THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES (2023)

Years before he became the tyrannical president of Panem, 18-year-old Coriolanus Snow remains the last hope for his fading lineage. With the 10th annual Hunger Games fast approaching, the young Snow becomes alarmed when he's assigned to mentor Lucy Gray Baird from District 12. Uniting their instincts for showmanship and political savvy, they race against time to ultimately reveal who's a songbird and who's a snake.

In The Hunger Games cinematic universe, The Ballad of Songbirds and Snakes emerges as an ambitious prequel directed by Francis Lawrence and penned by Michael Lesslie, Michael Arndt, and Suzanne Collins. However, the noticeable absence of Jennifer Lawrence, a key figure in the prior films, sets the stage for a narrative unfolding decades before the emergence of Katniss Everdeen.

The storyline unfolds 64 years before the inaugural Hunger Games film, situated in a post-war Panem. It paints a portrait of an almost desolate Capitol and introduces us to an 18-year-old Coriolanus Snow, portrayed by English actor Tom Blyth. Snow, a naive student at the prestigious Capitol Academy, becomes entangled in a significant twist commemorating the tenth Hunger Games anniversary. The film introduces Lucy Gray, a vibrant and rebellious tribute played by Rachel Zegler, infusing her character with Southern charm and a penchant for spontaneous song.

With a runtime of two hours and forty minutes, the film delves beyond the Games, chronicling Snow's transition from an earnest participant to the mastermind orchestrating the brutal Hunger Games. However, this transformation feels hasty and lacks focus, diminishing the impact of Snow's evolution.

Ballad endeavours to explore a Panem on the brink of moral ambiguity, a society not entirely desensitized to the gruesome spectacle of the Games. It aims to reflect on media consumption and societal indoctrination, particularly the affluent's relish in the downfall of the less fortunate.

In its attempt to humanize Coriolanus Snow, the film encounters stumbling blocks. Uncharacteristic hesitancy and a lack of confidence overshadow the ruthless character, causing unnecessary confusion and diluting the impact of his decisions. This misguided effort to elicit sympathy undermines the portrayal of a notoriously ruthless figure.

Rachel Zegler's portrayal of Lucy Gray showcases her remarkable singing range, adding depth to her character. However, the film grapples with pacing issues, notably in the third act, where a sudden shift in tone seems more focused on setting up future sequels than serving the current narrative. The film becomes, in essence, a tale of two halves.

Ballad hesitates to fully commit to exploring Snow as a twisted antihero, instead clinging to a Romeo and Juliet-style romance. This diversion, occasionally affecting, primarily serves as a distraction from the intriguing road-to-ruin story promised by the premise.

Director Francis Lawrence, helming most Hunger Games films, closely adheres to the source material, presenting challenges. The second act lingers excessively within the Games, while the third act takes an unexpected detour away from the Capitol. Both choices contribute to a bloated running time exceeding 2 1/2 hours, diluting the tension.

As the Games conclude, the film delves into Snow's villainous origins, presenting decisions detached from the character's established persona. Dark choices appear rushed, lacking the necessary build-up for plausibility. The film struggles to find its footing, seemingly caught off guard by the necessity to narrate Snow's turn towards malevolence.

The decision to consolidate diverse narratives into a single film raises questions, especially when juxtaposed with the split of Mockingjay into two parts. Despite an abundance of characters, the film's premise doesn't significantly deviate from its predecessors, adhering to the formula of oppressed survivors overcoming tyrannical authorities in gladiatorial trials.

While some violence escalates with a darker tone, the action outside the relationship drama fails to captivate. Ballad retraces familiar beats from earlier films but with subpar editing and a scarcity of sci-fi elements.

The Ballad of Songbirds and Snakes strives to chart a unique course in the Hunger Games saga. Despite commendable performances, particularly from Rachel Zegler, and the exploration of moral ambiguity, the film succumbs to pacing issues, a conflicted portrayal of its protagonist, and a narrative discord hindering its overall impact. 

The absence of Jennifer Lawrence is evident, and her lack of presence is not sufficiently countered, prompting contemplation on whether this prelude added a harmonious melody to the Hunger Games symphony or if it lost itself in discordant notes.

