratt. A particular highlight, sees him compete with Thor to see whose voice is deeper, in a bid for ultimate masculinity: ‘He’s trying to copy me!’.

 As soon as I heard returning composer Alan Silvestri’s signature theme of celebratory, unashamedly heroic orchestral sweep soar - reaching its powerhouse crescendo - I was in my fan-boy element!

However, be warned: scenes setting up 2019’s fourth chapter, pack a sombrely emotional, deeply shocking punch…

Rating: * * *

The Potato Peel-Pie Society

Based on the best-selling 2008 novel with the same elaborately unique name, this warm, charming film is a gentle tale combining community, wartime nostalgia and the power of literature - all in the picturesque setting of the idyllic Channel Islands.

  Flashing backwards and forwards between World War II and present-day 1946, it follows our protagonist, touring author Juliet Ashton (another impressive performance from Cinderella and Darkest Hour’s Lily James), who’s written a letter by a member of the secret society of the title. It’s a secret, because this small population are living under the unrelenting grip of German occupation, and form the club as a way to seek solace in reading - away from the horror of war. Their story of triumph over adversity strikes a chord with reporter Juliet, who wants to write an article about them. As she delves deeper, she discovers tragic secrets which no one must ever know, as well as passions of her own…

  Originally, Kenneth Branagh was set to direct this adaptation, with Kate Winslet cast in the lead role. However, this never materialised, after that version of the production stalled.

  Mike Newell was hired, the veteran director behind such eclectic hits as Four Weddings, Johnny Depp gangster thriller Donnie Brasco and one of the best Harry Potter films - The Goblet Of Fire.

  Some artistic liberties have been made. The letter-writing format of the novel remains only partially intact - the film it’s most reminiscent of is 2017’s Their Finest starring Gemma Arterton, another wartime-set moral-booster with a similar mixture of warmth, courage and crucially the art of correspondence - with a strong female at its centre.

There are some moments of humour, but this isn’t strictly a comedy. Although World War II is only cursorily shown, in favour of foregrounding cosiness, some moments are very moving. This is thanks to an outstanding performance from Penelope Wilton as a frosty but heartbroken widower Amelia. There’s strong support too from Tom Courtenay, and Scream Queens’ Glen Powell as an American fiancée.

Fans of the source material should enjoy it, preferably without a slice of apparently revolting Potato Peel-Pie!

Rating: * * *