The Hunger Games: The Ballad of Songbirds & Snakes was released in NZ cinemas on November 16, 2023

ANYONE BUT YOU (2023)

Despite an amazing first date, Bea and Ben's initial attraction quickly turns sour. However, when they unexpectedly find themselves at a destination wedding in Australia, they pretend to be the perfect couple to keep up appearances.

In the enchanting realm of romantic comedies, Anyone But You, helmed by director Will Gluck and penned by Ilana Wolpert and Will Gluck, takes audiences on a whimsical journey through the intricacies of miscommunication and pretence. Sydney Sweeney assumes the role of Bea, while Glen Powell portrays Ben, creating a magnetic on-screen dynamic that infuses the film with energy and charm.

A distinctive feature of the film lies in the authentic chemistry shared between Sweeney and Powell. Their on-screen connection is so compelling that the orchestrated plot twists, meant to introduce tension, come across as somewhat conspicuous and forced. The duo's magnetic presence elevates the film, drawing viewers into the amusing escapades that unfold.

Anyone But You endeavours to inject a contemporary and inclusive essence into the traditional rom-com narrative, featuring an interracial queer couple and a Black family. However, these characters often serve more as narrative catalysts than fully fleshed-out individuals. While the film earnestly aims for inclusivity, the characters' roles appear somewhat tokenistic.

The narrative intricately weaves a tapestry of relationships, misunderstandings, and familial dynamics. Bea, a law school dropout, and Ben, a charismatic stock trader, find their lives entwined after a transformative one-night stand. The ensuing complexities lead them to feign a romantic connection for the sake of a family wedding in Australia, resulting in a backdrop of delightful chaos.

Yet, the film navigates a delicate balance between an abundance of plot twists and a lack of rational problem-solving. The characters' dilemmas could be easily resolved with a moment's reflection, introducing an element of frustration to an otherwise light-hearted storyline.

Anyone But You wholeheartedly embraces the timeless tropes of romantic comedies, immersing itself in the dance of love, misunderstanding, and reconciliation. The film's success hinges on its ability to enthral the audience with silliness and over-the-top clichés, creating an entertaining and engaging viewing experience.

Unfortunately, the supporting characters remain one-dimensional, serving more as plot devices than evolving into fully realized individuals. This lack of depth in the ensemble cast diminishes the overall impact of the film, leaving much to be desired in terms of a well-rounded and relatable supporting cast.

Despite its imperfections, Anyone But You excels as a delightful escape into the world of fun and whimsy. The film's charm, wit, sincerity, and emotional moments, coupled with the picturesque subtropical setting, contribute to its breezy and enjoyable nature.

The movie positions itself as a modern interpretation of Shakespeare's Much Ado About Nothing, adding an intriguing layer to the narrative. Glen Powell's portrayal of Ben, a character with flaws and a partial awareness of his shortcomings, injects unexpected humour into the story. Sydney Sweeney showcases her talent for physical comedy, enhancing the film's comedic elements.

Anyone But You fulfils its promise of R-rated entertainment, delivering amusing and increasingly ludicrous sequences and nudity. Powell and Sweeney infuse a fiery energy into their characters' journey from disdain to affection, providing a refreshing twist to the traditional rom-com storyline.

The film's reliance on rom-com clichés proves to be both a strength and a weakness. While some clichés seamlessly integrate into the narrative, thanks to a self-aware perspective, others verge on the cringe-worthy. The introduction of a battle of the ages adds complexity, creating a blend of moments that resonate and others that fall flat.

Anyone But You shines with its vibrant and energetic presentation, complemented by the undeniable attractiveness of the main couple. The film's predictability doesn't hinder its watchability, as it is enhanced by a surprising dose of charm and emotional depth, particularly in Glen Powell's performance.

Anyone But You emerges as a delightful rom-com that skillfully weaves humour, romance, and absurdity. While facing stumbling blocks in certain areas, the film's overall allure and the captivating chemistry between its leads make it a worthwhile addition to the romantic comedy genre.

Anyone But You is in NZ cinemas from December 26, 2023

THE JUNGLE BUNCH: WORLD TOUR (2023)

Who do you call to help when a mysterious supervillain covers the jungle with pink foam that explodes upon contact with water? The Jungle Bunch! Less than a month before the rainy season, the race against time is on. From the North Pole to the Far East, crossing mountains, deserts and oceans, our heroes will have to travel the world in search of an antidote, far from their favourite jungle!

The Jungle Bunch: World Tour takes viewers on a whirlwind adventure with the beloved characters from the popular French children's animated show. Directed by Laurent Bru, Yannick Moulin, and Benoît Somville, and features the creative minds of writers David Alaux, Eric Tosti, and Jean-François Tosti.

The plot revolves around a mysterious supervillain who blankets the jungle with a toxic pink foam that reacts explosively to water. In response, the Jungle Bunch springs into action, embarking on a worldwide quest to find an antidote. The film's premise is undeniably intriguing, offering a mix of humour, action, and globe-trotting escapades. It's simple but provides an effective "ticking timer" that pushes the story forward.

One of the film's notable strengths lies in its ability to capture the attention of both children and adults. The Jungle Bunch universe introduces unique characters, such as a tiger-penguin with a tiger-goldfish son, sparking curiosity. The original series boasts a whopping 158 episodes, so diving into the extensive lore may be a daunting task for newcomers, but the previous self-titled 2017 film, The Jungle Bunch, will satisfy any curiosity remaining after the credits.

The movie manages to deliver reasonably funny moments and boasts well-crafted animation. However, it faces the challenge of sustaining interest over its 90-minute runtime; it is certainly more suitable for a shorter format. While simplicity characterizes the storyline, the film compensates with humour and action sequences, creating an entertaining experience.

The Jungle Bunch: World Tour leans towards a straightforward narrative without delving into complex emotional journeys. The plot moves swiftly, but the film's simplicity allows viewers to adapt quickly. This simplicity extends to the characters, who are brightly coloured but often one-dimensional or lack distinct personalities. While this limits room for character arcs or personal development, it caters to a younger audience (4-7 years old) by offering simplicity and easy comprehension.

Unlike some animated projects that incorporate subtle adult humour and mature elements, The Jungle Bunch maintains a straightforward approach, aiming squarely at a younger demographic. The film unfolds like a convoluted Rube Goldberg machine, propelling the Jungle Bunch from one set piece to the next through a combination of luck and plentiful MacGuffins.

Amid the main storyline, the film briefly explores smaller arcs touching on themes like jealousy and abandonment. These themes are handled delicately to prevent any shock for younger audiences, allowing the movie to maintain its family-friendly appeal.

In terms of animation, The Jungle Bunch: World Tour showcases a vibrant visual palette with well-rendered and designed characters. Action sequences are executed smoothly, contributing to the film's overall appeal. However, the animation style may be perceived as lacking emotion, particularly in the characters' eyes. Despite this, the film succeeds in delivering an engaging visual experience.

The Jungle Bunch: World Tour offers a delightful adventure for young audiences, combining humour, action, and colourful characters. While the film may be too simple for some adult viewers, it achieves its goal of providing wholesome entertainment for children. The lack of intricate character development is compensated by the film's vivid animation and straightforward storytelling, making it a suitable addition to family movie nights.

In the vast jungle of animated films, The Jungle Bunch stands out as a lighthearted romp around the globe, inviting audiences to join the lovable characters on their quest for a pink foam-free jungle.

The Jungle Bunch World Tour is in NZ cinemas from January 18, 2024

OPPENHEIMER (2023)

The story of American scientist, J. Robert Oppenheimer, and his role in the development of the atomic bomb.

In Christopher Nolan's latest film, Oppenheimer, the intricate life of physicist J. Robert Oppenheimer takes centre stage, skillfully portrayed by Cillian Murphy. With a stellar cast and a dynamic narrative structure, the film navigates Oppenheimer's journey from quantum physics to the Manhattan Project and beyond. Split into three distinct acts, each possessing its own unique style, the film's ambitious approach, while commendable, introduces some notable challenges.

Oppenheimer unfolds as a three-act narrative, illuminating Oppenheimer's scientific contributions, the creation of the atomic bomb, and the subsequent courtroom drama. Christopher Nolan, alongside co-writers Kai Bird and Martin Sherwin, crafts a high-energy biopic filled with dynamic pacing, complemented by Ludwig Göransson's powerful score. The film employs a non-linear structure, seamlessly weaving between timelines and formats, creating an immersive and engaging experience.

Cillian Murphy's portrayal of Oppenheimer is a standout performance, capturing the scientist's vulnerability and enigma. Supported by an ensemble cast including Emily Blunt, Matt Damon, and Robert Downey Jr., the film sustains its captivating narrative throughout its three-hour duration.

Captured for IMAX, Oppenheimer delivers scenes that balance epic grandeur with intimate moments, whether portraying towering pillars of fire or nuanced conversations. Nolan's adept use of black-and-white and colour cinematography, coupled with shifts in film stock and aspect ratios, enriches the visual narrative. While some moments lack subtlety, the overall visual experience remains consistently stunning, contributing to the film's immersive nature.

Despite the film's intricate structure, Nolan's direction and Göransson's score collaboratively create an atmosphere of unrelenting dread. The narrative's focus on Oppenheimer's unique perspective, coupled with vivid depictions of scientific processes, amplifies the weight of the atomic bomb's creation and its consequences. The technical finesse displayed in maintaining focus amid timeline shifts is commendable, making Oppenheimer a cinematic marvel.

In its exploration of Oppenheimer's life, the film sidesteps deep political analysis, using communism as a backdrop without delving into ideological exploration. Furthermore, there is a noticeable limitation in the portrayal of female characters, reflecting historical biases present in the subject matter. Despite being framed around political proceedings, the film surprisingly offers little insight into the political conditions of the era.

Oppenheimer encounters challenges in its opening scenes, with a lack of clarity that may initially disorient viewers. However, as the narrative settles, a clearer storyline emerges, culminating in a robust emotional payoff by the climax. Cillian Murphy's nuanced performance, marked by a powerful gaze, contributes to the film's emotional resonance.

While Murphy's portrayal of Oppenheimer is compelling, the film has a one-sided focus on the "tortured white male genius". The victims of the atomic bomb's atrocities, particularly the Japanese and Native Americans, are somewhat overlooked, creating a noticeable gap in the narrative. This omission prompts questions about the film's portrayal of historical events and the perspectives it chooses to emphasize.

Oppenheimer stands as a cinematic triumph, showcasing Nolan's directorial prowess and Murphy's stellar performance. The film's dynamic storytelling, visual spectacle, and unrelenting atmosphere contribute to its immersive nature. Despite its one-sided focus and historical oversights, as a three-hour cinematic experience, Oppenheimer manages to captivate audiences without overstaying its welcome.

Oppenheimer was released digitally on November 21, 2023

THE BOY AND THE HERON (2023)

Mahito, a young 12-year-old boy, struggles to settle in a new town after his mother's death. However, when a talking heron informs Mahito that his mother is still alive, he enters an abandoned tower in search of her, which takes him to another world.

Hayao Miyazaki, the creative force behind Studio Ghibli, takes audiences on an enchanting journey with his latest masterpiece, The Boy and the Heron. Miyazaki crafts a tale of profound depth, weaving themes of loss, grief, and the transformative power of imagination. This cinematic gem delves into a magical realm that captivates both the eyes and the heart.

Against the backdrop of war-torn Tokyo in 1943, the film introduces us to Mahito, a young boy whose world crumbles in the wake of an Allied bombing, resulting in the loss of his mother. Miyazaki skillfully portrays Mahito's deep mourning, leading to his reluctant relocation to the countryside with an emotionally distant father and a new stepmother. The solitude of Mahito's walks becomes a canvas for a unique relationship with a mysterious grey heron, setting the stage for a captivating narrative that explores both tangible and metaphysical worlds.

The Boy and the Heron unfolds as Mahito embarks on a quest to confront paralyzing grief. The film gracefully guides audiences into Miyazaki's dreamworld, where life and death dance together, and fantastical adventures unfold. The animation's handmade feel becomes apparent in daring character designs and compositions. Colours bleed beyond lines, portraying chaos, and characters contort in mesmerizing ways.

Miyazaki introduces a rich palette of characters, including the titular heron, who is revealed to be a man in disguise. Together, this unlikely duo traverses an otherworldly realm where younger versions of the living and the dead coexist. The film masterfully balances heavy themes of grief and war with moments of humour, featuring comically dull-witted parakeets and the heron's misadventures. This delicate balance transforms The Boy and the Heron into a delightful fantasy film, offering a touch of magic on the big screen.

Miyazaki's enchanted world oscillates between light and darkness, mirroring life's complexities. Themes of grief and war are explored with a delicate touch, providing levity through humorous characters and situations. However, the continuous introduction of new layers and ideas may challenge some viewers, and a more condensed runtime could have enhanced the film's overall pacing.

The animation's breathtaking visuals, reminiscent of watercolours and oils, immerse the audience in a world where reality and fantasy seamlessly coexist. The music score, skillfully composed, complements the narrative without overpowering the scenes. Miyazaki's inventive storytelling and imagery consistently surprise, refusing to let the audience passively observe Mahito's transformative odyssey.

While the film's plot is undeniably intricate, there's a distinction between complexity and complication. Miyazaki's choice to embrace complexity results in a slow-burn storytelling approach. Streamlining certain segments for brevity, without sacrificing thematic richness, could have elevated the film's overall impact.

As Mahito explores "the above," Miyazaki cleverly employs the four elements—Earth, water, air, and fire—to construct a universe of wonder and depth. Each challenge Mahito faces becomes a journey of curiosity and awe, leaving the audience spellbound.

The Boy and the Heron unfolds its magical system with a careful unveiling of relevant aspects, allowing Miyazaki to explore ideas without overwhelming the audience. Themes of death and horror, disguised by playful characters, create a captivating blend of mystery and enchantment throughout the film.

Hayao Miyazaki's storytelling and direction bring forth a poignant narrative that transcends the boundaries of animated cinema. As Mahito's journey unfolds in a world where reality and fantasy intertwine, audiences are treated to a visually stunning and emotionally resonant experience. 

The Boy and the Heron is in NZ cinemas on December 7, 2023

LEO (2023)

Leo the Lizard has been stuck in the same Florida school for decades. When he learns he only has one year left to live, he plans to escape to freedom, but instead has to rescue his class from their horribly mean substitute teacher.

In the collaborative effort of directors Robert Marianetti, Robert Smigel, and David Wachtenheim, Leo unfolds as a distinctive animated escapade featuring the unmistakable voice of Adam Sandler as the titular character—an elderly, cantankerous lizard. Alongside Sandler, Bill Burr breathes life into Squirtle, Leo's trusty turtle companion, and Cecily Strong joins the ensemble. The narrative unfolds within the confines of a Florida school, where Leo and Squirtle reside as cherished classroom pets in a terrarium.

Leo, having borne witness to the passage of numerous generations of schoolkids, stands at a contemplative juncture. With the realization that he is approaching the end of the typical lizard life expectancy, Leo harbours a yearning to venture beyond the familiar school walls and immerse himself in the wild. However, as the prospect of this adventure materializes, Leo undergoes a reevaluation of his aspirations. The years of astute observation have endowed him with a wealth of wisdom, predominantly focused on the fifth-graders he has silently observed.

The film commences with a somewhat cheesy tone, as the schoolkids melodically express their sentiments about entering the final year of elementary school. Despite recurrent musical interludes, Leo injects just enough bite into the narrative to prevent an overwhelming sentiment. The comedic brilliance manifests in clever sequences, including Leo's portrayal as a mini Godzilla wreaking havoc in a LEGO city. The recurring motif of a 'Child Safety Drone' tailing the highly allergic Eli consistently elicits humour. Moreover, the depiction of kindergarteners as chaotic, round-headed little maniacs introduces a delightful touch of eccentricity.

The emotional nucleus of the story is adeptly established, introducing the audience to the unique bond shared between Leo and the students. However, as the narrative unfolds, a subtle dip in momentum is encountered, navigating a convoluted path for Leo to confront peril before arriving at an inevitably joyful resolution.

Adam Sandler, in his voice portrayal of Leo, adopts a gentler tone infused with a touch of congestion. The film endeavours to be an entertaining vehicle where Sandler's character—a wise old lizard—dispenses flawless life advice to the eccentric fifth-graders. Leo maintains self-awareness with a subtle adult edge right from the outset. The overarching theme of therapy becomes prominent, with the 74-year-old lizard Leo unveiling his ability to converse and demonstrating an insightful understanding of each child's needs during weekend sojourns.

The film sporadically sparks with energy through slapstick sequences and a vibrant colour palette. These visual elements showcase Leo's airborne escapades, ethereal bubble floats, and interactions with a spectrum of talking animals. While ostensibly focused on middle schoolers, Leo introduces a level of maturity that sets it apart from some of Sandler's other ventures on Netflix.

Leo's counselling sessions with the children address a spectrum of issues, ranging from an inability to pose questions to the masking of anxiety. These nuanced two-hander vignettes emerge as the film's triumphs, with Sandler's co-written script taking specific problems seriously and delivering life lessons without resorting to gratuitous humour.

Brightly animated and punctuated with instances of unexpected insight, Leo emanates a warm likability that transcends its animated framework. While the film's lessons may veer into the clichéd, they are presented with enough sincerity to captivate even the most sceptical viewers, transforming them into avid fans. Despite adopting an after-school-special demeanour, Leo offers a refreshing approach, with each week introducing a new child taking the lizard home and engaging in heartfelt conversations.

As Leo channels his apprehensions about mortality into aiding students who feel overlooked by their parents, the film introduces genuinely touching moments that circumvent sentimentality. These touches endow the flawed characters with relatability, steering clear of saccharine indulgence. Despite navigating some formulaic narrative turns, the plot retains its engagement and enjoyment.

Adam Sandler's adeptness in voice acting shines through in Leo, infusing depth and personality into the eponymous character. The film delves into plot elements involving grief, peer pressure, bullying, and more, presenting relatable subplots often overlooked in animated endeavours. While Leo doesn't delve extensively into these subjects, it imparts a swift morale boost and inspirational moments, underscoring Leo's authentic intentions.

Initiating as an adventure story, Leo morphs into a moralistic fable, further evolving into a redemption narrative and concluding as a rescue mission. Each narrative arc leaves room for improvement in completeness. Despite these narrative nuances, Leo seamlessly blends heart, humour, and animated allure, crafting an endearing coming-of-age tale that resonates with audiences across age groups.

Leo was released on Netflix on November 17, 2023

TROLLS BAND TOGETHER (2023)

Poppy discovers that Branch and his four brothers were once part of her favorite boy band. When one of his siblings, Floyd, gets kidnapped by a pair of nefarious villains, Branch and Poppy embark on a harrowing and emotional journey to reunite the other brothers and rescue Floyd from a fate even worse than pop culture obscurity.

Directed by the duo of Walt Dohrn and Tim Heitz, Trolls Band Together brings back the familiar faces of Anna Kendrick, Justin Timberlake, and Kenan Thompson. The storyline follows Branch, voiced by Timberlake, who reunites with his long-lost brother John Dory (Eric Andre). The two were once part of a boy band that dissolved, leaving Branch resentful. John Dory reveals that another band member, Floyd (Troye Sivan), has been kidnapped by Velvet (Amy Schumer) and Veneer (Andrew Rannells), two aspiring pop stars.

True to its predecessors, Trolls Band Together retains the elements that made the first two movies enjoyable: a visually stunning, excessively colourful animation, endearing characters, and imaginative song mashups. The film is a feast of boy band-related humour, filled with puns, references, and amusing gags that generate genuine laughter.

However, the movie's attempt to infuse adult jokes doesn't save it from becoming a predictable and unsurprising experience. The narrative unfolds predictably, with the trolls singing their way through the story. The fast-paced nature of the film, operating at a mile-a-minute, provides little room for the audience to breathe, opting for a constant stream of jokes and excitement.

A significant drawback lies in the film's handling of the plot, where the stakes feel unreal due to the swift progression from one plot point to another. The film misses opportunities to let dramatic moments play out, choosing instead to jump hastily from one scene to the next. Elements introduced, such as Poppy's secret sister and a twist involving Viva, remain underexplored, leaving dramatic potential untapped.

The endeavour to give Viva a character arc falls short, with her emotional journey feeling unearned and inconsistent. Strong emotions expressed in one scene abruptly shift in the next, creating a disconnect between the character and the audience. While the chemistry between Kendrick and Timberlake remains a highlight, the screenplay lacks depth, resolving conflicts and defeating villains with little challenge.

Staying true to the Trolls franchise's formula, Trolls Band Together prioritizes a soundtrack filled with pop hits, aligning with the series' signature musical style. The distinct 90s/2000s boyband-inspired soundtrack adds a nostalgic touch, though the film's primary focus remains on delivering a visually and aurally engaging experience.

The narrative revolves around a rescue mission led by Branch and his estranged brothers, following the familiar pattern of troll characters navigating diverse lands, meeting eclectic characters, and pausing for song breaks. Despite its predictability, the film's fast-paced approach caters to its target audience—consumers who revel in the joy of quick, lively sequences.

While the script may lack depth, and the villains are disposed of too swiftly, the movie strikes a balance between appealing to both adults and children. It addresses typical childhood themes, such as sibling dynamics and the desire for acceptance, making it accessible to a wide audience. The villains, Velvet and Veneer, though lacking depth, provide entertaining performances unlikely to intimidate younger viewers.

The film introduces several retcons, revealing new familial connections and relationships, adding layers to the characters' backgrounds. The structure, reminiscent of classic Muppet movies, promises an adventurous journey for the small group of trolls as they recruit characters and navigate through various locations.

Despite the film's entertaining moments, the rush in musical numbers and abbreviated medleys detract from the usually reliable musical experiences associated with the Trolls series. The visuals, however, maintain their inventive, colourful, and creative appeal. Trolls Band Together continues the tradition of the franchise, turning a negligible toy line into an animated, short-attention-span musical. However, like its predecessors, the movie suffers from thinly conceived emotional backstories and life lessons, leading to a pronounced crash from the initial sugar high.

One notable highlight is the chemistry between the primary voice actors, Anna Kendrick and Justin Timberlake, whose winning personalities enhance the overall viewing experience. The animation, as always, remains inventive and creatively surprising, contributing to the film's visual appeal.

The narrative introduces various subplots, including Bergens King Gristle and Bridget's marriage, but struggles to make these plot points memorable. The lack of a strong, cohesive plot is evident, as the synopsis fails to resonate or leave a lasting impression.

Despite the film's shortcomings, Trolls Band Together manages to deliver solid laughs, catering to both children and adults. The humour is well-balanced, ensuring that the jokes resonate with a broad audience.

What stands out most about Trolls Band Together are its valuable lessons about self-acceptance and letting go of perfectionism. The movie delivers a positive message to young audiences, encouraging them to embrace their passions without being bogged down by the fear of doing things "right".

Trolls Band Together offers a visually stunning and musically vibrant experience, staying true to the franchise's formula. While it may lack a robust storyline and emotional depth, the film succeeds in providing an entertaining escape, especially for those who appreciate the energetic, whimsical world of the Trolls.

Trolls Band Together is in NZ cinemas from November 30, 2023

GODZILLA MINUS ONE (2023)

Japan is already devastated by the war when a new crisis emerges in the form of a giant monster. 

In the aftermath of war-torn Japan, Director Takashi Yamazaki brings Godzilla back to the big screen with a poignant reboot that intertwines captivating human drama with awe-inspiring mass destruction. Starring Ryunosuke Kamiki, Minami Hamabe, and Yuki Yamada, Godzilla Minus One transcends its modest budget of $15 million, delivering emotional dividends that rival even the grandiosity of its MonsterVerse predecessors.

Takashi Yamazaki's vision for Godzilla Minus One takes the franchise back to its roots, embracing a grand style that refrains from the hyperreal visual effects of MonsterVerse entries like Godzilla: King of the Monsters and Godzilla vs. Kong. This intentional departure, however, proves to be a masterstroke, as the film emerges as a powerful testament to the resilience of the human spirit amid colossal destruction.

Set in post-war Japan, the narrative unfolds against the backdrop of a nation grappling with the aftermath of World War II. Unlike previous Godzilla films, governmental and military institutions take a back seat, allowing the focus to shift to civilians uniting in the face of impending obliteration.

At the forefront of this tale is Koichi Shikishima, portrayed with unwavering commitment by Ryunosuke Kamiki. From a kamikaze pilot in the war's final days to a survivor plagued by guilt and PTSD, Kamiki's performance resonates powerfully, grounding the film in the human cost of conflict. The screenplay, wisely emphasizing survival in the aftermath, explores Koichi's journey as he navigates post-war trauma.

The camaraderie between Koichi and his fellow ex-servicemen, portrayed by a stellar cast including Kuranosuke Sasaki and Hidetaka Yoshioka, adds an enjoyable layer to the narrative. The film seamlessly weaves moments of crowd-pleasing camaraderie with the looming threat of Godzilla's inevitable return.

Despite its modest budget, Godzilla Minus One impresses with its visual prowess. Takashi Yamazaki leverages period sets and drone shots over vast ocean expanses, creating a visually stunning experience that belies its cost. The design of Godzilla as an imposing force of destruction, though occasionally subject to inconsistent CG-rendering, remains a testament to the film's remarkable effects work within budget constraints.

The film's thematic depth is further amplified through Godzilla's symbolic role, embodying Japan's war trauma and guilt. The creature's atomic breath, depicted like an H-bomb explosion, serves as a powerful metaphor, emphasizing the enduring impact of wartime atrocities.

Godzilla Minus One transcends the monster movie genre by focusing on character development, particularly Shikishima's arc from wartime coward to kaiju-fighting hero and family man. The film deftly explores the psychological toll of war, with Shikishima's PTSD becoming a central theme. The character's struggle to move on from his tortured past inadvertently inspires those around him, reflecting the complexities of post-war Japanese civilian perspectives.

The film's action sequences, often set at sea, evoke the spirit of the original Jaws. Godzilla's relentless destruction is juxtaposed with the resilience of the characters, portraying an underdog spirit that extends beyond mere survival. The narrative cleverly ties emotional moments back to a central message, delivering satisfying surprises and payoffs.

Godzilla Minus One navigates a nuanced exploration of nationalism and militarism in post-war Japan. The condemnation of the imperial government's devaluation of human life coexists with a chance at redemption for its soldiers. The film refrains from glorifying nationalism, portraying the struggles of individuals like Shikishima, crippled by PTSD and seeking a path to redemption beyond wartime exploits.

The cultural context adds depth to the narrative, highlighting the disillusionment of Japanese citizens with a government that failed to value their lives during the war. The rallying cry against Godzilla becomes more than a battle against a monstrous threat; it symbolizes a nation's collective effort to overcome tragedy and forge a brighter future.

While male-dominated, the film ensures that its female characters are not mere bystanders. Actively working to rebuild their lives after the war, the women, led by the remarkable Minami Hamabe, exhibit strength and resilience. The camaraderie among the Minesweeper crew provides a well-rounded character dynamic, balancing heartfelt, comedic, and serious tones without feeling disjointed.

Godzilla Minus One rises above its budgetary constraints to deliver a cinematic experience that marries emotional depth with spectacular destruction. 

Takashi Yamazaki crafts a narrative that transcends the monster movie genre, offering a tale of redemption, resilience, and the enduring spirit of a nation emerging from the shadows of war. As Godzilla roars on screen, it becomes not just a symbol of destruction but a metaphor for the indomitable human will to rise from the ashes.

Godzilla Minus One is premiering in New Zealand cinemas on November 23, 2023